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BRYAN'S    DICTIONARY 


OF 


PAINTERS  AND  ENGRAVERS. 


DICTIONARY 


OF 


PAINTERS  AND  ENGRAVERS, 

BIOGRAPHICAL    AND    CRITICAL, 


BY 

MICHAEL  BRYAN. 


NEW   EDITION,    REVISED    AND   ENLARGED, 
EDITED  BY 

ROBERT  EDMUND   GRAVES,  B.A., 

OF  THE   BRITISH   MUSEUM. 


VOLUME   I.:    A— K. 


LONDON:     GEORGE    BELL    AND    SONS, 

4,  YORK  STREET,   COVENT   GARDEN. 

1886.  v^"'' 


CORNELL 
UNIVERSITY^' 
^  UBRABV 


A.  ^s-i-jH- 

H 

V.I 


Printed   bv 

Richard  Clay  and  Sons, 

Bungay. 


.CJ^ 


IK 


0)3 


NOTICE. 


The  general  accuracy,  research,  and  ability  displayed  in  Bryan's  "  Biographical  and  Critical 
Dictionary  of  Painters  and  Engravers  "  obtained  for  it  upon  its  first  appearance  in  1816  a 
reputation  which  was  still  further  enhanced  by  the  publication  in  1849  of  the  late  Mr. 
Stanley's  edition  of  the  work.  Since  the  latter  date,  however,  the  publication  of  many 
artistic  monographs  and  other  valuable  works  on  Art,  some  of  them  embodying  the  results 
of  exhaustive  searches  amongst  city  records,  guild  books,  and  church  registers,  particularly 
in  Italy  and  in  the  Netherlands,  has  furnished  so  many  new  sources  from  which  materials 
have  been  derived  for  the  correction  and  enlargement  of  the  work.  Much  indeed  of  the 
improvement  in  the  present  edition  is  due  to  the  researches  of  Messrs.  Crowe  and  Cavalcaselle, 
Milanesi,  Morelli,  Bertolotti,  and  others  on  the  lives  and  works  of  the  Italian  painters ;  to 
those  of  Kramm,  Michiels,  F^tis,  Havard,  Hymans,  Van  den  Branden,  Weale,  and  Siret  on 
the  Dutch  and  Flemish  painters ;  to  those  of  Passavant,  Waagen,  Forster,  Meyer,  Bode, 
Woltmann,  Schlie,  Eiegel,  and  Von  Eeber  on  the  painters  of  Germany  and  other  lands  ; 
and  to  those  of  the  late  Sir  William  Stirling  Maxwell  and  Senor  Madrazo  on  the  art  and 
artists  of  Spain. 

Dealing,  as  a  work  of  this  sort  does,  with  facts  rather  than  with  criticism,  the  labours  of 
preceding  writers  must  necessarily  be  used  with  a  frequency  which  makes  special  reference  in 
every  case  impossible ;  but  the  Editor  trusts  that  he  will  not  be  found  to  have  placed  himself 
under  any  obligations  that  he  may  not  here  frankly  and  gratefully  acknowledge. 

Besides  the  addition  of  a  large  number  of  names  which  were  not  included  in  the  former 
edition,  new  authority  has  been  given  to  the  old  entries  by  a  careful  revision,  and  in  many 
instances  by  important  changes.  In  several  cases  the  notices  have  been  supplied  by  con- 
tributors specially  qualified  for  the  task,  such  as  Mr.  W.  B.  Scott,  Dr.  J.  P.  Eichter,  the  late 
Mrs.  Heaton,  and  others ;  these  are  distinguished  by  the  initials  of  the  writers.  The  new 
matter  introduced  will  expand  the  work  to  double  its  former  size,  so  that  it  will  make  two 
volumes  instead  of  one.  The  preface  and  list  of  works  of  reference,  which  should  be  bound 
at  the  commencement  of  the  first  volume,  together  with  a  supplement  containing  notices  of 
artists  inadvertently  omitted,  or  recently  deceased,  as  well  as  some  necessary  additions  and 
corrections,  will  appear  on  the  completion  of  the  work. 

Much  confusion  has  heretofore  arisen  in  the  alphabetical  arrangement   of  biographical 


NOTICE. 


dictionaries  owing  to  the  arbitrary  mode  in  whicli  it  has  been  customary  to  deal  with  such 
names  as  are  preceded  by  an  article  or  a  preposition,  or  by  both.  In  order  to  avoid  this 
confusion  it  has  been  thought  desirable  to  adopt  the  grammatical  principle  sanctioned  by  the 
Belgian  Academy  in  regard  to  the  names  of  Flemish  and  French  (or  Walloon)  origin,  which 
are  included  in  the  "  Biographie  Nationale  "  now  in  course  of  publication. 

The  arrangement  therefore  is  according  to  the  following  plan : 

I.  Every  artist  having  a  surname  is  placed  under  that  surname,  cross-references  being  given 
from  assumed  names  and  sobriquets  whenever  needed. 


Thus,  Correggio 
Giorgione 
Pinturicehio 
Sebastiano  del  Pionibo 
Tintoretto 
Titian 


is  entered  under 


Allegri,  Antonio. 
Barbarelli,  Giorgio. 
Biagio,  Bernardino. 
iMciani,  Sebastiano. 
Bobusti,  Jacopo. 
Vecelli,  Tiziano. 


J(a)  "When  the  prefix  to  a  name  is  an  article  it  remaios  annexed,  because  it  is  an  integral 
part  of  the  name ;  but  when  it  is  a  preposition,  it  is  disunited,  because  it  indicates  the  place 
of  origin  or  birth  of  the  artist,  or  a  territorial  or  seigneurial  name.  Thus,  the  French  Le 
and  La,  and  the  equivalent  Dutch  and  Flemish  De  are  retained ;  while  the  French  de,  the 
Italian  da  and  di,  the  German  von,  and  the  Dutch  and  Flemish  van  are  rejected. 


Thus,  Charles  Le  Brun 

is  entered  under 

Le  Brun. 

Jan  David  De  Heem 

» 

De  Heem. 

Jean  Francois  de  Troy 

>y 

Troy. 

Heinrich  Maria  von  Hess 

tt 

Hess. 

Isaac  van  Ostade 

» 

Ostade. 

(V)  When  the  prefix  is  an  article  joined  to  or  preceded  by  a  preposition,  as  in  the  French 
du,  de  la,  and  des,  the  Italian  del,  delta,  degli,  dai,  dagli,  and  dalle,  the  Spanish  del  and  de 
la,  and  the  Dutch  van  der,  van  de,  van  den,  and  ver  (a  contraction  for  van  der),  it  cannot  be 
disunited  from  the  proper  name,  because  the  particles  together  represent  the  genitive  case  of 
the  article. 


Thus,  AlpJwnse  du  Fresnoy 
Laurent  de  La  Hire 
Niccolb  delV  Abhate 
Gfirolamo  dai  Lihri 
Willem  van  de  Velde 


is  entered  under 


Du  Fresnoy. 
De  La  Hire. 
Dell'  Abhate. 
Dai  Lihri. 
Van  de  Velde. 


(c)  English  artists  bearing  foreign  names  are  placed  under  the  prefix,  whether  it  be  an 
article  or  a  preposition. 


Thus,  Peter  De  Wint  is  entered  under  De  Wint. 


NOTICE.  vii 

(d)  Proper  names  with  the  prefix  St.  are  placed  as  though  the  word  Saint  were  written  in 
full :  and  similarly,  M'  and  Ma  are  arranged  as  Mac. 

(e)  Foreign  compound  names  are  arranged  under  the  first  name. 

Thus,  Baptiste  Auhry-Lecomte  is  entered  under  Auhry-Lecomte. 

Juan  Gano  de  Arevalo  ,,  Cano  de  Arevalo. 

II.  An  artist  having  no  surname  is  placed  under  the  name  of  the  place  from  which  he  is 
known,  or  failing  that,  under  his  own  Christian  name. 

Thus,  Andrea  da  Bologna  is  entered  under  Bologna. 

Andrea  del  Sarto  „  Andrea. 

Fra  Bartolommeo  „  Bartolommeo. 

III.  Anonymous  artists  known  as  the  Master  of  the  Grab,  the  Master  of  the  Die,  the 
Master  of  the  Bat-Trap,  will  be  found  under  the  common  title  of  Master. 

E.  E.  G. 


BIBLIOGRAPHY. 


A  LIST  of  the  chief  general  sources  of  information  drawn  upon  in  this  revised  edition 
of  '  Bryan's  Dictionary  of  Painters  and  Engravers.'  Special  works  have  not  been  in- 
cluded, as  they  have  been  acknowledged  under  the  articles  indebted  to  them. 


The  Academy. 
The  Art  Journal. 

The  ATHENiEUM. 

AuvRAY,  Louis.     See  Bellieb  de  la  Chavigneeie. 

Baetsch,   Adam.     Le   Peintre   Graveur.    Vienna, 

1803—21. 
Belliee  de  la  Chavigneeie,  Emile.     Dictionnaire 

general  des  Artistes  de  I'ficole  Frangaise  depuis 

I'origine  des  arts  de  dessin  jusqu'a  nos  jours. 

Continue  par  Louis  Auvray.     Paris,  1885. 
Beemudez,  Cean.     Dicoionario  historico  de  los  mas 

ilustres  prof  esores  de  las  bellas  artes  en  Espana. 

Madrid,  1800. 
Blanc,  Cl;iarles.      Histoire  des  Peintres  de  toutos 

les  Ecoles  depuis  la  Renaissance  jusqu'k  nos 

jours,  par  Charles  Blanc,  Th^ophile  Gautier, 

P.  A.  Jeanron,  etc.,  etc.     Paris,  1861  (1849) — 

76. 
BoDB,  Dr.  Wilhelm.     Studien  zur  Geschichte  der 

holiandischen  Malerei. 
Zusatze  und  Berichtigungen  zu  Burckhardt's 

'Cicerone.'     Leipsio,  1872. 
Der  Cicerone,  von  Jacob  Burckhardt,  besorgt 

von  Wilhelm  Bode.     Leipsic,  1884. 
Bredius,  Abraham.     Catalogue  des  Tableaux  du 

Eijks-Museum   k   Amsterdam.      Amsterdam, 

1888 
Cud  Holland.     Vols.  L— III. 
Archief    voor   Nederl.    Kunstgeschiedenis. 

Vols.  I.-VI. 
Beclliot,   p.     Dictionnaire  des    Monogrammes. 

Munich,  1820—1832. 
BuRCKHAEDT,  J.    See  Bode. 
Burgee,  W.  (Thor6,  Th6ophile).     Etude  sur  les 

Peintres  hollandais  et  flamands.   Galerie  Suer- 

mondt  k  Aix-la-Chapelle,  par  W.  Burger  avec 

catalogue    de    la    Collection    par  le   dooteur 

Waagen.     Brussels  and  Ostend,  1860. 

Chavigneeie.    See  Belliee  de  la  Chavigneeie. 

Cheist,  Prof.  Anzeige  und  Ausdeutung  der  Mono- 
gramme.     Leipsic,  1747. 

Clement,  Clara  E.,  and  Hutton,  Laurence.  Ar- 
tists of  the  Nineteenth  Century  and  their 
Works.     Boston,  1879. 

Clement,  Charles.  Artistes  anciens  et  modernes. 
Paris,  1876. 

Conway,  William.  Early  Flemish  •  Artists  and 
their  Predecessors  on  the  Lower  Rhine.  Lon- 
don, Seeley  &  Co.,  1887. 

Le  COUERIEE  DE  L'ArT. 


Crowe  and  Cavaloasellb.  A  New  History  of 
Painting  in  Italy.     London,  1864 — 66. 

History  of  Painting  in  North  Italy.     Lon- 
don, 1871. 
The     Early    Flemish    Painters.      London, 
■  1879. 
Cunningham,  Allan.     Lives  of  the  most  eminent 
British  Painters.    Annotated  and  continued  to 
the   present  time  by  Mrs.   Charles    Heaton. 
London,  1879. 

Dallaway.    See  Walpole. 

Delaboede,  Le  Vicomte  Henri.    La  Gravure  en 

Italic  avant  Marc  Antoine.     Paris,  1882. 
La  Gravure.      Precis    61^mentaire  de    ses 

origines,  de  ses  proc^dds,  et  de  son  histoire. 

Paris,  1882. 

English  edition  of  above,  with  an  additional 

chapter   on  English   engraving    by  William 

Walker.     London,  1886. 
Descamps,  J.  B.     La  Vie  des  Peintres  flamands, 

alleinands,  et  hollandais.      Nouvelle   Edition, 

angment^e  de   notes  par  C.   Eoehn.      Paris, 

1838. 
DuMESNiL.    See  Robeet-Dumesnil. 
Duplessis,  G.   Histoire  de  la  Gravure.  Paris,  1880. 
Dutuit,   E.      Manuel  de  I'Amateur  d'Estampes. 

1881—85. 

Engeeth,  E.  von.  Descriptive  Catalogue  of  the 
pictures  in  the  Vienna  Gallery.  Vienna, 
1884—86. 

Fi5'jis,  E.  Catalogue  descriptif  et  historique  du 
Musde  Royal  de  Belgique.  (Bruxelles.)  Brus- 
sels, 1882. 

FiSHEE,  Richard.  Introduction  to  a  Catalogue  of 
the  Early  Italian  Prints  in  the  British  Museum. 
London,  1886. 

A  collection  of  engravings,  etchings,  and 
woodcuts.  Catalogue  privately  printed.  Lon- 
don, 1879. 

Foed,  Richard.  Handbook  for  Travellers  in  Spain. 
London,  1856. 

Feizzoni,  Gustavo.  L'Arte  Italiana  nella  Galeria 
Nazionale  di  Londra.    Florence,  1880. 

FtJssLi,  J.  R.  Allgemeines  Kiinstler-Lexikon. 
Zurich,  1772—1824. 

Gazette,  des  Beadx  Aets. 

GoNCOUET,  E.  and  J.  de.  L'Art  du  XVIII'.  Sifecle. 
Paris,  1873. 


Graphiscben  Kiinste 


BIBLIOGRAPHY. 


Robinson 


Die  Geaphischen  Kunste. 

Graves,  Algernon.  Dictionary  of  Artists  who  ex- 
hibited in  London  1760—1880.    London,  1884. 

Havaed,  Henri.     L'Art  et  les  Artistes  Holland  ais. 

Paris,  1879—81. 
Houbeaken,  Arnold.     De  groote  Sohouburgh  der 

Nederlandsche  Kunstschilders  en  Sohildressen. 

The  Hague,  1763. 
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Immeezeel.  De  Leven  en  Werken  der  Holland, 
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Jackson,  J.      A   Treatise    on    Wood-Engraving. 

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Kramm,  Christiaan.  De  Leven  en  Werken  der 
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Beeldhouwers,  Graveursen,  Bouwmeesters  van 
der  vroegsten  tot  op  onzen  tijd.  (Aanhang- 
sel.)     Amsterdam,  1856 — 64. 

KUGLEB,  F.  Handbook  of  Painting.  German, 
Flemish,  and  Dutch  Schools.  Lady  Eastlake's 
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Do.    Italian  Schools.     Sir  Henry  Layard's 
edition.     London,  1887. 

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Die  KUNSTKBONIK. 

Labokde,  L4on  de.     Histoire  de  la  Gravure  en 

Mani^re  Noire.    Paris,  1839. 

Renaissance  des  Arts  a  la  Cour  de  France. 

Paris,  1850. 
Lafenestee,    Georges.      La    Peinture    Italienne. 

Paris,  1886. 
Lanzi.     History  of  Painting  in  Italy.     Roscoe's 

edition.    London,  1847. 
Law,  Ernest.    Catalogue  of  Pictures  at  Hampton 

Court.     London,  1881. 
Le  Blanc,  Charles.     Manuel  de  1' Amateur  d'Es- 

tampes.     Paris,  1854 — 56. 
Leeius,  Theodore  van.     Catalogue  du  Mus6e  d'An- 

vers.     Antwerp,  1874. 
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Lindsay,  Alex.  William  Crawford,  Earl  of  Craw- 
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Christian  Art.  Second  edition.    London,  1885. 
Lippmann,  F.      Der  italienische    Holzsohnitt  im 

XVten.  Jahrhundert.     Beriin,  1885. 
LoMAzzo,  G.  P.    Arte  de  la  Pittura.    Milan,  1584. 
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London,  1869. 

Madeazo,   Don  Pedro.      Catalogo  Descriptive    e 

historico  del  Museo  del  Prado.    Madrid,  1872. 
Viage  artistico  de  tres  siglos  por  las  cole- 

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Hyman's  translation  of  Van  Mander's  '  Schil- 

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Maxwell,  Sir  William  Stiriing,  Bart.  Annals  of 
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Painters    of    the   English  School.      London, 

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Redgeavb,  Samuel.     A  Dictionary  of  Artists  of  the 

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Graveurs.     Montpellier,  1853. 

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London,  1883. 

Catalogue  of  Pictures  in  the  Dulwich  Gal- 
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Commentary,  forming  the  sixth  volume  of 

Bohn's  edition  of  Vasari.     London,  1885. 
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Bumohr 


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RuMOHB.   Italienische  Forschungen.  Berlin,  1826. 

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Scott,  William  Bell.  The  Little  Masters  of  Ger- 
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Sehbert,  a.  Allgemeines  Kiinstler-lexikon. 
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SiRET,  Adolphe.  Dictionnaire  Historique  des 
Peintres  de  toutes  les  i^eoles.   Brussels,  1883. 

Smith,  J.  Catalogue  Raisonnd  of  the  Works  of 
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don, 1829—42. 

Stephen,  Leslie.  Dictionary  of  National  Bio- 
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Stbutt,  Joseph.  Biographical  Dictionary  of  En- 
gravers.    London,  1785. 

Stuers,  E.  Notice  historique  et  descriptive  des 
Tableaux  et  des  Sculptures  exposes  dans  le 
Mus^e  Royal  de  la  Haye.     The  Hague,  1874. 

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TiEABOSCHl.      Descrizione  de'    pittori    Modenesi. 
Modena,  1821. 
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Van  dee  Willigen,  A.    Les  Artistes  de  Harlem. 

Harlem,  1870. 
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nuove   annotazioni  e  commenti  di    Gaetano 

Milanesi.     Florence,  1878—85. 
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VlABDOT,  L.    Les  Musses  d'ltalie.     Paris,  1860. 

Waagen,  G.  F.  Treasures  of  Art  in  Great  Britain. 
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Handbook  of  Painting.     German,  Flemish, 
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Walpole,  Horace.  Anecdotes  of  Painting  in  Eng- 
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N.  Wornum.     London,  1876. 

Wautebs,  a.  J.  La  Peinture  Flamande.  Paris, 
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Weale,  W.  H.  James.  Divers  Works  of  Early 
Masters.     London,  1846. 

Catalogue  du  mus^e  de  I'acad^mie  de  Bruges. 
Bruges,  1861.     Le  Beffroi ;  Passim. 

Wessely,  J.  E.  Iconographie  Gottes  und  der 
Heiligen.     Leipsic,  1874. 

Willshibe,  W.  H.  An  Introduction  to  Early 
Prints.     London,  1877. 

Early  Prints  in  the  British  Museum.     Lon- 
don, 1879—83. 

Wolff,  Albert.  La  Capitale  de  I'Art.  Paris, 
1886. 

WoLTMANN,  Alfred,  and  Woeemann,  Karl.  His- 
tory of  Painting.  Vol.  I.— Ancient,  Early 
Christian,  and  Medieval  Painting.  Engliali 
translation,  edited  by  Prof.  Sidney  Colvin. 
London,  1880. 

Vol.  II. — The  Painting  of  the  Renascence. 
Translated  by  Clara  Bell.     London,  1887. 

WoENUM,  Ralph.  Catalogue  of  Pictures  in  the 
National  Gallery.     London,  1875. 

The  Year's  Aet.    1880—89. 

Zanetti.  Delia  Pittura  Veneziana  e  delle  opere 
publiche  de'  Veneziani  maestri.  Venice, 
1771. 

Zani,  Abbate  P.  Materiali  per  servire  alia  Storia 
deir  Origine  e  de  Progressi  del  Incisione  in 
Rome  e  in  Legno,  etc.     Parma,  1802. 

Zanotti.  Storia  dell'  Accaderaia  Clementina  di 
Bologna.     Bologna,  1739. 

Zeitschbift  fOb  bildende  Kunst. 


BIOGRAPHICAL    DICTIONARY 


PAINTERS    AND    ENGRAYEES. 


AA,  Van  dek.    See  Van  dee  Aa. 

AACHEN,  JoHANN  YON  (or  Aach),  -who  was 
born  in  Cologne  in  1552,  takes  his  name  from 
the  town  of  Aachen  (Aix-la-Chapelle),  the  birth- 
place of  his  father.  His  early-displayed  talent 
for  art  induced  his  parents  to  comply  with  his 
wish  to  become  a  painter,  and  he  was  placed 
under  the  tuition  of  a  respectable  portrait  painter, 
named  Jerrigh.  After  passing  six  years  under 
this  master,  he  applied  himself  to  study  and 
copy  the  works  of  Barthel  Spranger.  About  the 
year  1584  he  visited  Italy,  and  first  stopped  at 
Venice,  wliere  he  passed  some  time  among  the 
great  works  of  art  in  that  distinguished  school  of 
colouring'.  He  studied  especially  the  style  of 
Tintorptto,  with  mucli  success.  He  afterwards 
went  to  Eome,  where  his  first  painting  was  an 
altar-piece,  representing  the  '  Nativity,'  for  one 
of  the  chapels  of  the  Jesuits'  church.  He  also 
painted  a  picture  which  gained  him  great  reputa- 
tion, and  has  been  considered  as  one  of  his  best 
productions ;  in  it  he  represented  the  portrait 
of  the  celebrated  musician,  '  Madonna  Venusta 
playing  on  a  Lute,'  and  introduced  himself  hold- 
ing a  goblet  of  wine.  From  Eome  he  went  to 
Florence,  where  he  painted  the  portrait  of  the 
famous  poetess  '  Madonna  Laura.'  In  1588,  the 
Elector  of  Bavaria  invited  him  to  Munich,  where 
lie  produced  his  most  excellent  work  the  '  Eesur- 
rection  of  our  Saviour,'  which  has  been  engraved 
by  Raphael  Sadeler ;  and  the  '  Finding  of  the 
True  Cross  by  Helena,  mother  of  Constantine.' 
He  painted  the  portraits  of  the  electoral  family, 
and  was  liberally  rewarded  by  his  employer,  who 
also  presented  him  with  a  gold  chain  and  medal. 
By  the  invitation  of  the  Emperor  Eudolph  II.,  he 
visited  Prague,  where  the  court  was  then  held,  and 
was  favoured  with  the  particular  patronage  of  that 
monarch.  His  first  work  was  a  picture  of  '  Venus 
and  Adonis,'  which  he  designed  with  a  taste  and 
elegance  then  little  known  in  Germany.  This 
performance  was  so  much  admired  by  the  emperor 
that  he  retained  him  in  his  service  for  the  remain- 


der of  his  life.  Von  Aachen  died  in  1615  in  Prague. 
It  is  but  justice  to  this  painter  to  allow  him  the 
credit  of  being  one  of  the  first  that  attempted  to 
reform  the  stiff  and  Gothic  taste  of  his  country, 
and  although  he  did  not  entirely  divest  liimself  of 
it,  it  may  be  asserted  that  his  design,  always  cor- 
rect, approaches  sometimes  to  grace  and  beauty. 
His  'Bathsheba  Bathing,'  in  the  Vienna  Gallery,  is 
one  of  his  best  works.  The  dales  of  his  birth  and 
death,  above  given,  are  taken  from  the  inscription 
on  the  monument,  erected  at  Prague  to  iiis  memory 
by  his  widow,  which  was  discovered  in  1790. 
Other  authorities  give  1562  as  the  date  of  his 
birth. 

AALST,  Van.    See  Ablst. 

AAETJBN  VAN  LEIDEN     See  Claessoon. 

AARTSEN,  PiETEE  (or  Aert-      prr-y  j-rv 

SEN,  or  Aeijaensz,  in  which  form    /j\         yfY 
it  occurs  in  the  record  of  his  death  -" 

in  the  '  Oude  Kerk '  at  Amsterdam).  This  painter, 
called  from  his  great  height  '  Lange  Peer,'  was 
the  son  of  a  stocking  manufacturer,  and  born  at 
Amsterdam  in  1507.  Having  shown  an  early 
inclination  for  art,  he  was  placed  under  Allart 
Claessen,  with  whom  he  did  not,  however,  reniain 
longer  than  was  necessary  to  learn  the  first  rudi- 
ments, and  in  1535  he  joined  the  Antwerp  Guild. 
Before  long  he  had  produced  several  pictures  of 
the  interiors  of  kitchens  with  culinary  utensils, 
painted  with  great  spirit,  and  well  coloured.  These 
performances  were  nmch  admired,  and  it  is  some- 
what remarkable,  that  although  he  was  so  success- 
ful in  his  attempts  in  that  style,  he  abandoned  these 
subjects,  and  applied  himself  to  the  more  elevated 
walk  of  sacred  historical  painting,  in  which  he 
acquired  no  little  celebrity.  One  of  his  most 
esteemed  works  was  the  altar-piece  he  painted  for 
the  church  of  Our  Lady  at  Amsterdam.  Tlie 
principal  picture  represented  the  '  Death  of  the 
Virgin  Mary,'  and  on  the  two  folding  doors  he 
painted  the  '  Nativity,'  and  the  '  Adoration  of  the  ■ 
Magi.'  These  subjects  were  ingeniously  composed 
and  well  drawn,  and  the  -colouring  warm  and 

1 


Aartsz 

harmonious.      Sandrart  asserts,  that  he   received 
two  thousand  crowns  for  this  work. 

It  is  no  slight  proof  of  the  ability  of  this  master, 
that  when  Michael  van  Coxis  of  Mechlin,  one  of 
the  greatest  artists  of  his  time,  was  asked  to  paint 
an  altar-piece  for  the  new  church  at  Amster- 
dam, he,  on  seeing  the  works  of  Pieter  Aartsen, 
declined  the  undertaking,  observing,  that  they  had 
no  occasion  for  his  exertions  when  they  pos- 
sessed such  a  painter.  Aartsen  died  at  Amsterdam 
in  l.')73.  Many  good  works  by  him  were  destroyed 
by  the  Iconoclasts  in  1566  ;  the  following  are  his 
best  that  remain : 


A  BIOaEAPHICAL  DICTIONARY  OF 


Abel 


Antwerp. 

Berlin. 

), 
Brussels. 
Cassel. 
Vienna. 


Museum  Crucifixion. 

Hospital.  Crucifixion. 

Museum.  Christ  bearing  the  Cross. 

„  Madonna  and  Child. 

Museum.  The  Cook. 

Gallery.  Tegetables  and  Fruit. 

Belvedere.  Market  Scene. 


He  had  three  sons,  Pieter  (called  '  de  jonge '), 
Aeet,  and  DiRK,  and  a  grandson  Geeet,  who 
were  all  painters. 

AAKTSZ,  EiJKAEET.  According  to  Van  Mander, 
this  painter,  the  son  of  a  poor  fisherman,  was 
born  at  Wyck,  in  North  Holland,  in  1482.  He 
became  a  scholar  of  Jan  Mostaert,  the  elder,  a 
painter  at  that  time  in  some  repute  at  Haarlem. 
Under  that  master  be  made  surprising  progress, 
and  not  only  soon  surpassed  his  instructor,  but 
became  one  of  the  ablest  artists  of  his  time.  His 
first  works  on  leaving  the  school  of  Mostaert,  were 
two  pictures  painted  as  folding-doors  to  an  altar- 
piece  in  the  great  church  at  Haarlem,  wherein  he 
represented  two  subjects  from  the  history  of 
Joseph  and  his  brethren.  He  afterwards  settled 
at  Antwerp,  and  was  received  into  the  Academy 
there  in  1520.  He  died  in  that  city  at  the  great 
age  of  96.  Aartsz' s  works  are  for  the  most  part 
to  be  seen  in  Priesland. 

ABACCO,  Antonio  d',  was  a  scholar  of  Antonio 
da  San  Gallo,  an  eminent  architect  at  Eome,  where 
he  followed  the  same  profession  with  reputation. 
In  the  year  1558,  he  publislied  a  valuable  archi- 
tectural work,  entitled  lAhro  d'  Antonio  d'  Abacco, 
appartenente  a  V  ardiitettura,  nel  quale  sifigurano 
alcuone  nohile  antichitd,  de  Roma,  with  fine  prints 
engraved  by  himself.  He  also  engraved  the  plans 
of  St.  Peter  from  the  designs  of  his  master. 

ABARCA,  F.  A.  Ethenaed  y.     See  Ethenaed. 

ABARCA,  Maria  de,  is  noticed  in  the  history  of 
painting  in  Spain,  as  having  distinguislied  hersell: 
in  Madrid  as  a  paintress  of  miniatures  and  por- 
traits, which  were  much  admired,  even  at  a  period 
in  which  the  art  may  be  considered  to  have  reached 
its  highest  development  in  that  country,  in  the 
time  of  the  celebrated  Velazquez.  The  dates  of 
her  works  range  from  1640  to  1653,  and  she  died 
probably  about  1656. 

ABATE  ANDREA,  L'.    See  Belvedere. 

ABATE  CICCIO,  L'.     See  Solimena. 

ABBATB  Family,  The  (of  Modena).  See  Dell' 
Abbate. 

ABBATI,  Giuseppe,  who  was  born  at  Naples  in 
1836,  studied  first  under  his  father  Vincenzo,  a 
painter  of  that  town  ;  and  subsequently  in  the 
Academy  at  Venice.  He  excelled  in  genre  and 
architecture,  and  in  landscapes,  in  which  he  some- 
what resembles  Jules  Breton.  One  of  his  earliest 
works,  '  A  Dominican  singing  in  the  choir  of  Santa 
Maria  Novella,  Florence,'  was  painted  in  1865, 
and  received  much  praise  ;  it  is  now  in  the  Pina- 

2 


coteca  of  Capodirnonte  at  Naples.  In  1866  lie 
took  part  as  a  volunteer  in  the  war  in  the  Tyrol. 
Of  his  works  we  may  mention  a  '  Peasant  Family 
taking  a  Siesta,'  one  of  his  best  pictures ;  '  The 
Prayer,'  in  the  Galleria  Moderna,  Florence  ;  and 
the  '  Dominican,'  in  the  Modern  Gallery  of  Milan. 
Abbati  died  at  Florence  in  1868,  from  the  bite  of 
his  own  dog — his  constant  companion. 

ABBATINI,  GniDO  Ubaldo,  who  was  born  at 
Citta  di  Castello  about  1600,  was  admitted  into 
the  Academy  at  Rome.  He  was  a  disciple  of 
Giuseppe  Cesari,  and  distinguished  himself  as  a 
painter  of  history  in  fresco.  One  of  his  principal 
works  is  the  ceiling  of  the  chapel  of  St.  Theresa,  in 
Santa  Maria  della  Vittoria,  at  Eome.  He  died  at 
Rome  in  1656. 

ABB6,    Hendrik,    an   en-  T^   (~f  a 

graver,  painter,  and  architect,  L-Pv.  'M.  y.\-f\ 
was  christened  in  1639  in  the  •- x  v  j.  L/xv 
cathedral  at  Antwerp,  in  which  city  some  prints 
by  him  were  published  in  1670.  He  is  also  noticed 
by  Heineken,  who  only  mentions  him  as  having 
made  some  designs  for  the  edition  of  Ovid's  Meta- 
mophoses  published  by  Barrier. 

ABBIATI;  FiLiPPO,  who  was  born  at  Milan  in 
1640,  was  a  scholar  of  Carlo  Francesco  Nuvolone. 
Under  that  master  he  made  great  progress,  and 
proved  a  very  excellent  artist,  particularly  in 
fresco.  Fertile  and  bold  in  his  conceptions,  his 
execution  was  commanding  and  resolute.  In 
conjunction  with  Federigo  Bianchi,  he  painted 
the  cupola  of  Sant'  Alessandro  Martyre  at  Milan. 
One  of  his  best  works  was  '  St.  John  preaching  in 
the  Wilderness,'  at  Saronno.  He  painted  numerous 
altar-pieces  in  Padua,  Bergamo,  Turin,  Milan, 
and  other  cities  of  Italy.  He  died  at  Milan,  in 
1715. 

ABBIATI,  Giuseppe,  a  Milanese  designer  and 
engi'aver,  lived  in  the  beginning  of  the  18th 
century.  He  etched  some  small  prints  of  battles, 
and  an  allegorical  subject  from  his  own  design. 

ABBIATI,  Paolo  Maeia.  The  name  of  this 
engraver  is  aflSxed  to  a  portrait  of  Girolamo  Cor- 
naro,  procurator  of  St.  Mark.  It  is  without  a  date 
or  the  name  of  the  painter.  He  flourished  towards 
the  close  of  the  17  th  century ;  Zani  says  he  was 
born  at  Milan. 

ABBOT,  John  W.,  was  an  honorary  exhibitor  at 
the  Academy,  from  1793  to  1810.  He  painted 
landscapes  with  cattle  and  figures.  There  is  a 
small  etching  of  a  horse  inscribed  J.  Abbot,  dated 
1767.  He  also  illustrated  books  upon  American 
insects. 

ABBOTT,  Francis  Lemuel,  an  English  portrait 
painter,  was  born  in  Leicestershire,  in  1760.  He 
was  a  scholar  of  Francis  Hayman.  Without  the 
possession  of  much  taste,  he  acquired  some  reputa- 
tion for  the  fidthful  resemblance  of  his  pictures, 
particularly  his  portraits  of  men,  which  some- 
times approach  to  excellence.  He  painted  a  por- 
trait of  Cowper  and  several  of  Lord  Nelson,  which 
were  much  admired  for  their  truth  to  nature.  A 
portrait  of  Joseph  Nollekens,  the  sculptor,  by  him 
is  in  the  National  Portrait  Gallery.  He  died  in 
1803. 

ABEL,  Gottlieb  Friedrich,  a  German  en- 
graver, who  was  born  in  1763,  was  a  pupil  of 
Johann  von  Miiller.  He  was  engraver  to  the  King 
of  Wurtemberg,  at  Stuttgart.  He  furnished  about 
125  plates  to  Reiter's  work  descriptive  of  the 
various  trees  of  Germany. 

ABEL,  Hans,  a  painter  of  Frankfort,  who  lived 


Abel 


PAINTERS  AND  ENGEAVEES. 


Accama 


about  1494,  is  supposed  to  have  painted  some 
of  the  beautiful  windows  which  adorn  the  cathe- 
dral and  several  churches  in  that  city.  He  also 
painted  banners. 

ABEL,  Joseph,  a  German  painter  of  great 
merit,  was  born  at  Aschach  in  1768.  He  was  in- 
structed in  the  school  of  Fiiger  at  Vienna,  and  is 
said  to  have  distinguished  himself  at  an  early  age. 
He  was  employed  by  the  Czartoryski  family  in 
Poland,  and  visited  Home  in  1802,  where  he  re- 
mained six  years,  and  produced  several  pictures, 
the  subjects  of  which  were  taken  from  the  Greek 
poets  and  ancient  historians,  and  which  gained 
him  great  applause.  AmoTig  these,  were  '  Hector's 
Departure,'  and  '  Andromache  on  Hector's  Corpse.' 
On  his  return  to  Vienna,  in  1808,  he  painted  por- 
traits, and  large  historical  compositions,  and  was 
also  employed  in  the  decorations  of  the  theatre. 
He  died  there  in  1818.  In  the  Darmstadt  Gallery 
is  his  '  Brutus  and  the  Relations  of  Lucretia  swear- 
ing to  be  revenged.' 

ABEL,  — .  Malvasia  mentions  this  as  the  name 
of  a  French  artist  who,  in  1650,  received  a  hundred 
Roman  crowns  for  a  copy  made  by  him  of  the 
'Communion  of  St.  Jerome,'  by  Domenichino. 
The  latter  had  been  paid,  a  short  time  previously, 
but  fifty  crowns  for  the  original.  It  is  to  be  re- 
gretted that  we  have  not  a  more  complete  account 
of  this  successful  copyist. 

ABEL  DE  PUJOL,  Alexandre  Denis,  was  born 
at  Valenciennes,  in  1787.     He  evinced  early  a  taste 
for  art,  and,  by  his  father's  consent,  became  a  pupil 
of  David.     The  fortune  of  the  former,  however, 
being  dissipated  by  the  revolution,  the  son  had  for 
some  time  a  struggling  life,  being  left  by  his  master 
very  much  to  his  own  resources.    His  first  painting 
represented  '  Philopoemen  recognized  whilst  split- 
ting wood  in   the  Kitchen  of  a  Friend  who  had 
invited  him  to  Dinner ; '  and  David  was  so  much 
struck  with  it,  that  he  gave  Abel  the  advantage  of 
free  admission  to  his  studio.     He  obtained  in  1806 
the  first  medal  at  the  Academy ;  in  1810  the  gold 
medal  of  the  second  class  for  his  picture  of  '  Jacob 
blessing  the  Sons  of  Joseph ; '  and  the  Prix  de  Rome 
for  his  painting  of '  Lycurgus  presenting  to  the  Lace- 
dsemonians  Charilaus  as  heir  to  the  Throne.'     The 
climate  of  Rome  not  agreeing  with  his  health,  he 
was  forced  to  return  to  Paris,  when  necessity  com- 
pelled  him  to  mingle  sign-painting  with  a  more 
ennobling  application  of  his  talent.     In  1814  he 
exhibited  '  Britannicus,'  which  obtained  a  medal, 
and  is  now  in  the  Museum  at  Dijon ;  in  1817,  '  St. 
Stephen  preaching  before  his  Martyrdom,'  painted 
for,  and  now  in,  the  church  of  St.  Etienne  du  Mont, 
Paris;   in  1819,  'The  Virgin  at  the  Tomb,'  'Csesar 
in  the  Senate  at  the  Ides  of  March '  (purchased 
,     by  the  Duke  of  Orleans,  afterwards  King  Louis- 
.     Philippe,  and  destroyed  in  the  fire  at  the  Palais- 
.     Royal);  and  '  Sisyphus  in  the  Infernal  Regions; '  in 
1822, '  Joseph  explaining  the  Dreams  of  the  Butler 
and  Baker  of  Pharaoh,'  which  obtained  a  gold  medal 
at  Lille,  and  is  now  in  the  Museum  of  that  town ; 
I     '  Ixion  in  Tartarus,'  which  is  in  the  Imperial  Col- 
j     lection:    'Germanicus  on  the  field  of  Battle,'  and 
'  The  Baptism  of  Clovis,'  which  is  in  the  cathedral 
of  Rheims.     He  also  in  1819  painted  the  'Renais- 
sance of  the  Arts '  on  the  ceiling  of  the  staircase  of 
\,     the  Louvre,  destroyed  in  the  course  of  the  alter- 
'     ations  made  in  that  establishment  in  1856.     He  also 
painted  three  subjects  over  doors  at  Versailles,  and 
some  fine  frescoes  in  the  church  of  St.  Sulpioe, 
,     Paris    He  was  a  member  of  the  Legion  of  Honour, 
f  b2 


and  of  the  'Institute,'  to  which  he  was  elected 
on  the  death  of  Baron  Gros.  He  died  at  Paris  in 
1861. 

ABELS,  Jacobus  Theodoeus,  who  was  born  at 
Amsterdam  in  1803,  was  instructed  in  art  by  Jan 
van  Ravenswaay,  the  animal  painter.  In  1826  he 
visited  Germany,  and  on  his  return  settled  at  the 
Hague.  He  distinguished  himself  especially  in 
painting  moonlight  landscapes.  The  Museum  at 
Haarlem  has  works  by  him.  Abels  died  at  Ab- 
eoude  in  1866. 

ABENTS,  Leonhard.    This  artist  was  a  native 
of  Passau,  in  Bavaria,  and  flourished  about  the 
year  1580.     He  engraved  the  pLm  of  the      _ 
city  of  Passau  for  Braun's  Topography.   He     A 
marked  his  plates  with  this  monogram.  ■    "^ 

ABEEEGNO,  Giacomo,  was  a  Venetian  painter 
who  flouiished  about  the  year  1400. 

ABEKLI,  Johann  Lddwig,  a  Swiss  painter  and 
engraver,  bom  at  Wintertlmr,  in  1723,  was  a  pupil 
of  Felix  Meyer,  and  painted,  with  success,  portraits 
and  landscapes.  He  published  several  coloured 
prints  of  views  in  Switzerliind,  which  have  been 
sufiSciently  admired  to  give  birth  to  a  great  num- 
ber of  imitations.     He  died  at  Berne  in  1786. 

ABILDGAAHD,  Nikolaj  Abraham,  son  and 
pupil  of  Soren  Abildgaard,  a  Danish  historical 
painter  of  great  merit.  He  was  born  at  Copen- 
hagen in  1744;  in  1767  he  received  the  great 
medal  at  the  Academy,  and  went  soon  afterwards 
to  Italy  ;  he  spent  most  of  his  time  in  Rome,  where 
he  copied  the  works  of  Raphael,  Michelangelo, 
and  Titian.  In  1777  he  returned  to  his  native 
country,  and  in  1786  was  made  professor  in  the 
Academy  at  Copenhagen,  of  which  he  was  director 
from  1802  until  his  death,  in  1809.  He  has  been 
considered  the  best  painter  Denmark  has  pro- 
duced. His  principal  subjects  were  taken  from  the 
ancient  poets  ;  but  some  of  the  best  perished  in  the 
fire  that  consumed  the  palace  of  Christitinburg  in 
1794.  Fiissli  relates  that  this  had  such  an  effect 
on  his  mind  that  he  scarcely  ever  painted  after- 
wards. His  sketches  made  for  them  are  still  pre- 
served in  the  Copenhagen  Gallery,  which  contains 
besides  several  good  examples  of  his  art. 

ABILDGAARD,  Soren,  who  wns  born  at  Chris- 
tianssand,  in  Norway,  in  1718,  studied  in  Copen- 
hagen, and  became  a  draughtsman  of  repute.  He 
executed  many  drawings  of  antiquities  in  Norway, 
Sweden,  and  Denmark. 

ABRAHAM,  Frere.     See  GiLsON. 

ABRIL,  Juan  Alfonso,  was  a  native  of  Valla- 
dolid.  He  studied  under  Pablo  de  Cespedes  at 
Cordova,  and  afterwards  entered  u,  convent.  He 
died  in  1645  at  Valladolid,  where  there  is  in  the 
Museum  a  '  Head  of  St.  Paul '  by  him,  brilliant  in 
colour,  and  in  good  taste. 

ABSHOVEN  (or  Abtshoven).     See  Apshoven. 

ABTS,  WouTEE,  was  born,  it  is  said,  at  Lier, 
near  Antwerp,  in  1582.  He  was  admitted  as  a 
master  to  the  Guild  at  Antwerp  in  1604-5  ;  and  he 
died  in  1642-43.  He  excelled  in  painting  con- 
versation-pieces and  landscapes.  Adrian  de  Bie 
was  one  of  his  pupils.  (See  notice  by  Van  Lerius 
in  Meyer's  '  Kiinstler-Lexikon.) 

ACCAMA,  Beenabdus,  a  portrait  painter,  born 
at  Leeuwarden  in  1697,  where  he  died  in  1756. 
His  works  were  much  esteemed  by  his  own  coun- 
trymen, but  are  little  known  elsewhere.  The  H6tel 
de  Ville  of  his  native  town  formeily  possessed 
several  good  pictures  by  him,  but  they  were  de- 
stroyed by  rioters  in  1795. 

3 


Aocama 


A  BIOGRAPHICAL  DICTIONARY  OF 


Adam 


ACCAJfA,  Matthijs,  brother  of  Bemardus,  was 
born  at  Leeuwarden,  in  1702.  He  went  to  Italy, 
where  he  copied,  with  considerable  talent,  several 
pictures  of  tire  ancient  masters.  He  died  at  his 
native  town  in  1783.  He  painted  historical  and 
emblematical  subjects. 

ACCER.     See  Accins. 

ACCHILLIXO,  a  Bulognese  painter,  flourished 
about  1324.  Verci  (Storia.  Trevigiana)  says  that 
the  portrait  of  Can  Grande,  who  died  in  1329,  was 
painted  by  him. 

ACCIUS,  Cesaeb  Antonio  (or  Accee),  an 
Italian  landscape  painter,  lived  about  1609,  and 
was  considered  an  artist  of  talent,  but  his  works 
are  now  little  known.  Three  etchings  of  land- 
scapes by  Accius  are  mentioned,  one  of  which, 
noticed  by  Heineken,  bears  his  name  and  the 
date  1609. 

ACEVEDO,  Cristobal  de  (or  Acebedo),  an 
historical  painter,  who  was  born  probably  at 
Madrid  about  1640,  was  a  disciple  of  Bartolome 
Carduoho  in  1585,  and  painted  pictures  for  many 
of  the  convents  in  the  capital.  The  nobleness  of 
his  characters,  and  his  purity  of  design,  placed  him 
among  the  good  artists  of  his  time.  He  painted 
large  subjects  of  sacred  history.  The  date  of  his 
death  is  unknown,  but  it  took  place  probably  about 
the  end  of  the  16th  century. 

ACEVEDO,  Manuel  (or  Acebedo),  who  was 
born  at  Madrid  in  1744, was  a  discipleof  Jose  Lopez, 
but  by  diligently  copying  the  works  of  the  best 
painters  lie  soon  surpassed  his  master.  He  painted 
historical  and  religious  subjects,  and  was  much 
employed  in  Madrid.  Bermudez  mentions  a  '  John 
the  Baptist '  and  a  '  St.  Francis '  by  him  in  the 
chapel  of  the  hospital  of  La  Latina  at  Madrid. 
^s  died  in  1800. 

A  CHEN,  Arnodt  van.     See  Aken. 

ACHEN,  Johann  von.     See  Aachen. 

ACHTERVELDT.     See  Ochterveldt. 

ACHTSCHELLINCK,  Lucas,  was  bom  at  Brus- 
sels, and  baptized  on  the  16tli  of  January,  1626. 
In  1639  he  entered  the  studio  of  Pieter  van  der 
Borcht,  but  it  was  not  until  1657  that  he  was 
admitted,  as  a  master,  to  the  Guild.  He  died  in 
Brussels  in  1699,  and  was  buried  in  tliat  city,  the 
scene  of  his  labours  ;  and  there,  in  the  church  of 
SS.  Michael  and  Gudule,  in  the  town-hall,  and  in 
the  Museum,  remain  a  few  of  his  best  works.  His 
manner  is  broad  and  bold  ;  the  foliage  of  his  trees 
lightly  touched,  and  apparently  inmotion;  his  forms 
and  scenery  are  grander  than  is  usual  in  the  works 
of  the  artists  of  his  country ;  and  his  distances 
recede  with  a  pleasing  degradation.  His  pictures 
hold  a  place  in  the  choicest  collections  in  the  Low 
Countries,  and  are  deservedly  admired.  The  Dres- 
den Gallery  has  two  landscapes  ascribed  to  him. 
Achtschellinck's  works  were,  it  is  said,  ornamented 
with  figures  by  G.  van  Cost,  L.  de  Deijster,  Pieter 
Bout,  and  other  painters.  Aohtschellinck  had  a 
younger  brother,  Pieteb,  who  was  also  a  painter. 

ACKER,  Jakob,  a  member  of  a  family  of 
artists  who  flourished  at  Ulm  in  the  15th  century, 
is  known  as  the  author  of  a  painting,  representing 
sacred  subjects,  on  the  side- wings  and  the  predella 
of  an  altar-piece  in  the  chapel  of  St.  Leonard, 
in  the  church-yard  at  Risstissen.  It  bears  his 
name  and  the  date  1483.  In  1473  he  decorated 
the  doors  of  the  organ-loft  at  Miinster,  in  Swabia. 
It  has  been  surmised  that  this  artist  may  also  be 
identical  with  a  gkss-painter,  Jakob  Acker,  who 
flourished  in  Nordlingen  in  the  15th  century, 

4 


ACKER,  Johannes  Baptista  van,  who  was  bom 
at  Bruges  in  1794,  studied  under  Ducq,  and  soon 
became  popular  as  a  miniature-painter.  In  1834 
he  went  to  Paris,  and  was  there  acknowledged 
as  one  of  the  best  artists  of  his  class.  After  his 
return  to  Bruges,  he  was  called  by  King  Leopold 
to  Brussels,  and  painted  numerous  miniatures  of 
the  royal  family  and  personages  of  the  court. 
After  a  journey  to  England,  Van  Acker  returned 
to  Bruges,  where  he  died,  in  1863. 

ACKEKilANN,  Johann  Adam,  who  was  bom  at 
Mainz  in  1780,  and  studied  there,  visited  Paris, 
but  settled,  in  1804,  at  FranMort.  He  paid  two 
visits  to  Rome.  His  winter  landscapes  gained 
him  much  praise.  Of  his  works  may  be  mentioned 
'  Auerbaoh,'  in  the  Darmstadt  Gallery.  He  died 
at  Franldort  in  1853.  His  younger  brother, 
Geoeg  Feiedeich  Ackeemann,  was  also  a  land- 
scape painter  of  repute.  He  was  born  at  Mainz 
in  1787,  and  died  at  Frankfort  in  1843. 

ACQUA,  B.  dell'  (or  Agua).    See  Dell'  Acqua. 

ACQUA,  C.  dall'  (or  Aqua).    See  Dall'  Acqua. 

ACQUARELLI,  — ,  was  a  Neapolitan  painter 
of  architecture,  of  great  merit,  who  flourished 
about  1640.  He  painted  ornamental  decoration 
in  churches,  palaces,  and  theatres.  He  worked 
sometimes  in  conjunction  with  Sooppa. 

ACQUISTABBNE,  Maestro,  a  painter  and  de- 
signer of  architecture,  who  was  born  at  Brescia, 
flourished  about  1296. 

ADAil,  Albeecht,  a  German  painter,  chiefly  of 
battle-pieces,  was  born  at  Nordlingen,  in  Ba-  4 
varia,  in  1786.  He  accompanied,  in  1809,  the  A 
French  and  Bavarian  army  against  Austria,*'*^ 
and  in  1812  went  with  the  Grand  Army  in  the  ex- 
pedition against  Russia,  an  oflficer's  rank  being 
conferred  upon  him,  with  the  title  of  '  Painter  to 
the  Court.'  Some  of  his  most  effective  pictures 
represent  the  incidents  of  that  most  disastrous 
campaign;  as,  'The Battle  on  the  Moscowa,'  'Napo- 
leon surrounded  by  his  Staff.'  In  1859  he  set  out 
with  one  of  his  sons  to  the  Italian  campaign  of 
France  and  Sardinia  against  Austria,  which  ended 
with  the  Battle  of  Novara,  of  which  he  has  left 
several  graphic  records,  besides  a  series  of  large 
pictures  painted  from  his  first  sketches,  by  com- 
mand of  the  Emperor  Napoleon  III.  His  last 
great  work,  a  commission  from  King  Maximihan 
of  Bavaria,  has  for  a  subject  the  decisive  charge 
of  the  Prussian  cavalry  against  a  square  of  the 
enemy  at  the  battle  of  Zorndorf,  where  Frederick 
the  Great  commanded  in  person.  Adam  also 
painted  portraits  and  landscapes,  and  occasionally 
etched.  His  works,  less  imaginative  and  dashing 
than  those  of  Horace  Vemet,  are  remarkable  for 
their  historical  truthfulness,  as  well  as  for  their 
accuracy  of  detail.  He  died  at  Munich  in  1862. 
Albrecht  Adam  also  produced  many  etchings  and 
lithographs.  Amongst  others  of  his  works  may  be 
noticed : 

Berlin.     Kat.  Gall.    A  Stable  (signed  and  dated  1825).        F 
„  „        „        The  Battle  of  Aberfsberg  (signed  and 

dated  1826). 
J,  „        „        Interior   of    the    Painter's   Studio 

(sic/Tied  and  dated  1835). 
Cassel.     Gallery.       A   "Wounded    General    (signed  and 

dated  1826). 
Darmstadt.  Gallery.   Horses  at  Pasture. 
Munich.  Findkothek.  The  Storming  of  the   Diippell  Re- 
doubt. 
»  „  The  Battle  of  Custozza. 

>,  „  The  Battle  of  Novara. 

i>  ,)  Two  Men  and  a  Horse. 


Adam. 


PAINTERS  AND  ENGRAVERS. 


Adler 


Munich.  Pindkothek.  A  Stable. 

,)  ),  Cavalry  Encamped. 

»  »  Equestrian  Portrait  of  Field-Marshal 

Count  Eadetzky. 

ADAM,  Geoeg,  who  was  born  in  1784,  was  a 
designer,  engraver,  and  painter  of  landscapes.  In 
Miinicli,  acquainted  with  the  most  distinguished 
painters  of  landscapes,  he  improved  rapidly  in  this 
art ;  and  he  several  times  visited  the  Tyrol.  He 
was  one  of  the  most  fertile  engravers,  and  his 
works,  mostly  landscapes  and  views,  are  of  merit. 
He  died  at  Nuremberg  in  1823. 

ADAM,  Hans,  a  designer  and  engraver  of 
Nuremberg,  flourished  about  1560.  A  print,  en- 
titled '  A  Representation  and  Description  of  the 
Battle  of  Silbershaiisen,'  one  of  several  ascribed 
to  him,  bears  the  murk  of  a  figure  of  Adam  naked 
standing  by  a  tree,  and  also  the  letters  H.  A.  lie 
is  said  to  have  died  in  1567. 

ADAM,  Heinbioh,  a  brother  of  Albrecht  Adam, 
was  born  at  Nordlingen  in  1787.  He  studied  the 
art  of  painting  at  Augsburg  and  Munich,  and  dis- 
tinguished himself  as  a  painter  of  landscapes  and 
as  an  engraver.  In  1811  he  stayed  with  Albrecht 
at  the  Lake  of  Como,  and  painted  in  water-colours. 
He  also  engraved  six  hunting-pieces,  after  his 
brother  Albrecht,  at  Milan,  in  1813.  Subsequently 
he  painted  landscapes  and  views  of  towns,  which 
are  executed  with  great  truthfulness.  He  died  at 
Munich  in  1862.  In  the  Pinakothek  there  are  by 
him  a  '  View  of  the  Marienplatz  in  Munich '  sur- 
rounded by  14  smaller  views,  and  a  '  View  of  the 
Max-Joseph-Platz,'  also  surrounded  by  14  smaller 
views. 

ADAM,  Jakob,  an  engraver,  bom  at  Vienna  in 
1748,  was  brought  up  in  the  Academy  in  that 
city.  In  conjunction  with  his  countryman,  Johann 
Ernst  Mansfeld,  he  made  himself  known  by  a 
series  of  portraits  of  the  distinguished  personages 
of  Austria,  published  at  Vienna,  which  are  exe- 
cuted with  great  neatness  and  finish;  of  these, 
that  of  the  Empress  Maria  Louisa  is  accounted 
the  best.  He  also  executed  the  plates  for  a 
Pictorial  Bible,  or  '  Bilderbibel '  (1803),  which 
gained  him  considerable  credit.  He  died  in  Vienna 
in  1811. 

ADAM,  Jean  Victok,  a  French  painter  and 
lithographer,  born  at  Paris  in  1801,  was  the  son  of 
Jean  Adam,  an  esteemed  engraver.  During  the 
years  1814  to  1818  he  studied  at  the  Ecole  des 
Beaux-Arts,  and  also  in  the  ateliers  of  Meynier 
and  Regnault.  In  1819  he  exhibited  '  Herminia 
succouring  Tancred.'  He  was  almost  immediately 
afterwards  employed  to  paint  various  subjects  for 
the  Museum  at  Versailles,  amongst  which  are,  'The 
Entry  of  the  French  into  Mainz,'  'The  Battle  of 
Varroux,'  'The  Taking  of  Menin,"The  Battle  of 
Castiglione,'  'ThePassage  of  theCluse,'  'The  Battle 
of  Montebello,'  'The  Capitulation  of  Meiningen;' 
the  last  three  in  association  with  Alaux.  He  also 
exhibited  down  to  the  year  1838:  'Henry  IV., 
after  the  Battle  of  Coutras,'  '  Trait  of  Kindness  in 
the  Duke  de  Berri,'  'The  Postillion,'  'TheVivan- 
diere,'  '  The  Road  to  Poissy,'  '  The  Return  from 
the  Chase,'  '  Horse-fair  at  Caen,'  and  numerous 
other  subjects.  He  then  retired  from  publicity, 
till  1846,  when  he  appeared  as  the  exhibitor  of 
some  works  in  lithography,  to  which  branch  of 
art  he  afterwards  restricted  himself.  In  this  line 
he  produced  a  lithographic  album,  '  Views  in  the 
Environs  of  Paris,'  '  Studies  of  Animals  for  an 
edition   of   BufEon,'    &c.      He    obtained   a   gold 


medal  in  1824,  a  second  class  medal  in  1836, 
besides  seveml  others  from  Lille,  Douai,  and 
other  cities.     He  died  at  Viroflny  in  1867. 

ADAM,  John,  was  an  English  engraver  in  the 
latter  part  of  the  18th  century,  who  engraved  for 
Caulfield's  'History  of  Remarkable  Characters 
from  the  time  of  Henry  VIII.  to  James  II.,'  and 
Herbert's  'Biography  of  Scottish  Personages  of 
Distinction.'  He  also  engraved  the  portraits  of 
Queen  Elizabeth,  and  Robert  Dudley,  Earl  of 
Leicester,  after  F.  Zucchero. 

ADAM,  P.,  an  English  engraver,  who  flourished 
about  the  year  1690,  executed  a  few  etchings  of 
landscapes  in  a  tasteless  style.  In  one  of  them, 
which  is  engraved  in  the  manner  of  Mellan,  with- 
out any  cross  hatchings,  a  figure  is  represented 
seated  on  a  bank.  He  usually  signed  _-.  — . 
his  plates  with  his  name — the  letters  Jjr^  Jpi 
P  and  A  being  joined  together.  '  ^^  ' 

ADAM,  PETEft,  a  German  engraver,  flourished 
about  1730.  Heineken  mentions  six  landscapes  by 
a  master  of  this  name,  probiibly  the  same.  He  is 
also  supposed  to  have  painted  some  pictures, 
which  have  the  same  monogrum  as  the  prints. 

ADAM,  Robert,  the  son  of  an  architect,  was 
born  at  Kirkcaldy,  in  Fifeshire,  in  1728.  After  he 
had  received  a  good  education  at  Edinburgh,  his 
father  sent  him  to  study  the  fine  specimens  of 
Roman  architecture  in  Italy,  where  he  remained 
several  years.  On  his  return  to  England,  he  was 
appointed  architect  to  the  king.  He  died  in  Lon- 
don in  1792.  During  his  residence  on  the  Conti- 
,  nent  he  had  made  drawings  of  the  famous  Palace 
of  Diocletian,  at  Spalatro  in  Dalmatia,  and  in  1764 
published,  in  conjunction  with  C16risseau,  a  volume 
in  folio,  entitled  '  Ruins  of  the  Palace  of  Diocle- 
tian, at  Spalatro  in  Dalmatia,'  with  sixty-one  well- 
engraved  plates  from  his  designs. 

ADAMI,  PiETEO,  born  at  Rome,  excelled  in 
marine  subjects  ;  he  painted  about  the  year  1730  ; 
little  else  is  known  of  his  history. 

ADAMO  TEDESCO.    See  Elzheimek. 

ADAMS,  Chaklbs,  is  mentioned  by  Heineken 
as  the  engraver  of  an  equestrian  portrait  of  Charles 
I.  of  England. 

ADAMS,  RoBEET,  an  architect  and  engraver, 
was  born  in  London  in  1640.  His  eminence  in  his 
profession  procured  him  the  situation  of  surveyor 
of  the  works  and  architect  to  Queen  Elizabeth. 
He  made  a  set  of  drawings  representing  the  battles 
between  the  English  fleet  and  the  Spanish  Armada, 
which  were  engraved  by  Augustus  Ryther,  and 
published  in  1589  ;  they  have  now  become  scarce. 
Adams  died  in  1595. 

ADDA,  Feancesco,  Conte  d',  a  Milanese  amateur 
painter,  scholar  and  imitator  of  Leonardo  da  Vinci, 
painted  small  pictures  on  panel  and  slate  for 
private  cabinets.  An  altar-piece,  representing 
'John  the  Baptist'  at  the  Dominican  church  of 
Santa  Maria  delle  Grazie,  at  Milan,  was  formerly 
attributed  to  him,  but  the  research  of  0.  Miindler 
has  proved  that  the  work  is  by  Giulio  Bugiardini, 
whose  signature  it  indeed  bears.  The  Conte 
d'  Adda  died  in  1550. 

ADLER,  Philipp,  born  afr  Nuremberg  in  1484, 
is  called  (erroneously)  by  Florent  le  Comte,  Adler 
Paticina.  He  mentions  a  plate  by  him  of  '  St. 
Christopher  carrying  the  Infant  Jesus,'  dated  1518. 
The  print,  described  by  Strutt  as  his  best  per- 
formance, represents  an  altar,  with  the  Virgin 
Mary  crowned,  and  a  female  Saint  holding  the 
Infant  Christ;  it  was  engraved  by  David  Hopfer, 

5 


Aduiiraal 


A  BIOGEAPHICAL  DICTIONARY  OF 


Aeken 


whose  mark,  when  the  print  is  perfect,  is  at  the 
bottom  of  the  plate.  The  inscription  on  the  tab- 
let, Hoc  OPUS  FECIT  Philipus  Adi.er  Pateicius, 
MDXVlir.,  most  probably  relates  to  the  altar  having 
been  erected  by  Philipp  Adler.  In  the  print 
Strutt  had  seen,  the  mark  of  Hopfer  had  probably 
been  cut  ofE. 

ADMIBA  AL,  B.,  was  a  Dutch  painter,  who  flour- 
ished in  1662,  AS  appears  by  a  picture,  with  the 
name  and  date,  representing  the  entrance  to  a 
city,  with  numerous  figures,  many  of  them  in 
Oriental  costume  ;  the  style  is  similar  to  that  of 
Weenix  and  Thomas  Wyok,  but  displays  a  less 
delicate  peucil  than  either. 

ADOLFFZ,  — .  By  this  engraver,  who,  from 
his  name,  appears  to  have  been  a  native  of  Ger- 
many, we  have  a  portrait  of  the  Due  de  Biron, 
Marshal  of  France,  on  horseback.  It  has  now 
become  scarce. 

ADOLFI,  Giro,  the  younger  brother  of  Giacomo, 
was  born  at  Bergamo  in  1683,  and  was  instructed 
by  his  father  Benedetto  Adolfi.  He  possessed  a 
more  fertile  genius  than  his  brother,  and  a  greater 
facility,  and  distinguished  liimself  by  some  con- 
siderable fresco  paintings  in  the  public  edifices 
in  the  city  of  Bergamo,  and  in  the  state.  He  died 
in  1758.    His  principal  works  are: 

Bergamo.  S.Alessandro  d.  Croce.  Four  Evangelists. 

„         S.  Maria  d.  Grazie.      Deposition  from  the  Cross. 
Colognola.  Parish  Church.  Decollation  of  St.  John. 

Another  brother,  of  the  name  of  Nicola,  painted 
battle-pieces  ;  his  death  is  not  recorded. 

ADOLFI,  GiACOMO,  was,  according  to  Tassi, 
born  at  Bergamo  in  1682.  He  was  the  son  of 
Benedetto  Adolfi,  a  painter  little  known,  and  had 
not  tlie  advantage  of  any  instruction  superior  to 
that  of  his  father.  He  painted  historical  subjects. 
Amongst  several  of  his  works  in  the  churches  at 
Bfergaino,  his  picture  of  the  'Crowning  of  the  Vir- 
gin,' in  the  church  of  the  monastery  Del  Paradiso, 
is  esteemed  one  of  his  best  productions.  'The 
Adoration  of  the  Magi,'  in  tlie  church  of  Sant' 
Alessandro  della  Croce,  is  another  admired  picture 
by  this  master.     He  died  in  1741. 

ADONE.     See  Doni. 

ADONIS.     See  De  Beuijn,  Coenelis. 

ADRIAENS,  Lucas  (or  Adeiaennsson),  a  native 
of  Antwerp,  was  admitted  into  the  Guild  of  St. 
I-uke  in  1459,  and  five  times  held  the  post  of 
dean  to  the  society.  He  co-operated  in  the  cele- 
brated '  Entremets  '  at  Bruges  in  1468.  He  died 
about  1493. 

ADRIAENSSEN,  Alexandee,  'the  elder,'  »» 
was  born  at  Antwerp,  in  1587.  He  studied  H^ 
under  Artus  van  Laeck,  and  in  1597-98  ■^-'^^ 
entered,  as  a  scholar  of  that  master,  the  Guild  of 
Painters  at  Antwerp,  of  which  company  he  be- 
came a  free  member  in  1610-11.  Adriaenssen 
worked  at  Antwerp,  and  there  enjoyed  the  friend- 
ship of  Van  Dijck,  who  painted  his  portrait,  which 
has  been  engraved  by  Anton  van  der  Does.  He 
died  in  his  native  city  in  1661,  and  was  buried 
in  the  church  of  St.  James. 

The  subjects  of  his  pictures  are  sometimes 
flowers  and  fruit,  whicli  he  grouped  and  arranged 
with  considerable  taste,  but  he  particularly  ex- 
celled in  the  painting  of  fish,  to  which  he  gave 
a  surprising  appearance  of  truth  and  nature ; 
representing  them  with  a  freshness  and  glittering 
effect  of  colour  that  produces  perfect  illusion. 
His  works  in  this  way,  which  are  highly  finished 

6 


and  well  coloured,  are  deservedly  esteemed.  The 
Berlin  Gallery  has  three  splendid  examples  of  his 
art ;  two  are  signed,  and  one  of  them  bears  the 
date  1647.  His  works  are  also  found  in  the  Gal- 
leries of  Madrid  and  Antwerp,  and  in  private 
collections  on  the  Continent. 

ADRIAENSSEN,  Alexandee,  'the  younger,' 
a  painter  of  still-life,  was  born  at  Antwerp  in  1625, 
and  died  there  in  1685.  In  the  records  of  the 
Antwerp  Guild  are  found  several  other  Adriaens- 
sens,  but  they  are  of  no  great  account.  (See 
Meyer' s  Kiinstler-Lexihon.) 

ADEIANO,  A.,  a  Spanish  monk  of  the  order 
of  Barefooted  Carmelites,  born  at  Cordova,  was  a 
pupil  of  Pablo  de  Cespedes.  Pacheco,  who  knew 
him,  speaks  of  him  as  a  great  artist ;  and  Palomino 
states  that  his  convent  possessed  for  a  long  time  a 
'  Magdalene'  by  this  master,  which  was  considered 
worthy  of  Titian.  His  paintings  are  rare,  as  he  was 
in  the  habit  of  destroying  them  as  soon  as  finished, 
from  a  modest  opinion,  very  uncommon  to  artists, 
of  their  inferiority.  Some  fine  ones,  however,  were 
preserved,  through  the  intercession  of  his  friends. 
He  died  in  1630. 

AEKEN,  HiEEONYMUS  VAN,  commonly  known 
as   Jeeom   Bosch  oe—  >js^ 

(or  Bos)  from  his  c>^  >_  .^'^ 
birthplace,  Her- 
togenbosch  (Bois- 
le-Duc),  was  born 
between  the  years  1460  and  1464.  Passavant, 
writing  in  1860,  says  1450.  That  he  visited  Spain, 
as  has  often  been  asserted,  is  sometimes  doubted, 
and  at  all  events  he  did  not  make  a  very  long 
stay  there.  In  1493  or  1494  he  made  a  drawing 
for  a  window  in  the  church  of  St.  John  at  Her- 
togenbosch,  for  which  he  also  executed  various 
paintings ;  and  he  was  later  employed  by  Duke 
Philip  le  Bel.     He  died  at  his  birthplace  in  1518. 

Van  Aeken  made  a  whimsical  choice  of  subjects 
for  his  pictures,  which  are  generally  grotesque  re- 
presentations of  spectres,  devils,  and  incantations, 
which,  however  ridiculous,  are  treated  with  singu- 
lar ingenuity.  He  painted  a  few  pictures  of  a  more 
serious  oast,  among  which  were  the  '  Flight  into 
Egypt,'  and  '  Christ  bearing  His  Cross,'  in  the 
church  of  Bois-le-Duc,  which  Karel  van  Mander 
speaks  of  in  very  favourable  terms.  One  of  his 
most  singular  compositions  was  a  picture  repre- 
senting '  Our  Saviour  delivering  the  ancient  Patri- 
archs from  Hell.'  Judas,  in  attempting  to  escape 
with  the  elect,  is  seized  on  by  devils,  who  are  in 
the  act  of  hanging  him  in  the  air.  A  '  Last  Judg- 
ment' by  him,  is  in  the  Berlin  Gallery,  and  a  '  St. 
Anthony '  in  the  Antwerp  Museum  ;  and  the  Madrid 
Museum  contains  several  of  his  works.  It  is  said 
that  Philip  II.  of  Spain  so  much  admired  Van 
Aeken' s  painting,  that  he  had  an  altar-piece  by  him 
perpetually  in  his  oratory.  The  engravings  which 
were  formerly  ascribed  to  him  are  now  known  to 
have  been  done  by  Alaert  du  Hameel  and  other 
masters,  from  Bosch's  designs.  The  following  are 
a  few  of  them : 

The  Temptation  of  St.  Anthony;  a  large  woodcnt, 
engraved  four  years  after  his  death ;  dated  1522. 

The  Last  Judgment ;  Christ  appears  in  the  air,  seated  on 
a  rainbow,  and  on  each  side  of  him  are  two  angela 
sounding  trumpets,  with  labels  bearing  the  inscrip- 
tion: Sdc  est  dies  quern  fecit  dominvs ;  Surgtti 
mortui,  venite  ad  judicium.  At  the  bottom  of  the 
print  are  small  figures  of  men  and  devils  of  all  shapes 
intermixed. 

St.  Christopher  carrying  the  Infant  Jesus  across  a  river, 


Aels 


PAINTERS  AND  ENGRAVERS. 


Agabito 


and  a  hermit  with  a  lantern.  Engraved  on  copper ;  very 

curious   on  account  of  the  innunaerable  monstrous 

creatures  swarming  in  the  water.    A  very  rare  print. 

Constantine  at  the  head  of  his  army,  an  Angel  showing 

him  the  Cross  in  the  sky. 
The  Baptism  of  Christ  by  St.  John. 
An  Assemblage  of  grotesque  figures ;  inscribed  Al  dat 

op,  ^e. 
A  similar  subject;  inscribed  Dese  Jeron,  Bosch  droUen. 

W.  B.  S, 
AELS,  N.    The  name  of  this  engraver  is  affixed 
to  a  print  representing   St.  Joseph   leading  the 
..  Infant  Jesus  by  the  hand,  with  a  landscape  back- 
ground. 

AELST,  EvBET  VAN,  who  was  born  at  Delft  in 
1602,  excelled  in  painting  birds,  dead  game,  armour, 
vases  of  gold  and  silver,  and  similar  subjects. 
He  sometimes  represented  these  objects  on  a  clear 
or  white  ground,  in  a  manner  that  produced  a 
singularly  natural  efEeot.  All  his  works  are  care- 
fully finished,  his  style  is  clean  and  flowing,  and 
he  disposed  the  inanimate  objects  he  represented 
in  a  very  pleasing  and  picturesque  manner.  He 
died  at  Delft  in  1658.  Pictures  by  him  are  in  the 
Galleries  at  Dresden  and  Berlin,  and  the  Uffizi, 
Florence. 

AELST,  NicoLAUs  van,  was  born  at  Brussels 
about  the  year  1527.     At  an  early  age  he  estab- 
lished   himself   at  Rome,  where    from   1550  to 
1612  he  carried  on  a  considerable  commerce   in 
prints.  The  names  of  the  painter,  and  the  engraver 
of  tihe  plates,   executed  for  his  collection,  were 
frequently  omitted,  and  his  own  inserted,  with  the 
word /oj-mis,  to  denote  that  he  was  the  publisher. 
It  is,  however,  sufSciently  proved  that  he  some- 
times used  the  graver,  as  we  have  several  plates 
in  which  the  viovAfeait,  or  sculpsit,ia  added  to  his 
name.     Heineken  notices  a  set  of  twelve  plates  of 
birds  engraved  by  this  artist. 
AELST,  Pauwel  van.     See  Koecke,  P. 
AELST,  WiLLEM  van,  the  son  of  a  notary,  was 
born  at  Delft  in  1620.  He  was  the  nephew  of  Evert 
van  Aelst,  by  whom  he  was  instructed  in  art.     He 
passed  four  years  in  Prance  and  seven  in  Italy, 
and  the  polish  and  exquisite  finish  of  his  worlks 
rendered  them  extremely  popular  in  both  coun- 
tries.   The  Grand  Duke  of  Tuscany  employed  his 
talents  for  some  time,  and,  as  a  mark  of  his  favour 
and  approbation,  presented  him  with  a  gold  chain 
and  medal.     He  returned  to  Holland  in  1656,  and, 
after  spending  some  time  in  his  native  Delft,  he 
settled  at  Amsterdam,  where  his  pictures  were  so 
much  admired  that  he  could  with  difficulty  satisfy 
the  demands  for  his  works  ;  and  at'  a  sale  which 
took  place  shortly  after  his  death  his  pictures  real- 
ized comparatively  large  sums.     He  died  in  that 
city  in  1679.    He  is  said  to  have  imparted  instruc- 
tion to  the  celebrated  Rachel  Ruisch ;  she  was, 
however,   only  fifteen  at  the  time  of  his  death. 
Willem  van  Aelst,  from  his  long  residence   in 
Italy,  acquired  the  habit  of  signing  his  name  in 
the  language  of  that  country  :  viz.  Guilielmo  (or 
more  frequently  Guill"".)  van  Aelst.  His  pictures, 
like  those  of  his  uncle,  represent  fish,  dead  game, 
and   still-life ;    they   are,   however,   much    more 
neatly  finished,   and    are    even    more   precisely 
wrought  up  than  the    highly-valued   works    of 
Weenix.     Some  of  them,  even  signed  ones,  have 
been  attributed  to  his  imole  Evert — one   signed 
W.  Vaelst,  in  the  UflSzi  Gallery,  and  two  at  the 
Hague,  bearing  the  name  of  Guill"°.  van  Aelst, 
and  dated  respectively  1671  and  1663.   Other  good 
works  by  Willem  van  Aelst  are  in  the  Galleries  of 


Berlin,  Dresden,  Munich,  and  Copenhagen,  and  in 
the  Pitti  Palace  at  Florence.  Van  Aelst  was  called 
by  the  Italians  Guglielmo  d'Olanda. 

AENAEjPetrus  (also  written  Aene  and  Aeneae), 
a  German  engraver  in  mezzotint,  flourished  in 
Friesland  from  about  1680  to  1700.  He  was 
chiefly  employed  in  portraits  ;  and,  among  others, 
engraved  that  of  Nicolaus  IJlankard,  Profess,  a 
Frank,  ML  68  (P.  Aeneae,  fecit  el  eaxcudit) ;  and 
those  of  numerous  personages  of  the  royal  family 
of  Nassau. 
AERTSEN,  PiETER.  See  Aaktsbn. 
AERTSZ,  RiJKAEET.  See  Aartsz. 
AETION,  who  is  not  noticed  by  Pliny,  is  men- 
tioned by  Luoian  in  conjunction  with  Apelles, 
Euphranor,  and  Polygnotus,  as  the  most  successful 
of  the  ancient  Greek  painters  in  the  mixing  and 
laying  on  of  colours.  Action  flourished  about 
the  time  of  Hadrian  and  Antoninus  Pius,  A.D. 
117 — 161.  Lucian  mentions  a  graceful  picture 
by  him,  representing  'The  Nuptials  of  Alexander 
with  Roxana,'  which  was  exhibited  at  the  Olympic 
games,  and  excited  such  admiration  that  Proxe- 
nidas,  one  of  the  judges,  exclaimed  in  the  midst 
of  the  assembly,  "  I  reserve  crowns  for  the  heads 
of  the  Athletae,  but  I  give  my  daughter  in  mar- 
riage to  the  painter  Aetion,  as  a  recompense  for 
his  inimitable  picture.''  From  the  description  of 
this  painting,  written  by  Lucian,  Raphael  is  said 
to  have  made  a  design,  executed  in  fresco  in  the 
summer-house  in  the  garden  of  the  Villa  Borghese, 
Rome. 

AFANAS'EV,  Konstantin  Jakovlbvioh,  a  Rus- 
sian engraver,  was  born  at  St.  Petersburg  about 
1793.  In  1803  he  entered  the  Academy,  where 
he  studied  under  Klauber  and  Utkin.  In  1818, 
during  his  stay  at  the  castle  of  Pavlovsk,  he  en- 
graved several  landscapes  for  the  album  of  the 
.Dowager  Empress  Maria  Feodorovna.  On  his 
return  to  St.  Petersburg  he  soon  became  famous, 
and  could  scarcely  execute  the  many  commissions 
he  received.  In  1839  he  was  made  a  member  of 
the  Academy.  Afanas'ev  was  the  first  Russian 
artist  who  engraved  on  steel,  and  his  engravings, 
which  are  mostly  portraits,  and  executed  with 
great  neatness,  gained  him  considerable  renown. 
He  died  in  1857. 

AFESA,  PiETRO.  This  painter  was  called  Della 
Basilicata,  from  his  being  a  native  of  the  province 
of  that  name,  in  the  kingdom  of  Naples.  He 
flourished  about  the  year  1650.  Dominici,  in  his 
'Lives  of  the  Neapolitan  Painters,'  mentions  him  in 
very  favourable  terms.  His  works  are  preserved 
in  many  of  the  churches  and  convents  at  Naples. 
In  the  chapel  of  the  convent  of  Marsico  Nuovo, 
in  (hat  city,  is  an  altar-piece  by  him,  representing 
the  '  Assumption  of  the  Virgin  Mary,'  which  is 
highly  esteeuied. 
AFPDRDCK.  See  De  Heusoh. 
AFFLITTI.  See  Ferrajuoli. 
AGABITO,  PiETRO  Paolo,  painter,  sculptor, 
and  architect,  who  was  born  at  Sassoferrato, 
flourished  from  1511  to  1531.  His  style  was 
influenced  by  the  Venetian  school,  and  his  works 
are  executed  in  the  manner  of  Lorenzo  Lotto.  The 
churches  of  Sassoferrato  contain  several  of  his 
works,  among  which  may  be  mentioned  '  The 
Virgin  between  St.  Catharine  and  John  the  Bap- 
tist,' painted  in  1611 ;  and  one,  signed  Petrus 
Padlus  Aqabiti  di  Saxofbeeato,  MDXVIII.,  both 
in  Santa  Maria  del  Pano.  An  altar-piece  by  him, 
in  the  church  of  the  Padri  Eiformati,  near  Jesi, 

7 


Agar 


A  BIOGRAPHICAL  DICTIONARY  OF 


Agostino 


representing  the  Virgin  with  tlie  Infant,  is  con- 
sidered one  of  his  best  paintings.  He  died  at 
Massaccio,  where  he  had  settled.  (See  Meyer's 
'  Kilnatler-Lexikon. ' ) 

AG-AK,  Jaoquhs  d',  a  portrait  painter,  was  born 
at  Paris  in  1640.  He  studied  under  Ferdinand 
Vouet,  and  began  life  as  an  historical  painter,  but 
he  soon  abandoned  history  for  portraiture,  in  which 
branch  of  art  he  became  very  successful.  In  1675 
he  was  admitted  into  the  Academy,  and  he  became 
also  painter  in  ordinary  to  the  king  and  his  court. 
Upon  the  revocation  of  the  Edict  of  Nantes,  Agar, 
as  a  Protestant,  was  shut  out  from  the  Academy. 
He  accordingly  left  France  in  1682 — never  to  re- 
turn. He  was  invited  to  the  court  of  Denmark, 
and  was  greatly  patronized  by  King  Christian  V. 
The  portrait  of  this  painter,  by  himself,  has  found 
a  place  in  the  Florentine  Gallery  of  Artists.  It  was 
painted,  in  1693,  by  request  of  King  Christian. 
Walpole  tells  us  that  he  visited  England,  where 
he  resided  some  time,  and  met  with  success.  He 
painted  the  portraits  of  several  of  the  nobility 
of  Queen  Anne's  reign ;  among  whom  were  the 
Duchess  of  Montagu,  the  Countesses  of  Rochfort 
and  Sunderland,  Thomas  Earl  of  StrafEord,  and 
others.  A  portrait  of  Charles  II.  of  England,  by 
him,  is  said  to  have  been  formerly  in  the  Gallery 
at  Christiansburg.  He  died  in  1716  at  Copen- 
hagen. 

AGAR,  John  Samuel,  was  an  English  portrait 
painter  and  engraver,  who  exhibited  his  works  at 
the  Royal  Academy  from  1796  to  1806.  He  was 
at  one  time  president  of  the  Society  of  Engravers. 
His  works  were  chiefly  in  stipple.  He  was  still 
living  in  1835. 

AGAS.     See  Aggas. 

AGASSB,  Jacques  Laurent,  a  celebrated  animal 
painter,  who  was  born  at  Geneva,  studied  for  some 
time  in  Paris,  came  to  London  about  1800,  and 
for  many  years  exhibited  his  works  at  the  Royal 
Academy.  Some  of  them,  including  six  land- 
scapes, were  engraved.     He  died  in  1846. 

AGELLIO,  Giuseppe.  ,  According  to  Baglioni, 
this  painter  was  a  native  of  Sorrento,  and  a  scholar 
of  Konoalli,  called  '  Delia  Pomarance.'  He  ex- 
celled in  landscape  and  architecture,  and  was  em- 
ployed by  several,  of  his  contemporary  historical 
painters  to  paint  the  landscapes  in  the  backgrounds 
of  their  pictures.  He  flourished  at  Rome  about 
the  year  1620. 

AGGAS,  Ralph  (or  Agas),  was  a  draughtsman 
and  surveyor.  He  was  a  native  of  Stoke-by- 
Nayland,  in  SafEolk,  and  was  born  probably  be- 
tween the  years  1540  and  1545.  He  published  a 
plan  of  Cambridge  in  the  year  1578,  and  one  of 
Oxford  in  1588.  He  also  prepared,  about  1591,  the 
large  plan  and  bird's-eye  view  of  London,  which 
was  engraved  on  wood,  and  published  in  1633. 
He  died  at  his  native  village  in  1621. 

AGGAS,  Robert,  was  an  English  landscape  and 
scene  painter,  who  was  employed  by  Charles  II. 
A  landscape  by  him  is  preserved  in  the  Painter 
Stationers'  Hall.     He  died  in  1679,  aged  about  60. 

AGHINETTI,  called  Guccio  del  Sero_,  a  Flor- 
entine painter,  who  was  living  in  1331,  is  ranked 
among  the  best  artists  of  his  time.  He  had  a 
nephew,  called  Maestro  Guccio,  who  was  also 
eminent,  and  who  died  in  1409. 

AGI,  Cordelle  (or  Aghi).     See  Coedellb  Agi. 

AGLAOPHON  is  a  name  shared  by  two  Greek 
painters,  who  are  supposed  to  have  been  grand- 
I'iither  and  grandson. 


Aglaophon,  'the  elder,' was  a  native  of  Thasos 
and  flourished  about  600  B.  C.  He  is  famous  as 
the  father  and  instructor  of  PolygnQtus_  and 
Aristophon.  Quintilian  mentions  "  the  simple 
colouring  of  Polygnotus  and  Aglaophon,"  as 
though  their  manners  were  similar.  No  work  can 
be  ascribed  to  either  of  the  two  artists  with  any 
certainty.  The  painting  of  the  '  Winged  Victory ' 
— mentioned  by  the  Scholiast  on  the  'Birds'  of 
Aristophanes — is  supposed  to  be  by  the  elder 
painter,  though  it  has  also  been  ascribed  to  the 
younger. 

Aglaophon,  'the  younger,'  flourished  about 416 
B.C.,  and  was  probably  the  son  of  Aristophon. 
Athenajus  mentions  that  he  painted  two  pictures, 
in  one  of  which  Olympias  and  Pythias  were  re- 
presented crowning  Alcibiades,  and  in  the  other 
Nemea  held  Alcibiades  on  her  knees.  Cicero 
was  probably  speaking  of  him  when  he  says  that 
Aglaophon,  Zeuxis,  and  Apelles  were  all  different 
in  their  styles,  yet  each  one  was  perfect  in  his  own. 
AGLIO,  A  GOSTlNO,  who  was  born  at  Cremona  in 
1777,  was  educated  at  Milan,  and  studied  at  the 
Brera.  In  1803  he  came  to  England  to  assist 
William  Wilkins,  R.A.,  the  well-known  architect, 
in  the  production  of  his  '  Antiquities  of  Magna 
Graecia,'  which  was  published  in  1807.  For  many 
years  Aglio  was  employed  in  the  decoration  of 
theatres,  churches,  and  country  mansions  both  in 
England  and  Ireland.  Between  the  years  1820 
and  1830,  he  published  several  books  on  art,  the 
principal  of  which  were,  '  A  Collection  of  Capitals 
and  Friezes  drawn  from  the  Antique,'  and  'Anti- 
quities of  Mexico,'  illustrated  with  upwards  of 
1000  plates,  drawn  from  the  originals.  He  also 
painted  a  portrait  of  Queen  Victoria,  which  was 
engraved.     He  died  in  1857. 

AGLIO,  Andrea-Salvatoeb  di  Antonio  di 
Aezo,  bom  at  Lugano  in  1736,  a  painter  on  marble, 
who  is  said  to  have  been  the  first  who  discovered 
the  method  of  fixing  colours  on  that  material. 
He  died  in  1786. 

AGNELLI.  Federigo,  an  Italian  engraver  and 
printer,  who  flourished  at  Milan  about  the  year 
1700.  He  was  chiefly  employed  in  portraits, 
though  he  occasionally  engraved  emblematical 
and  architectural  subjects.  He  engraved  a  set 
of  plates  representing  the  'Cathedral  at  Milan,'  to 
which  he  has  afBxed  his  name,  and  that  of  the 
architect,  Carlo  Butio. 
AGNEN.     See  Aeken. 

AGNES,  a  daughter  of  the  Margrave  Arnold 
of  Meissen,   and    Abbess  of  Quedlinburg  from 
about  1184  to  1205,  practised  successfully  the  arts 
of  engraving  and  miniature  painting. 
AGNBSE.     See  Sant'  Agnese. 
AGNOLO,  Andrea  d'.     See  Andrea. 
AGNOLO,  Battista.     See  Angolo. 
AGNOLO,  Francesco,  was  a  Florentine  painter, 
who  flourished  about  1545. 

AGOSTINO  'dalle  Peospettive'  painted  at 
Bologna  about  1525.  He  was  very  skilful  in  aerial 
and  lineal  perspective,  and  imitated  steps,  doors, 
and  windows,  so  perfectly  as  to  deceive  men  and 
brute  animals.  He  painted  a  piece  at  the  Car- 
mine, which  for  its  foreshortening  Lomazzo  in- 
stances, along  with  the  cupola  of  Correggio  at 
Parma,  as  a  model  of  excellence.  This  painter 
must  not  be  confounded  with  Agostino  di  Bra- 
mantino. 

■AGOSTINO  DI  SANT'  AGOSTINO.     See  Sant' 

Agostino. 


Agostino 


PAINTEES  AND  ENGEAVERS. 


AguUo 


AGOSTINO  VENEZIANO.    See  Musis. 

AGOTY,  D'.     See  Gautier. 

AGKESTI,  Livio.  This  painter  was  a  native  of 
Forli,  a  town  in  the  Eoman  territory.  He  began 
to  work  about  1550.  He  studied  under  Perino 
del  Vaga  at  Eome,  and  was  employed  by  Pope 
Gregory  XIII.  in  the  great  works  that  were 
executed  by  order  of  that  pontiff  in  the  Vatican. 
In  the  grand  staircase  is  a  considerable  fresco 
painting  by  this  master,  representing  Philip  of 
Aragon  submitting  his  kingdom  to  the  dominion 
of  Pope  Eugenius  III.  Several  other  works 
of  Agresti  are  in  the  churches  and  public  places 
at  Eome.  In  Santa  Catarina  de'  Funari,  he 
painted  '  St.  Peter  and  St.  Paul,'  and  a  picture  of 
the  '  Annunciation,'  and  in  one  of  the  chapels  of 
San  Spirito  in  Sassia  is  a  fine  altar-piece,  represent- 
ing '  the  Assumption  of  the  Virgin  Mary.'  His  best 
works  are,  however,  in  his  native  city  of  Porli. 
Eome  possesses  nothing  by  him  equal  to  the 
chapel  he  has  ornamented  in  the  cathedral,  where 
he  has  represented  the  '  Last  Supper,'  and  in  the 
vault,  some  admirable  figures  of  the  prophets.  He 
is  said  to  have  visited  Germany  and  worked  there, 
but  no  painting  by  him  is  known  to  exist  out  of 
Italy.  'The  British  Museum  has  a  drawing  by 
Agresti  of  a  '  Last  Supper.'  He  died  at  Home 
about  1580,  and  was  buried  in  San  Spirito  in 
Sassia. 

AGRICOLA,  Cheistoph  Ludwig,  a  painter  of 
portraits  and  landscapes,  was  born  at  Eatisbon 
in  1667.  He  studied  chiefly  from  nature,  though, 
while  in  Italy,  he  was  influenced  by  tlie  style  of 
Poussin.  Agricola  lived  several  years  in  Naples, 
and  some  of  the  views  which  he  made  there 
have  been  brought  to  England.  He  died  at  his 
birthplace  in  1719.  His  landscapes,  which  are 
executed  in  a  masterly  manner,  frequently  contain 
figures  and  antique  buildings  and  ruins.  Land- 
scapes by  hiin  are  in  the  Galleries  of  Florence, 
Vienna,  Cassel,  and  Dresden,  and  in  the  Museum  of 
Brunswick,  which  also  possesses  his  own  portrait 
by  himself.  Amongst  the  engravings  by  him  is 
one  of  a  landscape,  into  which  he  has  introduced  the 
fable  of  Diana  and  Actseon.  It  is  signed  Agricola 
fedt.  Some  other  engravings  by  him  bear  merely 
his  initials,  C.  L.  A. 

AGEICOLA,  FiLiPPO,  who  was  bom  at  Urbino 
in  1776,  received  his  art-education  in  Eome  in  the 
Academy  of  St.  Luke,  of  which  institution  he 
became  president  in  1843.  He  formed  his  art  by 
studying  the  works  of  the  great  Italian  masters  of 
the  16ih  century,  and  of  the  antique  ;  and  he  was 
considered  one  of  the  best  painters  of  the  time  in 
Eome.  He  was  much  employed  in  decorating 
churches — San  Onofrio,  San  Giovanni  in  Laterano, 
and  others.  He  was  engaged  upon  works  for  San 
Paolo  f  uori  le  Mura  when  he  died  in  1857.  Besides 
his  paintings  of  mythological  and  sacred  history, 
he  executed  numerous  portraits  of  great  merit ; 
amongst  others  those  of  the  '  Crown  Princess  of 
Denmark'  (1822),  and  the  'Countess  Perticari.' 
His  '  Petrarch  and  Laura,'  and  '  Dante  and  Bea- 
trice,' must  also  be  mentioned. 

AGEICOLA,  Kabl  Joseph  Aloys,  was  born  at 
Seckingen,  Baden,  in  1779.  After  a  preliminary 
course  of  instruction  in  Karlsruhe,  he  went  in 
1798  to  Vienna  and  entered  the  Academy,  where 
he  studied  under  Fiiger.  He  soon  became  known 
for  his  mythological  pictures  in  oil  and  water- 
colour — of  which  we  may  mention  a  '  Cupid  and 
Psyche ' — and  for  his  etchings  and  lithographs  ; 


but  he  was  more  especially  famed  for  his  minia- 
ture-portraits. After  a  prosperous  career  he  died 
in  Vienna  in  1862.  He  pamted  in  the  style  of 
the  end  of  the  18th  century,  and  was  an  imitator 
of  his  master  Fiiger.  He  engraved  after  the 
works  of  Elzheimer,  Raphael,  Poussin,  Parmigi- 
ano,  Domenichino,  Fiiger,  and  others. 

AGROTE,  Antonio,  an  architectural  painter, 
flourished  about  1750.  He  painted  one  of  the 
chapels  of  the  Carmelite  church  at  Milan,  and  the 
decorations  of  Santa  Maria  at  Brescia,  for  which 
Carloni  painted  the  figures. 

AGUA,  Beenabdino  dell'  (or  Acqtja).  See 
Dell'  Acqua. 

AGUCCHIA,  Giovanni,  an  engraver,  is  stated 
by  Heineken  to  have  been  u,  native  of  Milan, 
flourishing  in  the  16th  century ;  and  to  him  he 
ascribes  two  engravings,  one  of  the  cathedral  of 
Milan,  to  which  is  aflixed  the  signature,  Agucchi 
fece  Milano ;  and  the  other  of  the  gatewa\  of  a 
large  building,  bearing  the  initials  G.  A.  Schmidt, 
in  Meyei-'s  '  Kiinstler-Lexikon,'  doubts  whether 
the  two  works  are  by  the  same  man,  and  seems 
to  think  that  there  is  a  possibility  of  the  former 
work  being  by  Federigo  Agnelli. 

AGUDO.     See  Madrazo. 

AGUEEO,  Benito  Manuel  db,  a  landscape  and 
battle  painter,  was  born  at  Madrid  in  1626,  and 
was  a  scholar  of  Mazo  Martinez,  whose  style  and 
manner  he  closely  followed.  He  endeavoured  to 
imitate  Titian  in  his  historical  compositions,  but 
was  not  successful.  He  died  at  Madrid  in  1670. 
His  pictures  are  now  very  rarely  seen. 

AGUIAE,  ToMAS  DE,  a  disciple  of  Velazquez, 
painted  portraits,  which  were  distinguished  for  the 
freedom  of  the  style  and  their  strong  resemblance. 
Among  other  eminent  persons  he  painted  Antonio 
de  Solis,  the  poet,  who  celebrates  him  in  a  sonnet. 
He  was  considered  an  excellent  painter  of  small 
figures.     He  died  in  Madrid  about  1679. 

AGUILA,  Del.     See  Del  Aguila. 

AGUILAE.     See  Jaueeguy  y  Aguilar. 

AGUILEEA,  Diego  de,  was  a  painter  of  sacred 
history,  and  resided  at  Toledo  about  1587.  He 
was  a  man  of  conciliating  manners,  and  a  good 
judge  of  works  of  art;  he  was  generally  con- 
sulted by  the  nobility  and  others  as  to  the  prices 
demanded  by  ai-tists,  and  did  justice  to  both.  The 
greater  part  of  his  pictures  were  destroyed  by  fire. 
'The  time  of  his  death  is  not  known. 

AGUILLES.     See  Boyee. 

AGUIERE,  Francisco  de,  a  pupil  of  Eugenio 
Caxes,  was  a  portrait  painter,  and  a  restorer  of 
pictures,  to  which  occupation  he  particularly  de- 
voted himself.  He  commenced  to  practise  it  at 
Toledo  in  1646,  where  he  was  employed  to  restore 
the  pictures  in  the  cathedral,  and  gave  abundant 
proofs  of  his  ignorance  and  presumption,  by  alter- 
ing them  according  to  his  notions ;  a  practice  that 
has  been  followed  by  others  since  his  time,  and 
to  which  may  be  ascribed  the  loss  of  many  fine 
pictures  of  the  best  Spanish  masters.  Aguirre  is 
otherwise  known  only  by  his  portraits,  which 
never  rose  above  the  level  of  mediocrity. 

AGUIEEE  Y  MONSALBE,  Manuel,  a  painter 
of  Aragon  and  pupil  of  Vicente  Lopez,  became,  in 
1846,  professor  at  the  Academy  of  San  Luis  in 
Saragossa.  A  collection  of  portraits  of  the  Kings 
of  Aragon  by  him  is  in  the  Casino  at  Saragossa. 
He  died  in  1855. 

AGULLO,  Francisco,  a  Spanish  painter,  exe- 
cuted in  1637  an  altar-piece  for  the  convent  of  St. 

9 


Agustiu 


A  BIOGEAPHICAL  DICTIONARY  OP 


Akerboom 


He 


Sebastian   at   Concentaina,   his    birthplace, 
died  there  in  1648. 

AGUSTIN  Y  GRANDE,  Francisco,  an  historicnl 
painter,  who  was  born  at  Barcelona  in  1763, 
studied  in  Rome  under  Raphael  Mengs,  and 
became  one  of  his  best  imitators.  On  his  return 
to  Spain  he  became  first  director  of  a  school  of 
design  at  Cordova,  and  subsequently,  in  1799,  a 
member  of  the  Academy  of  San  Fernando  at 
Madrid.  He  died  in  1800.  Agustin  painted 
chiefly  for  churches,  and  the  greater  part  of  his 
works  are  in  Cordova. 

AHLBORN,  August  Wilhelm  Julius,  a  land- 
scape painter,  who  was  born  at  Hanover  in  1796, 
received  instruction  under  Wach  in  Berlin,  and 
went  in  1827  to  complete  his  education  in  Italy, 
where  he  resided  nearly  thirty  years,  and  thus 
became  almost  an  Italian  in  manner.  He  died  in 
Rome  in  1857.  While  abroad  he  sent,  from  time 
to  time,  to  Berlin,  landscapes  which  gained  him 
much  praise,  and,  while  in  Germany,  in  1833  he 
was  elected  a  member  of  the  Berlin  Academy 
The  first  work  he  sent  was  a  view  of  the  Colosseum 
and  the  Via  S.icra  in  1829.  He  also  painted  views 
in  the  Tyrol  and  North  Germany,  but  they  were 
not  so  successful  as  his  landscapes  of  southern 
climes.  While  in  Italy  he  executed  sacred  pictures 
after  Fra  Angelico,  Perugino,  and  other  early 
Italians.  In  the  Berlin  National  Gallery  there 
are  by  him  a  '  View  of  the  Castle  of  Wernigerode, 
in  the  Harz,'  1827,  and  a  '  View  of  Florence,'  1832. 
AIGEN,  Karl,  who  was  born  at  Olmiitz  in 
1684,  painted  in  Vienna,  and  in  1754  became  a 
member  of  the  Academy,  of  which  he  was  subse- 
quently director  and  professor.  He  died  at 
Vienna  in  1762.  The  Gallery  of  the  Belvedere 
in  that  city  has  two  works  by  him — both  views 
with  figures. 

AIGQIER,  Louis  Augusts  Laurent,  a  French 
marine  painter,  was  born  at  Toulon  in  1819,  and 
died  in  that  town  in  1865.  There  are  examples  of 
his  work  in  the  Museums  of  Toulon  and  Marseilles. 

AIKMAN,  William,  was  born  at  Cairney,  in 
Forfarshire,  in  1682.  He  for  some  time  studied 
the  law,  but  his  inclination  for  painting  led  him  to 
change  his  profession.  After  studying  under  Sir 
John  Medina  for  three  years,  he  visited  Italy  in 
1707,  where  he  studied  three  years,  and  afterwards 
went  to  Turkey.  On  his  return  to  Scotland  in 
1712,  he  met  with  great  encouragement  as  a  por- 
trait painter,  in  which  branch  of  the  art  he  chiefly 
excelled.  In  1723  he  went  to  London,  where  he 
successfully  practised  his  art  until  his  death  in 
1731.  He  was  possessed  of  considerable  literary 
qualifications,  and  was  on  intimate  terms  with 
Kneller,  whose  style  o£  portraiture  he  imitated  ; 
and  with  Allan  Ramsay,  Thomson,  and  Mallet. 
His  memory  was  celebrated  by  the  two  last : 
Mallet  wrote  his  epitaph,  and  Thomson  his  elegy. 
His  own  portrait  is  in  the  Uffizi  Gallery. 

AINEMOLO,  ViNCENZO.     See  Aniemolo. 

AINMILLER,  Max  Emmanuel,  a  painter  on  glass 
and  porcelain,  was  born  at  Munich  in  1807.  ■ 

Having  studied  architecture  for  some  time  /f^ 
at  the  Munich  Academy,  where  he  showed  ■'■^  ■**■ 
special  ability  for  ornamentation,  he  received  an 
appointment  as  designer  at  the  Royal  Porcelain 
Manufactory  at  Nymphenburg.  Shortly  afterwards 
he  gave  up  this  appointment  in  order  to  devote 
himself  to  the  art  of  glass  painting,  which  he  helped 
to  raise  from  its  long  decline,  and  in  it  he  became 
justly  celebrated.     Under  his  direction  were  pro- 

10 


duoed  the  splendid  glass  paintingsfor  the  cathedrals 
at  Ratisbon,  Cologne,  and  Spires,  the  University 
church  at  Cambridge,  and  St.  Paul's  Cathedral  in 
London.  He  died  at  Munich  in  December,  1870. 
The  following  are  some  of  his  best  works : 

Berlin.       A^at.  Gall.   Interior  of  a  room  at  Hohensalzburg. 
1843. 
„  „  Cloister.    1844. 

,  „  Poets'  Comer — "Westminster  Abbey. 

1844. 
„  'Westminster  Abbey — Henry  VII.'s 

Chapel,  &c.    1856. 
„  „  Interior    of    a    Byzantine    Church. 

1857. 
Munich.  PinaJcothek.  Choir  of  "Westminster  Abbey. 

„  „  "Westminster    Abbey  —  Shrine     of 

Edward  the  Confessor,  &c. 
„  „  Cathedral  of  Hbeims. 

AIROLA,  Angela  Veronica.  According  to 
Soprani,  this  painter  was  a  native  of  Genoa,  and 
was  instructed  in  the  art  by  Domenioo  Fiasella, 
called  Sarzana.  This  lady  had  acquired  a  con- 
siderable reputation,  and  had  painted  some  pic- 
tures for  the  churches  in  that  city,  when  she 
joined  the  order  of  San  Bartolommeo  dell'  Oliveta 
at  Genoa.  Slje  painted  several  works  while  in  the 
convent.     She  died  in  1670. 

AKEN,  Arnout  VAN,  brother  of  Jozef  van  Aken, 
flourished  in  England  in  the  beginning  of  the  18th 
century.  He  etched  frontispieces  to  plays  and 
other  small  works  for  the  publishers. 

AKEN,  F.  VAN,  a  painter  of  fruit,  flowers,  and 
objects  of  still-life,  flourished  in  the  early  part  of 
the  18th  century  (?).  No  details  are  recorded  of 
his  life.  His  works  bear  his  name,  F.  van  Aken, 
or  the  initi£ils,  F.  V.  A. 

AKEN,  Jan  van  —  not  to  be  confounded  with 
Johann  von  Aachen  (who  was  born  in  1552) — was 
a  painter  and  engraver,  and  was  born  in  Holland 
in  1614.  He  was  a  contemporary  and  friend  of 
Pieter  van  Laer,  called  Bamboccio.  Van  Aken 
etched  four  landscapes,  or  views  of  the  Rhine, 
— marked  H.  L.  inventor,  I.  v.  Aken,  fecit — after 
Hermann  Saf  tleven,  whose  style  he  imitated.  We 
have  also  by  him  a  series  of  six  subjects  of  horses 
in  different  positions,  with  very  pleasing  back- 
grounds, niarked  J.  v.  Aken,  fecit.  Heineken 
mentions  a  print  by  him,  with  a  horse  saddled 
in  the  foreground,  a  man  behind  lying  down,  and 
another  seated  with  his  hat  on,  Kyv/I  \a 
marked  /.  van  Aken,  fee.  This  IXaJ  V\. 
print  is  very  scarce. 

■  AKEN,  Jozef  van,  a  Flemish  artist,  who  was 
born  in  1709  at  Antwerp,  passed  a  great  part  of 
his  life  in  England.  He  was  employed  by  eminent 
landscape  painters  to  paint  the  costumes  of  the 
figures  in  their  pictures,  in  which  he  was  very 
skilful,  and  thereby  acquired  the  name  of 
'Schneider  van  Aken'  (Van  Aken  the  tailor-). 
He  also  painted  on  satin  and  velvet,  and  produced 
some  excellent  works.  He  died  in  London  in  1749. 

AKEN,  Sebastiaen  van,  a  Flemish  historical 
painter,  was  born  at  Mechlin  about  1656,  and  be- 
came a  pupil  of  Lucas  Franchoys,  the  younger.  He 
afterwards  went  to  Rome,  where  he  studied  under 
Carlo  Maratti,  and  visited  Spain  and  Portugal.  A 
painting  by  him  of  St.  Norbert  is  in  the  village 
church  of  DufEel,  near  Mechlin.  He  died  at  Mech- 
lin in  1722. 

AKERBOOM,  — ,  was  a  Dutch  painter  of  the  in- 
teriors of  cities  and  villages,  of  whom  no  details 
have  been  recorded.  He  lived  about  the  middle 
of  the  17th  century.    The  execution  of  his  works 


Akersloot 


PAINTERS  AND  ENGRAVERS. 


Albani 


is  admirable.  Houbraken  mentions  a  highly  fin- 
ished miniature  picture  of  the  town  of  Doornick 
by  him. 

AKERSLOOT,  Willem,  a  Dutch  engraver,  was 
born  at  Haarlem  about  the  year  1600.  He  was  living 
in  1651.  He  engraved  a  few  plates  of  portraits, 
and  other  subjects,  amongst  which  are  the  follow- 
ing ; 

Frederick  Henry,  Prince  of  Orange;  after  A.  van  der 

Venue. 
Amelia,  Princess  of  Orange,  with  her  two  Daughters ; 

after  the  same, 
Christ  taken  in  the  Garden ;  after  Solbein. 
Christ  bound;  after  P.  Moijn. 
Peter  denying  Christ ;  after  the  same. 

AKREL,  Peedeik,  was  born  at  Oja,  in  the  pro- 
vince of  Sudermania,  in  Sweden,  in  1748.  He  was 
instructed  in  the  art  by  Akermnn  at  Upsal,  where 
he  engraved  the  views  of  some  buildings  in  that 
town,  and  a  few  portraits.  In  1771  he  visited 
Stockholm,  where  he  had  access  to  the  instruc- 
tion of  the  Academy.  Two  years  later  he  visited 
Paris,  but  did  not  remain  there  long.  He  died  at 
Stockholm  in  1804.  There  is  a  set  of  ten  well- 
engraved  portraits  of  Swedish  personages  by 
him. 

ALABARDI,  Giuseppe,  called  Sohioppi,  a  Vene- 
tian painter,  lived  about  1600.  He  painted  in  oil 
and  fresco  in  the  Doge's  palace,  the  churches, 
and  other  public  buildings  of  Venice.  His  works 
were  sometimes  allegories  and  sometimes  archi- 
tectural views  with  figures.  He  is  highly  com- 
plimented in  an  epigram,  by  F.  Euggerius,  for 
a  picture  of  '  Mars  and  Venus.' 

ALAGNA.    See  Tanzio. 

ALAIS,  J.,  engraved  portraits  of  Edmund  Kean 
as  Macbeth  and  as  lago,  after  George  Cruikshank, 
which  were  published  in  London  in  1814. 

ALAMANNI.     See  Alemani. 

ALAMANNUS.     See  Alemanno. 

ALAUX,  Jean,  called  Lb  Romain,  historical 
painter,  was  born  at  Bordeaux  in  1786.  Early  in 
life  he  entered  the  school  of  M.  Vincent,  in  Paris, 
where  he  was  a  fellow-pnpil  with  Horace  Vernet ; 
subsequently  he  attended  the  atelier  of  P.  Gu^rin, 
with  Ary  SohefEer,  Delacroix,  and  other  eminent 
artists.  He  obtained  the  Grand  Prix  de  Home  in 
1815  ;  but  did  not  attract  general  attention  till  1824, 
when  he  exhibited  '  The  Combat  of  the  Centaurs 
and  Lapithse,'  and  '  Pandora.'  He  was  much 
patronized  by  Louis  Philippe,  and  executed  several 
oil  paintings  and  frescoes  in  the  Louvre,  the 
Luxembourg,  and  the  Historical  Museum  at  Ver- 
sailles. Among  the  pictures  in  the  last-named 
Gallery  we  may  mention  '  The  Presentation  of 
Poussin  to  Louis  XIII.,'  and  '  The  States-General 
in  1.828.'  He  was  decorated  with  the  cross  of  the 
Legion  of  Honour  in  1841,  and  made  director  of 
the  French  Academy  at  Rome  fivs  years  later.  He 
died  at  Paris  in  1864. 

ALAUX,  Jean  Paul,  called  Gentil,  a  French 
landscape  painter  and  lithographer,  was  born  at 
Bordeaux  in  1788.  He  became  director  of  the 
School  of  Design  at  Bordeaux,  and  died  there  in 
1858.  A  View  of  Bordeaux  painted  by  him  is  in 
the  Museum  of  that  city. 

ALBA,  Maoeino  d'.    See  Fava,  Giangiaoomo. 

ALBANESI,  Angelo,  was  an  Italian  engraver, 
who  flourished  in  tlie  latter  part  of  the  18th  century. 
By  him  are  some  neat,  spirited  etchings  of  archi- 
tectural ruins  in  and  near  Rome,  some  of  which 
bear  his  name.    He  executed  a  series  of  engravings 


o£  nymphs  after  Angelica  KaufEmann,  which  were 
published  in  London  in  1784.  He  also  engraved 
some  portraits. 

ALBANI,  Feancesco  (or  Albano).  This  ad- 
mirable painter,  the  son  of  Agostino  Albani,  a  silk 
merchant  at  Bologna,  was  born  in  that  city  in  1578. 
Although  he  showed  a  strong  inclination  for  the  arts 
from  his  childhood,  his  parents  were  desirous  of 
bringing  him  up  to  his  f atlier's  profession  ;  but  his 
uncle,  thinking  he  perceived  in  him  indications  of 
genius,  prevailed  on  his  father  to  place  tlie  lad,  at 
the  age  of  thirteen  years,  under  the  care  of  Denijs 
Calvaert,  whose  academy  was  at  that  time  in  great 
repute.  Guido  Reni,  who  was  then  a  student  under 
Calvaert,  and  the  most  advanced  and  the  ablest 
of  his  disciples,  conceived  a  friendship  for  the 
young  Albani,  and  assisted  him  in  his  studies,  and 
these  kind  offices  led  to  an  intimacy  that  existed 
during  their  lives.  The  great  school  of  the  Carracci 
began  at  this  time  to  be  considered  as  the  most 
celebrated  in  Lombardy,  and  Guido  having  learned 
all  he  could  acquire  from  his  first  instructor,  be- 
came a  scholar  of  Lodovioo  Carracci.  He  was 
soon  followed  by  Albani,  and  they  continued 
their  studies  under  that  distinguished  master  with 
great  assiduity,  accompanied  by  an  emulation 
conducive  to  the  advancement  of  both.  Guido, 
on  leaving  the  Carracci,  visited  Rome,  whither 
he  was  soon  after  followed  by  his  friend  and  fel- 
low-student. It  was  not  long  before  the  talent 
of  Albani  brought  him  into  notice  in  that  metro- 
pohs  of  art ;  and  Annibale  Carracci  (who  was 
at  that  time  employed  in  painting  the  chapel  of 
San  Diego,  in  the  national  church  of  the  Span- 
iards), falling  sick,  recommended  Albani  to  be  em- 
ployed to  finish  it,  and  the  greater  part  of  the  work 
was  completed  by  him,  in  a  manner  that  gained 
him  great  reputation.  The  Marquis  Giustiniani 
employed  him  to  ornament  the  gallery  of  his  villa 
at  I5assano,  where  he  painted  the  story  of  'Neptune 
and  Galatea,'  and  the  'Fall  of  Phaeton.'  He  was 
afterwards  engaged  in  some  considerable  works  in 
the  Verospi  (now  the  Torlonia)  Palace  at  Rome, 
where  he  represented  different  subjects  from  Ovid, 
treated  with  great  ingenuity.  These  performances 
established  the  fame  of  Albani  throughout  all 
Italy.  The  Duke  of  Mantua  invited  him  to  his 
court,  where  he  painted  several  pictures,  represent- 
ing the  story  of  '  Diana  and  Actjeon,'  and  '  Venus 
and  Cupid.' 

On  his  return  to  Rome,  he  executed  the  large 
works  which  are  in  the  tribune  of  the  Madonna 
della  Pace.  In  the  church  of  San  Sebastiano  is  an 
altar-piece  representing  the  martyrdom  of  that 
saint,  entirely  in  the  manner  of  Carracci,  and  a 
picture  of  the  'Assumption,'  painted  in  conjunc- 
tion with  Guido  Reni.  Many  other  works  by  this 
master  are  in  the  most  distinguished  situations  at 
Rome 

He  died  at  Bologna,  in  1660,  in  the  arms  of 
his  pupils — with  his  brush  in  his  hand — in  his 
82nd  year.  The  four  allegorical  pictures  of  the 
'  Elements,'  now  in  the  Borghese  Palace,  which  he 
painted  for  the  Cardinal  Slaurice  of  Savoy,  are 
reckoned  among  the  finest  of  his  works,  and  have 
been  copied  repeatedly,  some  so  successfully  as  to 
pass  for  the  original  works.  Albani's  paintings  are 
not  uncommon  in  the  continental  galleries.  In  the 
Louvre  there  are  twenty-two  of  his  pictures,  eight 
of  which  are  sacred  subjects  and  fourteen  from 
classical  mythology.  In  the  Florence  Gallery 
there   are  nine,  at  Dresden  ten,   and  several  of 

11 


Albania 


A  BIOGRAPHICAL  DICTIONARY  OP 


Alberti 


his  religious  paintings  are  still  left  in  his  native 
town,  Bologna. 

The  following  is  a  list  of  some  of  his  principal 
works  : 

Bologna.  S.  Bartolom,.  Annunciation. 
„         Pinacoteca.   Baptism  of  Christ. 


Dresden.  Gallery. 


Florence.  Vffizi. 


Milan.      Brera. 
Paris.       Zotwfe. 


Rome. 


„  Colonna  P. 

„  Torlonia  P. 

Feivshig.Sei'ndtaffe. 

))  » 

Turin.      Gallery. 


Amorini  dancing — with  the  Rape  of 
Proserpine  {similar  to  that  in  the 
Brera). 

Diana  and  Actseon. 

Yenus  and  Tulcan. 

Creation  of  Eve. 

Six  other  paintings. 

His  own  Portrait. 

Infant  Christ  (with  Angels). 

^nd  others. 

Amorini  dancing — ^with  the  Rape  of 
Proserpine, 

Amorini  disarmed. 

Tenus  and  Adonis  {eny.  by  Batidet). 
„  Thirteen  other  paintings. 

S.  Mar.  d.  F.  Children  (fresco). 
BorgheseP.    Four  Seasons  (only  one  by  himself). 

Bnropa  and  the  Bull. 

Scenes  from  Ovid. 

Europa  and  the  Bull. 

Baptism  of  Christ. 

Four  Elements. 

The  style  of  Albani  is  more  beautiful  than 
grand  ;  his  compositions  are  ingenious  and  abund- 
ant, and  his  figures  are  both  elegant  and  graceful. 
He  is  called  by  Lanzi  the  Anaoreon  of  painting ; 
the  fame  which  the  Greek  acquired  by  the  de- 
lightful fancy  of  his  odes,  Albani  reached  by  the 
fascinating  cliarm  of  his  cabinet  pictures  ;  as  the 
poet  sang  of  Venus  and  the  Loves,  the  painter 
selected  the  most  tender  and  seductive  subjects. 
The  landscapes  which  occupy  the  backgrounds  of 
his  pictures  are  extremely  pleasing,  touched  with 
great  taste,  and  there  is  a  freshness  and  delicacy  in 
his  colouring  that  charm  the  beholder.  It  cannot, 
however,  be  denied,  that  he  is  to  be  regarded  rather 
as  an  agreeable  than  as  a  great  painter.  The  soft 
and  delicate  forms  of  wouien  and  children  were 
more  suited  to  his  powers  than  the  delineation  of 
the  muscular  movements  of  men  ;  and  he  generally 
made  choice  of  those  pleasing  subjects  of  the 
fable  that  admitted  of  the  graceful  and  amiable, 
rather  than  the  heroism  of  history,  that  called  for 
the  nobler  exertions  of  the  sublime  and  terrific. 

Albani  had  many  pupils,  among  whom  Giovanni 
Battista  Mola,  Carlo  Cignani,  Andrea-  Sacchi,  and 
Giovanni  Maria  Galli,  called  '  Bibiena,'  were  the 
most  famous.  A  very  rare  etching,  representing 
the  '  Death  of  Dido,'  has  been  attributed  to  this 
eminent  painter. 

ALBAISTIS  DE  BEAUMONT,  Jean  Franqois,  an 
amateur  artist,   born  in  Piedmont,   came  in  the 


latter  half  of  the  18th  century  to  Englandand  was 
naturalized.  He  published  at  Genoa,  m  1787, 
'  Voyage  Pittoresque  aux  Alpes  Pennmes,  with 
twelve  coloured  plates,  and  during  the  next 
twenty  years  several  other  books  of  travels  in  the 
Alps  and  the  South  of  France,  illustrated  from  his 
own  drawings,  which  he  engraved  in  aquatint.  It 
is  believed  that  he  died  in  England  soon  after 
1806. 

ALBANO.     See  Albani. 

ALBARA.     See  Carboni. 

ALBAKELLI.     See  Albeeelli. 

ALBARETI,  — ,  born  at  Rome,  painted  about 
1520.  The  name  was  discovered  on  a  picture  of 
'Christ  in  Glory,'  after  the  manner  of  the  pupils 
of  Raphael,  when  the  work,  which  is  in  the  Parma 
Academy,  was  cleaned  at  Paris.  It  had  formeily 
been  ascribed  to  Raphael  himself. 

ALBE,  Baclee  d'.     See  Baclee  d'Albe. 

ALBERELLI,  Giacomo  (or  Albaeelli).  This 
painter  was  a  native  of  Venice,  and  flourished 
about  the  year  1600.  He  was  a  disciple  of  Jacopo 
Palma  the  younger,  with  whom  he  worked  as  a 
coadjutor  for  thirty-four  years.  He  painted  his- 
torical subjects,  and  there  are  several  of  his  woiks 
in  the  public  edifices  at  Venice,  of  which  one  of 
the  most  esteemed  is  a  picture  of  the  '  Baptism  of 
Christ,'  in  the  church  of  the  Ognissanti.  He  died' 
about  the  year  1650.  Ridolfi  tells  us  he  was  also 
a  sculptor. 

ALBERICI,  Eneico  (or  Albeizzi),  was  born  at 
Vilminore,  near  Bergamo,  in  1714,  and  was  a 
scholar  of  Ferdinando  Cairo,  of  Brescia,  under 
whom  he  studied  three  years.  He  is  stated  by 
Tassi,  in  his  account  of  the  Bergamesque  painters, 
to  have  been  a  very  reputable  artist ;  and  several 
of  his  works  are  particularly  described  by  that 
author.  He  died  in  1775  at  Bergamo.  He  painted 
many  works  for  the  churches  and  buildings  of 
Brescia,  Bergamo,  and  the  villages  in  the  VaUe  di 
Scalve.  Among  many  others  he  painted  for  tlie 
church  Santa  Maria  del  Miracolr,  at  Brescia,  the 
'  Woman  of  Samaria,'  the  '  Parable  of  the  Pharisee 
and  the  Publican,'  the  '  Raising  of  Lazarus,'  the 
'  Prodigal  Son,'  and  the  '  Good  Shepherd.' 

ALBERT,  Simon,  a  distinguished  historical 
painter,  bom  at  Haarlem  in  1523,  was  a  scholar 
of  Jan  Mostaert.  He  lived  to  a  great  age,  but 
the  exact  year  of  his  death  is  not  recorded. 

ALBERT   VON    WESTPHALEN.      See  Alds- 

GEEVEE. 

ALBERTI.  The  family  of  painters  of  this  name 
was  so  immerous  that  it  has  been  thought  advisable 
to  give  a  genealogical  table.  Some  of  them,  how- 
ever, are  too  unimportant  for  separate  notice. 


THE  FAMILY  OF  ALBERTI, 

painters  and  engeavees. 

L 


Giovanni 
(ab.  1530). 


Eomauo  X 

(ab.  1630). 

I 


Alberto 
(1626—1698). 

i 


Lodovico 
(ab.  1666). 


Rora.ino  II. 
(ab.  1585). 


Alesaandro 
(1551-1^86). 


Chertibiiio 
(1553—1616). 


Girolarao 
(-1582), 

i_ 


Giovanni 
(1668-1601). 


Oesare 
(1602- ). 


Francesco 
(1566-1650). 

Girolamo 
(—1623). 


Giorjcio 
(1572-)- 


Durante 
{1538—1613). 


Gosimo 
(— 15S6). 


I'ietro  Francesco 
(1684—1638). 


Ghiar» 
(ab.  1060). 


ALBERTI,  Alessandeo,  the  eldest  son  of 
Alberto,  was  born  at  Borgo  San  Sepolcro  in  1551. 
He  received  instruction  in  art  from  a  painter  of 

12 


the  name  of  Gaspero  di  Silvestro,  of  Perugia.  In 
1566,  Alessandro's  uncle  Lodovico  took  him  to 
Rome,   where  he  subsequently  executed  in  the 


Albert! 


PAINTEES  AND  ENGRAVERS. 


Albert! 


palaces,  churches,  and  public  buildings,  pictures 
of  much  merit.  He  worked  much  in  conjunction 
with  his  brothers.  He  died  at  Rome  in  1696, 
while  engaged  on  the  great  work  of  decorating 
the  Sala  Clementina  for  Pope  Clement  VIII. 
Alessandro  also  worked  at  Borgo  San  Sspolcro, 
Naples,  and  Mantua. 

ALBERTI,  Antonio,  of  Ferrara,  painted  por- 
traits and  sacred  subjects,  and  was  distinguished 
in  his  day.  In  the  sacristy  of  the  church  of  San 
Bernardino,  outside  Urbino,  is  a  '  Madonna  and 
Child  enthroned,'  by  him,  dated  1439.  The  fres- 
coes in  tlie  chapel  of  the  Bolognini,  at  San  Petronio, 
Bologna,  consisting  of  incidents  from  the  Passion, 
the  Paradise,  and  the  Inferno,  and  numerous 
figures  of  saints  and  angels ;  as  well  as  those 
which  decorate  the  inner  choir  of  Sant'  Antonio 
Abate,  Ferrara,  and  dated  1433,  consisting  of  a 
half-length  Virgin  and  Child,  between  SS.  Benedic  t, 
Sebastian,  another  saint,  and  an  angel  with  a  bal- 
ance, have  all  been  attributed  to  Antonio  by  Crowe 
and  Cavalcaselle.  The  dates  of  this  artist's  birth 
and  death  are  unknown.  He  had  a  son  of  the  same 
name,  who  was  also  a  superior  artist,  living  in  1550. 

ALBERTI,  Chebubino,  called  Boegheggiano. 
This  eminent  artist  was  born  at  Borgo  San  Sepolcro 
in  1553.  He  was  the  second  son  of  Alberto 
Alberti,  an  architect  and  sculptor.  He  became  a 
reputable  painter  of  history,  and  executed  many 
considerable  works  both  in  oil  and  in  fresco,  in  the 
palaces  and  churches  of  Rome,  where  his  principal 
paintings  were  in  the  church  of  Santa  Maria  in  Via. 
He  was  also  director  of  the  Academy  of  St.  Luke 
in  that  city,  where  he  died  in  1615.  His  native 
town  possesses  numerous  examples  of  his  art,  as 
well  as  several  works  executed  by  him  in  conjunc- 
tion with  his  brothers,  Alessandro  and  Giovanni. 
He  is,  however,  more  celebrated  as  an  engraver 
than  a  painter,  and  in  that  character  he  is  deserv- 
ing of  particular  attention.  It  is  not  ascertained 
from  whom  he  learned  the  art  of  engraving ;  but, 
from  his  manner,  especially  in  his  exrliest  produc- 
tions, it  is  very  probable  that  he  may  have  been 
first  a  scholar  of  Comelis  Cort,  and  afterwards 
have  formed  to  himself  a  more  correct  and  a  freer 
style,  by  studying  the  works  of  Agostino  Carracci 
and  Francesco  Villamena.  His  plates  are  executed 
entirely  with  the  graver,  and  it  does  not  app?ar 
that  he  made  use  of  the  point.  His  drawing, 
particularly  in  the  nude,  is  generally  correct,  and 
the  airs  of  his  heads  have  a  pleasing  expression, 
but  his  draperies  are  clumsy  and  stifE.  His  works 
as  an  engraver  may  be  considered  as  very  extra- 
ordinary productions  of  genius,  and  that  at  a 
period  when  the  art  of  engraving  was  at  a  great 
distance  from  the  perfection  to  which  it  after- 
wards arrived.  We  are  indebted  to  this  artist  for 
having  preserved  to  us,  in  his  prints,  some  of  the 
beautiful  friezes  by  Polidoro  da  Caravaggio, 
painted  on  the  facades  of  the  public  edifices,  which 
have  been  destroyed  by  time. 

The  prints  of  this  master  are  very  numerous  ; 
the  whole  of  his  works  extend  to  about  180 
plates,  75  of  which  are  from  his  own  designs  ;  the 
others  are  from  Michelangelo,  Raphael,  Polidoro 
da  Caravaggio,  Andrea  del  Sarto,       c  „ 

and  others.  He  generally  marked  Si  ^ 
his  prints  with  one  of  these  mono-  -^J-'/  *  -O/ 
grams.    The  following  are  his  principal  works : 

SUBJECTS  FROM  HIS  OWN  DESIGNS. 
Portrait  of  Pope  Gregory  XIXI.  oval,  with  ornaments. 
of  Pope  Urban  VII.,  the  same. 


Portrait  of  Henri  IV.  of  France,  oval.     1595. 

of  Pietro  Angelo  Bargeo. 

Judith  with  the  Head  of  Holofemes. 

The  Nativity ;  inscribed,  Seus  omnipotens,  ^c. 

The  Flight  into  Egypt.     1574. 

The  Holy  Family,  with  St.  EUsabeth.    1571. 

Another  Holy  Family ;  St.  Joseph  seated,  with  a  book. 

The  Body  of  Christ  supported  in  the  clouds  by  an 

angel ;  inscribed,  Magnum  pietatis  opiis,  %c.  • 
The  Virgin  Mary  and  Infant  in  the  clouds ;  iascribed, 


Mary  Magdalene  penitent.     1582. 

St.  Catherine  receiving  the  Stigmata.     1574. 

St.  Christian  drawn  out  of  the  sea. 

St.  Francis  receiving  the  Stigmata.     1599. 

St.  Charles  of  Borromeo,  kneeling  before  the  Virgin 

and  Infant.     1612. 
Six  of  Children,  for  ceilings;   dedicated  to  Cardinal 

Visconti.     1607. 

SUBJECTS   FROM   THE   DESIGNS   OF    VARIOUS   MASTERS. 

St.  Susannah  resting  against  a  pedestal,  with  a  sword. 

The  Crucifixion ;  after  Michelangelo. 

St.  Jerome,  meditating  on  the  Crucifix;  after  the  same. 

1575. 
St.  Andrew  bearing  his  Cross ;  after  the  same.    1580. 
Two  other  figures,  from  the  Last  Judgment ;  after  the 

same.    1591. 
Charon,  with  two  other  figures ;  after  the  same.    1575. 
Prometheus  devoured  by  the  Vulture ;  after  the  same. 

1580.  ■' 

The  famous  Pieta,  sculptured  by  Michelangelo. 
Three— The  Creation;  Adam  and  Eve  driven  out  of 

Paradise ;  and  the  same,  subjected  to  labour ;  Foh' 

dorus  de  Caravaggio,  invent. 
The  Death  of  the  Children  of  Niobe,  in  five  sheets    a 

frieze ;  after  the  same.  ' 

The  Rape  of  the  Sabines,  another  frieze  ;/)'om  the  same. 
The  Triumph  of  Camillus  ;  in  the  style  of  the  antique. 
Pluto  holding  a  torch. 
Fortune  standing  on  a  shell. 
The  Presentation ;  after  Raphael. 
The  Resurrection,  a  grand  composition ;  after  the  same. 
The  Holy  Family ;  «/<«»•  Raphael.     1582. 
Jupiter  and  Ganymede;  after  the  same.    1580. 
The  Graces  and  Venus  leaving  Juno  and  Ceres ;  after 

Raphael.    1582. 
The  Adoration  of  the  Magi ;  after  II  Rosso.     1574. 
The  Transfiguration  ;  after  the  same. 
Christ  praying  on  the  Moimt ;  after  the  same.    1574. 
The  Stoning  of  Stephen ;  after  'the  same. 
A  piece  of  architecture ;  after  the  same^  in  two  prints. 

Roma,  1575. 
The  Baptism  of  our  Saviour,  by  St.  John ;  after  A.  del 

Sarto.    1574. 
The  Miracle  of  St.. Philip  Benizzo ;  after  A.  del  Sarto. 

Very  fine. 
Tobit  and  the  Angel ;  after  Tibaldi.    1575. 
Christ  praying  in  the  Garden ;  after  Ferino  del  Vaga. 
The  Adoration  of  the  Shepherds ;  after  Tad.  Zucchero 

in  two  sheets.     1575. 
The  Holy  Family ;  after  the  same. 
The  Scourging  of  Christ ;  after  the  same. 
The  Conversion  of  St.  Paul ;  after  Tad.  Zucchero. 
The  Assumption  of  the  Virgin ;  after  the  same. 
Another  Assumption ;  after  Fed.  Zucchero. 
The  Coronation  of  the  Virgin ;  after  the  same.     1572. 

ALBERTI,  Durante,  called  '  Del  Nero,'  son  of 
Romano  I.  Alberti,  was  bom  at  Borgo  San  Sepolcro 
in  1538  ;  and,  according  to  Baglioni,  visited  Rome 
when  young,  during  the  pontificate  of  Gregory 
XIII.  It  was  not  long  before  he  distinguished  him- 
self by  painting  several  pictures  for  the  churches 
and  other  public  edifices.  In  the  church  of  San 
Girolamo  della  Carita,  one  of  the  chapels  was  en- 
tirely painted  by  him  in  fresco,  and  there  was  an 
altar-piece  in  oil  by  him,  representing  the  Virgin 
and  Infant  Jesus,  with  St.  Bartolommeo  and  St. 
Alessandro.  In  Santa  Maria  de'  Monti,  he  painted 
the  '  Annunciation.'  Several  other  churches  at 
Rome  possess  works  of  this  eminent  artist.    He 

13 


Albert! 


A  BIOGRAPHICAL  DICTIONARY  OF 


Albertoui 


died  in  1613,  and  was  buried  with  great  dietinction 
in  the  Chiesa  del  Popolo,  attended  by  all  the  prin- 
cipal artists  in  Home.  His  portrait  is  in  the  Aca- 
demy of  St.  Luke.  He  had  a  brother  CosiMO,  a 
sculptor,  engraver,  and  painter,  who  died  in  Rome 
in  1596. 

ALBERTI,  Giovanni,  brother  of  Cherubino 
Alberti,  and  third  son  of  Alberto,  was  born  at  Borgo 
S^m  Sepolcro,  in  1558.  He  visited  Rome  in  the 
time  of  Gregory  XIIL,  and  was  employed  by  that 
pontifE  in  the  papal  palace  on  Monte  Cavallo,  and 
in  the  Vatican.  He  excelled  in  painting  land- 
scapes and  perspective,  in  which  the  figures  were 
usually  painted  by  Cherubino.  He  was  also  em- 
ployed by  Clement  VIII.  to  paint  the  sacristy  of 
San  Giovanni  in  Laterano,  and,  in  conjunction  with 
his  brothers,  to  decorate  the  Sala  Clementina  in 
the  Vatican.  For  this  v/ork,  which  was  commenced 
in  1595  and  completed  in  1598,  the  two  painters 
(Alessandro  had  died  during  the  course  of  execu- 
tion) received  3050  scudi.  Giovanni  Alberti 
also  laboured  in  his  native  town,  in  Mantua,  Pe- 
j'ugia,  Florence,  and  elsewhere.  He  died  at  Rome 
in  1601.  His  portrait  is  in  the  Academy  of  St. 
Luke,  and  another  in  the  UfSzi  at  Florence. 

ALBERTI,  Giuseppe,  who  was  bom  at  Cavalese, 
in  the  Tyrol,  in  1664,  after  having  studied  medi- 
cine at  Padua  determined  to  become  a  painter  and 
architect.  He  worked  under  Liberi  at  Venice, 
and  further  improved  himself  by  study  at  Rome, 
and  then  settled  at  Trieste,  where  he  executed  a 
number  of  religious  pictures,  which  may  now  be 
seen  in  Trent,  Cavalese,  and  other  towns  in  the 
Tyrol.  He  also  worked  in  Italy,  to  which  country 
he  paid  a  second  visit.  He  founded  a  good  school 
of  painters  in  his  own  town.  Alberti  died  at  Cava- 
lese in  1730.  His  'Martyrdom  of  St.  Simon  of 
Trent,'  formerly  in  the  castle  of  Trent,  now  in  the 
Ferdinandeum  at  Innsbruck,  is  his  best  known 
work. 

ALBERTI,  JE.4.N  Eugene  Charles,  who  was 
born,  at  Amsterdam  in  1781,  studied  first  in  that 
city,  tlien  at  Paris  under  David,  and  afterwards  at 
Rome,  where  he  copied  the  works  of  Guido  and 
Van  Dijck.  He  subsequently  returned  and  settled 
in  Paris.  The  date  of  his  death  is  not  recorded. 
'Marius  among  the  Ruins  of  Carthage,'  painted  in 
1805,  gained  liim  a  gold  medal.  Alberti  engraved 
both  from  his  own  works  and  from  those  of  the 
Italian  masters. 

ALBERTI,  MiOHELE,  a  painter  of  Florence, 
flourished  in  the  latter  half  of  the  16lh  century. 
He  was  a  disciple  of  Danielle  Ricciarelli,  called 
'  Da  Volterra,'  and  was  a  reputable  painter  of 
history.  His  principal  work  is  a  picture  in  the 
church  of  the  Trinita  dei  Monti,  at  Rome, 
representing  the  'Murder  of  the  Innocents,' 
much  spoiled  by  restoration.  Miohele  '  Alberti 
has,  by  Orlandi,  been  erroneously  recorded  as  a 
member  of  the  family  of  Alberti  of  Borgo  San 
Sepolcro. 

ALBERTI,  PiETEO  Francesco.  This  artist,  >j^ 
the  son  of  Durante  Alberti,  was  born  in  1584.  P^ 
Pie  painted  historical  subjects  in  the  style  of  i-^ 
his  father,  and  has  left  works  in  Rome  and  in  his 
birthplace.  He  was  the  designer  and  engraver 
of  a  plate  called  '  Accademia  de'  Pittori,'  a  large 
print  lengthways ;  a  composition  of  many  figures, 
etched  with  great  spirit,  and  evidently  the  work 
of  a  painter.  In  Meyer's  '  Kunstler-Lexikon '  ten 
engravings  are  mentioned  by  him.  He  died  in 
1638  at  Rome. 

14 


ALBERTINELLI,  Maeiotto,  the   son         _ 
of  Biagio  di  Bindo  Albertinelli,  was  bom      r-  m 
at  Florence  in  1474.   He  was  apprenticed, 
when  young,  to  Cosimo  Rosselli,  in  whose   ^()A 
studio   he  was   a  fellow-pupil   with   Fra    ^--^ 
Bartolommeo.      In  the  year  1509_  they 
entered    into   partnership,    and  painted 
conjointly  many  works,  some  of  which  bear  the 
monogram  of  a  cross  with  two  interlaced  rings. 
When    Fra   Bartolommeo   retired    into   monastic 
seclusion,  his  friend  and  partner  finished  several 
of  his  uncompleted  woiks.  But  they  again  painted 
together  from  1510  to  1513.  It  is  related  by  Vasari, 
that  Albertinelli,  at  one  time,  being  enraged  at 
some  criticisms  which  were  made  on  his  painting, 
abandoned  the  brush  and  opened  a  public-house  ; 
it  is  certain,  however,  that  he  returned  to  his  art 
again.     He  died  at  Florence  in  1515,  on  his  return 
from  a  journey  to  Rome.  In  painting  he  resembled 
Fra  Bartolommeo   as   closely  as  one   artist  ever 
resembled  another.     He  is  much  to  be  admired  for 
the  design  and  the  chiaroscuro  of  his  pictures. 

The  following  are  some  of  his  best  works : 

Berlin.      Museum.      Assumption  {part  by  Fra  Bartolom- 
meo). 
Cambridge  Jitewt7/{a)»Tirgin  with  Christ  and  John  the 

Mns.  Baptist  (signed  and  dated  1509). 

Ca«tle  Howard.  Adam  and  Eve  {part  by  Fra  Bar- 

tolommeo). 
,,  Abraham's  Sacrifice  {part  hy  Fra 


Florence.  Accademia.  Annimciation    {signed    and    dated 
1510). 
Holy  Trinity.     1510  (?). 
„         Certosa.         Crucifixion  {signed  and  dated  1506). 
„        Fitti  Fal.     Marriage  of  St.  Catherine.     1512 

{part  by  Fra  Bartolommeo). 
J,        S.  Maria,     Last  Judgment.    Fresco  {commenced 
.Kuova,  by  Fra  Bartolommeo — the  part  by 

Albertinelli  is  nearly  destroyed). 
„         Uffizi.  Visitation  of  the  Virgin  (Afimaste;-- 

piece).    1503. 
London.    J^at.  Gall.     Virgin  and  Child  {douUful). 
Paris.        louvre.         Madonna  and    Child   (signed  and 
dated  1506),  formerly  in  Santa 
Trinita.,  Florence. 
„  „  ChristappearingtoMary  Magdalene. 

Pisa.  S.  Catarina.  Madonna  and  Child  {part  by  Fra 

Bartolommeo). 

ALBERTOLLI,  Giocondo,  the  most  famous  of  a 
family  of  artists,  was  born— according  to  Meyer's 
'  Kiinstler-Lexikon '  —  at  Bedano,  in  1742.  He 
studied  at  Parma  under  a  sculptor,  and  also  in  the 
Academy,  and  at  Rome  from  the  antique ;  and 
soon  became  famous  for  his  ornamental  architec- 
tural decorations.  He  was  elected,  in  1776,  pro- 
fessor of  ornament  to  the  Milan  Academy,  but  he 
resigned  the  post  in  1812  on  account  of  failing 
eyesight.  In  1809  Napoleon  made  him  a  Knight 
of  the  Iron  Crown.  Albertolli  was  much  em- 
ployed in  decorating  palaces,  churches,  and  public 
buildings  in  Italy,  and  gave  a  new  impetus  to  the 
art  of  ornamental  design  in  that  country.  His 
paintings  are  scarce.  A  '  Madonna  and  Child '  by 
him  is  in  the  church  of  St.  Roch,  at  Milan,  in 
which  city  he  died  in  1840,  aged  98. 

ALBERTOLLI,  Raffaello,  a  pupil  of  his  father 
Giocondo,  distinguished  himself  as  an  engraver  in 
mezzotinto  and  etching,  and  executed  many  por- 
traits of  eminent  persons.  He  was  born  in  1770, 
and  died  at  Milan  in  1812. 

ALBERTONI,  Paolo,  a  follower  of  Carlo  Ma- 
ratti,  painted  in  his  style  ;  he  died  soon  after 
1695.  There  are  pictures  by  him  in  the  church 
of  San  Carlo  in  the  Corso,  in  Santa  Maria,  in  the 


Albertus 


PAINTERS  AND  ENGEAVEES. 


Aldegrever. 


Campo  Marzo,  Santa  Marta,  and  other  oliurobes  in 
Eome. . 

ALBEETUS,  Hans  Chbistoph,  was  a  native  of 
Dresden,  and  studied  tliere  from  1611  to  1622  with 
a  goldsmith.  We  have  by  him  a  portrait  of  Johiinn 
Seckendorfi,  rector  and  professor  at  Zwickau,  en- 
graved from  a  picture  painted  by  himself,  which 
is  considered  a  fine  work  of  art.  He  died  in 
1680. 

ALBIN,  Eleazab,  a  German,  whose  family 
niime  was  Weiss,  published  several  works  on 
natural  history  in  London  between  1720  and  1738. 
His  'Natural  History  of  Birds'  included  306 
plates  of  biids  drawn  from  hfe.  He  died,  it  is 
believed,  about  1740.  In  the  Gallery  at  Cassel 
there  is  a  '  Eioh  Man  and  Lazarus  '  by  him. 

ALBINI,  Alessandeo,  was  bom  in  1668.  Ac- 
cording to  Malvasia,  this  painter  was  a  native  of 
Bologna,  and  a  distinguished  disciple  of  the  school 
of  the  Carracoi.  He  acquired  great  reputation  by 
some  designs  he  made  for  tlie  funeral  ceremony  of 
Agostino  Carracci.  In  the  cliurch  of  San  Michele 
in  Bosco,  at  Bologna,  he  painted  a  picture  of  '  the 
Sepulture  of  St.  Valerian  and  St.  Tibertius  ; '  and 
one  of  St.  Peter,  St.  Catherine,  St.  Agnes,  and  St. 
Cecilia,  in  San  Pietro  Martyro.  He  died  in  1646. 
He  painted  chiefly  in  Bologna  and  the  vicinity. 
Massini  tells  us  that  he  also  painted  in  Eome. 

ALBONI,  Paolo  (called  hy  Oretti  Paolo  An- 
tonio), was  a  Bolognese  landscape  painter.  He 
was  born  in  1671  (some  say  1650).  After  practis- 
ing some  time  in  Eome  and  Naples,  he  went  in 
1710  to  Vienna,  where  he  remained  nearly  thirteen 
years,  but  being  deprived  of  the  use  of  his  right 
side  by  an  attack  of  paralysis,  he  returned  to 
Bologna ;  he  subsequently  painted  with  his  left 
hand.  He  imitated  the  style  of  Euisdael  and 
other  Dutch  masters  ;  but  his  later  pictures  are 
inferior  to  his  earlier  productions.  He  died  in 
1734.  He  had  a  daughter,  LuiGiA  Maria  Eosa, 
who  also  distinguished  .herself  as  a  landscape 
painter.     She  died  in  1759. 

ALBOEESI,  GiAcoMO,  a,  Bolognese  painter,  who 
was  born  in  1632,  was  a  scholar  of  Domenioo  Santi 
and  Agostino  Metelli.  Hepainted  historical  subjects, 
but  was  more  celebrated  for  his  pictures  of  archi- 
tectural views.  He  worked  chiefly  in  fresco,  and 
in  conjunction  with  Fulgenzio  Mondini,  painted  for 
the  church  of  San  Petronio,  at  Bologna,  the  '  Death 
and  Canonization  of  St.  Anthony  of  Padua.'  In 
the  church  of  San  Giacomo  Maggiore,  he  painted 
some  subjects  of  perspective,  in  which  the  figures 
were  by  Bartolommeo  Passarotti.  He  died  at 
Bologna  in  1677.  He  also  worked  in  conjunction 
with  Antonio  Maria  Pasio,  in  the  cathedral  at 
Florence. 

ALBOEN.     See  Ahlboen. 

ALBEEGHT,  Balthasak  Augdstin,  who  was 
bom  at  Berg,  near  Aufkirchen  in  Bavaria,  in  1687, 
was  a  pupil  of  Nikolaus  Gottfried  Stuber,  and 
studied  in  Venice  and  Eome.  On  his  return  to  his 
native  country  in  1719,  he  became  popular  as  an 
historical  painter,  and  was  appointed  court-painter 
and  inspector  of  the  Picture  Gallery  at  Munich, 
where  he  died  in  1765.  The  churches  and  galleries 
of  Bavaria  possess  many  paintings  by  him. 

ALBEECHT,  C,  an  obscure  German  engraver, 
of  Berlin,  mentioned  by  Heineken.  He  worked 
only  for  the  booksellers,  and  his  plates  are  so 
indifierent,  that  they  are  not  considered  by  that 
author  worthy  of  being  specified. 

ALBEIZZI.    See  Albekici. 


Breslau.  Art  Club. 
Brunswick.  Museum. 
Prague.   Museum. 


ALCAZAR.     See  Paret  y  Alcazar. 

ALDB,  H.  VAN.     See  Aldeweeeld. 

ALDEGKEVER,  Heinrich  (or  Alde  Grave). 
This  celebrated  artist  was  bom  in  1502,  in  .  , 
Westphalia,  probably  at  Pader  born,  where  AA' 
his  parents  resided,  but  he  lived  chiefly 
at  Soest.  Albert  Rosenberg,  the  latest  German 
writer  on  the  '  Little  Masters,'  considers  he  never 
was  a  pupil  of  Diirer,  nor  ever  even  visited 
Nuremberg,  though  Van  Mander  reports  that  he 
painted  two  wings  for  an  altar-piece  in  a  church 
there.  His  works  show,  however,  that  he  was  much 
influenced  by  Diirer's  practice,  and  also  by  that  of 
Barthel  Beham  and  Georg  Pencz.  On  his  return 
to  his  own  country,  he  applied  himself!  at  first 
entirely  to  painting ;  and,  according  to  Piissli, 
painted  some  pictures  for  the  churches  and  con- 
vents, which  have  not  been  identified. 

The  following  is  a  list  of  his  few  known  paint- 
ings : 

Basle.       Museum.        Portrait  of  David  Joris  {doubtful). 
Berlin.      Museum.        Portrait    of    Bngelbert    Therlaen. 
1551. 
Portrait  of  Count  Plulipp  of  Wal- 

deck  {dated  1535). 
Portrait    of    Magdalena    Wittig. 

1541. 
Christ  sitting  on  his  tomb.    1529. 
Vienna.    Liechtenstein  Portrait  of  a  yoiing  man  {dated 
Galleiy.  1544 ;  perhaps  his  best). 

After  a  few  years  he  devoted  himself  entirely 
to  engraving,  and  in  that  brancli  acquired  a  dis- 
tinguished reputation  amongst  those  artists  who 
are  called  the  Little  Masters,  from  their  having 
generally  engraved  plates  of  a  small  size.  He 
died,  it  is  supposed,  at  Soest,  in  1558.  His  execu- 
tion is  uncommonly  neat ;  he  worked  entirely 
with  the  graver,  in  a  style  that  is  evidently 
founded  on  that  of  Albrecht  Diirer,  and  his  plates 
are  finished  with  great  precision  and  delicacy. 
His  design  was  full  of  invention,  and  his  drawing 
shows  more  of  the  Italian  Eenaissance  influence, 
than  that  of  many  contemporary  German  artists. 
He  usually  marked  his  plates  with  the  cipher  given 
above.  His  engravings  are  very  numerous,  exceed- 
ing three  hundred.  They  bear  dates  from  1522 
to  1555,  the  latest  authentic  date  on  any  of  his 
works.  The  following  is  as  general  a  list  of 
them  as  the  nature  of  this  work  will  admit,  and 
con)prises  all  his  principal  plates :  for  fuller  in- 
formation the  inquirer  is  referred  to  the  minute 
descriptions  to  be  found  in  Heineken,  Bartsoh's 
'Peintre  Graveur,'  and  Meyer's  '  Kunstler- 
Lexikon.' 

PORTRAITS. 

Aldegrever,  without  a  beard ;  Aldegrevers.    JSfcatis  28. 

1530. 
The  same,  with  a  thick  beard.    Anno  1537.    .^tatis 

suae  15. 
Bust  of  Martin  Luther.     1540. 
Bust  of  Philip  Melaucthon.     1540. 
Albert  von  der  Helle.    1538. 
"Wilhelm,  Herzog  von  JUlich.    1540. 
Johann  van  Leyden,  chief  of  the  Anabaptists. 
Bemhard  Knipperdollinck,  the  fanatic. 

VARIOUS  SUBJECTS. 

Six — Of  Adam  and  Eve  driven  out  of  Paradise.    1540. 

Four — Of  the  History  of  Lot.    1555. 

Four— Of  the  History  of  Joseph  and  his  Brethren.  1532. 

Seven— Of  the  History  of  Thamar  and  Absalom.  1540. 

David  and  Bathsheba.     1532. 

The  Judgment  of  Solomon.     1555. 

Judith  with  the  Head  of  Holofemes.     1528. 

Four— Of  the  History  of  Susannah.     1555. 

15 


Aldenrath. 


A  BIOGRAPHICAL  DICTIONARY  OF 


Aleksyeev 


Four — Of  the  Parable  of  the  good  Samaritan.     1554. 

Five — Of  the  Bich  Man  and  Lazarus.     1554. 

The  Four  Evangelists.     1539. 

The  Adoration  of  the  Shepherds.     1553. 

The  Virgin  and  Infant,  reposing  under  a  tree.     1527. 

The  Virgin  carrying  the  Infant  Jesus,  with  a  standard. 

1552. 
Medea  and  Jason.     1529. 
Eomulus  and  Eemus  taken  from  their  mother,  Ehea 

Sylvia. 
Tarquin  and  Lucretia.     1539. 
Sophonisba  taking  the  Poison.     1553. 
Marcus  Curtius  about  to  leap  into  the  G-ulf.     1532. 
Mutius  ScEevola  before  Porsena.     1530. 
Titus  ManHus  ordering  his  Son  to  be  decapitated.    1553. 

It  is  curious  to  observe  that  in  this  print,  as  well 

as  in  one  of  the  same  subject  by  Georg  Pencz,  the 

instrument  of  execution  resembles  the  guillotine  used 

in  France  during  the  Revolution. 
The  Count  d'Arohambaud  destroying  his  Son  before  his 

Death ;   inscribed  Fater  ne  post  suam  mortem,  ^o. 

1553. 
Hector  in  Combat ;  small  frieze.     1532. 
The  Battle  of  Hannibal  and  Scipio.     1538. 
Seven— The  Divinities  that  preside  over  the  Planets. 

1653. 
Thirteen — The  Labours  of  Hercules;  fine,  and  scarce. 

1550. 
Orpheus  and  Eurydice ;  the  only  etching  by  this  master ; 

very  scarce.     1528. 
Fourteen  small  plates  of  different  allegorical  subjects. 

1549  and  1550. 
Seven—  Of  the  Vhtues     1552. 
Seven— Of  the  Vices.    1552. 

Eight—  Of  the  Empire  of  Death  over  Humanity.    1541. 
Twelve — Of  the  Procession  of  a  AVestphalian  Wedding. 

1538. 
Eight — Of  a  similar  subject.    1551. 
Six — Of  Death  dragging  away  persons  of  both  sexes. 

1562. 
A  "Woman  holding  an  hour-glass,  with  a  skull  and  a 

globe,  on  which  is  inscribed  Respicejinem,     1529. 
A  "Woman  with  wings,  standing  on  a  globe,  holding  the 

symbols  of  prudence  and  temperance.     1555. 
An  Officer  carrying  a  flag.     1540. 
A  Man  with  a  sword,  surprising  a  monk  and  a  nun. 

Dated  1530,     Very  rare. 
Monk  and  Nun.     1532. 
The  Society  of  Anabaptists,  with  a  number  of  figures  in 

a  bath.     This  is  engraved  by  Virgil  Solis  after  Alde- 

grever. 

Also  throe  sets  of  wedding  processions,  one 
of  twelve  prints,  the  others  of  eight  each;  and 
ninety-nine  beautiful  vignettes,  and  other  orna- 
ments. These  last  connect  him  with  the  gold- 
smith's art.  A  good  collection  of  his  engravings 
may  be  seen  in  the  Print  Room  at  the  British 
Museum.  "W.  B.  S. 

ALDENRATH,  Heineich  Jakob,  who  was  born 
at  Liibeok  in  1775,  was  a  portrait  painter,  a 
miniaturist,  and  a  lithographer.  He  received  in- 
struction from  Johann  Jakob  Tisohbein  and  from 
Friedrich  Karl  Groger,  with  whom  he  coinmeuced 
a  friendship  which  was  only  severed  by  Groger's 
death  in  1838.  Together  they  visited  the  Academies 
of  Berlin,  Dresden,  and  Paris ;  and  after  sojourns 
in  Liibeck,  Kiel,  and  Copenhagen,  they  iinally 
settled  at  Hamburg  in  1814,  and  became  cele- 
brated as  portrait  painters.  Aldenrath  died  in 
Hamburg  in  1844.  It  is  said  that  he  painted  the 
portrait  of  the  King  of  Denmark  no  less  than 
thirteen  times.  Among  his  lithographs  may  be 
mentioned  the  following : 

His  own  Portrait. 
Portrait  of  Friedrich  Karl  Groger. 
Portrait  of  Klopstock,  the  poet. 
Portrait  of  Count  Stolberg,  the  poet. 
Portrait  of  Adolphus,  Duke  of  Cambridge. 

ALDEWERELD,  H.  van,  a  Dutch  painter,  who 
16 


flourished  at  Amsterdam  about  the  middle  of  the 
17th  century,  was  chiefly  engaged  in  painting 
portraits,  generally  of  celebrated  personages, 
several  of  which  have  been  engraved.  He  occa- 
sionally painted  genre  pictures.  He  is  frequently 
called  in  error,  H.  van  Aide,  because  he  was  accus- 
tomed to  sign  his  name  H.  van  Aide,  with  the 
addition  of  a  sketch  of  a  world,  which  was  over- 
looked. 

ALDIGHIERO  da  ZEVIO.  See  Altichiebo 
DA  Zevio. 

ALDIVERTI,  Alfonso,  the  son  of  a  notary, 
flourished  in  the  early  part  of  the  17th  century  at 
Rovigo.  He  painted  in  the  church  of  Santa  Maria 
della  Neve,  scenes  from  the  Life  of  Christ.  The 
'Christ  Condemned'  is  signed  and  dated  1615. 
Bartoli  says  of  these  woiks,  that  they  are  painted 
in  an  antique  style,  and  remind  one  of  Diirer's 
engravings.  He  also  painted  a  '  St.  Charles  Bor- 
romeo,'  in  San  Bartolommeo,  in  Rovigo. 

ALDROVANDINI,  Pompeo,  son  of  Mauro,  and 
cousin  and  pupil  of  Tommaso,  was  bom  at 
Bologna  in  1677.  He  was  employed  much  in 
the  churches,  palaces,  and  theatres  of  Dresden, 
Prague,  and  Vienna,  and  executed  many  excellent 
works  in  oil,  in  fresco,  and  in  distemper.  He 
died  at  Rome  in  1736. 

ALDROVANDINI,  Tommaso,  the  son  of  Giu- 
seppe Aldrovandini,  an  architectural  painter,  was 
born  at  Bologna  in  1653.  He  was  instructed  in  the 
first  principles  of  design  by  his  uncle  Mauro  Aldro- 
vandini, an  eminent  painter  of  the  same  subject. 
Tommaso's  talent  lay  in  painting  perspective  views 
and  architectural  subjects,  in  which  the  figures 
were  painted  by  Marc  Antonio  Francescliini  and 
Carlo  Cignani,  to  whose  pictures  he  in  return 
painted  architectural  backgrounds ;  he  also  studied 
figure  painting  under  Cignani.  He  decorated 
churches,  palaces,  and  theatres  in  many  of  the 
principal  cities  of  Italy — Forli,  Verona,  Venice, 
Parma,  Turin,  Ferrara,  and  Genoa,  and  especially 
in  his  native  Bologna.  His  most  considerable 
work  was  the  Council  Chamber  of  the  Ducal 
Palace  at  Genoa,  which  he  executed  in  conjunc- 
tion with  Francescliini ;  it  has  since  been  de- 
stroyed by  fire.     He  died  in  1736. 

ALE,  GiLLES  (or  IIallet),  of  Liege,  flourished 
in  the  latter  half  of  the  17th  century,  and  was 
distinguished  for  the  purity  of  his  style,  accord- 
ing to  the  principles  of  the  Roman  school.  He 
painted  in  conjunction  with  Morandi,  Bonatti,  and 
Romanelli ;  and  executed  an  altar-piece  in  oil,  and 
the  ceilings  of  the  chapels  in  fresco,  for  the 
church  of  Santa  Maria  dell'  Anima  in  Rome.  He 
died  in  1689.  Most  of  tlie  paintings  by  him  in 
Liege  were  destroyed  when  the  French  bom- 
barded that  town  in  1691. 

ALEFOUNDER,  John,  a  student  of  the  Royal 
Academy  Schools,  practised  for  some  time  in 
London  the  art  of  portraiture,  occasionally  in 
miniature.  He  subsequently  went  to  India,  and 
died  in  1795  at  Calcutta,  from  the  effects  of  the 
chmate.  In  1784  Bartolozzi  engraved  the  portrait 
of  '  Peter  tlie  Wild  Boy,'  after  him,  and  in  the 
same  year  Hodges  engraved  his  portrait  of  J. 
Edwin  the  Actor. 

ALEKSYEEV,  Feodor  Jakovlevich,  'the 
Russian  Canaletto,'  was  born  at  St.  Petersburg  in 
1757.  After  he  had  received  an  education  in  the 
Academy  of  his  native  city  he  went  to  Venice  for 
the  improvement  of  his  art.  On  his  return  to 
Russia,  he  rose  to  great  fame  as  a  painter  of  archi- 


Alemani 


PAINTERS  AND  ENGKAVERS. 


Alessaudro 


tectural  views,  and  was  mucli  employed  by  the 
emperor  and  nobility  of  Russia  to  decorate  their 
palaces.  He  died  in  St.  Petersburg  in  1824.  The 
Hermitage  possesses  good  examples  of  his  views 
of  Moscow,  which  are  considered  his  best  pro- 
ductions. 

ALEMANI,  G-AETANO  (or  Alamanni),  a  painter 
of  Bologna — who  distinguished  himself  in  various 
styles,  particularly  in  architectural  and  ornamental 
painting  for  the  decoration  of  churches  and  theatres 
• — flourished  in  the  latter  half  of  the  18th  century. 
He  died  in  1782. 

ALEMANNO,  Giovanni  (or  Alamannds),  was 
also  called  Giovanni  ba  MnRANO  (one  of  the 
Venetian  Isles).  He  is  supposed  from  the  former 
name  to  have  been  a  German.  He  worked  in 
conjunction  with  Antonio  da  Murano.  Between 
tliem-they  executed  two  pictures  now  in  the 
Academy  at  Venice  ;  a  '  Coronation  of  the  Virgin,' 
signed  and  dated,  Joanes  et  Antonids  de  Mubi- 
ANO  F.,  Mcocoxxxx.,  and  a  'Madonna  and  Child 
enthroned,'  signed  and  dated  1446,  Johannes 
Alamannds  Antonius  da  MnRiANO  Fe.  Several 
pictures  by  them  are  still  in  the  chapel  of  San 
Tarasio  in  San  Zaocaria  at  Venice.  Alemanno  is 
known  to  have  painted  from  1440  till  1447,  after 
which  year  there  is  no  record  of  him. 

ALEMANNO,  Jdstds  d'  (or  Allamagna),  a 
German  painter,  who  practised  at  Genoa  in  the 
15th  century.  He  painted  in  fresco  an  'Annunci- 
ation' in  a  cloister  of  Snnta  Maria  di  Castello,  in 
1451  ;  Lanzi  considers  it  a  precious  picture  of  its 
sort,  finished  in  the  manner  of  the  miniaturists, 
and  apparently  the  precursor  of  the  style  of 
Albrecht  Diirer.  Justus  d'Alemanno  is  not  the 
same  as  Justus  of  Ghent,  as  some  writers  have 
supposed. 

ALEMANNO,  Pieteo,  a  painter  of  Ascoli  in  the 
latter  part  of  the  16th  century,  was  a  pupU  of  Carlo 
Crivelli.  Several  of  the  churches  of  Ascoli  possess 
paintings  by  him,  but  they  show  little  ability  either 
in  drawing  or  colour.  The  church  of  Santa  Maria 
della  Carita  has  an,  altar-piece  by  him  dated  1489, 
representing  the  'Virgin  and  Child  between  SS. 
Michael,  Blaise,  Jerome,  and  Nicholas ; '  and  in  the 
collection  of  the  late  Mr.  Barker  of  London  was  a 
'  Virgin  and  Child,  enthroned.'  No  exact  inform- 
ation can  be  given  of  the  dates  of  his  birth  or 
death. 
ALEMANS.  See  Hallemans. 
ALEN,  Jan  van,  a  Dutch  painter,  was  born 
at  Amsterdam  in  1651.  He  was  an  imitator  of 
Melchior  Hondekoeter,  and  his  pictures,  like  those 
of  that  master,  represent  fowls,  landscapes,  and 
still-life.  Though  inferior  to  Hondekoeter,  he 
painted  those  objects  with  great  fidelity.  He 
also  imitated  other  masters  of  the  period  with  so 
much  success  that  his  copies  have  often  passed 
for  originals.     He  died  in  1698. 

ALENI,  ToMMASO  DB,  called  II  Fading,  was 
born  at  Cremona,  and,  according  to  Orlandi,  was 
a  disciple  of  Galeazzo  Campi.  He  was  also 
influenced  by  the  works  of  Perugino.  He  painted 
history  in  the  style  of  his  instructor,  and  his  works 
in  San  Domenico,  at  Cremona,  where  he  was  em- 
ployed with  Campi,  are  so  much  in  the  manner  of 
that  master  that  it  is  difficult  to  distinguish  them. 
Neither  the  date  of  Aleni's  birth  nor  that  of  his 
death  is  known.  Orlandi  says  he  was  bom  in 
1500,  but  a  picture  signed  by  him  bears  that  date. 
It  is  a  '  Madonna  and  Child  with  Saints,'  in  the 
Bignani  CoUeotion,  Castel  Maggiore.  Another,  a 
c 


'Nativity,'  signed  and  dated  1515,  formerly  in 
the  church  of  San  Domenico,  is  in  the  town-hall 
of  Cremona. 

ALENZA,  Lbonabdo,  a  Spanish  painter  and 
etcher,  was  born  at  Madrid  in  1807.  He  studied 
art  under  Juan  Rivera  and  Jos4  de  Madrazo,  and 
became  a  good  portrait  painter,  but  was  more 
especially  famous  for  his  pictures  of  the  habits  of 
the  lower  classes.  He  became  a  member  of  the 
Academy  of  Madrid  in  1842  ;  and  died  there  three 
years  later. 

ALEOTTI,  Antonio,  a  Ferrarese  painter,  who 
flourished  at  the  end  of  the  16th  century,  was  a 
native  of  Argenta.  He  is  probably  identical  with 
Antonio  dalP  Argento,  wlio  lived  in  1496,  and 
painted  the  frescoes  in  the  Chiesa  della  Morte  in 
Ferrara. 

ALESIO,  Matted  Peeez  de,  called  by  Baglione 
Matted  da  Lecoio.  This  painter  was  born  in 
1547,  and  studied  under  Michelangelo.  He  was 
a  Roman  by  birth,  but  he  is  chiefly  known  by 
the  works  he  executed  in  Spain,  whither,  in 
1583,  he  had  been  induced  to  migrate  by  the 
liberal  protection  bestowed  on  art  by  Philip 
II.  It  does  not,  however,  appear  that  he  went 
thither  by  the  invitation  of  the  king,  or  that  he 
was  employed  by  that  monarch  in  tlie  Escurial. 
His  principal  works  are  his  fresco  paintings  in 
the  churches  at  Seville.  His  manner  of  designing 
partakes  of  the  grandeur  of  Michelangelo.  The 
most  remarkable  performance  of  Alesio  is  a 
colossal  picture,  painted  in  fresco,  in  1584,  in 
the  cathedral  at  Seville,  representing  St.  Chris- 
topher carrying  the  Infant  Saviour  on  his  shoulder. 
It  is  of  prodigious  dimensions,  the  figure  of  St. 
Christophet  being  nearly  forty  feet  high.  Palo- 
mino speaks  of  this  enormous  production  in  very 
high  terms.  He  painted  in  1687  the  same  sub- 
ject for  the  church  of  San  Miguel,  and  he  also 
painted  in  other  public  edifices  at  Seville.  After 
residing  some  years  in  Spain,  he  is  said  to  have 
quitted  it  on  account  of  the  preference  given  to 
the  works  of  Luis  de  Vargas,  whose  superiority 
the  candour  of  Alesio  induced  him  to  be  one  of 
the  first  to  acknowledge.  Palomino  says  that  Alesio 
returned  to  Rome  and  died  there  about  the  year 
1600.  Baglione,  on  the  other  hand,  tells  us  that, 
after  having  acquired  great  riches  in  the  West 
Indies,  he  died  tliere  in  poverty. 

ALESSANDRI,  Innocbnte,  an  Italian  engraver, 
was  born  at  Venice  about  the  year  1740,  and  was 
instructed  by  F.  Bartolozzi,  before  that  artist  left 
Italy.-  He  has  executed  several  prints  in  line, 
aquatint,  and  chalk,  among  which  are  the  fol- 
lowing : 

Four  prints,  representing  Astronomy,  Geometry,  Music, 
and  Painting ;  after  Domenico  Maggiotto. 

The  Virgin  Mary,  with  the  guardian  angel  and  the 
souls  in  Purgatory ;  after  Set.  Ricei. 

The  Virgin  Mary  with  a  glory  of  angels ;  after  Pim- 


The  Anuunoiatipu ;  after  F.  le  Maine. 

The  Flight  into  Egypt ;  after  the  same. 

Two  Landscapes ;  after  Marco  Micci. 

Two  series  of  Twelve  Landscapes ;  after  the  same, 

ALESSANDRINO.   See  Magnasco,  Alessandko. 

ALESSANDRO  and  JULIO,  two  painters  of 
Italian  origin,  of  whom  little  is  known,  were  sup- 
posed to  have  been  brothers  and  fellow-pupils 
under  Giovanni  da  Udine.  In  the  eaily  part  of 
the  16th  century,  they  painted  in  the  Alhambra, 
Granada,  and  elsewhere  in  Spain,  frescoes  in  the 

17 


Alesson 


A  BIOGRAPHICAL  DICTIONARY  OF 


Algardi 


manner  of  Raphael,  which  had  much  influence"  on 
the  style  of  art  in  Andalusia. 

ALESSON.  See  Ekemann-Albsson. 
ALEWIJN,  Jak,  an  amateur  painter,  who  made 
many  drawings  after  the  pictures  of  the  old  masters. 
He  resided  at  Amsterdam  and  at  Utrecht,  where 
he  died  in  1839.  He  had  a  son  named  Diek,  a 
landscape  painter,  who  was  born  at  Amsterdam  in 
1800,  and  died  there  in  1842. 

ALEXANDER,  John.     This  painter  and  etcher, 
a  descendant  of  George  Jsimesone,  was  a  native 
of  Scotland.      He   went  to  Italy  and  studied  in 
Florence  ;  he  practised  engraving  at  Rome  about 
tlie  year  1718.    His  prints  are  slight  etcliings,  prin- 
cipally after  Raphael,  not  very  correctly  drawn, 
and  but  very  indifferently  executed.      He  returned 
to  Scotland  in  1720,  and  painted  several  historical 
pictures.     On  the  staircase  of  Gordon  Castle  is 
the  '  Rape  of  Proserpine '  by  him.    Alexander  died 
about  the  middle  of  the  18th  century.      He  en- 
graved a  portrait  of  George  Jamesone,  and  six 
plates  after  the  frescoes  of  Raphael  in  the  Vatican. 
ALEXANDER,    William,   an  English  water- 
colour  draughtsman,  was  bom  at  Maidstone   in 
1767.     He  accompanied  Lord  Macartney  to  China, 
and  made  drawings  of  the  scenery  and  customs 
of  tliat  country  to  illustrate  Sir  George  Staunton's 
'  Historical  Account  of  the  Embassy.'      He  also 
published  a  work  on  the  Costume  of  China,  and 
another  on  the  Punishments  of  China.     In  1802 
he  was  made  teacher  of   drawing  at  the  Royal 
Military  College  at  Great  Marlow  ;  and  afterwards, 
in  1808,  assistant-keeper  of  the  antiquities  in  the 
British  Museum,  in  which  capacity  he  had  charge 
of  the  collection  of  prints  and  drawings.    He  like- 
wise made  the  drawings  for  the  earlier  volumes  of 
the  '  Descriptions  of  Ancient  Marbles  and  Terra- 
cottas in  the  British  Museum.'     His  designs  for 
Britten's    'Architectural  Antiquities,'   and   other 
publications,   show  considerable  talent.      Several 
of  his  water-colour  drawings  may  be  seen  in  the 
South  Kensington  Museum.     He  died  in  1816. 
ALEXEIEFF.     See  Aleksyeev. 
ALPANI,  DoMENioo  (di  Paris),  a  native  of  Pe- 
rugia, andscliolarof  Perugino,  was  born,  according 
to  Pascoli,  in  1483  ;  but  all  we  know  for  certain  is 
that  his  birth  took  place  in  the  last  quarter  of  the 
15th  century.     Tlie  earliest  work  known  by  him 
is  a  '  Madonna  and  Child  with  SS.  Gregory  and 
Nicholas,'  dated  1618,  in  the  Collegio  Gregoriano, 
at  Perugia.    His  works  bear  a  great  resemblance  to 
those  of  Raphael,  and,  were  it  not  for  the  delicacy 
of  the  colouring,  they  might  be  assigned  to  his 
school.     His  reputation   has   been  somewhat  in- 
jured by  that  of  his  son  Orazio  ;  and  even  in  Pe- 
rugia some  fine  paintings  were  long  considered  to 
be  by  Orazio,  which  have  since  been  restored  to 
Domenico.     The  difficulty  of  discriminating  their 
works  is  increased  by  their  having  painted  several 
altar-pieces  in  conjunction ;   particularly  that  at 
the  church  of  the  Conventuals  at  Perugia,  which 
is  mentioned  byMariotti.  'A  Holy  Family'  in  the 
tribune  of  the  Uffizi  is  attributed  by  some  to  the 
father,  by  others  to  the  son.    Doinenioo  painted — 
in  conjunction  with  his  son — a  '  Crucifixion'  for  San 
Francesco  at  Perugia,  in  1553,  in  which  year  he 
is  supposed  to  have  died. 

ALFANI,  Orazio  (di  Paris,  or  more  properly, 
DI  Domenico),  was  bom  at  Perugia  about  the  year 
1510.  He  was  a  scholar  of  his  father,  and  studied 
the  works  of  Raphael,  whose  graceful  manner  he 
imitated  with  such  success,  that  some  of  his  best 
18 


pictures  have  been  mistaken  for  the  early  pro- 
ductions of  that  master.     Orazio  is  celebrated  as 
having  been  the  first  president  of  the  Academy  of 
Perugia,  which  was  founded  in  1573.     He  died  in 
Rome  in  1683.     A  'Holy  Family,'  said  to  be  by 
him,  is  in  the  Uffizi,  and  there  is  in  the  Louvre  a 
'  Marriage  of  St.  Catherine,'  dated  1548,  which  is 
attributed  to  him. 
ALFARO,  Arteaga  t.     See  Artbaga. 
ALFARO  Y  GAMEZ,  Juan  db,  a  Spanish  painter, 
was  born  at  Cordova,  in  1640.     He  was  first  a 
scholar  of  Antonio  del  Castillo,  but  finished  his 
studies  at  Madrid  under  Velazquez,  whose  manner 
he   followed,    particularly  in  his   portraits.     He 
knew  very  little  of  design,  but  was  a  good  colour- 
ist,  having  been  employed  by  Velazquez  in  copy- 
ing the  works  of  Titian,  Rubens,  and  Van  Dijck. 
In  the  church  of  the  Carmelites  is  a  fine  picture, 
byAlfaro,  of  the  'Incarnation  ;'  and  in  the  church 
of  the  Imperial  College  at  Madrid  is  his  celebrated 
picture  of  the  '  Guardian  Angel.'    Palomino  relates 
a  story  which  proves  that  he  possessed  more  vanity 
than  skill.    Being  employed  to  paint  subjects  from 
the  life  of  St.  Francis  for  the  cloister  of  the  convent 
of  that  name,  he  took  them  from  prints,  but  had 
the  folly  to  put  to  each  of  them  Alfaro  pinxif. 
His  first  master,  Castillo,  to  chastise  his  vanity, 
obtained  permission  to  paint  one,  and  placed  at 
the  bottom  non  pinodt  Alfaro,  which  passed  into 
a  proverb.     He  was  fond  of  travelling,  was  well 
versed  in  literature,  wrote  poetry,  and  some  inter- 
esting notes  on  the  lives  of  Becerra,  Cespedes,  and 
Velazquez.     He  painted  the  portrait  of  Culderon, 
which  was  placed  over  the  tomb  of  the  poet  in  the 
church  of  San  Salvador  at  Madrid.     His  conduct 
towards  his  patron,  the  Admiral  of  Castille,  has 
left  a  greater  stain  on  his  memory  than  even  his 
vanity.     He  forsook   the   admiral   when  he  was 
banished,  and  meanly  solicited  his  patronage  when 
recalled  :  the  repulse  he  received  produced  melan- 
choly, and  caused  his  death,  which  took  place  in 
Madrid  in  1680. 

ALPIANO,  Epifanio  d',  a  monk  of  San  Salvi, 
at  Vallombroso  in  Tuscany,  is  mentioned  by 
Heinecken  as  a  lover  of  the  arts,  who  amused  him- 
self with  engraving.  He  engraved  a  set  of  plates 
of  festivals  and  decorations,  dated  1592 ;  and  in 
1607  a  book  of  writing,  in  which  he  styles  himself 
'  Priore  dello  Spirito  Santo  di  Firenze.' 

ALFON,  Juan,  bom  at  Toledo,  painted,  in  1418, 
several  altar-screens  for  the  cathedral  of  that  city, 
which  are  still  preserved. 

ALFORiE,  Niccol6  Guglielmo.  This  engraver, 
of  whom  little  is  known,  was  a  native  of  Lorraine, 
but  resided  at  Rome.  There  is  a  set  of  twelve 
small  upright  prints  of  flowers  by  him,  which,  " 
although  not  very  delicately  executed,  are  done 
in  a  masterly  style  and  with  great  spirit.  They 
are  inscribed  Nicholaus  Gulielmus  Alform 
Loiharingusfedt,  Eomoe. 

ALGARDI,  Alessandeo.  This  eminent  artist 
distinguished  himself  as  an  architect,  sculptor,  and 
engraver.  He  was  born  at  Bologna  in  1602,  and 
was  educated  under  Giulio  Cesare  Conventi.  As 
an  engraver  the  few  plates  we  have  by  him  are 
executed  in  a  free,  bold,  and  open  manner, 
in  the  style  of  Agostino  Carracci.  He  died 
in  1654.  He  generally  marked  his  plates 
with  this  monogram : 

The  following  are  attributed  to  him  : 

The  Crucifixion ;  a  large  upright  plate. 

The  Souls  dehvered  from  Purgatory;  oval. 


i 


Algarotti 


PAINTERS  AND  ENGRAVERS. 


Aiken 


A  Blind  Beggar  and  his  dog;  after  Carraoei. 
The  Cries  of  Bologna,  after  Annibale  Garracci,  in  eighty 
plates,  engraved  by  Algardi,  in  conjimction  with 

Simon  Guillain. 

ALGAROTTI,  Conte  Fbancesco,  was  bom  at 
Venice  in  1712.  This  eminent  writer  was  con- 
sidered one  of  the  greatest  connoisseurs  in  Europe 
in  painting,  sculpture,  and  architecture.  He  de- 
signed and  etched  for  his  amusement  several 
groups  of  heads,  one  of  which,  containing  thirteen 
heads,  in  the  style  of  the  antique,  is  dated  1744. 
The  best  edition  of  his  works  on  art  was  published 
at  Venice  in  1791-94.     He  died  at  Pisa  in  1764. 

ALGHISI.     See  Galassi. 

ALIAMET,  Franqois-Gebmain,  younger  brother 
of  Jean  Jacques,  was  bom  at  Abbeville,  in  1784. 
After  having  learned  engraving  at  Paris,  he  came 
to  London,  and  worked  for  some  time  under  Sir 
Robert  Strange.  His  works  are  considered  ifl- 
ferior  to  those  of  his  brother.  He  died  in  1790. 
He  engraved  several  portraits,  and  historical  sub- 
jects, of  which  the  following  are  the  principal : 

Mrs.  Pritchard,  in  the  character  of  Hermione;   after 

Fine. 
The  Flattery  of  the  Courtiers  of  Canute  reproved; 

after  Fine. 
The   Adoration    of   the    Shepherds;    after    Annibale 

Carracci. 
The  Circumcision ;  after  Gtiido. 
The  Annunciation ;  after  Le  Maine. 
St.  Ignatius  kneeling ;  after  the  same. 
The  Stoning  of  Stephen ;  after  Le  Sueur. 
A  Sacrifice  to  Pan ;  after  A.  Sacehi. 
The  Surrender  of  Calais  to  Edward  III.;  after  Fine. 
The  Bathers ;  after  Watteau. 

ALIAMET,  Jean  Jacques,  a  clever  French 
engraver,  was  born  at  Abbeville  in  1726.  He 
was  a  pupil  of  J.  P.  le  Bas,  and  was  first  em- 
ployed in  vignettes  for  the  booksellers,  but  he 
soon  attempted  more  important  works,  and  dis- 
tinguished himself  by  some  plates  he  engraved 
from  the  pictures  of  Joseph  Vemet.  He  princi- 
pally excelled  in  landscapes  and  sea-pieces,  and 
was  one  of  the  eight  engravers  who  executed  the 
series  of  '  Batailles  de  la  Chine '  for  the  Emperor 
of  China  in  the  years  1765  to  1774.  His  style  of 
engraving  was  very  neat;  he  worked  with  the 
graver  and  dry  point,  expressed  the  various 
degrees  of  colour  well,  and  carefully  avoided  any 
exaggeration  of  shadow.  He  died  in  Paris  in 
1788.    The  following  are  among  his  best  prints  : 

A  Landscape,  with  figures  and  cattle ;  after  Berohem. 

The  Port  of  Genoa ;  after  the  same. 

A  Landscape,  with  a  stag-hunt ;  after  the  earn 

The  Female  Villagers ;  after  the  same 

The  Village  Pleasures ;  after  the  same. 

The  Spanish  Halt ;  after  Wouwerman. 

A  Guard  of  Uhlans ;  after  the  same.  • 

The  Moon  rising ;  after  A.  van  der  Neer. 

A  View  of  Boom,  by  moonlight ;  after  iht  tame. 

The  Amusements  of  Winter ;  after  A.  van  de  Velde, 

A  Storm ;  after  Joseph  Vernet. 

A  Fog ;  after  the  same. 

A  Fire  in  a  Sea-port  by  Night ;  after  the  same. 

Two  Sea-pieces — The    Fishermen,  and    Eetum   from 

Fishing ;  after  the  same 
Four— The  Four  Times  of  the  Day ;  aft^  the  same. 
Two  plates  of  the  Witches'  Meetings ;  after  Teniers, 
The  Birth  of  Venus ;  after  Jeaurat. 

ALIBERTI,  Giovanni  Carlo,  a  Piedmontese 
painter,  was  bom  at  Asti,  in  1680.  It  is  not  stated 
under  whom  he  studied  ;  but,  according  to  Lanzi, 
he  executed  several  considerable  works  in  fresco 
in  the  churches  of  his  native  city.  He  painted  the 
ceiling  of  the  church  of  Sant'  Agostino,  represent- 
ing that  saint  taken  up  into  heaven  surrounded  by 
c2 


angels  ;  and  in  the  choir  of  the  same  church,  a 
picture  of  St.  Augustine  baptizing  a  number  of 
children,  and  other  figures.  The  composition  is 
ingenious,  with  a  fine  expression  in  the  heads,  and 
embeUished  with  architecture.  He  died  about 
the  year  1740.  His  style  consists  of  a  mixture 
of  Maratti,  of  Giovanni  da  San  Giovanni,  and 
of  Correggio  ;  heads  and  feet  that  might  be  attri- 
buted to  Guido  or  Domenichino ;  forms  peculiar 
to  the  Carracci,  drapery  of  Paolo  Veronese,  and 
colours  of  Guercino. 

ALIBRANDO,  Gieolamo,  a  Sicilian  painter, 
called  'the  Raphael  of  Messina,' was  born  in  1470, 
and  received  his  first  instruction  in  the  school 
of  the  Antonj.  The  fame  which  Antonello  da 
Messina,  his  countryman,  had  acquired  in  Venice, 
induced  him  to  visit  that  city,  and  he  there  re- 
ceived, for  a  short  time,  instruction  from  Anto- 
nello. He  also  enjoyed  the  friendship  of  Gior- 
gione.  He  afterwards  went  to  Milan,  where  he 
became  a  disciple  of  Leonardo  da  Vinci.  He 
then  went  to  Rome  and  studied  the  antique,  and 
the  works  of  Raphael ;  from  Rome  he  went  to 
Parma,  and  thence  back  to  Messina,  which  town 
possesses  his  best  works,  the  most  important  of 
which  was  a  large  picture  of  the  '  Presentation  in 
the  Temple,' painted  in  1519,  for  the  Chiesa  della 
Candelora,  It  was  in  existence  in  the  early  part 
of  the  century,  but  is  now  no  longer  to  be  found. 
Alibrando  died  of  the  plague  in  1624  at  Messina. 

ALIBNSE,  L'.     See  Vassilacchi. 

ALIGHIERI,  Giovanni,  a  monk  who  flourished 
in  Ferrara  about  1195,  painted  miniatures  in  the 
codex  of  Virgil  in  the  possession  of  the  Carmel- 
ites in  that  city. 

ALIGNY,    See  Caeuellb  d'Aligny. 

ALIPRANDI,  Michelangelo,  a  painter  of 
Verona,  flourished  from  about  1560  to  1582.  He 
was  an  imitator,  if  not  a  pupil,  of  Paolo  Veronese, 
and  executed  after  the  niamaer  of  that  master  an 
altar-piece — the  'Madonna  and  Child  between  St. 
Roch  and  St.  Sebastian'  — in  the  church  of  SS. 
Nazaro  e  Celso,  at  Verona,  where  it  is  still  pre- 
served. Many  of  the  works  which  Aliprandi 
painted  in  and  around  his  native  city  have  un- 
fortunately perished. 

ALIX,  Jean,  a  French  painter  and  engraver, 
born  in  Paris  in  1615,  was  a  scholar  of  Phillippe 
de  Champagne,  some  of  whose  paintings  he  en- 
graved in  the  style  of  Morin,  but  as  a  painter  we 
have  no  account  of  his  woiks.  There  is  an  etch- 
ing by  him,  of  a  '  Holy  Family,'  after  Raphael, 
executed  in  a  very  light  and  pleasing  style. 

ALIX,  PiEBEE  Michel,  born  at  Honfleur,  in 
1752,  was  a  scholar  of  Le  Bas.  He  engraved 
in  line  and  executed  in  aquatint  a  set  of  por- 
traits of  eminent  men,  which  were  printed  in 
colours,  as  well  as  a  large  portrait  of  Napoleon 
in  his  coronation  robes.  He  died  in  Paris  in  1817. 
In  Meyer's  '  Kiinstler-Lexikon '  is  a  list  of  104  of 
his  plates^historical  pieces  and  portraits  after 
various  painters. 

ALKEN,  Hbnet,  a  well-known  painter  and  en- 
graver of  sporting  subjects,  published,  in  1816, 
'  The  Beauties  and  Defects  of  the  Horse  ; '  in  1821, 
'National  Sports  of  Great  Britain,'  with  fifty 
coloured  plates,  and  in  succeeding  years,  several 
similar  works.  He  also  published  in  1849,  'The 
Art  and  Practice  of  Etching,'  and  in  1869,  '  Jor- 
rock's  Jaunts  and  Jollities.' 

ALKEN,  Samuel,  worked  in  London  as  an 
engraver  in  aquatint  towards  the  close  of  the  18th 

19 


-AUais 


A  3I0GRAPHICAL  DICTIONARY  OF 


Allai;. 


century.  He  chiefly  produced  illustrations  for 
topographical  works — such  as  '  Views  in  Cumber- 
land and  Westmoreland,'  in  1796,  and  '  Views  in 
North  Wales,'  in  1798. 

ALLAIS,  Jean  Alexandre,  the  son  of  artistic 
parents,  was  born  in  Paris  in  1792.  His  father, 
Louis  Jean  Allais  (1762—1833),  was  an  engraver 
of  merit,  and  his  mother,  nee  Brioeau,  practised  the 
same  art.  Jean- Alexandre  studied  under  David, 
Urbain,  Massard,  and  Fosseyeux,  and  soon  became 
famous  for  his  prints,  which  were  for  the  most 
part  executed  in  aquatint.  He  engraved  chiefly 
after  the  works  of  Schoppin,  Jacquand,  Fragonard, 
Dubufe,  and  Leonardo  da  Vinci.  AUais  died  in 
Paris  in  1850. 

ALLAMAGNA.     See  Alemanno,  Justus  d'. 

ALLAN,  David,  a  Scotch  painter,  was  born  at 
Alloa,  in  1744.  He  received  the  rudiments  of  his  art 
in  the  Academy  at  Glasgow,  founded  by  Robert  and 
Andrew  Foulis,  the  printers.  He  went  to  Italy  in 
1764,  to  pursue  his  studies,  and  gained  in  1773  at 
Rome  the  prize  medal,  given  by  tlie  Academy  of 
St.  Luke  for  the  best  historical  composition,  by  his 
'  Corinthian  Maid  drawing  the  shadow  of  her  lover.' 
He  resided  there  for  nearly  fourteen  years,  and 
painted  landscapes  in  the  style  of  Gaspar  Poussin. 
He  returned  in  1777,  and  supported  himself  by 
portrait  painting  in  London  until  1780,  soon  after 
which  he  settled  in  Edinburgh,  where  be  was  made, 
in  1786,  master  of  the  Academy.  He  died  near 
Edinburgh  in  1796.  Allan  is  sometimes  called  the 
'  Hogarth  of  Scotland.'  He  made  in  1787  four 
humorous  drawings  of  the  Sports  of  the  Carnival 
at  Rome,  which  were  engraved  by  Paul  Sandby. 
He  also"  designed  and  engraved  a  series  of  illustra- 
tions to  Allan  Ramsay's  'Gentle  Shepherd,'  pub- 
lished in  1788,  and  etched  some  plates  for  the 
'  Songs  of  the  Lowlands  of  Scotland,'  published 
in  1798.  David  Allan's  portrait,  by  himself,  is  in 
the  Scottish  National  Gallery. 

ALLAN,  Sir  William,  was  born  in  Edinburgh, 
in  1782,  and  was  in  the  first  instance  apprenticed 
to  a  coach  painter,  but  afterwards  studied  some 
years  at  the  'Trustees'  Academy  in  the  above-named 
city,  where  he  was  the  fellow-student  of  David 
Wilisie,  and  John  Burnet  the  engraver.  Allan  was 
the  first  of  the  triumvirate  to  make  his  way  to  Lon- 
don. He  began  by  taking  Opie  for  his  model, 
imitating  him  very  closely  in  a  picture,  called  '  A 
Gipsy  Boy  and  Ass,'  which  was  exhibited  at  the 
Royal  Academy  in  1805.  In  this  year,  disnp- 
pointed  of  the  success  he  had  looked  for  in  the 
metropolis,  he  went  to  St.  Petersburg,  where, 
through  the  kind  offices  of  Sir  Alexander  Crichton, 
then  physician  to  the  imperial  fiimily,  he  met. 
with  considerable  patronage  as  a  portrait  painter. 
He  afterwards  visited  the  interior  of  Russia, 
Tartary,  and  Turkey,  where  he  collected  materials 
for  many  original  and  characteristic  works,  which 
he  afterwards  painted,  illustrative  of  the  scenery 
and  customs  of  eastern  Europe.  In  1809  he  sent 
a  picture  to  the  Royal  Academy  called  '  Russian 
Peasants  keeping  their  Holiday,'  but  this  did  not 
attract  much  attention  ;  and  he  did  not  again  con- 
tribute to  the  Exhibition  for  the  next  six  years. 
In  1814  he  returned  to  London,  and  in  1816 
exhibited  his  picture  of  '  Circassian  Captives,' 
now  in  the  possession  of  the  Earl  of  Wemyss. 
This  was  followed  by  '  A  Circassian  Chief  selling 
to  a  Turkish  Pasha  captives  of  a  neighbouring- 
tribe  taken  in  war,'  and  others '  of  similar  scenes 
which  the  artist  had  witnessed  in  his  travels. 

20 


But  these  productions  did  not  sell  at  the  time 
(some  of  them  are  now  in  the  possession  of  the 
Emperor  of  Russia),  and  the  artist  was  so  dis- 
heartened that  he  talked  of  retiring  to  the  wilds 
of  Circassia,  when  Sir  Walter  Scott  stepped  in, 
and  started  a  lottery  of  one  hundred  subscribers 
of  ten  guineas  each  for  the  last-named  picture, 
which,  although  the  list  was  not  entirely  filled, 
put  a  considerable  sum  into  Allan's  pocket.  This 
happy  circumstance  caused  him  to  alter  his  views, 
and  remain  at  home,  enjoying  the  patronage  of 
such  fiends  as  the  great  novelist  introduced  to 
him.  He  now,  with  the  sole  excention  of  a 
picture  of  '  Tartar  Robbers  dividing  their  Spoil,' 
adopted  a  class  of  subjects  wholly  different  from 
those  he  had  attempted  before  ;  as,  'A  Press  Gang,' 
'  The  Parting  between  Prince  Charles  Stuart  and 
Flora  Maodonald  at  Portree,'  and  '  Jeannie  Deans's 
first  Interview  with  her  Father  after  his  return 
from  London;'  he,  however,  still  made  but  little 
progress  in  public  favour,  and  again  he  was 
almost  giving  way  to  despair,  when  his  sketch  of 
'  The  Murder  of  Archbishop  Sharp  on  Magus 
Muir,'  so  admirably  described  in  '  Old  Mortality,' 
attracted  the  notice  of  Sir  Walter  Scott,  who  en- 
couraged him  to  make  a  picture  of  it,  which  was 
purchased  by  Mr.  Lockbart,  and,beingengraved,wa3 
published  with  much  success.  Allan  now  resolved 
to  devote  himself  entirely  to  subjects  of  Scottish 
history ;  and  his  next  work  of  consequence  was 
'  John  Knox  admonishing  Mary  Queen  of  Scots 
on  the  day  when  her  intention  to  marry  Dainley 
had  been  made  public,'  exhibited  at  the  Royal 
Academy  in  1823,  and  well  known  by  the  fine  en- 
graving of  it  by  Burnet.  This  was  followed  in 
1824  by  '  Sir  Patrick  Lindesey  of  the  Byres  and 
Lord  William  Ruthven  compelling  Mary  Queen  of 
Soots  to  sign  her  abdication,'  and  in  1825  by  'The 
Regent  Murray  shot  by  Hamilton  of  Bothwell- 
haugh,'  which  was  exhibited  at  the  Royal  Academy, 
and  bought  by  the  Duke  of  Bedford  for  800  guineas. 
This  picture  procured  Allan's  election  as  an  Asso- 
ciate of  the  Aciidemy.  The  works  which  next 
followed  from  his  pencil  were  of  unequal  merit. 
Amongst  the  best  were,  in  1831,  '  Lord  Byron 
reposing  in  the  house  of  a  Turkish  Fisherman, 
after  swimming  across  the  Hellespont,'  and  a 
'  Portrait  of  Sir  Walter  Scott  sitting  in  his  study 
reading  the  proclamation  of  Mary  Queen  of  Scots 
previously  to  her  marriage  with  Darnley '  (en- 
graved by  Burnet).  In  1833  ne  produced  a 
picture  entitled  '  The  Orphan,'  and  representing 
Anne  Scott  seated  on  the  floor  near  her  father's 
chair  at  Abbotsford.  This  was  bought  by  Queen 
Adelaide,  and  is  now  in  the  Royal  Collection  at 
Buckingham  Palace.  Allan  paid  a  second  visitto  the 
Continent  in  1830,  and  in  1834  visited  Spain.  His 
piqture  called  '  The  Moorish  Love  Letter,'  and 
other  characteristic  productions  now  exhibited, 
secured  his  promotion  to  the  rank  of  Royal  Acade- 
mician in  1835.  In  1838  he  was  chosen  to  fill  the 
presidential  chair  of  the  Royal  Scottish  Academy, 
rendered  vacant  by  the  death  of  George  Watson ; 
and  in  1841  he  succeeded  Sir  David  Wilkie  as 
Limner  to  the  Queen  for  Scotland,  an  office  which 
entitles  the  holder  to  the  honour  of  knighthood, 
and  a  small  salary.  In  1843  Sir  William  Allan 
exhibited  at  the  Royal  Academy  his  picture  of 
'The  Battle  of  Waterloo,'  which  was  purchased 
by  the  late  Duke  of  Wellington.  He  exhibited 
another  and  larger  picture  of  the  same  subject 
at  the    Fine   Arts   competition   in  Westminster 


AUard 


PAINTERS  AND  EN(iRAVEES. 


AUegri 


Hall  in  1843,  which,  however,  to  his  great  dis- 
appointment, found  no  purchaser.  In  the  former 
picture  Napoleon  is  the  principal  figure  in  the 
foreground  ;  in  the  latter  the  Duke  of  Welling- 
ton. In  1844  he  revisited  St.  Petersburg,  and, 
on  his  return,  painted  for  the  Emperor  Nicholas 
a  picture  of  'Peter  the  Great  teaching  hia  sub- 
jects the  Art  of  Ship-building,'  which  was  ex- 
hibited in  London  in  1845,  and  is  now  in  the 
Winter  Palace  at  St.  Petersburg.  Sir  William 
died  in  his  painting-room  at  Edinburgh  before  a 
large  unfinished  picture  of  '  Tiie  Battle  of  Ban- 
nookburn,'  in  1850.  This  picture  is  now  in  the 
National  Gallery  of  Scotland.  Besides  liis  other 
titles,  he  held  those  of  Honorary  Member  of  the 
Academicians  of  New  York  and  Philadelphia.  His 
excellence  as  a  painter  consisted  chiefly  in  con- 
siderable dramatic  power  in  telling  a  story,  and  in 
skiKul  composition.  As  a  colourist  he  was  deficient. 
In  the  National  Gallery  is  a  single  example  of  his 
pencil,  '  Tartar  Eobbers  dividing  their  Spoil,' 
which  was  painted  in  1817  (Vernon  Collection), 
and  whioli  has  been  engraved  by  J.  Stewart,  and 
by  J.  T.  Smyth. 

ALLARD,  Abraham,  an  engraver  and  print- 
seller.  There  are  twelve  views  of  'the  towns  of 
Friesland  engraved  by  this  artist;  and  in  the 
British  Museum  is  a  large  print,  representing 
the  Garden  of  Love,  entitled  Het  Ltist  Hof  van 
Flora  ;  partly  etched  and  finished  with  the  graver 
in  a  etifE,  clumsy  style,  inscribed^. .4 Z/ar<  cecinit. 
C- Allart  edit.  He  lived  at  Amsterdam  towards 
the  close  of  the  17th  and  the  beginning  of  the 
18th  century. 

ALLAKD,  Carel,  an  engraver  and  printseller, 
who  executed  a  number  of  mezzotint  portraits  of 
English  celebrities,  after  the  paintings  of  Lely. 
There  are  in  the  British  Museum  four  plates  of 
'The  Seasons,'  represented  in  half-length  figures, 
executed  in  a  coarse,  heavy  style,  without  any 
taste.  He  flourished  at  Amsterdam  toward  the 
'*  close  of  the  17th,  and  the  beginning  of  the  18th 
century. 

ALLARD,  HuiJCH,  a  Dutch  engraver,  flourished 
at  Amsterdam  in  the  latter  part  of  the  17th  century. 
By  him  we  have  '  The  Flight  of  King  James  after 
the  Battle  of  the  Boyne,'  \5%0  —  Hugo  Allard, 
fecit,  Garolus  Allard,  excudit — and  some  portraits, 
amongst  which  is  that  of  Adriaan  Pauw,  one  of 
the  negotiators  of  the  peace  of  Miinster. 

ALLARD,  Jean  Pieeee  Eugene,  a  French  his- 
torical and  portrait  painter,  was  born  at  Lyons  in 
1829.  He  studied  under  Flandrin  and  Jannot,  and 
afterwards  went  to  Rome,  where  h^was  assassin- 
ated in  his  studio  in  1864. 

ALLEGRAIN,   Btiennb,    a  French  landscape 
painter,  born  in  Paris  in  1644,  painted  works  which 
were  much  esteemed.    Two  landscapes  by  him  are 
in  the  Louvre — one  of  which  was  formerly  ascribed 
,         to  MiUet — and  several,  in  the  manner  of  Fran- 
oisque  Millet,  are  at  Versailles.    At  the  Hermitage 
at  St.  Petersburg  is  a  '  Landscape,  with  the  find- 
'■        ing  of  Moses.'     He  died  in  1736  in  Paris. 
"  ALLEGRAIN,  Gabbibl,  born  in  Paris  in  1679, 

f,  son  and  pupil  of  Btienne,  painted  in  the  manner 
J  of  his  father:  he  died  in  1748.  He  exhibited 
■  at  the  Salon  from  the  year  1737  to  1747,  missing 
'  a  year  occasionally.  TheTre  are  by  him  at  Ver- 
sailles views  of  the  gardens  of  Versailles,  of  the 
;;  chateau  of  St.  Germain-en-Laye,  and  of  the 
,;        chateau  of  Vincennes. 

ALLEGEI,  Antonio,    commonly    called    CoE- 


EEGGIO,  was  born,  according  to  his  Italian  bio- 
grapher Pungileoni,  in  the  year  1494,  in  the  small 
town  of  Correggio  near  Mantua.  His  father,  Pelle- 
grino  Allegri,  was  a  merchant,  or  tradesman  in 
comfortable  circumstances,  as  is  proved  by  his 
having  purchased  in  1616  a  olothiei-'s  business, 
and  also  by  his  having  farmed  for  nine  years  two 
estates  for  which  he  paid  150  gold  ducats  a  year. 
His  mother,  named  Bernardina  Piazzola,  belonged 
to  the  Ormani  or  Aromani  family,  and  brought  hei 
husband  a  dowry  of  100  lire. 

These  facts,  which  have  been  distinctly  ascer- 
tained, prove  that  Allegri  could  not  have  been 
brought  up  in  poverty,  nor  could  he,  as  was  at  one 
time  supposed,  have  belonged  to  a  noble  family 
of  the  name  of  De  Allegris,  who  possessed  a  castle 
and  estates  a  short  distance  from  Correggio.  He 
always,  it  would  appear,  lived  an  easy,  comfort- 
able bourgeois  life,  never,  it  is  true,  rising  to  the 
grandeur  and  sliow  of  some  of  the  other  great 
masters  of  the  Renaissance,  but  on  the  other  hand 
never  falling  into  that  dire  poverty  of  which 
Vasari  gives  such  a  moving  picture.  Vasari's 
narrative  indeed,  as  regards  Allegri,  has  long  been 
known  to  be  more  than  usually  inaccurate.  He 
possessed  little  real  knowledge  concerning  the 
distant  Lombard  master,  though  he  professed  a 
great  admiration  for  him  as  one  "  endowed  with 
exalted  genius,"  whose  works  he  praised  for  their 
"attractive  grace,  charming  manner,  perfect 
relief,  and  the  exquisite  softness  of  their  flesh- 
tints."  Nor  has  modern  research,  while  showing 
the  incorrectness  of  Vasari's  statements,  found 
out  much  concerning  the  personal  history  of  this 
channing  master,  who,  living  far  distant  from 
Rome  and  Florence,  the  great  centres  of  art  in  the 
16th  century,  remained  unknown  to  most  of  his 
renowned  contemporaries,  and  thus  probably  missed 
tbe  important  part  that  he  might  otherwise  have 
played  in  the  art  of  his  time. 

The  ascertained  facts  of  his  life,  stripped  of  all 
conjecture  and  tradition,  may  be  told  in  a  short 
space.  His  father,  Pellegrino,  destined  him,  it  is 
said,  for  a  learned  profession,  but  this  is  not  cer- 
tain. At  an  early  age,  however,  the  young  Allegri 
showed  an'  inclination  towards  painting,  which 
fact  does  not  appear  to  have  been  disputed. 
He  had  an  uncle,  named  Lorenzo,  an  indifferent 
painter  of  Correggio,  from  whom  he  probably  ac- 
quired the  first  rudiments  of  the  art  ;  but  after- 
wards there  is  reason  to  believe  that  he  studied 
under  a  master  named  Antonio  Bartolotti,  or 
Bartolozzi,  called  also  Toguino  degli  Ancini,  who 
in  1500  was  the  chief  master  or  Caposcuola  in 
Correggio.  Bulbarini,  in  his  Memorie  Patrie,  speaks 
of  this  painter  as  having  been  "  often  assisted  by 
his  pupil  Allegri ;  "  but  Dr.  Meyer  does  not  con- 
sider that  he  gained  anything  from  this  master 
'beyond  a  certain  technical  practice  in  tempera 
painting."  Unfortunately  only  two  of  Bartolotti's 
works  are  known,  and  they  prove  that  he  had  verj 
little  capacity. 

Mengs  is  of  opinion  that  Allegri  studied  in 
Modena  also,  under  two  masters  of  some  repute — 
Francesco  Bianchi,  called  '  11  Frare,'  and  Pelle- 
grino Munari — but  there  is  no  historical  evidence 
to  support  this  view  beyond  a  passage  in  Vedri- 
ani's  Pittore  Modenesi,  which  was  added  by  the 
publisher  at  a  later  date.  Bianchi  died  in  1510 
when  Allegri  was  only  sixteen,  so  it  is  not  likely 
that  he  derived  much  knowledge  from  him,  even 
if  we  admit  that  he  studied  in  Modena,  which 

21 


Allegri 


A  BIOGRAPHICAL  DICTIONARY  OF 


Allegri 


seems  unnecessary,  considering  that  an  esteemed 
master  like  Bartolotli  was  to  be  found  nearer 
home. 

But  whoever  w^ere  his  early  teachers  (and  other 
masters  besides  those  named  are  mentioned),  his 
style  seems  to  have  been  formed  chiefly  by  the 
study  of  Mantegna.  It  is  supposed  tliat  he  had  an 
opportunity  for  such  study,  for  it  is  said  he  went  to 
Mantua  in  1611,  at  a  time  when  the  plague  was 
raging  at  Correggio,  and  resided  there  for  some 
time.  Mantegna  himself  was  dead  at  this  time, 
but  at  the  impressionable  period  of  development 
such  a  revelation  as  that  of  Mantegna's  art  could 
scarcely  fail  to  have  a  great  influence  over  the 
style  of  a  youthful  artist,  and  Allegri's  study  of 
this  master  doubtless  led  to  that  intimate  know- 
ledge of  foreshortening  and  perspective  which  he 
exhibits  with  so  much  daring  in  his  great  works. 
Crowe  and  Cavalcaselle  imagine  also  that  he 
associated  with  Lorenzo  Costa  during  his  stay  in 
Mantua,  and  derived  from  him  something  of  his 
love  for  colour.  This  certainly  could  not  have 
been  gained  from  Mantegna,  whose  art  is  severely 
classic  and  sculpturesque;  but  Allegri's  use  of 
chiaroscuro,  his  exquisite  modelling,  and  his 
gracious  manner,  if  we  may  so  call  it,  bear  so 
much  closer  afSnity  to  Leonardo  da  Vinci  than  to 
any  other  master,  that  it  seems  almost  impossible 
to  doubt  that  in  some  way  or  another  he  also 
caught  inspiration  from  him. 

However  this  may  be,  it  is  certain  that  when 
he  came  back  to  Correggio,  at  about  the  age  of 
twenty-three,  his  fame  was  sufBoiently  established 
in  his  native  town  for  him  to  receive  a  commission 
for  an  important  altar-piece.  This  altar-piece, — his 
first  authentic  picture,- — painted  in  1514  for  the  con- 
vent of  San  Francesco  in  Correggio,  is  now  in  the 
Dresden  Gallery.  It  represents  the  Madonna 
enthroned,  with  St.  Francis  and  other  Saints,  and  is 
distinguished  by  a  more  solemn  religious  feeling 
than  is  observable  in  his  later  works.  After 
painting  several  other  altar-pieces  and  religious 
subjects  in  Correggio  he  received  a  commission 
from  the  lady  abbess  of  the  convent  of  San 
Paolo,  in  Parma,  to  decorate  her  nunnery  with 
paintings.  He  accordingly  went  to  Parma  in 
1518,  and  accomplished  that  lovely  series  of 
decorative  paintings  of  mythological  subjects 
that  are  now  reckoned  among  his  most  beautiful 
works,  although,  strange  to  say,  they  remained 
almost  unknown  for  nearly  two  centuries. 

On  his  return  to  Correggio  in  1519,  after  this,  his 
first  work  in  Parma,  Allegri  married  a  young  girl 
of  sixteen,  named  Girolama  Francesca,  daughter 
of  Bartolommeo  Merlini  de  Braghelis,  arm-bearer  to 
the  Marchese  of  Mantua.  She  brought  her  hus- 
band some  small  fortune,  and  before  this,  in  the 
same  year,  1519,  he  had  received  a  legacy  from 
his  maternal  uncle,  Francesco  Ormani,  of  a  house, 
several  acres  of  land,  and  other  property, ''  in  con- 
sideration of  important  services."  His  circum- 
stances therefore  could  not  have  been  straitened 
at  this  time,  although,  owing  to  lawsuits  and  other 
causes,  he  did  not  at  once  enter  upon  the  posses- 
sion either  of  his  own  or  his  wife's  property.  His 
eldest  son,  Pomponio,  was  born  on  the  3rd  of 
September,  1521,  in  Correggio,  the  learned  anato- 
mist Lombardi  standing  god-father  on  the  occasion 
of  the  christening. 

Allegri,  from  tlie  time  when  he  was  first  called 
to  Parma  in  1518,  appears  to  have  kept  up  a 
constant  intercourse  with  that  city,  and  after  the 

22 


birth  of  his  eldest  son  he  went  to  reside  there 
with  his  wife,  three  other  children  being  boin  to 
him  while  in  that  city.  "  We  have  no  trustworthy 
account,"  says  Dr.  Meyer,  "  of  the  paintings 
executed  by  Allegri,  partly  in  Parma  and  partly 
in  Correggio,  at  this  time."  They  were  mostly 
easel  pictures,  that  are  now  scattered  in  various 
galleries  and  are  extremely  difficult  to  identify, 
numerous  false  works  being  attributed  to  this 
time.  Among  the  genuine  ones,  however,  tlje 
'  Madonna  kneehng  in  worship  before  the  Divine 
Infant,'  in  the  UfSzi,  so  well  known  by  means  of 
engraving  and  constant  repetition,  the  '  Madonna 
della  Cesta,'  in  the  National  Gallery,  and  the 
'Zingarella,  or  Madonna  del  Cogniglio,'  at  Naples, 
are  generally  thought  to  belong  to  this  period, 
and  to  have  been  suggested  by  his  young  wife 
and  child.  In  1520  Allegri  received  a  commission 
for  a  far  larger  work  in  Parma  than  any  he  had 
hitherto  done.  This  was  the  painting  of  the 
cupola  of  the  church  of  San  Giovanni,  for  which 
he  entered  into  a  contract  with  the  Benedictines 
of  the  convent  of  San  Giovanni,  signed  on 
July  6th,  1520.  He  did  not,  however,  begin  the 
work  until  about  the  middle  of  1521,  and  he 
received  the  last  instalment  of  the  sum  paid  to 
him  for  it  on  the  23rd  of  January,  1524,  at  which 
date  we  may  conclude  that  this  splendid  work  was 
quite  finished,  for  in  a  document  still  extant,  and 
in  Allegri's  own  writing,  he  declares  himself  to 
have  received  "  full  payment  for  the  remainder  of 
the  works  completed  in  the  said  church,"  and  to 
be  "  pleased,  satisfied,  and  fully  paid."  The  ex- 
act amount  of  this  'full  payment'  is  somewhat 
difficult  to  determine,  although  the  various  suuis 
were  found  by  Pungileoni  to  have  been  all 
entered  in  the  convent  books.  These  amount, 
when  added  up,  to  272  ducats,  and  Dr.  Meyer  is 
of  opinion  that  Allegri  did  not  receive  more  than 
this  sniiill  sum  for  his  paintings  in  San  Giovanni. 
Other  authorities  make  it  up  to  472  ducats.  Some 
of  his  paintings  on  the  dome  of  San  Giovanni  are  '■ 
still  in  existence,  but  much  ruined  by  damp  and 
time.  Many  portions  are  scattered  in  galleries. 
Their  subject  is  the  '  Ascension  of  Christ  in  the 
midst  of  the  Apostles,'  a  subject  which  gives  full 
play  for  the  painter's  marvellous  powers.  The 
masterly  foreshortening  and  sense  of  movement, 
the  brilliancy  of  the  glowing  figures,  rising  as  it 
were  from  a  dark  background,  have  called  forth 
the  admiration  of  all  critics. 

Allegri's  next  important  work  in  Parma  was  the 
painting  the  dome  of  the  cathedial,  for  which  he 
received  the  'commission  in  1522,  though  he  did 
not  begin  the  work  till  a  later  date.  In  the  agree- 
ment it  is  specified  that  he  shall  receive  lOOO 
gold  ducats,  equal  to  about  £1500  of  our  present 
money ;  but  numerous  difiiculties  and  disagree- 
ments arose  between  the  chapter  of  the  cathe- 
dral and  the  painter,  and,  in  the  end,  the  latter  did 
not  finish  more  than  half  of  the  work  stipulated, 
nor  receive  more  than  half  the  payment.  After 
Allegri's  death,  indeed,  the  cathedral  laid  claim 
to  140  lire  from  his  heirs  on  account  of  some 
unfinished  works  in  the  choir. 

But  although,  as  it  would  seem,  Allegri  failed 
to  satisfy  the  cathedral  authorities,  h's  paintings 
in  the  dome  of  the  Cathedral  being  spoken  of 
disparagingly  by  contemporary  critics  as  a  "  mere 
hash  of  frogs,"  these  paintings  have  been  the 
wonder  and  delight  of  succeeding  generations. 
The  subject  represented  in  the  great  dome  is  the 


AUegri 


PAINTERS  AND  ENGEAVBRS. 


AUegri 


■  Assumption  of  the  Virgin,'  her  form  heing  borne 
upwards  on  luminous  clouds  to  heaven,  whitlier  she 
ia  preceded  by  the  Archangel  Gabriel  and  a  joyous 
choir  of  angelSj  all  in  the  most  unconstrained 
attitudes  and  action.  The  Apostles,  from  below, 
gaze  upwards  in  ecstasy  to  view  the  heavenly 
drama,  and  numerous  putti,  or  boy  angels,  flutter 
about, looking  as  though  "about  to  buist  open  the 
dome,  and  fly  out  into  the  open  air."  The  entire 
absence  of  all  religious  conventionality,  and  the 
purely  sensuous  life  exhibited  in  these  paintings, 
show  a  bold  disregard  for  traditional  treatment. 

While  he  was  executing  these  stupendous  monu- 
mental frescoes,  AUegri  also  painted  some  of  his 
most  perfect  oil  paintings.  Chief  among  these 
stand  '  La  Notte,'  or  '  The  Night,'  of  the  Dresden 
Gallery,  commissioned  by  a  certain  Alberto 
Pratonero  of  Eeggio,  in  1522,  for  the  church  of 
San  Prospero.  This  world-famous  picture  is  well 
known,  and  need  not  be  described.  Sir  David 
Wilkie,  who  saw  it  during  his  travels  in  1826, 
speaks  of  it  as  "the  most  original  and  poetical  of 
all  Correggio's  works,"  and  one  which  "though 
shorn  of  its  beams  from  the  treatment  it  has  met 
with,  is,  in  its  decay,  still  not  less  than  an' arch- 
angel ruined."  Since  his  time  it  has  been  re- 
stored in  1827  by  Palmaroli,  and  in  1868  by 
Schirmer,  and  it  is  stated  by  Dr.  Meyer  to  "be 
in  good  preservation,  only  the  azure  tints  of  the 
high  lights  having  somewhat  suffered,  and  the 
shadows  grown  darker."  It  is  chiefly  admired 
for  its  marvellous  efEect  of  light,  and  the  poetic 
idea  of  making  that  light  emanate  from  the  new- 
bom  babe. 

The  magnificent  altar-piece,  in  the  Parma  Gallery, 
of  the  Madonna  with  St.  Jerome  and  the  Magdalene, 
called  '  II  Giorno,'  or '  The  Day,'  is  another  of  Cor- 
reggio's woiks  distinguished  for  its  perfection  in 
the  management  of  light  and  shade,  and  the  volup- 
tuous beauty  of  the  Magdalene.  Mengs  says  of  this 
graceful  figure,  that  "  whoever  has  not  seen  it  is 
ignorant  of  what  the  art  of  painting  can  achieve." 
This  great  painting  was  executed  for  a  certain 
Donna  Briseide  Colla,  of  Parma,  a  widow  lady, 
who  paid  the  painter  more  liberally  than  any  of 
his  other  patrons,  giving  him,  it  seems,  over  and 
above  the  stipulated  sum  of  80  scudi,  various 
presents,  consisting  of  "  two  cartloads  of  faggots, 
several  bushels  of  wheat,  and  a  pig."  According 
to  Dr.  Meyer,  AUegri  did  not  disdain  to  thus 
receive  payment  in  kind  from  some  of  his  less 
wealthy  patrons,  and  possibly  it  is  upon  some  tra- 
dition of  this  sort  that  Vasari's  absurd  story  of 
his  dying  under  a  weight  of  copper  money  was 
founded.  The  'Madonna  della  Scodella,'  in  tiie 
Parma  Academy,  the  'Madonna  and  St.  Sebas- 
tian,' and  the  'Madonna  and  St.  George/  at 
Dresden,  are  likewise  considered  to  belong  to  this 
time  of  highest  achievement. 

In  1530,  AUegri  left  Parma,  and  returned  to 
Correggio,  having  before  this  (probably  about  the 
end  of  1528)  lost  his  young  wife.  He  appears  to 
have  now  made  up  his  mind  to  settle  in  his  native 
town,  where  he  lived  in  a  good  house  in  the  Borgo 
Vecchio  (probably  the  one  which  he  had  inherited 
from  his  uncle).  He  also  bought  an  estate  in 
November,  1630,  for  196  scudi,  and  in  1533  a  few 
acres  of  land.  About  this  time  we  frequently  find 
his  name  mentioned  as  witness,  he  being  at  one 
time  summoned  to  witness  the  payment  of  the 
marriage  portion  of  Clara,  the  daughter  of  the 
Lord  of  Correggio,  all  of  which  facts  prove  that  I 


he  must  have  been  a  man  of  some  means  and 
importance  in  his  native  city. 

Besides  Allegri's  great  religious  pictures,  he 
painted  a  number  of  mythological  subjects,  for 
which  his  style  was  admirably  adapted.  TJie 
sensuous  quaUties  of  his  art  have  full  play  in 
such  works  as  the  'Jupiter  and  Antiope' of  tlie 
Louvre,  the  '  Education  of  Cupid,'  in  the  National 
Gallery,  the  'Danae'  of  the  Borghese  Gallery, 
and  the  '  Leda  '  of  the  Berlin  Museum.  Most  of 
these  works  were  executed,  it  is  supposed,  during 
the  last  years  of  the  painter's  life,  but  the  exact 
dates  are  uncertain. 

Vasari  states  that  AUegri  painted  two  of  these 
pictures — the 'Leda,'  and  tlie  'Danae,'  described 
by  him  as  'Venus' — forthe  Duke  of  Mantua,  who 
afterwards  presented  them  to  tlie  Emperor  Charles 
v.,  and  there  seems  no  reason  to  doubt  liis  inform- 
ation in  this  particular.  It  is  probable,  however, 
that  AUegri  became  known  to  the  duke  not 
through  the  intervention  of  Giiilio  Romano,  iis  has 
been  supposed,  but  rather  through  the  recommend- 
ation of  Veronica  Gambara,  the  second  wife  of 
Giberto  of  Correggio,  who  was  a  ludy  of  great 
learning,  and  who  founded  an  Academy  in  Cor- 
reggio. A  letter  dated  Septetnber  3,  1528,  is 
extant  from  this  lady  to  her  friend  Beatrice 
d'  Este,  Duchess  of  Mantua,  inviting  her  to  "  come 
and  see  the  chef  d'oeuvre  of  the  '  Magdalene  in  the 
Desert,' just  finished  by  tlie  Messer  Antonio  AUegri. 
It  astonishes  all  who  behold  it."  The  cause  of 
Allegri's  death  at  the  early  age  of  40  is  unknown. 
It  was  probably  sudden,  for  he  had  entered  upon  a 
new  commission  shortly  before.  He  died  on  the 
5th  of  March,  1534;  and  was  buried  the  next  day 
in  the  Franciscan  church  at  Correggio,  a  simple 
wooden  tablet  marking  the  spot.  In  the  18th 
century,  when  his  grave  was  sought  for,  it  could 
not  be  found,  though  a  skull  purporting  to  be  his 
is  preserved  in  the  Academy  of  Modena. 

Allegri's  art  was  thoroughly  individual.  Vasari 
rightly  calls  him  pittore  singolarissimo,  but  by 
the  sensuous  character  of  his  painting  he  is 
more  nearly  allied  to  the  school  of  Venice  than  to 
the  severer  intellectual  schools  of  Padua  or 
Florence.  Perhaps  what  mostly  distinguishes  his 
style  from  that  of  every  other  master,  is  his 
delicate  perception  of  the  minutest  gradations  of 
light  and  shade.  His  chiaroscuro  has  been  praised 
by  artists  us  simply  perfect.  It  sheds  a  wonder- 
ful atmosphere  of  liglit  and  delight  over  all  his 
works,  and  his  figures  Seem  literally  to  live  in 
radiant  glory.  Allegri's  Madonnas  are  beautiful, 
joyous  mothers,  endowed  with  every  human 
charm  ;  but  with  none  of  the  spirituality  that 
Raphael  infused  into  the  old  ascetic  type.  He 
departed,  in  fact,  as  far  as  the  Venetian  masters 
from  the  old  religious  ideal,  and  like  them  made 
aesthetic  perfection  his  sole  aim. 

CHIEF  AUTHENTIC  WORKS. 

FBESCOES. 

Fresco  paintings  in  the  nunnery  of  San  Paolo.    1518. 
St.  John ;  fresco  above  a  doorway  in  San  Giovanni. 
Frescoes  in  the  domejjf  San  Giovanni,    1521 — 1522. 
Frescoes  in  the  dome  of  the  cathedral  at  Parma.    1528 

—1530. 
Madonna  della  Scala ;  fresco  now  in  the  Academy  at 

Parma. 
The  Annunciation ;  fresco  formerly  in  the  church  of  the 

Annanziata  in  Parma ;  recently  restored  and  removed 

from  the  wall, 

23 


AUegri 


A  BIOGRAPHICAL  DICTIONARY  OF 


AUen 


OIL  PAINTINGS 


1514. 


Madonna  of  St.  Francis ;  Dresden  Gallery. 

Piet  i ;  Academy  at  Parma. 

Martyrdom  of  SS.  Placidus  and  Flavia;  Academy  at 
Parma.    1522—1524? 

La  Notte,  or  The  Night ;  Dresden  Gallery.    1522— 15dO. 

II  Giorno,  or  St.  Jerome;  Academy  at  Parma.  1527 — 
1528? 

Madonna  and  St.  George ;  Dresden.    About  1530. 

Madonna  and  St.  Sebastian  ;  Dresden.     1525. 

Marriage  of  St.  Catherine ;  Louvre  ;  numerous  copies. 
1517—1519. 

Virgin  in  Adoration ;  Ufllzi,  Florence. 

Madonna  della  Oesta ;  National  Gallery.     1520  ? 

La  Zingarella ;  Naples  Gallery 

Madonna  hushing  the  Infant  Jesus ;  several  repetitions 
of  this  subject. 

The  Reading  Magdalene  ;  Dresden ;  considered  by  some 
authorities  to  be  merely  a  copy. 

Christ  in  the  Garden  of  Gethsemane ,  Apsley  House ; 
given  by  the  King  of  Spain  to  the  Diike  of  'Wel- 
lington. 

Ecce  Homo ;  National  Gallery. 

Jupiter  and  Antiope ;  Louvre  formerly  in  the  pos- 
session of  Charles  I. 

Education  of  Cupid  ;  National  Gallery. 

lo  and  Jupiter  ;  Vienna  Gallery. 

Leda ;  Berlin  Gallery. 

Ganymede  on  an  eagle  ;  Vienna  Gallery. 

Danae  ;  Borghese  Gallery  in  Rome. 

The  Triumphs  of  Virtue  and  Vice;  two  allegorical 
sketches  in  tempera,  in  the  Louvre. 

This  list  is  copied  from  Dr.  Meyer's  carefully 
prepared  catalogues. 

The  question  has  been  much  discussed  as  to 
whether  Allegri  ever  practised  engraving,  but  it 
seems  almost  certain  that  he  never  did,  or,  at  all 
events,  that  no  print  by  him  is  known. 

BIBLIOQRAPHT. 

Vasari, '  Vite  de'  piu  eccellente  pittori,'  &c. 
Punffileoni, '  Memorie  istoriche  di  Antonio  AUegri.'    3 

vols.    Parma,  1817. 
W.    Coxe,  'Sketches   of  the  lives   of  Correggio   and 

Parmegiano.'     1823. 
Raphael   Menys,  'Life    and  Works  of  Ant.  AJlegri.' 

1870. 
Fietro  Martini, '  II  Correggio.'    1871. 
Quirino  Bigi,  Antonio  Allegri  da  Correggio.'     Parma, 

1860;  2nd  edit.,  1873. 
Julius  Meyer,  '  Antonio  Allegri  da  Correggio.'  First 
appeared  in  the  'Allgemeines  Kiinstler-Lexicon '  in 
1870.  English  translation,  edited  by  Mrs.  Charles 
Heaton.  1876. 
J.  P.  Bichter,  'Antonio  Allegri,  gen.  Correggio,'  in 
the  '  Kunst  und  Kiinstler.'    1879. 

M,  M.  H. 
ALLEGRI,  LoEENZO,  an  inferior  Italian  painter 
of  whom  very  little  is  known.  He  was  uncle  to 
the  celebrated  Antonio  Allegri,  called  Correggio, 
and  is  said  to  have  been  his  first  instructor  in  the 
rules  of  art.  In  1503  he  painted  a  picture  for  the 
convent  of  San  Francesco  in  Correggio,  but  no 
work  by  his  hand  is  now  known  to  exist.  He  died 
in  1527,  leaving  his  property  to  his  brother 
Pellegrino,  and  his  nephew  Antonio,  by  whom  he 
was  much  beloved. 

ALLEGRI,  PoMPONio,  son  of  Antonio  Allegri, 
was  born  in  1521.  He  was  only  thirteen  years  of 
age  when  his  father  died,  so  he  could  not  have 
received  much  training  from  him,  but  he  is  said 
to  have  studied  under  Rondani,  who  may  likewise 
be  considered  a  follower  of  AUegri.  Pomponio 
inherited  a  considerable  fortune  from  his  father 
and  grandfather,  and  appears  for  some  time  to 
have  held  a  good  position  in  Correggio.  He 
afterwards,  however,  sold  most  of  his  landed 
property,  and  his  affairs  became  involved.  He 
was  altogether  an  inferior  painter,  although  he 
24 


appears  to  have  been  greatly  employed,  and 
received  many  important  commissions.  One  of 
his  altar-pieces,  showing  the  influence  of  his 
father,  is  in  the  Academy  at  Parma.  It  represents 
'Moses  showing  the  Israelites  the  Tables  of  the 
Law.'  Other  works  are  in  various  churches.  He 
sometimes  signed  himself  Pomponio  L.s:ti,  latin- 
izing the  name  of  Allegri,  as  his  father  also  did 
occasionally.  He  was  still  living  in  1593.  After 
his  time  the  family  of  Allegri  appears  to  have 
fallen  into  poverty,  and  to  have  become  extinct. 

M,  M.  H. 

ALLEGRINI,  Fbanoesoo,  called  La  Gubbio. 
This  painter  was  bom  at  Gubbio  in  1587,  and  was 
a  disciple  of  Giuseppe  Cesare.  He  painted  his- 
torical subjects,  and  executed  many  works,  both 
in  oil  and  in  fresco,  for  the  churches  and  palaces 
at  Rome.  Works  by  him  are  also  in  Gubbio,  in 
Genoa,  and  Savona.  He  had  a  great  number  of 
scholars,  amongst  whom  were  his  son,  Flaminio, 
and  his  daughter,  Angelica,  who  also  painted 
historical  subjects.     He  died  in  1663  at  Rome. 

ALLEGRINI,  Feancesco,  a  designer  and  en- 
graver, was  bom  at  Florence,  about  the  year  1729. 
In  1762,  he  published,  in  conjunction  with  his 
brother  Giuseppe,  a  collection  of  one  hundred  por- 
traits of  the  family  of  the  Medici,  with  a  frontis- 
piece, engraved  by  himself.  He  also  engraved 
fourteen  portraits  of  Florentine  poets,  painters, 
and  other  eminent  personages.  We  have  also  a 
print  by  him  of  the  statue  of  St.  Francis  of  Assisi, 
which  is  held  in  much  veneration  at  Siena. 

ALLEGRINI,  Giuseppe,  brother  of  Francesco, 
an  Italian  engraver,  who  flourished  about  the  year 
1746.    We  have  the  following  plates  by  him  : 

The  Virgin  Mary  with  the  Infant  Jesus ;  half  figures, 
with  this  inscription,  Egredietur  Virgo  de  radice,  %c. 

The  Circumcision. 

The  Stoning  of  St.  Stephen. 

A  small  print  of  Einaldo  and  Armida. 

A  large  operatic  scene ;  after  Chamont. 

ALLEMAND,  L'.     See  L'Allbmand. 

ALLEN,  FoLPBKT  van  Oudbn,  a  designer  and 
engraver  of  Utrecht,  flourished  in  the  second  half 
of  the  17th  century.  The  view  of  the  city  of 
Vienna,  engraved  by  J.  Mulder,  is  from  a  drawing 
by  this  artist,  made  in  1686 ;  and  he  has  himselE 
engraved  a  large  plate  of  the  city  of  Prague,  a 
slight  print,  with  several  figures.   He  died  in  1715. 

ALLEN,  James  Baylis,  an  engraver,  who  was 
born  at  Birmingham  in  1802,  was  first  engaged  in 
the  business  of  his  father,  u.  button  manufacturer ; 
but  afterwards  became  a  pupil  of  Vincent  Barber, 
and  migrated  to  London  in  1824,  where  he  died 
in  1876.     The  chief  works  he  engraved  were  : 

Battle  of  the  Meeanee;  after  Armitage. 

The  Columns  of  St.  Mark ;  after  Bonington. 

Bucentaur;  after  Canaletto. 

The  Dogana ;  after  Canaletto. 

The  Battle  of  Borodino ;  after  O.  Jones,  H.A. 

Lftdy  Godiva;  after  G.  Jones,  S.A. 

The  Fiery  Furnace  ;  after  O.  Jones,  S.A. 

The  Death  of  Nelson ;  after  Turner. 

Phryne  going  to  the  Bath  as  Venus ;  after  Turner. 

The  Decline  of  Carthage ;  after  Turner. 

The  Temple  of  Jupiter  Panhellenium ;  after  Turner. 

ALLEN,  James  C,  an  engraver,  a  native  _oi 
London,  became  a  pupil  of  William  Cooke,  with 
whom  he  published,  in  1821,  fifteen  engravings  of 
views  of  the  interior  and  exterior  of  the  Coliseum 
at  Rome.  One  of  his  best  plates  was  the  '  Defeat  of 
the  Spanish  Armada,'  after  De  Loutherbourg,  1831. 
He  also  executed  numerous  book-illustrations. 


Allen 


PAINTERS  AND  ENGRAVERS. 


AUom 


ALLEN,  Joseph  W.,  the  son  of  a  schoolmaster 
at  Hammersmith,  was  bom  in  Lambeth  in  1803. 
He  was  educated  at  St.  Paul's  School,  and  was 
afterwards  for  a  short  time  usher  in  an  academy 
at  Taunton.  Discovering  a  talent  for  drawing,  he 
came  back  to  London,  resolved  to  adopt  the  brush 
as  his  means  of  living.  In  the  first  instance  he 
became  an  assistant  to  a  picture  dealer,  under  whom 
he  acquired  a  considerable  knowledge  of  the  old 
masters,  and  the  pecuniary  value  of  their  works. 
He  afterwards  took  to  scene  painting,  in  associa- 
tion with  Charles  Tomkins  and  Clarkson  Stanfield  : 
and  during  Madame  Vestris's  first  lesseeship  of  the 
Olympic  Theatre,  he  painted  most  of  the  scenery 
for  her.  The  natural  bent  of  his  genius,  however, 
was  for  pastoral  landscape,  and  the  varied  pictur- 
esque features  of  English  scenery ;  and  his  little 
fresh,  green,  and  true  bits  of  nature  soon  at- 
tracted admirers  and  purchasers.  As  time  went 
on,  his  talent  became  manifestly  more  matured, 
and  he  was  noted,  amongst  other  things,  as  an  ex- 
cellent painter  of  distances.  '  The  Vale  of  Clwyd,' 
exhibited  in  1847,  created  a  considerable  sensa- 
tion, and  was  purchased  by  an  Art  Union  prize- 
holder  for  three  hundred  guineas ;  and  Allen 
repeated  it  twice  in  smaller  dimensions,  for  other 
purchasers.  '  Leith  Hill,'  in  the  following  year, 
was  almost  equally  successful.  His  subjects  were 
usually  well  chosen,  and  consisted  chiefly  of  views 
in  North  Wales,  Cheshire,  Yorkshire,  and  the  mid- 
land counties.  Allen  took  an  active  part  in  the 
establishment  of  the  '  Society  of  British  Artists,' 
of  which  he  became  the  secretary,  and  attached 
himself  to  its  interests  with  such  devotion  that  he 
latterly  refused  to  exhibit  anywhere  else  in  London 
than  at  its  Gallery  in  Suifolk  Street.  There  is  little 
doubt  that  his  influence  tended  much  to  heighten 
the  repute  for  landscape  painting  which  the  ex- 
hibitions of  this  Society  have  generally  enjoyed. 
He  was  also  professor  of  drawing  at  the  City 
of  London  School,  from  its  foundation.  He  died 
in  1852. 

ALLEN,  Thomas,  was  an  English  marine  painter, 
who  flourished  in  the  middle  of  the  18th  century. 
He  painted  scenes  from  Queen  Charlotte's  voyage 
and  arrival  in  England.  Allen's  works  were  en- 
graved by  P.  0.  Canot. 

ALLE'T,  Jean  Chaelbs,  a  draughtsman  and  en- 
graver, was  born  at  Paris  about  the  year  1668. 
He  resided  a  long  time  in  Italy,  and  is  supposed 
to  have  died  at  Rome  in  1732.  Owing  to  his  having 
marked  his  plates  sometimes  Jean  Cliarles  AUet, 
and  sometimes  Carolus  Alet,  collectors  were  for 
some  time  inclined  to  believe  that  they  were  two 
distinct  artists  ;  but  from  the  evident  similarity  of 
style,  it  is  no  longer  doubted  that  all  those  plates 
are  by  the  same  hand.  Allot  engraved  portraits 
and  subjects  from  sacred  history,  and  appears  to 
have  wished  to  imitate  the  manner  of  F.  Spierre 
and  Cornells  Bloemaert,  but  his  imitation  has  not 
been  very  successful.  His  principal  plates  are  the 
following : 

POBTEAITS. 
Andrea  Pozzo,  Jesuit  and  architect ;  dated  1712. 
Cardinal  Aloisio  Amadei ;  after  J.  Morcmdi,  1690. 
Ferdinand  Charles  Gonzaga,  Duke  of  Mantua;  after 

A.nt,  Lesma. 
Pope  Alexander  VIII. ;  after  M.  Calendrucci.    1695. 
St.  Aloysius  Gonzaga,  Jesuit ;  oval. 
St.  Ignatius ;  after  F.  Lueatelli  ;  oval. 

SUBJECTS    FBOM   SACEED   HISTOET. 
The  Conception  of  the  Virgin ;  after  And.  Pozzo  ;  oval. 


The  Adoration  of  the  Shepherds ;  after  S.  Cantarini. 
The  Virgin  Mary  and  St.  Joseph  adoring  the  Infant 

Jesus ;  after  the  ftame. 
The  Saviour  brought  before  Pilate ;  after  F.  de  Fietri, 
Ananias  restoring  sight  to  St.  Paul;  after  Fietro  da 

Gortona. 
The  Vision  of  St.  Paul ;  after  the  same  painter. 

The  last  two  plates  are  considered  his  best  his- 
torical works. 

The  Death  of  a  Saint,  in  presence  of  the  Virgin,  St. 

Joseph,  and  St.  Francis  Xavier. 
The  Death  of  St.  Stanislaus  Kostka ;  after  F.  Le  Oros, 

sculptor, 
St.  Gaetan,  accompanied  with  a  figure  of  Keligion,  and 

Christ  holding  His  Cross ;  after  Laz.  Baldi. 
St.  Andronicus,  and  St.  Athanasia ;  after  F.  B.  Znc- 


St.  Augustine  with  a  child,  getting  water  from  the  sea  ; 

after  J.  B.  Leonardi. 
St.  Rosa,  crowned  by  angels;   Carolus  AUet,   del.  ^ 


Twelve  plates  of  the  Life  of  Christ;   after  Fasseri, 
engraved  in  conjunction  with  A.  v.  Jf^esterhout. 

ALLOM,  Thomas,  architect  and  landscape 
painter,  was  bom  in  March,  1804.  He  was 
articled  to  Francis  Goodwin,  the  architect,  in 
1819;  and,  while  his  pupil,  was  engaged  upon 
the  Manchester  Town  Hall,  Derby  Gaol,  West 
Bromwich  Church,  and  many  other  public  biiill- 
ings.  He  also  assisted  in  making  designs  (1834) 
for  the  then-existing  Parliament  Houses,  which 
were  lithographed  by  him  by  order  of  the  House 
of  Comuions.  Wishing  to  travel,  with  the  objeo.t 
of  gaining  a  more  enlarged  knowledge  of  his  pro- 
fession, he  turned  his  attention  to  painting  views 
for  the  purpose  of  publication.  The  first  illustrated 
work  which  made  its  appearance  under  these  cir- 
cumstances was  '  The  Scenery  of  Devonshire  and 
Cornwall.'  This  was  followed  by  a  similar  work 
on  the  'Lake  District,  and  Northern  Counties,' 
'  Scotland  Illustrated,'  the  historical  portion  of 
which  was  written  by  Dr.  Beattie.  In  producing 
these  illustrations  he  endeavoured  to  give  the 
scenes  additional  interest  by  depicting  the  cele- 
brated historical  incidents  connected  with  them  : 
— thus,  in  the  '  View  of  Lochiel,'  is  represented  the 
gathering  of  the  clans  of  Prince  Charlie  ;  in  that 
of  the '  Castle  of  Doon '  we  see  prisoners  taken  at  the 
battle  of  Falkirk;  'Linlithgow Palace'  is  represented 
ais  being  burnt  by  Hawley's  dragoons.  His  more 
strictly  professional  engagements,  however,  inter- 
fered with  the  completion  of  these  works,  and  he 
was  obliged  to  give  up  a  portion  to  other  hands. 
Soon  after  this  a  proposal  was  made  to  him  to  go 
to  the  East,  and  this,  being  more  in  accordance 
with  his  legitimate  profession,  was  too  tempting 
to  be  refused.  His  work  on  '  Constantinople  and 
Asia  Minor'  was  the  result  of  this  journey,  in 
wliich  he  again  introduces  historical  events,  such 
as  the  unfolding  of  the  standard  of  the  Prophet  in 
the  mosque  of  Sultan  Achmet  previous  to  the 
massacre  of  the  Janissaries  by  Mahmoud.  His 
subsequent  work  on  France  is,  perhaps,  his  best 
work,  and  in  this  liis  intimate  knowledge  of 
architecture  proved  of  the  greatest  advantage.  In 
1846  he  had  an  audience  of  Louis-Philippe  at 
Paris,  when  the  king  expressed  his  great  appro- 
bation of  the  work,  and  invited  him  to  visit  St. 
Cloud  the  following  season,  and  requested  liim  to 
make  drawings  of  the  king's  own  estate  at  Dreux, 
with  monuments  to  the  royal  family.  In  1846-8 
his  designs  of  proposed  improvements  on  the  banks 
of  the  Thames  were  exhibited  by  him  in  London, 

25 


Allori 


A  BIOGRAPHICAL  DICTIONARY  OP 


Allori 


Manchester,  and  Paris,  and  a  diploma  of  merit  was 
forwarded  from  the  last  of  these.  He  was  one  of 
the  founders  of  the  Institute  of  British  Architects. 
Amongst  his  architectural  works  are:  Christ- 
church,  Highbury,  the  Cambridge  MiHtary  Asylum 
at  Kingston,  Kennington  Workhouse,  and  St. 
Peter's  Church,  Netting  Hill.  Amongst  his  paint- 
ings, which  exhibit  true  feeling  and  nice  execution, 
are  those  of  the  'Cities  of  the  Seven  Churches  of 
Asia  Minor,'  which  were  engraved  in  the  'Art 
Journal '  in  1862-3.  He  died  at  Barnes,  in  October, 
1872. 

ALLORI,  Alessakdeo,  also  called  Alessandro 
Bbonzino,  was  born  at  Florence  in  1536.  He 
was  the  son  of  a  painter ;  but  having  the  misfor- 
tune, when  he  was  only  five  years  of  age,  tp  lose 
his  father,  he  was  placed  under  the  care  of  his 
uncle,  Agnolo  Bronzino,  who  brought  him  up  with 
all  the  affiection  of  a  parent.  Before  he  was  seven- 
teen years  of  age,  he  had  made  such  progress 
under  this  able  master,  that  be  painted,  from  his 
own  design,  an  altar-piece  representing  the  Cruci- 
fixion, a  composition  of  several  figures,  ingeniously 
arranged  and  well  coloured.  When  he  was  nine- 
teen, he  visited  Rome,  where  he  remained  two 
years.  The  chief  objects  of  his  admiration  and 
study  in  that  city  were  the  works  of  Michelangelo, 
and  the  grand  style  of  that  master  is  discernible  in 
his  pictures.  On  his  return  to  Florence,  he  was 
greatly  occupied  for  the  churches  and  other  public 
edifices.  He  was,  however,  occasionally  prevailed 
on  to  paint  the  portraits  of  some  of  the  distin- 
guished personages  of  his  time,  which  he  treated 
in  a  great  and  admirable  style.  In  1590,  he 
published  Dialogo  sopra  V  arte  del  disegnare  le 
Figure,  illustrated  with  anatomical  plates.  "  Some 
of  his  pictures  in  Rome,  representing  horses,  are 
beautiful.  His  '  Sacrifice  of  Isaac,'  in  the  Royal 
Museum,  is  coloured  almost  in  the  Flemish  style. 
He  was  expert  in  portrait  painting,  but  he  abused 
his  talent  by  introducing  portraits  in  the  modern 
costume  in  ancient  histories,  a  fault  not  uncommon 
in  that  age.  On  the  whole,  his  genius  appears  to 
have  been  equal  to  every  branch  of  painting  ;  but 
it  was  unequally  exercised,  and  consequently  un- 
equally expanded  "  {Lanzi).  In  the  Berlin  Gallery 
there  is  a  female  portrait  by  him,  probably  repre- 
senting Bianca  Cappello,  wife  of  Francis  II.  of 
Tuscany  ;  and  there  are  no  less  than  sixteen  works 
by  him  in  the  Ufiizi,  Florence.  He  died  at  Florence 
in  1607. 

ALLORI,  Angiolo,  called  II  Bronzing,  an 
eminent  Florentine  painter  and  poet,  was  born  at 
Monticelli  near  Florence  in  1502.  He  studied  first 
under  an  obscure  painter,  then  under  RafEaelino 
del  Garbo,  and  subsequently  became  the  favourite 
disciple  of  Jacopo  Carrucci,  called  Pontormo,  and 
assisted  that  master  in  some  of  his  most  consider- 
able undertakings,  particularly  in  the  chapel  of 
San  Lorenzo  at  Florence,  which  he  was  employed 
to  finish  after  the  death  of  that  master.  He  ap- 
pears to  have  studied  with  attention  the  dignified 
style  of  Michelangelo,  and  there  is  something  of 
the  grandeur  of  that  master  discernible  in  all  his 
productions.  His  principal  works  are  at  Florence 
and  Pisa.  He  worked  both  in  fresco  and  oil.  He 
also  excelled  in  portraits,  and  painted  the  most 
celebrated  personages  of  his  time,  among  whom 
were  Dante,  Boccaccio,  and  Petrarch.  He  frequently 
painted  the  portraits  of  Cosimo  I.,  Grand  Duke  of 
Tuscany,  and  his  wife  Eleonora,  and  there  are 
many  replica  besides.     He  died   at  Florence  in 

26 


1572.     The  following  are  some  of  his  most  im- 
portant works : 
Dresden.  Gallery.  Portrait  of  Cosimo  I. 

^j  Portrait  of  his  wife,  Eleonora, 

Florence.  Academy.         Pieta. 

Cartoon  for  the  'Descent  into 
Haiies.' 
„        Badia.  St.  Benedict  on  thorns  (/rfsro). 

„        S.  Lorenzo.        Martyrdom     of     St.     Laurence 
(fresco). 
S.Girolamo  d.  )  ^^        tangere  (Jresco). 

„        Fitti  Pal.         Holy  Family. 

,  „  Portrait  of  Cosimo  I. 

jj  J,  Portrait  of  Francesco  I.  de'  Me- 

dici, and  others. 

„        Vffzi.  The    Descent    into    Hades   (his 

Tnasferpiece) 

„  „  Portrait  of  Pontormo. 

„  „  Descent  from  the  Cross. 

j^  „  Annunciation. 

„  „  Pieta.    BEOZ:  FAO: 

„  „  An  Allegory — Prosperity  crowned 

by  Victory,    bkoz  :  pac  : 

^,  „  Portrait    of   Eleonora,   wife    of 

Cosimo  I.,  afid  others. 
London.    JVat.  Gall.         Portrait  of  a  Lady. 

„  „  Venus,  Cupid,  Folly,  and  Time. 

„  „  A  Knight  of  St.  Stephen. 

„  „  Portrait  of  Cosimo  I. 

Lucca.     Communal  Gal.  Portraits  of   two  children  of  the 
Medici  family. 

„  „  Portrait  of  Cosimo  I. 

„        Foyal  Palace.    Portrait  of  Cosimo  I. 
Madrid.  Museum.  The  Violin-player. 

Paris.      Louvre.  Male  portrait. 

Petersburg.  Hermitage.  Portrait  of  a  Lady   (perhaps   a 
daughter  of  Cosimo  I.). 

„  „  Portrait  of  a  Lady. 

„  Leuchtenlerg  Col.   Portrait  of  a  Lady,    bbonzino  f. 
Kome.     Borghese  Pal.    Portrait  of  posimo  L 
Vienna.  Belvedere.  Holy  Family.    be6zino  fioeen- 

TINO. 

„  „  Portrait  of  Cosimo  I. 

„  „  Portrait  of  his  wife  Eleonora. 

ALLORI,  Ckistofano  (sometimes  called  Bron- 
zing), the  son  of  Alessandro,  was  bom  at  Florence 
in  1577.  He  was  for  some  time  instructed  in 
the  art  by  his  father,  but  he  afterwards  studied 
under  Santi  di  Tito,  and  finally  improved  himself 
in  colouring  by  imitating  the  harmonious  tinting 
of  Lodovico  Cardi,  called  Cigoli.  He  painted 
several  considerable  woiks  for  the  churches  and 
convents  at  Florence,  and  for  the  palace  of  the 
Medici.  He  was  also  a  very  celebrated  portrait 
painter;  and  many  of  the  distinguished  persons 
of  his  time  were  painted  by  him.  Owing  to 
vicious  habits  that  often  seduced  him  from  his 
labours,  his  works  are  extremely  rare,  and  he 
himself  comparatively  little  known.  The  'St. 
Julian'  of  the  Pitti  Palace  is  the  grandest  effort 
of  his  genius  ;  his  picture  of  '  Judith  with  the 
head  of  Holofemes,'  also  in  the  Pitti  Palace,  is, 
however,  of  wider  acquaintance.  Judith,  so  beau- 
tifully and  magnificently  attired,  is  a  portrait  of 
his  mistress  ;  the  attendant  is  that  of  her  mother, 
and  the  head  of  Holofemes  that  of  the  painter. 
Numerous  copies  of  this  fine  work  (which  has  been 
engraved  no  less  than  thirteen  times),  and  duplicates 
of  hiS  most  celebrated  pictures,  are  scattered  over 
Italy ;  the  productions  of  his  scholars  Tanteri, 
Bruno,  Certosini,  Cerrini,  and  others.  He  died  in 
1621  at  Florence.  Allori  made  several  copies,  with 
slight  alterations  in  the  background,  of  Correggio'8 
'Reading  Magdalene,'  which  were  such  good  imi-' 
tations  that  they  have  passed  as  replicas  by  Cor- 
reggio's  own  hand.  In  addition  to  the  worka 
already  noticed  may  be  mentioned : 


Allston 


PAINTEES  AND  ENGRAVERS. 


AIs 


Florence.  XTffizi.  His  own  Portrait. 

„  „  Adoration  of  the  Magi, 

„  ,}  The  Magdalene. 

„  „  Infant  Christ  sleeping. 

London.  Nat.  Gall.   Portrait  of  a  Lady. 
Paris.       Louvre.        Isabella  of  Aragon  at  the  feet  of 
Charles  Till. 

ALLSTON,  Washington,  one  of  the  chief 
painters  of  the  American  scliooi,  was  bom  at 
Waccamaw  in  South  Carolina,  in  1779.  After  the 
completion  of  his  university  career  at  Harvard, 
he  took  up  his  abode  at  Charleston,  where  he, 
however,  did  not  long  remain,  as  he  desired  to 
go  to  Europe  for  the  improvement  of  his  art.  He 
arrived  in  London  in  1801,  and  at  once  entered 
the  Royal  Academy  Schools,  where  he  became 
acquainted  with  his  fellow-countryman.  West, 
who  was  then  president.  In  1804,  Allston  went 
with  his  friend  Vanderlyn  and  with  C.  R.  Leslie 
to  Paris,  and  thence  to  Rome,  where  in  the  follow- 
ing year  he  painted  his  '  Joseph's  Dream.'  At 
Rome,  Allston  commenced  with  Washington 
Irving  a  friendship  which  lasted  for  life.  He  also 
became  acquainted  with  Coleridge,  and  the  Danish 
sculptor,  Thorwaldsen.  In  1809,  he  went  back 
to  America,  married  a  sister  of  Dr.  Charming, 
and  then  returned  to  London,  where  he  produced 
his  'Dead  Man  touching  Elisha's  bones,'  which 
gained  a  prize  of  two  hundred  guineas  from  the 
British  Institution.  It  is  now  in  the  Pennsylvania 
Academy  of  Fine  Arts  at  Philadelphia.  Then 
followed  the  '  Liberation  of  St.  Peter  by  the 
Angel,'  which  was  taken  to  America  in  1859,  and 
presented  by  Dr.  Hooper  in  1877  to  the  Wor- 
cester Lunatic  Hospital,  U.S.  ;  '  Uriel  in  the  Sun,' 
in  the  possession  of  the  Duke  of  Sutherland  ;  and 
'  Jacob's  Dream,'  in  the  Petworth  Gallery.  In 
1818,  Allston  returned  to  America,  and  settled  at 
Boston,  his  health  weakened  by  sorrow  for  the 
death  of  his  wife,  and  by  overwoi  k.  In  the  same 
year  he  was  elected  an  Associate  of  the  Royal 
Academy.  Of  the  works  which  he  executed  in 
the  following  years,  we  may  notice,  the  'Prophet 
Jeremiah,'  now  in-  Yale  College;  'Saul  and 
the  Witch  of  Endor ;'  'Miriam's  Song;'  and 
'  Dante's  Beatrice.'  In  1830,  Allston  married 
again.  His  second  choice  was  the  daughter  of 
Chief  Justice  Dana,  of  Cambridge,  Massachusetts, 
where  he  settled.  There  he  spent  the  remainder 
of  his  life  in  secluded  industry,  occasionally  in- 
terrupted by  illness.  He  then  produced  one  of 
his  best  known  works,  '  Spalatro'  s  Vision  of  the 
Bloody  Hand,'  from  'The  Italian'  by  Mrs.  Rad- 
clifEe — especially  remarkable  for  tlie  efEeots  of 
light  and  shade,  and  for  the  expression  of  fright 
and  a  guilty  conscience  on  the  face  of  Spalatro, 
and  the  firm  determination  visible  on  the  counten- 
ance of  the  monk.  This  work,  which  was  painted 
for  Mr.  Ball,  of  South  Carolina,  is  now  in  tlie 
Taylor  Johnston  Collection  in  New  York  ;  it  has 
been  engraved  by  W.  J.  Linton,  His  '  Rosalie,' 
executed  late  in  life,  is  also  worthy  of  mention. 

Allston  died  at  Cambridge  in  1843,  leaving 
unfinished  a  large  work,  on  which  he  had  been 
engaged  at  various  times  for  about  forty  years.  It 
represents  'Belshazzar's  Feast,'  and  is  now  in 
the  Boston  .^hen^um,  where  there  is  also  a 
'  Portrait  of  Benjamin  West,'  which,  with  that  of 
the  poet  Coleridge,  in  the  National  Portrait  Gal- 
lery, proves  that  Allston  excelled  in  portraiture 
as  well  as  in  historic  painting. 

The  works  of  this  artist,  the  pride  of  his  country, 
the  'American  Titian,'  are  especially  remarkable 


for  beauty  and  power  of  colouring.  His  fondness 
for  the  terrible  is  especially  noticeable  in  '  Spa- 
latro's  Vision,'  in  '  Saul  and  the  Witch  of  Endor,' 
and  in  the  unfinished  '  Belshazzar'  s  Feast. ' 

ALMELOVEEN,  Jan,  a  Dutch  painter  and 
engraver,  of  Mijdrecht,  near  Utrecht,  flourished 
towards  the  close  of  the  17th  century.  He  is  better 
known  by  some  etchings  of  landscapes,  executed 
with  great  lightness  and  intelligence,  after  the 
manner  of  Saf  tleven,  than  by  anything  he  has  left 
us  as  a  painter.     Among  his  plates  are  : 

A  portrait  of  Gisbert  Voetius ;  signed  /.  Almeloveen,  inv. 
etfee, 

A  set  of   twelve  landscapes,  with  small  figures ;    J". 
Almeloveen^  inv,  et  fee. 

Six  mountainous  landscapes,  with  figures ;   Joan,  ah 
Alweloveen^  inv.  et  fee. 

The  Four  Seasons ;  after  H.  Saftleven. 

Twelve  Views  of  Dutch  Tillages  ;  after  the  same. 

ALOIS.     See  Alovigi. 

ALOISI,  Baldassaee,  called  II  Galanino, 
was  born  at  Bologna  in  1578,  and  was  brought  up 
in  the  school  of  the  Carracci,  to  whom  he  was 
related.  He  was  little  inferior  to  the  ablest  of  his 
fellow-students  ;  of  this  he  has  given  proof  in 
several  of  his  works  in  the  churches  at  Bologna, 
particularly  his  admired  picture  of  the  '  Visitation,' 
in  La  Carita,  so  highly  commended  by  Malvasia  ; 
and  the  '  Virgin  and  Infant,  with  St.  John  the 
Baptist  and  St.  Francis,'  in  San  Paolo  in  Monte. 
He  visited  Rome  during  the  pontificate  of  Urban 
VIII.,  and  here,  accordingto  Baglioni,hewasmuch 
employed  in  painting  portraits  of  the  most  illus- 
trious personages  of  his  time,  which  were  admired 
for  the  force  and  truth  of  their  colouring,  and  for 
their  extraordinary  relief.  He  also  painted  some 
works  for  the  churches  at  Rome,  of  which  the 
principal  was  the  great  altar-piece  in  the  church  of 
Gesii  e  Maria,  representing  the  'Coronation  of  the 
Virgin.'  He  died  at  Rome  in  1638.  He  was  also 
an  engraver,  and  imitated  Lanfranco,  Badalocchio, 
and  Guide  Reni.  He  engraved  fifty  plates  of 
Rap'iiael's  works  in  the  Loggie,  in  the  Vatican. 
Aloisi  had  two  sons,  ViTO  Andrea  and  Giosekfo 
Carlo,  who  were  painters. 

ALOVIGI,  Andrea  (or  Aloisi,  Aloysii,  and  Di 
Ldigi),  of  Assisi,  called  L'  Ingeqno,  was  bom  about 
the  year  1470.  He  is  said  by  Vasari  to  have  been  a 
fellow-pupil  with  Raphael  under  Perugino,  and  to 
have  assisted  the  latter  in  the  Cambio  at  Perugia,  at 
Assisi,  and  in  the  Sistine  Chapel.  Ingegno,  Vasari 
adds,  became  preuiaturely  blind,  and  received  a 
pension  from  Pope  Sixtus  IV.  This  last  statement 
Ruinohr  points  out  to  be  an  error,  as  the  Pope 
died  in  1484,  and  Raphael  did  not  enter  Perugino' s 
studio  till  about  1496.  Numerous  pictures  — 
scattered  throughout  Europe  —  are  attributed  to 
Ingegno,  amongst  them  a  '  Madonna  and  Child,' 
in  the  National  Gallery,  which  is  now  ascribed  in 
the  catalogue  to  Pinturicchio.  Most  of  his  works 
are  in  the  manner  of  Fiorenzo  di  Lorenzo  Vasari 
is  the  only  early  writer  who  mentions  this  painter, 
and  Eumohr  has  shown  that  part  of  the  little  he 
has  said  of  him  is  incorrect.  That  there  was  such 
a  painter  is  certain,  but  at  present  no  picture  can 
be  pointed  out  as  indisputably  the  work  of  his 
hand. 

ALS,  Peter,  a  Danish  historical  and  portrait 
painter,  bom  at  Copenhagen  in  1725,  studied 
for  some  time  under  C.  G.  Pile.  After  gaining 
the  first  great  prize  given  by  the  Academy  at 
Copenhagen  in  1755,  he  went  to  Rome  and  entered 
the  school  of  Mengs.    He  occupied  himself  chiefly 

27 


Alsloot 


A  BIOGRAPHICAL  DICTIONARY  OF 


Altdorfep 


in  copying  the  pictures  of  Raphael  and  Andrea  del 
Sarto,  which,  it  is  said,  he  did  with  great  accuracy. 
He  also  copied  Correggio  and  Titian.  On  his 
return  to  his  own  country  he  painted  some  good 
portraits  ;  but  his  colouring  was  too  sombre  to 
give  a  pleasing  effect  to  his  pictures  of  females, 
and  his  work  was  frequently  so  laboured  as  to  be 
deprived  of  all  animation.  Copies  of  the  works 
of  the  old  masters  by  Als  are  to  be  seen  in 
Denmark.     He  died  in  1775. 

ALSLOOT,  Denys  van,  a  portrait  and  landscape 
painter,  who  flourished  towards  the  close  of  the 
16th  and  the  beginning  of  the  17th  century,  was 
born  at  Brussels,  but  the  date  is  nowhere  recorded, 
and  but  little  is  known  of  his  life.  He  was,  about 
1600,  painter  to  the  Archduke  Albert  of  Austria, 
and  his  pictures  were  purchased  for  high  prices. 
He  died  in  the  year  1626,  or  earlier.  A  landscape 
with  the  story  of  Cephalus  and  Prooris,  in  the 
Vienna  Gallery,  is  dated  1608.  The  figures  are 
by  H.  de  Clerck.  Two.  pictures  by  him  are  in 
the  Brussels  Gallery :  they  represent  the  Procession 
of  St.  Gudule  at  Brussels.  By  mistake,  a  second 
painter,  Daniel  van  Alsloot,  has  been  recorded 
by  some  writers ;  but  he  appai  ently  never  existed. 

ALT,  Jakob,  who  was  born  at  Prankfort-on-the- 
Main  in  1789,  received  his  first  instruction  in  art 
in  his  nati-\-e  city,  and  then  removed  to  Vienna  and 
entered  the  Academy,  and  soon  rose  to  fame  as  a 
landscape  painter.  He  then  made  various  journeys 
throughout  Austria  and  Italy,  painting,  as  he  went 
along,  views  in  the  neighbourhood  of  the  Danube 
and  in  the  city  of  Vienna.  In  later  life  Alt 
painted  much  in  water-colour  ;  he  was  also  an  en- 
graver on  stone.  He  died  in  Vienna  in  1872.  One 
of  his  best  works  is  a  '  View  in  Venice,'  in  the 
Belvedere  Gallery,  signed  and  dated  1834.  He 
was  employed  by  the  Emperor  Ferdinand  to  paint 
in  water-colour  a  series  of  views  of  Rome. 

ALTAMONTE.     See  Hohenbeeg. 

ALTDORFER,  Albrecht,  a  painter  and  en- 
graver, was  born  prior  to  1480,  as  is  clear  from  his 
having  received  the  freedom  of  the  city  of  Ratis- 
bon  in  1505,  which  could  not  have  been  granted 
him  had  he  been  under  twenty-five  years  old.  He 
had  in  that  year,  according  to  Gumpelzhaimer, 
quitted  Amberg  for  Ratisbon,  but  the  locality  of 
his  birth  is  unknown.  The  coat  of  arms,  which 
there  is  authority  for  believing  to  have  been  sculp- 
tured on  his  tombstone,  was  that  of  the  Altdorfers 
of  Landshut,  Ratisbon,  and  Abensberg.  At  first 
in  somewhat  narrow  circumstances,  he  soon  found 
means  of  improving  his  position,  and  was  within 
three  years  of  his  arrival  at  Ratisbon  appointed  to 
one  of  the  minor  ofilces,  while  in  the  next  year  we 
find  the  town  council  contributing  to  the  expense 
of  his  work  in  the  choir  of  the  church  of  St. 
Peter.  In  1517  he  is  mentioned  as  having  painted 
a  curtain  for  the  Ch4sse,  and  is  there  alluded  to 
under  the  designation  of  '  Meister  Albrecht.' 
Two  years  later  it  fell  to  his  lot,  as  a  member  of 
the  lower  chamber  of  the  city  council,  to  have  to 
act  offrcially  in  the  expulsion  of  the  Jews  from 
Ratisbon.  He  has  left  us  two  etchings  of  the 
synagogue  there  as  it  existed  prior  to  its  demolil^ion 
in  that  year — etchings  which  have  now  become 
exceedingly  scarce.  A  church  dedicated  to  '  Our 
Lady'  (now  the  Protestant  parish  church  of 
Ratisbon)  rose  on  the  site  of  tlie  synagogue,  and 
Altdorfer  was  engaged  to  paint  a  banner  for  the 
service  of  the  new  edifice.  A  votive  painting 
commemorative  of  a  miracle,  and  two  or  three 

28 


subsequent  works,  coimeot  his  name  still  more 
closely  with  this  Church  of  Our  Lady.  In  the 
year  1526  we  find  him  a  member  of  the  upper 
chamber,  a  post  which  in  common  with  that  of 
city  architect  (to  which  he  either  was  then,  or 
had  previously  been,  appointed),  he  held  till  his 
death.  The  city  slaughter-house  which  he  erected 
in  the  following  year  is  still  standing,  and  he  is 
known  to  have  undertaken,  amongst  other  works 
intrusted  to  him  in  his  capacity  of  architect,  the 
construction  of  some  of  the  principal  fortifications 
which  were  shortly  afterwards  thrown  out  round 
Ratisbon  with  a  view  to  protect  it  from  the 
Turks. 

In  1528  he  was  at  work  on  his  celebrated  paint- 
ing of  'The  Victory  of  Alexander,'  which  had 
been  ordered  by  Duke  Wilhelm  of  Bavaria,  and 
he  persuaded  the  council  to  relieve  him  from 
the  duties  of  burgomaster,  to  which  ofRce  he  had 
been  raised,  that  he  might  be  at  liberty  to  com- 
plete it. 

The  death  of  his  wife  occurred  in  1532.  Her 
body  was  laid  in  the  church  of  the  Augustines.  He 
was  about  this  period  offered,  and  persuaded  to 
accept,  in  addition  to  the  offices  he  already  filled, 
the  post  of  bursar  to  the  monastery  of  the  Augus- 
tines, then  in  the  gift  of  the  council. 

His  will,  which  contains  some  curious  particulars, 
is  still  in  existence.  It  was  dated  12  Feb.  1538. 
By  it  he  bequeathed  to  the  poor  a  silver  tankard, 
which  had  been  his  wedding  present  to  his  wi£e. 
He  named  as  his  heirs  his  two  sisters  (who  were 
then  both  married),  and  his  brother,  Erhardt  Alt- 
dorfer. He  died  apparently  immediately  after 
executing  his  will,  on  the  14th  February,  1538,  and 
was  buried  in  the  church  of  the  Augustines.  A 
portion  of  his  tombstone  was  preserved  when  the 
church  was  taken  down  in  1840. 

As  "  painter  Altdorfer  may  be  regarded  as  a 
follower,  but  by  no  means  a  slavish  imitator,  of 
Diirer.  It  is  almost  certain  that  he  was  Diirer's 
pupil,  just  after  the  master's  marriage,  and  there 
is  no  doubt  as  to  their  having  been  on  terms  of 
intimacy  afterwards.  Altdorfer's  treatment  shows 
considerable  feeling  for  the  picturesque.  His  care- 
ful elaboration  of  detail,  especially  in  portraying 
the  features  of  a  landscape, or  the  minutiae  of  archi- 
tectural construction,  prove  him  not  only  to  have 
been  a  true  student  of  nature,  but  to  have  laboured 
with  the  most  assiduous  industry. 

The  lack  of  breadth  and  movement  in  his  com- 
position, coupled  with  something  of  that  angularity 
in  rendering  figures  from  which  the  painters  of 
his  country  were  but  just  beginning  to  emancipate 
themselves,  render  his  smaller  works  more  pleasing 
than  those  on  a  larger  scale.  His  '  Battle  be- 
tween Alexander  and  Darius,'  previously  referred 
to,  was,  however,  distinguished  among  the  his- 
torical paintings  of  his  contemporaries,  and  as 
such  is  deserving  of  high  praise.  This  latter  work, 
signed  and  dated  1529,  is,  with  other  paintings  from 
his  band,  now  in  the  Munich  Pinakothek. 

_  There  are  altogether  about  25  pictures  known  by 
him.     We  mention  the  following  : 

Augsburg,     Gallery.  Triptych — Crucifixioii  and  Annun- 
ciation.    1517. 
5,  „  Birth  of  the  Virgm. 

Berlin.  Museum.  Diptych— St.Francis and St.Dominic 

{sir/Tied  and  dated  1507). 
,1  „  Landscape  with  Figures  (signed  and 

dated  1507). 
V  „  Rest  on  the   FUght   into   Egypt 

(signed  hit  mis-dated  1540). 


Altdorfer 


PAINTERS  AND  ENGRAVERS. 


Altdorfer 


Berlin.  Museum.  Landscape  -with  Figures,  'Der 
Bettell  sitzt  auf  der  Sohleppe 
der  Hoffart'  (signed  and  dated 
1531). 
.Munich,  Pindkothek.  Susannah  at  the  Bath  {signed  and 
dated  1526). 
„  „  Madonna  and  Child. 

„  „  Pieta. 

„  „  St.  George  and  the  Dragon  {signed 

and  dated  1510). 
„  „  Landscape  with  figures. 

Nuremberg.  St.  Mau-  A  man  and  two  women  rescuing  the 
rice,  body  of  St.  Quiriuus  from  the 

water. 
,,      Landauer     1     t      j 

hruderhaus.]    landscape. 
„  Castle.       Crucifixion  {dated  1506). 

Eatisbon.      Hist.Soc.  Adoration  of  the  Shepherds. 

So  late  as  1812  there  were  about  25  of  his  oil 
paintings  (he  produced  upwards  of  70)  preserved 
at  Eatisbon.  At  the  present  date  there  is  only  a 
single  specimen  remaining  there.  The  city  records 
mention,  however,  a  purchase  in  1651  o£  a  volume 
containing  a  collection  of  genuine  engravings  and 
woodcuts  by  his  hand,  and  this  is  happily  still  to 
be  seen  in  the  Royal  Library  at  Munich. 

Of  his  drawings,  some  of  which  are  heightened 
with  white,  by  far  the  most  important  collection  is 
that  of  the  Berlin  Cabinet. 

He  takes  his  place  in  the  ranks  of  the  'Little 
Masters,'  and  is  known  in  France  under  the  title 
of  'Petit  Albert.'  His  works  lack  the  vigour  of 
Beham,  and  the  accomplishment  of  Aldegrever ; 
nor  are  they  in  the  smallest  degree  influenced  by 
an  Italian  element.  Still  there  is  often  present 
a  certain  fantastic  quaintness  of  conception  which 
gives  them  a  peculiar  charm,  and  the  landscape 
accessories  (in  which  the  introduction  of  drooping 
foliage  is  a  feature  frequently  present)  are  always 
a  source  of  pleasure.  Our  higher  standard  of  beauty 
prevents  our  finding  this  the  case  with  his  render- 
ing of  mythological  subjects.  But  his  genre  pieces, 
very  small  as  they  are,  are  things  sure  of  appre- 
ciation. He  was  truly  a  German  of  the  old  school, 
uninfluenced  by  the  Renaissance,  yet  he  has  been 
called  the  'father  of  landscape  painting,'  being 
the  earliest  painter  who  made  the  landscape  pre- 
dominate over  the  figures  in  the  interest  of  his 
pictures,  and  the  first  to  produce  etchings  of 
scenery.  These  etchings  are  slight  in  efEect,  but 
very  pictorial;  mountain  scenery  prevailing,  and 
the  fir-tree  always  very  important.  Amongst  his 
productions  by  the  latter  process  are  also  subjects 
representing  ornamental  objects,  some  of  them 
doubtless  copies  of  cups  and  vases  in  his  own 
possession,  as  well  as  landscape  scenes,  the  rarity 
of' the  latter  of  which  at  the  present  day  is  the 
more  to  be  regretted  from  their  being  the  produc- 
tion of  his  ripest  time. 

As  a  designer  for  woodcuts,  Altdorfer  exhibited 
a  good  deal  of  activity,  but  not  so  much  as  Durer, 
Beham,  and  others.  He  probably  did  not  cut  his 
own  blocks.  The  only  continuous  series  of  wood- 
cuts which  we  know  him  to  have  produced,  is  a 
set  of  forty  very  small  prints,  '  The  Eall  and  Re- 
demption,' not  his  most  satisfactory  examples. 
fThese  commence  with  '  The  Disobedience  of  Adam 
and  Eve,'  and  illustrate  the  whole  life  of  the  Virgin 
and  Passion  of  Christ,  ending  with  'The  Day  of 
Judgment,'  and  'The  Glorification  of  Mary.'  'They 
exhibit  feebleness  in  the  figures,  and  a  general 
poverty  in  the  details,  nor  do  they  often  possess 
any  of  that  quaintness  of  fancy  which  was  one 
of  his  peculiar  charms.     The  entire  catalogue  of 


his  engraved  designs,  including  Passavant's  addi- 
tions to  Bartsch,  is  given  below. 
His  monogram  occurs  in  the 
accompanying  forms  : 

LIST  OF  ENGEAVINaS. 

(From  Meyer's '  Kiinstler-Lexikon.') 

ON   COrPEE,  MANY   OF   THEM   ETCHINGS. 

Heligious  Subjects. 

1.  Judith  with  the  head  of  Holofemes. 

2.  Samson  with  the  gates  of  Gaza. 

3.  Delilah  cutting  off  Samson's  hair. 

4.  Solomon's  idolatry. 

5.  The  Repose  of  Joseph  and  Mary. 

6.  Virgin,  seated,  holding  the  Infant  Saviour. 

7.  Virgin,  seated  on  a  throne,  holding  the  Infant 
Saviour,  with  Angel. 

8.  Virgin  in  profile,  standing ;  with  the  Infant  Saviour. 
Anna  introduced. 

9.  Virgin  and  Child,  seated.  The  Infant  stretches  his 
arms  towards  two  children,  one  of  whom  offers  a 
vessel  {signed  and  dated  1507). 

10.  The  Virgin  standing,  offering  an  apple  to  the  Infant 
{signed  and  dated  1509). 

11.  The  Virgin  sitting,  the  Infant  on  her  knees,  giving 
the  blessing. 

12.  The  Virgin  holding    the  Infant,  standing  on  a 
crescent. 

13.  The  Virgin  with  the  Infant  seated  on  clouds,  a 
Saint  to  the  right. 

14.  The  Infant  Saviour ;  the  right  hand  blessuig,  the 
left  holds  a  world. 

15.  Our  Lord  driving  the  merchants  from  the  temple. 

16.  Our  Lord  crovmed  with  thorns,  meeting  Mary. 

17.  The  Little  Crucifixion. 

18.  The  Great  Crucifixion. 

19.  St.  Christopher. 

20.  St.  George  and  the  Dragon. 

21.  St.  Jerome  reading. 

22.  St.  Jerome  writing. 

23.  St.  Sebastian  fastened  to  a  tree. 

24.  St.  Sebastian  fastened  to  a  pillar. 

25.  St.  Catherine,  sword  and  wheel. 

26.  The  Nunnery. 

27.  Two  Hermits. 


28.  Mercury,  springing  from  a  tree  into  the  sea. 

29.  Neptune,  on  a  sea-monster. 

30.  Eape  of  a  Nymph. 

31.  Venus,  stancJing.    Two  Cupids ;  one  holds  a  tablet. 

32.  Venus  seated  in  a  bath  ;  Cupid  on  a  pedestal,  after 
Marcantanio. 

33.  Venus  emerging  from  the  bath ;  Cupid  on  the  left, 
afte]'  Marcantonio. 

34.  Venus  on  a  lawn,  with  two  Cupids. 

35.  Judgment  of  Paris. 

36.  Triton,  Nereid,  and  Dolphins. 

37.  Man  and  Satyr  struggling  for  a  Nymph,  after 
Marcantonio. 

38.  Thisbe  and  Pyramus. 

39.  Infant  Hercules  and  the  Snakes. 

40.  Hercules  subduing  the  Nemean  Lion, 

41.  Hercules  with  the  two  pillars. 

42.  Hercules  with  a  cornucopia ;  a  Nymph  with  a  lyre 
on  the  left. 

43.  Centaur,  bearing  a  vessel  with  fire. 

44.  "Winged  Genius,  holding  a  bubble. 

45.  Winged  Genius,  riding  on  a  stick. 

46.  "Winged  Genius,  blowing  a  bagpipe  {dated  1521). 

47.  Fortune,  standing  on  a  globe  {signed  and  dated  1511). 

48.  Pride,  regarding  herself  in  a  mirror. 

49.  Pride,  seated  on  a  winged  serpent,  holding  a  mirror 
{signed  and  dated  1506). 

50.  Nude  female  figure  on  a  star  ;  the  nght  hand  hold- 
ing a  torch,  the  left  a  sceptre  {on  some  examples  the 
legend  LASorfiA  occurs). 

51.  Dido  on  the  funeral  pile. 

52.  Lucretia  seated,  holding  the  dagger  {copied  with 
variations  from  Marcantonio,  doubtful). 

53.  Mutius  Scsevola. 

54.  The  Eoman  lady,  on  a  pedestal,  from  the  mediieval 
story  of  Virgil;  ifnale  figures  fetching  fire  from  he^\ 


Altdorfer 


A  BIOGRAPHICAL  DICTIONARY  OF 


Altmaui] 


55.  Soldiers  Standing,  one  drawing  his  sword.    ProfiU, 
looliinq  to  the  left. 

56.  The'Warrior,  a  pole  on  his  shoulder.   Profile,  looking 
to  the  right. 

57.  The  "Warrior.    Front  view,  holds  sword  and  haloert 

58.  The  Knigbt.     One  hand  holds  a  vessel,  the  other  a 
loaf.  ,     ,  ■       ,       7 

59.  The  Drummer.    Marching  to  the  right  {signed  ami 
dated  1510).  . 

60.  The  Little  Standard-hearer.  Silly  landscape  m  back- 
ground. 

61.  The     Great    Standard-hearer.      Backgrmnd   clear 
{signed  and  dated  1508  or  1510). 

62.  The  Fiddler.    Left  hand  holds  the  low. 

63.  The  Oontemplatire  Man,  sitting  on  a  stone.    Has 
been  supposed  to  be  the  Artist's  portrait. 

64.  The  Standard-hearer  on  the  right,  the  "Woman  on 
the  left. 

65.  A  Man  on  the  right,  grasping  a  curtain,  a  woman 
on  the  left. 

65.  {a)  The  Piper.    A  warrior,  with  a  hat  and  feather, 
is  Mowing  on  afiute  {signed  and  dated  1510). 

65.  {b)  "Winged  child,  leaning  forward,  holding  a  shield. 

66.  A  "Woman,  with  hat  and  feather,  half-length. 

67.  A  "Woman  bathing  her  feet. 

68.  A  "Woman  seated  on  some  armour,  and  holding  a 
vessel ;  after  Beham. 

69.  A  nude  female  figure,  with  a  candlestick. 

70.  Interior  of  the  old  Synagogue  at  Eatisbon,  with  an 
inscription. 

71.  Vestibule  of  the  above,  with  two  figures,  and  an 
inscription. 

72.  Martin  Luther.  Profile,  to  the  right,  bearing  in- 
scription D.  L.  M.    Probably  after  Cranach  or  Hopfer. 

73.  Head  of  a  young  man,  with  long  hair,  and  no  beard 
{signed  and  dated  1507). 

Beyond  these,  Meyer  mentions  28  various  plates 
of  Ornaments,  Cups,  and  Vases,  and  ten  Landscapes. 

ON   WOOD. 
Nos-  1  to  40.  A  series  of  outs  representing  the  FaJl  and 
the  Bedemption,  all  marked  with  monogram. 

41.  Abraham's  Sacrifice. 

42.  Joshua  and  Caleb  with  the  fruit. 

43.  Jael  and  Sisera. 

44.  The  Annunciation  {dated  1513). 

45.  The  Adoration  of  the  Shepherds  {signed^. 

40.  The  Murder  of  the  Innocents  {signed  and  dated 
1511). 

47.  A  magnificent  Font  in  a  chapel,  with  angels  and 
other  figures  {signed), 

48.  The  Resurrection  {signed  and  dated  1513). 

49.  The  Virgin,  in  a  church,  with  the  Infant  on  her  arm. 

50.  The  Virgin,  seated  as  on  an  altar,  with  the  Infant 
on  her  arm,  a  Deacon  praying  before  them. 

51.  The  Virgin  and  Child,  by  an  altar,  on  the  left  of 
which  are  figures  of  St.  Christopher  and  St.  Barbara, 
on  the  right  those  of  St.  George  and  St.  Catherine. 

52.  Our  Lady  of  Batisbon :  a  balustrade  in  front  with  a 
vase  of  flowers,  with  the  legend — 

"  Gantz  schdn  bistu  meinfrundtin  vnd 
ein  mackel  ist  nit  in  dir.    Aue  MariaP 

53.  The  Decollation  of  St.  John  Baptist  {signed  and 
dated  1512). 

54.  A  Decollation  of  St.  John  Baptist  {signed  and  dated 
1517). 

55.  St.  Christopher  stooping  to  take  up  the  Infant 
Jesus. 

56.  St.  Christopher  carrying  the  Infant  Jesus  across  the 
stream  {signed  and  dated  1513). 

57.  St.  George  on  horseback  thrusting  his  lance  into 
the  Dragon's  throat  {signed  and  dated  1511). 

58.  St.  George  standing,  the  Dragon  under  his  feet 

59.  St.  Jerome  in  a  cave,  before  a  crucifix. 

60.  St.  Jerome.  A  crucify  rests  against  a  rock  on  the 
left. 

61.  St.  Catherine  with  a  wheel.  Two  Angels  with 
musical  Instruments ;  others  hold  a  crown  above  her 
head. 

62.  Judgment  of  Paris  {sianed  and  dated  1511). 

63.  Thisbe  and  Pyramus  (signed  and  dated  1513). 

64.  A  Standard-bearer  in  a  landscape. 

30 


65.  Two  lovers  seated  in  a  landscape    a  horse  tied  to  a 
branch  of  a  tree  on  the  right  {signea  and  dated  1511), 

66.  A  title-page.  Angels  playing  music ;  aHolyPamily 
represented  below  on  the  left. 

67.  Three  plates    representing  peasants  (attributed  to 
Altdorfer  liy  Wesseley,  who  p-aises  it  highly). 

68   A  richly  ornamented  gate ;  the  ornaments  filled  in 
with  black.  W.  B.  S. 

ALTDORFER,  Erhaed,  a  painter  and  engraver 
on  wood,  -was,  in  all  probability,  brother  of  the 
well-known  artist  Albrecht  Altdorfer,  in  whose  will, 
dated  12th  Feb.  1538,  he  is  mentioned  as  a  citi- 
zen of  Schweriri.  He  was  court-painter  to  Duke 
Henry  the  Peaceable,  and  accompanied  him,  in 
1512,  to  a  royal  marriage  at  "Wittenberg.  There 
he  appears  to  have  made  the  acquaintance  of  Lucas 
Cranach,  as  the  influence  of  this  master  is  seen  in 
his  productions.  He  painted  at  Sternberg  in  1516 
an  altar-piece  (now  no  longer  in  existence),  for 
which  Duke  Henry  engaged  to  pay  him  150 
Rhenish  florins.  In  1552  he  describes  himself 
in  a  letter  to  the  young  Duke  John  Albert  of 
Mecklenburg  as  '  Baumeister,'  so  that  he  appears 
to  have  followed  the  profession  of  an  architect  as 
well  as  his  brother.  We  know  him  only  by  his 
woodcuts,  two  of  which  are  indicated  by  a  mono- 
gram composed  of  the  letters  .E  and  S  combined, 
His  work  consisted  principally  of  title-pages  and 
illustrations  for  various  works,  among  which  may 
be  noticed  the  Liibeck  Bible  of  1533,  and  an 
edition  of  '  Reineke  Fuchs,'  containing  35  cuts, 
published  at  Rostock  in  1539. 

ALTHAM,  — ,  a  German  painter,  who  flourished 
about  1660,  painted  landscapes  and  marine  subjects 
with  considerable  ability.  He  is  reported  to  have 
studied  with  Salvator  Rosa.  Works  by  him  are 
in  the  Colonna  Collection  at  Rome. 

ALTICHIERO  da  ZEVIO  (or  Aldighibeo), 
who  was  born  at  Zevio,  a  village  near  Verona, 
painted,  with  Avanzi,  the  decoration  of  the 
chapels  of  SS.  Felice  and  Giorgio,  at  Padua. 
While  the  principal  part  of  the  frescoes  in  the 
chapel  of  San  Giorgio  is  attributed  to  the  latter 
artist,  for  the  former  are  claimed  the  first  seven 
pictures  in  the  chapel  of  San  Felice — formerly  San 
Jaoopo — illustrating  the  life  of  St.  James  the 
Greater ;  and  from  documents  it  appears  that  the 
payment  for  the  frescoes  in  San  Felice  was  made 
to  Altichiero.  But  authorities  differ  much  as  to 
the  authors  of  the  various  works  in  both  chapels. 
Liibke  says  that  Altichiero  displayed  in  his  works 
a  lively  conception  and  a  rich  finished  colouring, 
and,  indeed,  with  the  exception  of  Orcagna's,  his 
paintings,  together  with  those  of  Avanzi,  were, 
up  to  that  period,  the  best  productions  since  the 
time  of  Giotto.  It  is  not  known  when  this  artist 
died.     He  painted  as  late  as  1382. 

ALTISSIMO,  Cbistofano  di  Papi,  dell'.  Sea 
Papl 

ALTMANN,  Anton,  who  was  born  in  "Vienna  in 
1808,  studied  from  nature,  and  under  the  instruction 
of  Mossmer  at  the  Academy.  After  being  instructor 
in  drawing  to  Count  Apponyi  in  Hungary,  he  settled 
in  "Vienna,  and  became  famous  as  a  landscape 
painter.  He  died  there  in  1871.  Among  his  most 
important  works  are  the  following: 

Cloister  of  the  Convent  '  Maria  Sohein,'  in  Bohemia 

1838. 
Forest  Scene.    1840. 
Marshy  Landscape.     1846. 
Evening  Landscape.    1847. 
Spring  In  a  Forest.     1851. 
The  Mill.    1851. 


Altmanu 


PAINTERS  AND  ENGEAVER& 


Amberes 


Altmann  executed  landscapes  in  water-colour; 
and  also  etched  from  his  own  designs. 

ALTMANN,  Karl,  who  was  bom  at  Feuoht- 
wangen  in  1800,  studied  fron\,1819  to  1822  in  the 
Academy  at  Dresden.  He  then  went  to  Munich, 
where  he  resided  until  his  death  in  1861.  He 
represented  scenes  from  Bavarian  peasant  life, 
with  much  hiimour  and  originality. 

ALTOBELLO,  Francesco  Antonio,  a  Neapo- 
litan painter  of  the  17th  century,  was  a  scholar  of 
Carlo  di  Rosa,  who  had  studied  under  Massimo 
Stanzioni.  Altobello  used  ultramarine  excessively 
in  his  pictures,  which  was  contrary  to  Stanzioni' s 
practice.  He  is  mentioned  as  a  man  of  genius, 
correct  in  drawing,  of  good  invention,  and  skilful 
in  composition. 

ALTOBELLO  da  MELONE.     See  Melone. 
_  ALTOMONTE,  Andrea,  perhaps  a  son  of  Mar- 
tino  Altomonte,  flourished  at  Vienna  from  about 
1728  to  1763,  at  which  date  he  was  draughtsman 
to  the  Hoftheater.      He  engraved  Teniers's  pic- 
ture of  '  Abraham  and  Isaac  kneeling  to  sacrifice 
the  ram,'  in  Prenner's  'Vienna  Gallery.' 
ALTOMONTE,  Martino.     See  Hohenbehg. 
ALTZENBAGH,  Wilhelm,  an  engraver,  who, 
according  to  Heineken,  flourished  about  the  middle 
of  the   17th   century.     He  worksd  at  Strasburg, 
Cologne,  and  Paris,  and,  in  conjunction  with  his 
son,  executed  twenty  plates  of  Bible  subjects. 

ALUNNO,  Niccol6.  See  Liberatorb,  Niocol6 
DI. 

ALVAREZ,  LoEENZO,  studied  at  Valladolid  and 
Madrid  under  Bartolome  Carduoho  ;  he  established 
himself  at  Murcia,  about  1638,  and  executed  several 
works  of  merit  in  the  convents  there. 

AMALTEO,  Girolamo,  the  brother  of  Pompo- 
nio,  was  instructed  by  him,  and  gave  proofs  of  a 
noble  genius,  which  is  manifested  in  his  works 
of  design  in  small  pictures,  which  appeared  like 
miniatures,  in  several  fables  executed  in  fresco, 
and  in  altar-pieces  which  he  painted  in  the  church 
of  San  Vito.  Ridolfi  commends  him  highly  for 
his  spirited  manner,  and  Renaldis  says  that,  in  his 
opinion,  if  he  had  lived  longer  he  would  have 
proved  no  way  inferior  to  the  great  Pordenone. 
He  flourished  in  the  16th  century,  and  died  when 
still  young.  Graziano,  in  his  poem  of  '  Orlando,' 
styles  him  "  Girolamo  Amalteo  de  vita  santa." 

AMALTEO,  PoMPONio,  who  was  born  at  San 
Vito,  a  town  in  Friuh,  in  the  year  1605,  was  the 
scholar  and  subsequently  son-in-law  of  Porde- 
none. He  painted  several  historical  works  in 
fresco  in  the  churches  and  public  places  in  the 
vicinity  of  Friuli.  At  Belluno,  there  are  some 
pictures  painted  by  this  master,  it  is  said  in  1529, 
representing  subjects  of  Roman  history.  In  1532 
he  was  employed  at  Udine,  and  in  1533  he  painted 
for  the  duomo  of  San  Vito,  a  votive  St.  Eooh, 
with  SS.  ApoUonia,  Sebastian,  and  two  other 
Saints.  In  the  choir  of  the  church  of  Santa  Maria 
de  Battisti,  at  San  Vito,  are  frescoes  by  him,  dated 
1535,  representing  scenes  from  the  'Life  of  the 
Virgin,'  &c.,  which  are  now  much  injured  by  time 
and  decay.  In  1655  he  painted  the  organ  shutters 
at  Udine,  with  scenes  from  the  '  Life  of  Christ ; ' 
and  in  1576  he  executed  '  The  Entombment,'  in 
the  Monte  di  Pieta  at  Udine.  Many  of  the  churches 
and  public  buildings  in  and  around  Friuli  and 
Treviso  possess  frescoes  and  paintings  by  him. 
The  frescoes  of  '  Daniel  and  Susanna,'  and  the 
'  Judgments '  of  Solomon  and  Trajan,  in  the  town- 
hall  at  Ceneda,  supposed  by  Ridolfi  to  have  been 


painted  by  Pordenone,  were  really  the  work  of 
Amalteo,  and  finished  by  him  in  1536.  He  died 
at  San  Vito,  in  1584. 

AMAND,  Jacques  FRANgois,  who  was  bom  at 
Gault,  near  Blois,  in  1730,  studied  under  Pierre, 
and  became  a  good  historical  painter.  In  1756 
he  gained  the  Prix  de  Rome  for  his  '  Samson  and 
Delilah  ; '  he  afterwards  exhibited  at  the  Salon 
numerous  subjects  from  ancient  history  and 
mythology.  He  also  engraved  several  of  his  own 
compositions.     He  died  at  Paris,  in  1769. 

AMANN.     See  Amman. 

AMATO,  Francesco,  an  Italian  engraver  of  the 
17th  century.  Ot  his  paintings  little  is  known  ; 
but  he  has  left  some  slight  etchings,  which  are 
executed  with  spirit,  in  the  style  of  Biscaino, 
among  which  are  the  following  : 

St.  Joseph  seated,  reading  a  book,  with  the  Infant  Jesus 
near  him — an  upright  plate;  inscribed  Franciscua 
Amafus,  inv. 

The  Prodigal  Son. 

AMATO,  Giovanni  Antonio  d',  called  'the 
elder,'  was  born  at  Naples  about  the  year  1476. 
He  was  the  disciple  of  Silvestro  Bruno,  or  Buono, 
an  old  Neapolitan  painter  then  in  repute,  bnt  did 
not  study  long  under  him,  as  the  latter  died  when 
Amato  was  young  ;  he  afterwards  applied  himself 
to  the  study  of  the  works  of  Pietro  Perugino, 
whose  manner  he  followed.  There  are  several  of 
his  works  in  the  churches  at  Naples.  In  San  Do- 
menico  Maggiore,  in  the  chapel  of  the  family  of 
CarrafEa,  is  a  picture  by  this  master  of  '  The  Holy 
Family.'  He  worked  both  in  oil  and  in  fresco, 
and,  being  an  artist  of  considerable  eminence, 
had  a  great  number  of  scholars,  amongst  whom 
were  Giovanni  B.  Azzolini,  Pietro  Negroni,  Simone 
Papa  the  younger,  Cesare  Turco,  and  others. 
Though  professionally  a  painter,  his  favourite 
study  was  theology  ;  and  he  was  celebrated  for 
his  expositions  of  many  obscure  passages  of  Scrip- 
ture.    He  died  in  1656. 

AMATO,  Giovanni  Antonio  d',  '  the  younger,' 
nephew  of  the  elder  Amato,  was  born  at  Naples, 
in  1636.  He  excelled  chiefly  in  colouring,  and 
some  of  his  pictures  are  as  richly  coloured  as  those 
of  Titian.  His  best  work  is  the  large  altar-piece 
of  the  Infant  Christ  in  the  church  of  the  Banco  de' 
Poveri  at  Naples,  in  which  city  he  died  in  1698. 

AMATRICE,  Dell'.     See  Dell'  Amatkice. 

AMAYA,  — ,  an  historical  painter,  scholar  of 
Vincenzo  Carduoho,  and  rival  of  Lorenzo  Alvarez, 
painted  at  Segovia,  in  1682,  several  pictures  illus- 
trating the  Life  of  St.  Martin,  remarkable  for  their 
correct  design  and  colour.  He  died  about  1690 
or  1692., 

AMBERES,  Francisco  de,  a  painter  and  sculp- 
tor of  Toledo,  the  cathedral  of  which  he  orna- 
mented with  his  pictures  in  1502.  From  1508  to 
1610  he  painted,  in  conjunction  with  Juan  de  Bor- 
gona  and  Juan  de  Villoldo,  the  arabesque  chapel, 
which  is  still  an  interesting  object. 

AMBl&RES,  Miguel  de — called  in  Spain,  Miguel 
EL  Flamengo — is  also  the  same  person  as  Miguel 
Manrique.  He  was  born  in  Flanders,  and  learned 
his  art  there  under  Rubens,  and  afterwards,  at 
Genoa,  from  Giovanni  Andrea  de'  Ferrari,  and 
Cornells  Wael.  He  subsequently  obtained  a  com- 
mission as  captain  of  a  troop  in  the  Spanish  service, 
and  went  to  Spain  and  settled  in  Malaga,  where 
are  several  works  by  him  in  the  churches  and  else- 
where. His  portraits  are  executed  in  a  style 
similar  to  that  of  Van  Dijck.     Miguel  de  Ambdres 

31 


Amber  ger 


A  BIOGRAPHICAL  DICTIONARY  OF 


Amerigi, 


died  in  Spain  in  the  latter  half  of  the  17th  cen- 
tury. 

AMBEEGER,  Cheistoph,  was  horn  about  the 
year  1490,  or  later.  Nuremberg,  Ulm,  and  Am- 
berg  are  all  given  by  various  authors  as  his  birth- 
place ;  and  some  writers  say  he  studied  under  his 
father,  one  Leonhard  Amberger.  Certain  it  is, 
however,  that  Augsburg  was  the  scene  of  his 
labours.  He  was,  Doppelmayer  says,  the  disciple 
of  Hans  Holbein  the  elder.  He  probably  studied 
under  Hans  Burgkmair,  and  the  paintings  of  Hans 
Holbein  the  younger  had  an  evident  effect  on  his 
style,  so  much  so  that  his  works  have  been  some- 
times mistaken  for  those  of  Holbein.  He  painted 
a  set  of  twelve  pictures  representing  the  'History 
of  Joseph  and  his  Brethren,'  which  gained  him 
great  reputation.  He  succeeded,  however,  better 
in  portraits  than  historical  subjects.  In  1632  he 
painted  the  portrait  of  the  Emperor  Cbarles  V.  ; 
and  Sandrart  tells  us  that  this  portrait  was  con- 
sidered by  that  monarch  equal  to  any  of  the 
pictures  painted  of  him  by  Titian.  He  certainly 
honoured  the  artist  by  giving  him  a  gold  chain 
and  medal  on  the  occasion.  The  original  is  in  the 
Institute  of  Fine  Arts  at  Siena,  and  is  there  ascribed 
to  Holbein.  The  one  at  Berlin  is  a  replica,  by 
Amberger.  He  died  at  Augsburg,  in  1563.  From 
amongst  Amberger's  pictures,  which  are  rarely 
signed,  the  following  may  be  selected  as  some  of 
the  best  : 

Augsburg.  Cathedral.  Virgin  and  Child. 

Berlin.     Museum.      Portrait  of  Charles  V.  {signed). 

„  „  Portrait  of  Sebastian  Miinster  (dated 

1552). 
Frankfort.  Stadd.      Portrait  of  a  yonng  man. 
Vienna.    Belvedere.    Portrait  of  Martin  "Weiss  (painted  in 
1554). 
,j  „  Six  other  portraits. 

ji  „  Herodias    {said     to    he    hy   Andrea 

Solaria). 
Works  hy  him  are  in  other  collections 
in  Vienna. 

AMBLING.     See  Amling. 

AMBEOGI,  DoMENioo,  called  Menichino  del 
Bmzio,  from  the  master  under  whom  he  studied, 
Francesco  Brizio,  was  born  at  Bologna,  about 
the  year  1600,  and  distinguished  himself  as  a 
painter  of  liistory,  both  in  oil  and  in  fresco.  He 
also  excelled  in  repi-esenting  landscapes,  and  per- 
spective and  architectural  views,  and  was  much 
employed  in  the  churclies  and  palaces  at  Bologna. 
In  the  UfSzi  there  are  two  landscapes  containing 
sacred  subjects  by  him.  In  San  Giacomo  Mng- 
giore,  is  a  picture  by  Ambrogi  of  the  'Guardian 
Angel,'  and  in  the  Annunziata,  '  St.  Francesco,' 
with  a  glory  of  angels.  In  1653  he  published 
some  woodcuts,  from  his  own  designs,  printed  in 
chiaroscuro,  of  whicli  one,  mentioned  by  Heineken, 
represented  a  woman  in  a  triumphal  car,  holding 
two  flambeaux  and  a  serpent,  and  conducted  by 
Neptune.  By  him  are  also  a  drawing  for  the  Thesis 
of  Julius  Calaverius,  and  'Painting and  Sculpture.' 
Amongst  the  pupils  of  Ambrogi  were  Giacinto 
and  Pier  Antonio  Cerva,  Giovanni  Antonio  Fumi- 
ani,  and  Giacinto  Campana. 

AMBROGI,  Marco  degli.    See  Degli  Ambrogi. 

AMBEOZY,  Wenzel  Bernhakd,  who  was  born 
at  Kuttenberg,  in  Bohemia,  in  1723,  received  in- 
struction m  art  at  Prague  from  his  brother  Joseph, 
who  was  a  miniature  painter.  He  was  court- 
pamter  to  Maria  Theresa,  and  the  last  president  of 
the  Painters'  Guild  at  Prague.  He  painted  por- 
traits and  altar-pieces  in  oil ;  but  was  also  famous 

32 


for  his  frescoes,  which  adorn  many  of  the  churches 
and  castles  of  Prague,  and  other  places  in  Bohemia. 
He  died  in  1806. 
AMEDBE  DE  NOB  ('  Cham  ').  See  No^. 
AMELSFOORT,  Qdirinus  van,  was  born  at  Bois- 
le-Duc  in  1760,  and  died  there  in  1820.  He  painted 
allegories,  history,  and  portraits  ;  in  the  last  the 
likenesses  were  remarkable  for  their  truth. 

AMERIGI,  Michel  Angiolo,  da  Caravaggio, 
(or  Amerighi,  or  Mokigi),  was  born  at  Caravaggio, 
a  village  in  the  Milanese,  in  1569.     He  was  the  sou 
of  a  mason,  and  was  employed  when  a  boy  to  pre- 
pare the  plaster  for  the  fresco  painters  at  Milan. 
The  habit  of  seeing  them  work  inspired  him  with  the 
ambition  of  becoming  an  artist ;  and  without  the 
instruction  of  any  particular  master,  he  attached 
himself  to   a  faithlul   imitation   of  nature,   and 
formed  to  himself  a  manner  which,  from  its  singu- 
larity, and  a  striking  effect  of  light  and  shadow, 
became  extremely  popular.      For  a  few  years  be 
confined    himself  to  painting  fruit,  flowers,  and 
portraits,  which  were  much  admired  for  the  fideUty 
of   their  resemblance.     Such   was   his   rigid  ad- 
herence to  the  precise  imitation  of  his  model,  that 
he  copied  nature  even  in  her  deformities,  and  he 
afterwards  continued  the  same  slavish  mechanism 
in  the  higher  department  of  historical  painting. 
After  five  years  of  steady  application  in  Milan, 
Caravaggio  removed  to  Venice,  where  he  greatly 
improved  his  colouring  by  studying  the  works  of 
Giorgione  ;  and  the  pictures  painted  in  his  earlier 
manner  are  infinitely  preferable,  in  point  of  colour, 
to  his  later  works.    From  Venice  he  went  to  Eome, 
in  which  city,  finding  himself,  through  poverty, 
unable  to   gain  a   livelihood   as   an  independent 
painter,  he  engaged  himself  to  Cesare  d'Arpino, 
who  employed  him  to  execute  the  floral  and  orna- 
mental parts  of  his  pictures.      Caravaggio,  how- 
ever, was  soon  enabled  to  paint  for  himself.     The 
novelty  of  his  manner  both  pleased  and  surprised; 
and  his  works  soon  became  so  generally  the  objects 
of  public  admiration,  that  some  of  the  greatest 
artists  then  in  Eome  were  induced  to  imitate,  with- 
out approving,  the  new  style  of  Amerigi.  Guide  and 
Domenichino,  to  gratify  a  corrupt  public  taste,  were 
for  some  time  under  the  necessity  of  abandoning 
their  suavity  and  their  grace,  to  follow  this  vulgar 
though  vigorous  trickery  of  Caravaggio.    This  in- 
fatuation did   not,  however,  continue  long ;   the 
attractions  of  the  grand  and  the  beautiful  resumed 
their  sway  over  public  opinion.     After  executing 
many  important  works,  Caravaggio  was  obliged  to 
leave  the  city  on  account  of  the  death  of  a  friend,  ■ 
whom  he  had  killed  in  a  fit  of  anger  ;  he  repaired  to 
Naples,  whence  he  went  to  Malta,  where  he  was 
patronized  by  the  grand-master  Vignacourt,  whose 
portrait  he   twice  painted.     Once  more,  through 
his  hot  and  fiery  temper,  Caravaggio  was  driven 
f rorn  the  town  of  his  choice.      He  quarrelled  with 
a  knight,  who  threw  him  into  prison.    Caravaggio, 
however,  escaped  from  captivity  and  fled  to  Syra^,  .» 
cuse,  whence  he  went  to  Naples  by  way  of  Messina 
and  Palermo.     Having  obtained,  through  the  in- 
fluence of  his  friends,  the  Pope's  pardon  for  the 
manslaughter  of  his   companion,  Caravaggio  set 
sail  from  Naples  for   Eome,   but   he   was  taken 
prisoner  on  the  way  hy  some  Spaniards,  in  mistalte      . 
for  another  man.      On  being  set  at  liberty,  he  had 
the  misfortune  to  find  that  the  boatmen  had  gone 
off  with  the  felucca  and  his  property.    He  con- 
tinued his  way  as  far  as  Porto  Ercole,  where,  partly 
from  his  loss,  and  partly  from  the  heat  of  the 


Amici 


PAINTERS  AND  ENGRAVERS. 


Amling 


weather,  lie  was  taken  ill,  and  died  in  1609.  The 
merit  of  Caravaggio  is  confined  to  colour,  and  to 
an  extraordinary  effect,  produced  by  a  daring  con- 
trast of  light  and  shadow,  which  only  belongs  to 
nature  in  abstracted  situations.  To  give  it  veracity 
we  must  suppose  the  light  to  proceed  from  a 
partial  and  prescribed  aperture,  which  alone  can 
sustain  the  illusion.  He  seldom  ventured  on 
works  that  required  the  arrangement  of  a  grand 
composition,  for  which  liis  wantof  academic  study 
rendered  him  totally  inadequate ;  he  contented 
himself  with  subjects  he  could  represent  in  half- 
length  figures,  and  which  did  not  demand  a  correct 
delineation  of  the  nude.  His  saints  and  heroes  are 
the  representations  of  the  porters  who  served  him 
for  models,  and  which  he  never  thought  it  neces- 
sary to  attempt  to  ennoble.  It  must,  however,  be 
admitted  that  his  works  possess  wonderful  force, 
and  that  the  distributiou  of  light  and  shadow  is 
conducted  with  admirable  intelligence.  The  fol- 
lowing is  a  list  of  some  of  the  principal  works  of 
Caravaggio : 

Berlin.   Museum.         Entombment. 

„  „  Christ  on  the  Momit  of  Olives. 

„  „  St.  Matthew. 

J,  „  Love  as  a  ruler. 

„  „  Conquered  Love. 

„  „  Male  Portrait. 

„  „  .  Female  Portrait. 

All  from  the  Giustiniani  Collection. 
Dresien.Galler^.  Card-players. 

„  „  Four  othsrs. 

London.  Nat.  Gall.       Christ  and  the   two   Disciples  at 

Emmaus. 
Paris.      I/mvre,  Death  of  the  Virgin. 

„  „  The  Fortune-teller. 

„  „  A  Concert. 

„  „  ,  Portrait  of  Tignacoiirt. 

Petersburg.HermjVap'^.Ecce  Homo. 

„  ■    „        Martyrdom  of  St.  Peter. 

Bome.  /S.  Maria  del  (  Martyrdom  of  St.  Peter. 
Popolo.     \  Conversion  of  St.  Paul. 

„  Vatican  Mu>.  The  Entombment  (Ajsmasierpjece). 

His  works  are  also  seen  in  the  palaces  TCa/N 
of  Rome,  and  in  Genoa,  Siena,  Modena,   J[V>j~\_ 
Naples,  and  Malta. 

AMIGI,  Feancesoo,  was  an  Italian  engraver,  of 
Florence,  of  the  18th  century,  who  engraved  some 
small  plates  of  sacred  history  subjects,  among 
which  are : 

Christ  on  the  Mount  of  Olives. 
Christ  before  Pilate. 
Christ  bearing  His  Cross. 
The  Entombment  of  Christ. 

AMICO.  See  Aspeetini. 
AMICONI.  See  Amigoni. 
AMIDANO,  GiuLlo  Cesare  (wrongly  called 
PoMPONio),  was  a  native  of  Parma,  and  painted 
from  about  1560  to  1628.  From  the  resemblance 
of  his  works  to  those  of  Parmigiano,  he  is  sup- 
posed to  have  frequented  his  school.     If  not  his 

;  disciple,  he  was  certainly  one  of  the  most  success- 
ful followers  of  his  style.  His  heads  are  noble 
and  graceful,  and  his  design  full  of  taste.  His 
best  performance  was  his  picture  painted  in  the 
church  of  the  Madonna  del  Quartiere,  which  has 

I      been  mistaken  by  good  judges  for  the  work  of 

J  Parmigiano.  Orlandi  relates  that  many  of  the 
pictures  of  Amidano  were  purchased  by  foreigners. 

,  AMIEL,  Louis  Finx,  a  French  portrait  painter, 

"f  was  born  at  Castelnaudary  (Aude)  in  1802.  He 
was  a  pupil  of  Baron  Gros,  and  died  at  Joinville- 

,     le-Pont  in  1864. 

|,        AMIGAZZI,  Giovanni   Battista,  a  painter  of 


Verona,  who  flourished  about  the  middle  of  the 
17th  century,  was  a  scholar  of  Claudio  Ridolfi  ; 
his  chief  talent  consisted  in  the  excellence  of  his 
copies,  and  several  of  his  works  have  been  mis- 
taken for  those  of  his  master.  A  copy  which  he 
made  of  Paolo  Veronese's  '  Supper  in  the  House  of 
the  Pharisee'  is  not  only  finely  drawn,  but  its 
colours  are  fresh  and  vivid  even  at  the  present 
day. 

AMIGONI,  Jacopo,  (or  Amiconi),  was  born  at 
Venice  in  1675.  He  painted-  historical  subjects 
and  portraits.  His  first  works  at  Venice  were 
two  altar-pieces  in  the  church  of  the  Fathers  of  the 
Oratorio,  and  a  picture  of  '  St.  Catherine  and  St. 
Andrew,'  for  the  church  of  St.  Eustache.  He 
afterwards  visited  Rome,  and  from  thence  went  to 
Munich,  where  he  settled  for  some  time  ;  but  his 
chief  performances  are  in  England,  whither  he  came 
in  1729  ;  he  resided  here  ten  years.  Whatever  may 
be  the  merit  of  his  works,  they  were  for  some  time 
in  great  vogue.  He  was  employed  by  several  of 
the  nobility  in  ornamenting  their  houses.  After 
leaving  England  in  1739  he  returned  to  Venice, 
where  he  remained  till  1747  ;  he  then  went  to 
Spain,  and  resided  there  until  his  death,  which 
took  place  at  Madrid  in  1752.  He  etched  a  few 
plates  in  a  tame,  spiritless  style ;  the  following  are 
the  principal : 

Salvator  Mundi ;  half  length. 
Jupiter  and  CalHsto. 
Zephyrus  and  Flora. 
Bathsheba  in  the  Bath. 
Madonna  and  Child. 
Narcissus. 

AMIGONI,  Ottavio,  (or  Amiconi),  was  born  at 
Brescia  in  1605,  and  was  a  scholar  of  Antonio 
Gandini.  His  chief  excellence  was  in  fresco 
painting,  which  he  treated  with  great  ability,  in 
the  manner  of  Paolo  Veronese.  In  the  Carmelite 
Church,  in  his  native  city,  is  a  very  considerable 
work  in  fresco,  executed  in  conjunction  with 
Bernardino  Gandini,  the  son  of  his  master,  whicli 
is  much  extolled  by  Averoldi.  The  subjects  were 
taken  from  the  Life  of  St.  Alberto.  He  died  in 
1661. 

AMIL,  G.  P.  DE  LA  VILLA.  See  De  la  Villa- 
Amil. 

AMLING,  Carl  Gustav,  (or  Ambling),  a 
draughtsman  and  engraver,  was  bom  at  Nurem- 
berg in  1651.  He  was  taken  under  the  protection 
of  Maximilian  II.,  Elector  of  Bavaria,  who  sent  him 
for  improvement  to  Paris,  where  he  received  the 
instruction  of  F.  de  Poilly,  whose  manner  he  fol- 
lowed, but  whose  excellence  he  never  equalled, 
although  he  became  a  very  good  artist.  After  a 
few  years  he  returned  to  Munich,  and  was  ap- 
pointed court-engraver  to  his  patron,  Maximilian 
Emmanuel,  whose  portrait  he  engraved,  as  well  as 
those  of  many  members  of  the  electoral  family. 
Araling  died  in  1703.  He  engraved  a  great  num- 
ber of  plates  of  historical  subjects  and  portraits, 
but  was  much  more  successful  in  the  latter,  many 
of  which  have  great  merit.  His  drawing,  par- 
ticularly in  the  nude,  is  not  correct ;  and  in  all  his 
prints,  except  his  portraits,  there  is  a  want  of  efEect. 
The  following  list  comprises  all  his  plates,  except 
those  he  engraved  for  the  academy  of  Sandrart, 
and  some  prints  after  tapestry,  which  were  private 
plates  in  the  possession  of  the  Elector  of  Bavaria : 

PORTRAITS. 
Maximilian  Emmanuel,  Elector  of  Bavaria;  after  T. 
Macolinus,  dated  1670,  an  oval  very  scarce. 

33 


Amman 


A  BIOGEAPHICAL  DICTIONARY  OF 


Amorosi 


Maximilian  Emmanuel ;  after  J.  S.  Champagne  ;  one  of 

his  best  works. 
Equestrian  statue  of  Maximilian  Emmanuel ;  after  Ah- 

leitner. 
Henrietta  Maria  Adelaide,  Duchess  of  Bavaria ;  after 

Belamonee,  1675 ;  oval. 
Ferdinand  Maria,  Duke  of  Bavaria,  1676 ;  oval. 
Count  Johaun  von  Berlo  de  Brus,  Stadtholder  of  In- 

goldstadt,  1680 ;  large  oval. 
Alexander  Sigismund,    Bishop   of    Augsburg;    P.   F. 

Hamilton^  pinx. 
Eomain  liberiet,  Abbot  of  St.  TJlrich,  Afra,   and  m 

Augsburg ;  after  himself;  a  fine  portrait ;  oval. 
Petrus  Marinus  Sormannus ;  in  a  medallion. 
Livio  Prince  Odescalchi  ;  in  a  medallion. 
Marcus  ab  Aviano,  1680 ;  oval. 
A  young  prince  conducted  to  the  throne  by  Hercules 

and  Nestor;  at  the  foot  of  the  throne  is  inscribed, 

Utic/aria. 
Two  plates  of  statues ;  engraved  for  Sandrart's  Deutsche 

A.kadeinie. 

SAOEBD   AND   HISTORICAL   SUBJECTS. 
The  Virgin  and  Child,  with  two  portraits  ;  after  J.  A. 

Wolff;  a  very  large  plate. 
The  Image  of  the  Virgin  of  Consolation ;  1682 ;  large 

plate,  oval. 
Veto  Ritratto  di  S.  Francesco  d'Assisi. 
St.  Nicholas  of  Tolentino;    after  J.  A.    Wolff,  1691; 

large  plate. 
Vrai  Portrait  de  St.  John  de  S.  Facundo;   after  the 

same;  large  oval. 
St.  Godard  kneeling  before  the  Virgin;  J.  Drentwet, 

del. 
Ten  plates  in  folio — Of  a  triumphal  arch  in  honour  of 

the  Elector  Maximilian  Emmanuel. 
Grand  Thesis,  dedicated  to  the  Emperor  Leopold  and 

his  son  Joseph  ;  S.  P.  Antonius  Lumlinsky,  del. 
Another  large    plate,  representing  the  Virgin  Mary 

treading  on  the  Serpent,  accompanied  by  the  four 

Doctors  of  the  Church. 

AMMAN,  Jeeemias,  an  engraver  of  portraits, 
vi\iO  worked  at  SehafEhausen  from  about  1660  to 
1670,  executed,  in  conjunction  vsrith  his  son,  Johann 
Amman,  the  plates  to  Patin's  ImperatoruTn  Ro- 
manorum  Numismata  (1671),  chiefly  from  the 
drawings  of  F.  Chauveau. 

AMMAN,  Johann,  a  son  of  Jeremias  Amman, 
was  a  native  of  SehafEhausen,  and  flourished  about 
the  year  1700.  He  engraved  a  few  portraits, 
among  which  is  one  of  John  Locke. 

AMMAN,  Johann,  a  German  engraver,  who 
was  living  at  Hanau  about  1640.  Previously  he 
engraved  a  set  of  small  woodcuts,  representing 
the  Passion  of  our  Saviour.  They  are  executed  in 
a  neat  and  spirited  style,  and  possess  considerable 
merit.  They  were  published  at  Amsterdam  in 
1623,  with  Latin  verses. 

AMMAN,  JoST,  was  a  painter  as  well  as  en- 
graver, but  owes  his  reputation  chiefly  to  his 
excellence  in  the  last-mentioned  branch  of  art. 
He  was  born  at  Zurich  in  Switzerland,  in  1539.  The 
name  of  his  instructor  in  art  is  not  recorded.  In 
1560,  he  left  Zurich,  and  went  to  Nuremberg, 
where  he  worked  until  his  death,  in  1591.  Of  his 
paintings  we  have  no  further  account,  than  that 
his  works  in  stained  glass  were  richly  and  bril- 
liantly coloured.  His  pen-drawings  partake  of  the 
spirit  and  neatness  of  his  prints,  and  are  preserved 
in  the  portfolios  of  the  curious.  As  an  engraver, 
he  was  one  of  the  most  laborious  of  the  industrious 
artists  of  his  country,  who  have  so  ably  and  amply 
contributed  to  the  advancement  of  the  art.  The 
number  of  his  plates  is  prodigious,  and  his  work 
amounts  to  upwards  of  five  hundred  and  fifty 
prints,  many  of  which  being  of  a  diminutive  size,  he 
is  sometimes  ranged  among  the  artists  denominated 
34 


the  Little  Masters.  He  engraved  on  wood  and  on 
copper,  but  the  productions  from  the  latter  are 
very  inferior  to  those  from  the  former.  His  draw- 
ing, in  general,  is  tolerably  correct ;  and  his  exe- 
cution, particularly  in  his  animals,  is  smart  and 
spirited  ;  his  manner  of  engraving  is  neat  and 
decided.  This  artist  used  no  less  than  twelve  dif- 
ferent marks  in  his  plates,  but  they  all  consist  in  a 
cipher  composed  of  the  letters  /and  A,  as  follows: 

C«  0«1  JPv  Q,?o  \\ 

COPPBB   PLATES. 

Twelve  small  plates,  arched— Of   illustrious  women 
of  the  Old   Testament,  beginning  with  Eve:   title, 
Eva  die  Gebererin.  Jost.  Amman,  fee.;  Stef.  Herman, 
exc. 
Eight  figures  of  warriors   in  ancient  costume,  small 
upright  plates ;  marked,  Jost.  Amman,  Inventor.  1590. 
Eight  plates — Of   persons  fighting  with  swords  and 
sticks ;    small  plates,  lengthways ;  marked  with  his 
cipher. 
Six  very  small  plates  of  friezes.  Hunting  scenes. 
Eight  small  plates,  lengthways,  the  Four  Seasons,  and 

the  Four  Elements.     1569. 
Twelve  small  upright  plates  arched — Of  the  months 
in  the  year,  represented  in  full-length  figures;  Jo, 
Amman, fee, 
A  set  of  plates  for  a,  Bible  published  at  Frankfort. 

1571. 
The  Bombardment  of  a  Town;  Jo.  Amman,  fee,    1570. 

Large  plate,  lengthways. 
Admiral  de  Coligny ;  fecit  Sorimbergce,  Jost.  Amman, 
I'igurinus.    1573. 

WOODCUTS. 
The  Creation,  large  print ;  marked  J.  A, 
An  oval  print,  the  Diet  of  the  Empire ;  large,  length- 
ways. 
The  Marriage  of  Cana    middle-sized  print,  lengthways, 

J.  A. 
A  set  of  one  hundred  and  fifteen  prints  of  arts  and 
trades,  first  printed  under  the  title,  XlavowXta,  om- 
nium illiberalium,  mechaniearum,  aut  sedentariarum 
artium  genera  eontinens,  printed  at  Frankfort  in  1568. 
This  emtion  is  very  scarce ;  the  book  was  reprinted 
in  1574. 
A  set  of  one  hundred  and  three  prints  of  subjects  from 
Roman  History,  published  at  Frankfort,  in  1573, 
with   the   portrait  of  S,  Feyrabend,  the  celebrated 
bookseller. 
A  book  of  hunting ;  entitled  Newe  ligv/rm  von  alkrlei 

lag  und  Weidtwerck.    Frankfort,  1582. 
A  set  of  one  hundred  and  three  prints  for  a  work  en- 
titled  Cleri    totius   Ptomante   Fccksiee   subjeeti,  ^c. 
Frankfort.     1585. 
A  set  of  one  hundred  and  twenty  prints  for  a  bo;k 
entitled   Gynceceum,  sive   Theatrum  Mulierum,  Jc. 
Frankfort,  1586. 
A  complete  list  of  his  works  is  given  in  Meyer's 
'  Kiinstler-Lexikon.' 

V.  B.  S, 
AMMON,  Klemens,  a  son-in-law  of  Theodor  de 
Bry,  the  celebrated  engraver,  worked  in  Frankfort 
and  Heidelberg,  in  the  middle  of  the  17th  century. 
His  principal  work  was  the  continuation  of  the 
collection  of  portraits  entitled,  Biblioiheca  Gai- 
cographica,  in  six  quarto  volumes,  published  by 
Theodor  de  Bry,  to  which  he  added,  at  Frankfort, 
two  volumes,  published  in  1650  and  1652.  His 
plates  are  poor  and  stifE,  and  very  inferior  to  those 
of  his  relation. 

AMOROSI,  Antonio,  a  native  of  Comun&nza, 
near  Asooli,  flourished aboutthe year  1700.  Mariette 
says  he  was  born  in  1660.  He  was  still  Uving  in 
1736.  He  painted  frescoes  in  Civita  Vecchia,  and 
altar-pieces  for  the  churches  at  Rome,  one  of  which 
is  in_  San  Rocco  ;  but  he  is  principally  known  as 
a  painter  of  Bamboedafc ,  or  fancy  subjects,  in 


Amort 


PAINTERS  AND  ENGRAVERS. 


Anderson 


which  he  displayed  oonsiderahle  talent :  and  Lanzi 
says,  that  if  his  colouring  had  been  a  little  more 
brilliant,  his  pictures  would  be  equal  to  those  of 
the  Flemish  school  of  the  same  kind.  Two  of  his 
works  have  been  engraved  by  William  Walker. 

AMORT,  Kaspab,  who  was  born  in  1612  in  the 
valley  of  the  Jachenau,  went  to  Munich  in  1631, 
and  studied  art  under  Johann  Donauer.  He  then 
paid  a  visit  to  Italy,  where  the  works  of  Cara- 
vaggio  produced  m\ich  effect  on  his  style.  On 
his  return  to  Munich  he  was  made  court  painter, 
and  executed  numerous  works  for  the  decoration 
of  cloisters  and  churches.  He  died  at  Munich  in 
1675. 

AMSLER,  Samuel,  an  eminent  engraver,  was 
born  in  1791,  in  Sohinznach,  in  Switzerland,  and 
became  a  pupil  of  Hess,  at  Munich.  In  1816 
he  arrived  in  Rome,  and  formed  friendships  with 
Overbeck,  Cornelius,  Thorwaldsen,  and  other  heads 
of  the  new  school,  of  which  he  became  a  member. 
Accuracy  and  character  in  outline,  and  simplicity 
in  execution,  after  the  classical  examples  of  Marc- 
Antonio  and  Albreoht  Diirer,  were  the  principles  he 
followed  in  contradistinction  to  the  picturesque, 
but  in  form  and  expression  negligent,  engrav- 
ings of  the  modern  Italian,  French,  and  English 
schools.  In  this  manner,  in  conjunction  with  his 
friend  Barth,  he  engraved  the  great  frontispiece 
of  the  'Nibelungen'  of  Cornelius,  and  the  'Triumph 
of  Alexander'  of  Thorwaldsen.  In  1829  Amsler 
became  professor  of  engraving  in  the  Royal  Aca- 
demy in  Munich,  where  Cornelius,  Schnorr,  Hess, 
and  other  of  his  friends  were  already  actively 
engaged.  Besides  different  small  works  which  he 
executed  in  Munich,  he  engraved  Raphael's  '  En- 
tombment of  Christ,'  in  the  Borghese  Gallery  of 
Rome  ;  '  The  Holy  Family,'  and  'The  Madonna  di 
Casa  Tempi,'  by  the  same  master,  both  in  the 
Pinakothek.  His  last  work  was  an  engraving  of 
the  great  painting  of  Overbeck,  in  Frankfort,  '  The 
Union  between  Religion  and  the  Fine  Arts,'  the 
completion  of  which  coincides  nearly  with  that  of 
his  life.  He  died  on  the  14th  of  May,  1849.  He 
was  not  only  an  excellent  artist,  and 'an  estimable 
man,  kind,  modest,  and  very  good-natured,  but  also 
an  admirable  instructor  of  his  art,  who  taught  a 
number  of  pupils,  now  celebrated  engravers  ;  as 
Merz,  who  engraved  '  The  Last  Judgment,'  of  Cor- 
nelius, and  '  The  Destruction  of  Jerusalem,' of  Kaul- 
bach  ;  Gonzenbach,  the  author  of  different 
engravings  after  Kaulhach,  Schleich,  &c.  A. 
In  Meyer' s  '  Kunstler-Lexikon '  is  a  full  list  ./ti\. 
of  Amsler's  works. 

AMSTEL,  CoRNELis  PLOOS  van.    See  Ploos. 

AMSTEL,  Jan  van,  an  artist  who  is  said  to 
have  excelled  in  landscapes,  which  he  enriched 
with  numerous  figures  in  the  style  of  Van  Eyok  ; 
but  when  or  where  he  painted  is  not  recorded. 
Guarienti,  in  his  edition  of  Orlandi,  states  that 
there  was  a  picture  by  this  artist  at  Genoa,  in  the 
possession  of  an  Englishman,  representing  the 
Crucifixion,  and  containing  upwards  of  200  figures 
admirably  painted.  It  is,  however,  conjectured 
that  some  better  known  painter  is  disguised  under 
this  name. 

AMULIUS  (or  Fabullus),  a  Roman  painter, 
flourished  in  the  reign  of  Nero.  He  was  employed 
in  the  embellishment  of  the  golden  house  of  that 
emperor,  who  is  said  by  Suetonius  to  have  himself 
studied  the  art  of  painting.  The  palace  became 
a  prey  to  the  flames.  Pliny  represents  him  as  a 
painter  of  common-place  subjects,  "  humilis  rei 
D  2 


pictor  ;  "  yet  he  mentions  a  picture  of  '  Minerva,' 
which  cannot  be  considered  to  have  been  a  trivial 
work. 

ANCINELLI.     See  Toeee. 

ANCONA,  Andeea  d'.     See  Lilio. 

ANCONITONA,  L'.     See  Bonini. 

ANDERLINI,  Domenico,  a  landscape  painter, 
born  at  Pesaro,  flourished  about  1720  :  he  was  an 
artist  of  merit. 

ANDERLONI,  Faustino,  an  engraver,  bom  at 
St.  Eufemia,  near  Brescia,  in  1766,  received  in- 
struction from  two  artists  comparatively  unknown 
— Carloni  and  Benezzi.  He  subsequently  went  to 
Pavia  to  assist  Professor  Scarpa  in  illustrating  his 
great  work  on  the  Anatomy  of  the  Eye.  In  1795 
he  went  to  Milan,  but  in  1801  he  was  appiinted 
professor  of  drawing  at  the  University  of  Pavia. 
He  died  in  1847.  He  engraved  the  illustrations  of 
several  scientific  works,  and  the  portraits  of  the 
celebrated  Herder,  Alfieri,  Boerhave,  and  Schiller. 
At  a  later  date  he  executed  a  small  hut  charming 
engraving  of  the  '  Magdalene  Sleeping  in  the 
Wilderness,'  after  Correggio  ;  the  '  Repose  in 
Egypt,'  after  N.  Pousain ;  a  '  Mater  amabilis,' 
after  Sassoferrato,  and  with  Garavaglia  the  '  As- 
cension of  the  Virgin,'  after  the  painting  by  Guido 
Reni  in  the  church  of  Sant'  Ambrogio  in  Genoa ; 
which  he  did  not  complete  until  his  seventy-sixth 
year. 

ANDERLONI,  Pietbo,  brother  of  Faustino,  was 
born  in  1784,  at  St.  Eufemia,  near  Brescia,  and 
showed  an  early  predilection  for  art.  He  studied 
the  fundamental  principles  under  P.  Palazzi,  and 
next  received  instruction  from  his  brother  Faus- 
tino, who,  observing  that  he  vacillated  between 
painting  and  engraving,  persuaded  him  to  adopt 
the  latter  art.  After  greatly  profiting  by  his 
brother's  tuition,  he  entered,  at  the  age  of  twenty, 
the  school  of  Longhi,  where  he  remained  for  nine 
years.  Under  that  eminent  master  he  assisted  in 
the  production  of  many  excellent  works,  among 
which  was  'Ezekiel's  Vision,' after  Raphael;  and 
to  some  of  these  the  master  allowed  the  pupil  to 
place  his  name,  in  acknowledgment  of  the  share 
he  had  in  the  execution.  In  1824  he  went  to 
Rome  for  the  second  time,  to  make  drawings  of 
the  '  Heliodorus '  and  '  Attila '  of  Raphael ;  and 
in  1831  succeeded  his  master  Longhi  as  president 
of  the  Academy  of  Engravers  in  Milan.  Pietro 
Anderloni  was  a  member  of  several  Academies, 
and  held  a  very  distinguished  rank  among  his 
skilful  contemporaries  in  the  art.  He  died  at 
his  estate  o£  Cabiate,  near  Milan,  in  1849.  He  is 
generally  very  happy  in  embodying  the  character- 
istics of  the  master  whose  picture  he  transfers  ; 
his  fault  is  sometimes  a  near  approximation  to  the 
modern  French  manner  of  working  too  far  and 
producing  glossiness.  The  following  are  among 
his  principal  works : 

Moses  defending  the  daughters  of  Jethro;  after  iV. 


The  Adoration  of  the  Shepherds ;  after  Titian. 

A  Holy  Pamily,  the  Judgment  of  Solomon,  the  Helio- 
dorus, and  the  Meeting  of  Attila  and  Pope  Leo  III. ; 
after  Raphael. 

St.  John;  after  Luini. 

Portraits  of  Canova,  Longhi,  Appiani,  Jenner,  &c. 

ANDERSON,  Alexandee,  who  was  bom  at 
New  York  in  1775,  was  the  son  of  a  Scotchman, 
and  the  earliest  engraver  on  wood  in  America. 
He  first  studied  medicine — obtaining  in  1796  the 
degree  of  Doctor — but  abandoned  that  profession 

35 


Aadersou 


A  BIOGRAPHICAL  DICTIONAEY  OF 


Andrea 


in  order  to  devote  himself  entirely  to  engraving, 
for  which  he  early  displayed  a  great  partiality. 
He  studied  for  some  time  under  John  Koberts,  a 
Scotch  engraver,  who  had  settled  in  America,  and 
soon  became  famous  for  his  illustrations  for  books, 
chiefly  of  an  educational  character— both  on  copper 
and  wood,  but  principally  the  latter.  Among  the 
most  important  are  those  in  Webster's  '  Spelling 
Book,'  Bell's  'Anatomy,'  Josephus's  'History,' 
and  Shakespeare's  Plays,  all  from  original  designs. 
An  engraving  of  the  '  Last  Supper '  (from  an 
English  design),  which  was  made  between  1820 
and  1830,  was  the  last  work  he  produced  on  copper. 
He  afterwards  confined  himself  to  wood  engraving. 
Anderson  worked  on  to  a  very  great  age,  and  died 
in  Jersey  City  in  1870.  His  works  are  in  the 
style  of  English  wood  engraving  of  the  earher 
part  of  the'l9th  century.  (For  a  full  account  of 
his  life,  see  '  Art  Journal '  for  1858,  p.  271.) 

ANDERSON,  William,  who  was  bom  in  Scot- 
land, in  1V57,  was  a  painter  of  marine  subjects, 
chiefly  of  small  dimensions.  His  subjects  are 
treated  in  a  very  pleasing  manner,  with  a  soJft 
pencil  and  great  amenity  of  colour.  He  exhibited 
at  the  Royal  Academy  from  1787  to  1814.  He 
died  in  1837. 

ANDERSSON,  Nils,  a  Swedish  painter,  who  was 
bom  in  East  Gothland,  in  1817,  was  the  son  of 
a  peasant.  After  he  had  received  a  course  of 
instruction  in  Stockholm,  he  travelled  through 
Europe,  and  went  in  1854  to  Paris,  where  he 
stayed  for  two  years,  and  studied  under  Couture. 
On  his  return  to  Stockholm,  he  was  made  a  mem- 
ber of  the  Academy,  and  in  1858  a  professor.  He 
died  at  Vaxholm,  near  Stockholm,  in  1865.  He 
painted  historical  pieces,  pictures  of  genre  subjects, 
and  landscapes  with  animals.  Good  examples  of 
his  work  are  in  the  National  Museum  at  Stockholm. 

ANDERTON,  Henby,  an  English  painter,  who 
was  born  in  1630,  was  a  scholar  of  Streater,  and 
afterwards  went  to  Italy  for  improvement.  He 
painted  historical  subjects  and  portraits,  but  was 
principally  employed  in  the  latter.  He  acquired 
the  patronage  of  Charles  II.  by  a  portrait  he 
painted  of  Mrs.  Stuart,  afterwards  Duchess  of 
Richmond,  and  almost  rivalled  Sir  Peter  Lely.  He 
died  soon^after  the  year  1665. 

ANDRE,  Jean,  (or  Andeay),  who  was  born  in 
Paris,  in  1662,  became  a  Dominican  in  1679.  He 
went  to  Rome,  where  he  received  lessons  from 
Carlo  Maratti,  and  studied  the  works  of  Michel- 
angelo and  Raphael.  He  painted  portraits  and 
historical  subjects,  and  has  the  character  of  being 
very  correct  in  his  designs,  and  a  good  colourist. 
He  died  at  Paris  in  1753.  Amongst  his  best 
works  may  be  mentioned  the  '  Feast  of  the  Phari- 
see,' in  the  Dominican  Church  at  Lyons  ;  his  own 
Portrait,  in  the  Louvre ;  the  '  Marriage  of  Cana,' 
and  the  '  Miracle  of  the  Loaves,'  at  Bordeaux  ;  and 
the  '  Adoration  of  the  Kings,'  and  numerous  others 
which  he  painted  in  various  churches  in  Paris. 
Andre  imparted  instruction  in  art  to  Taraval, 
Chasle,  and  Dumont. 

ANDRE,  Jules,  who  was  bom  in  Paris  in  1807, 
studied  under  Jolivard  and  Watelet,  and  became 
a  landscape  painter  of  merit.  He  travelled  in 
Belgium,  the  south  of  France,  and  the  Rhine 
country  ;  and  he  was  also  employed  at  the  porce- 
lain manufactory  at  Sevres.  He  died  at  Paris  in 
1869.  The  Galleries  of  the  Luxembourg  and  Lille 
possess  paintings  by  him.  He  executed  several 
decorative  panels  in  the  new  Louvre,  and  in  the 

36 


HStel  d'Albe.  He  obtained  a  second-class  medal 
in  1835,  and  the  decoration  of  the  Legion  of 
Honour  in  1853.  Andr^  painted  in  a  manner  half, 
way  between  the  style  of  the  old  French  classic 
landscape  painters  and  that  of  the  modern  school. 
His  son,  Bdmond  Maethe  Alphonse  Andr^,  who 
studied  under  him,  and  with  Pils,  became  a  genre 
painter  of  some  repute.  In  1876  he  painted  a 
'  Halt  of  Zouaves  at  Patay.'  He  died  in  Algiers 
in  1877.  ^ 

ANDRE,  S.  E.  DB  SAINT.     See  Saint-Ande^. 

ANDREA,  Alessandro,  according  to  Heineken, 
flourished  about  the  year  1578,  at  which  time  he 
engraved  the  portrait  of  Gilles  de  Noailles,  Abbe 
de  St.  Amand,  the  French  ambassador  at  the  court 
of  Constantinople. 

ANDREA,  ZoAN,  an  engraver  of  the  early  part 
oi  the  16th  century,  of  whom  little  is  known,  is 
called  by  Zani,  a  Venetian.  He  executed  a  number 
of  plates  after  Albrecht  Diirer  and  ^ 
other  masters.  Meyer  mentions  35  "'^7  Ar 
plates  by  him. 

ANDREA  DA  FLORENTIA.  See  Flobbn'jia, 
Andeea  dA. 

ANDREA  d'  AGNOLO  is  commonly  known  as 
Andeea  del  Sabto,  from  the  profession  of  his 
father,  who  was  a  tailor.  He  has  till  lately  been 
miscalled  Vannucchi.  Giovanni  Cinelli,  writing  in 
1677,  was  the  first  to  call  him  by  that  name.  The 
mistake  arose  through  the  misreading  of  Andrea's 
monogram  of  two  A's  for  an  A  and  a  F 
crossed.  It  may  be  here  noted  that  he  is  in  ^[ 
no  case  called  Vannnoolii  by  a  contemporary.  •^' *• 
His  name  was  Andrea  d'  Agnolo  di  Francesco 
di  Luca  di  Paolo  del  Migliore.  He  was  born  at 
Florence  in  1487,  and,  having  shown  an  early  dis- 
position for  drawing,  he  was  placed  with  a  gold- 
smith, to  learn  the  business  of  engraving  on  pliite. 
In  this  situation  he  was  noticed  by  Giovanni  Barile, 
an  artist  of  little  note,  who  persuaded  bis  father  to 
entrust  him  to  his  care.  Andrea  remained  under  that 
master  for  three  years,  and  afterwards  entered  tlie 
school  of  Piero  diCosimo,  who  was  a  better  colour- 
ist than  draughtsman,  and  from  him  he  acquired 
the  habit  and  knowledge  of  painting  those  beautiful 
landscape  backgrounds  which  are  seen  in  many  of 
his  works.  Andrea  was,  however,  more  indebted, 
for  the  cultivation  of  his  talents,  to  his  studies  from 
the  frescoes  of  Masaccio  and  Ghirlandaio,  and  after- 
wards from  the  cartoons  of  Leonardo  da  Vinci  and 
Michelangelo,  than  to  the  lessons  of  his  instructors. 
On  leaving  the  school  of  Cosimo,  he  formed  an 
intimacy  with  Franciabigio  (who  had  been  a  dis- 
ciple of  Mariotto  Albertinelli),  and  with  him  he 
lived  for  some  time,  but  "  contemporary  history 
contains  no  reference  to  anything  that  they  did  in 
companionship."  Amongst  his  first  works  are 
frescoes  illustrating  the  history  of  St.  John  the 
Baptist,  in  the  Scalzo,  of  which  the  cartoons  are  pre- 
served in  the  Palazzo  Rinnucoini.  The  '  Baptism 
of  Christ'  is  in  his  early  manner,  and  shows  an 
undisguised  imitation  of  Albrecht  Diirer ;  in  the 
'Visitation  of  the  Virgin,'  painted  a  few  years 
afterwards,  his  advancement  is  conspicuous ;  and 
in  the  '  Nativity  of  St.  John,'  the  last  he  painted 
of  the  series,  he  had  nearly  reached  his  most 
admired  style.  His  next  undertaking  was  the 
'  Life  of  St.  Filippo  Benizzi,'  in  five  pictures,  in 
the  church  of  the  Servi.  In  these  frescoes,  whicl: 
have  been  engraved  by  Alchiari,  tlie  genius  of 
Andrea  took  a  bolder  flight,  and  they  are  con- 
sidered among  the  most  graceful  of  his  works, 


Andrea 


PAINTERS  AND  ENGRAVERS. 


Andre-Bardon 


though  they  were  executed  while  he  was  still 
young,  and  it  was  their  excellence  which  gained 
for  him  the  title,  'Andrea  senza  Errori'  (Andrea 
without  faults).  The  '  Madonna  del  Sacco,' 
painted  over  the  entrance  door,  is  one  of  his  best 
works.  It  has  received  its  name  from  the  sack  of 
corn  upon  which  St.  Joseph  reclines.  This  has 
been  well  engraved  by  Raphael  Morghen. 

About  the  year  1516,  a  '  Dead  Christ,'  painted 
by  Andrea,  came  to  the  notice  of  Francis  I.  of 
Prance,  who  commissioned  the  artist  to  execute 
for  him  a  '  Madonna,'  and  in  1518  Andrea  was 
induced  to  go  to  Paris.  He  was  accompanied 
by  his  pupil,  Andrea  S^uazella.  There  he  was 
honoured,  and  royally  treated  by  the  king.  He 
painted  amongst  other  works  a  '  Charity,'  now  in 
the  Louvre,  and  a  '  Piela,'  now  in  the  Belvedere 
at  Vienna.  In  1519  Andrea  was  induced  by  his 
wife  Lucrezia  del  Fede,  a  beautiful  woman,  whom 
he  had  married  in  1512,  to  ask,  in  order  thct  he 
might  return  to  his  native  country,  leave  of  absence 
from  the  king,  who  granted  his  request,  and  com- 
missioned him  to  purchase  works  of  art  for  him. 
On  his  return  to  Florence,  Andrea  forgot  his 
engagements,  and  broke  through  every  bond  of 
honesty ;  he  had  the  imprudence  to  squander 
away  in  the  society  of  his  friends  and  his  impro- 
vident wife,  not  only  the  hberal  remuneration  he 
had  received  from  Francis  for  his  works,  but  also 
the  funds  which  had  been  confided  to  his  trust  for 
the  acquisition  of  objects  of  art.  He  executed 
numerous  works  in  tlie  Scalzo  and  elsewhere  in 
Florence.  But  reduced  at  length  to  a  state  of 
indigence  and  distress,  and  stung  with  the  recol- 
lection of  his  perfidy  and  ingratitude,  he  sank  into 
a  despondency,  which  was  increased  by  his  jealousy 
of  his  wife.  He  was  ultimately  abandoned  by  her 
and  the  false  friends  with  whom  he  had  wasted 
his  substance,  when  his  miseries  were  teiTainated 
in  the  forty-fourth  year  of  his  age,  by  the  plague 
which  visited  Florence  in  1531.  His  wife  survived 
him,  her  second  husband,  by  forty  years. 

Andrea  del  Sarto  possessed  an  extraordinary 
talent  of  imitating  and  copying  the  works  of 
other  masters,  with  an  accuracy  which  sometimes 
deceived  even  the  painters  themselves.  Of  this, 
Vasari  mentions  a  very  remarkable  instance  of 
which  he  was  himself  an  eye-witness.  Raphael 
had  painted  for  the  Cardinal  Giulio  de'  Medici, 
afterwards  Clement  VII. ,  the  portrait  of  Leo  X., 
seated  between  that  prelate  and  Cardinal  Rossi, 
in  which  the  drapery  and  background  were 
painted  by  Giulio  Romano.  Federigo  II.,  Duke  of 
Mantua,  passing  through  Florence  to  Rome,  had 
seen  this  picture,  and  had  requested  Clement  VII. 
to  make  him  a  present  of  it,  when  the  Pope  gave 
directions  to  Ottaviano  de'  Medici  to  send  the  por- 
trait to  Mantua.  Unwilling  to  deprive  Florence 
of  so  interesting  a  work  of  art,  Ottaviano  employed 
Andrea  del  Sarto  to  paint  an  exact  copy  of  it,  which 
was  sent  to  the  Duke  of  Mantua  at  the  time  when 
Giulio  Romano  was  in  his  service.  No  person 
suspected  the  deception  ;  even  Giulio  was  himself 
deceived,  and  was  only  convinced  of  the  fact  by 
Vasari  assuring  him  that  he  had  seen  it  painted, 
and  by  showing  him  the  private  mark  of  Andrea 
del  Sarto.  This  celebrated  painter  has  been  erro- 
neously supposed  to  have  etched  a  plate  of  the 
'  Holy  Family,'  in  which  the  Virgin  is  represented 
kneeling  before  the  Infant  Christ,  with  St.  Joseph 
and  St.  John ;  it  is  inscribed  Andrea  del  Sarto  fatti 
in  Homa;  though  neatly  executed,  it  is  totally  un- 


worthy of  the  hand  of  this  artist,  and  the  inscrip- 
tion most  probably  relates  to  the  picture  from 
which  it  was  designed. 

Amongst  Andrea's  pupils  may  be  mentioned 
Vasari,  Jacopo  da  Pontormo,  Domenico  Puligo, 
Giorgio  Vasari,  F.  Salviati,  and  Squazella. 

The  following  is  a  list  of  several  of  his  most 
important  easel-pictures : 

Berlin.     Museum.    Virgin  and  Saints  (dated  1528). 
Dresden.  Gallery.     Sacrifice  of  Abraham. 

„  „  Marriage  of  St.  Catherine. 

Florence.  Pif^«8.         His  own  Portrait. 
„  „  St.  Giacomo. 

„  „  Madonna  '  di  San  Francesco'  (dated 

1517) — his  masterpiece. 
„        Pitti  Pal.  Dispute  on  the-  Holy  Trinity. 
„  „      „     Deposition  from  the  Cross. 

„  „      „     Annunciation  (with  tlieAngel  Gabriel, 

followed  by  two  other  angels). 
„  „      „     Aimunciation  (a  copy  is  ««</*«  XoMW«). 

„  „       ,,     Assumption  of  the  Virgin. 

„  „      „      Portraits  (2)  of  himself. 

„  „       „      Nine  other  paintings. 

London.   Nat.  Gall.  Holy  Family. 

„  „      „      Portrait  of  himself  (signed  with  mono- 

gram given  above). 
Madrid.    Gallery.     Virgin  and  Child  with  St.  Joseph  and 
an  angel. 
„  „  Portrait  of  his  wif  e.Lucrezia  del  Fede. 

Paris.       Zomre.     Charity  (signed  and  dated  1518). 
„  „  Holy  Family. 

„  „  S.oly'Fa.mWy  (signed  in  full  with,  the 

monogram  of  the  crossed  .A). 
Vetrshg.Mermitage.  Virgin  and  Infant,  and  St.  Catherine. 
Vienna.  Belvedere.  .  Pieta. 

Crowe  and  Cavalcaselle,  in  their  '  New  History 
of  Painting  in  Italy  from  the  Second  to  the  Six- 
teenth Century,'  1866,  give  a  very  full  list  of  his 
works.     See  also — 

Biadi,  Luigi,  '  Notizie  inedite  delta  vita  d' Andrea  del 

Sarto:    Firenze:  18S2. 
Breton,  Ernest,   ^Notice  sur  Andrea   Vannucchi,   dit 

Andrea  del  Sarto.'    Paris:  1848. 
'  Gazette  des  Beanx-Arts,'  for  1876  and  1877. 

ANDREA  DEL  CASTAGNO.     See  Castagno. 
ANDREA  DI  BERTHOLOTTI.      See  Bbrtho- 

nOTTI. 

ANDREA  DI  CIONE.     See  Cione. 

ANDREA  DI  COSIMO.     See  Feltrini. 

ANDREA  Di  LEONE.     See  Leone. 

ANDREA  DI  LUIGI.     See  Alovigi. 

ANDREAE,  Tobias,  who  was  born  at  Frankfort 
in  1823,  studied  under  J.  Becker,  and  then  went 
to  Munich,  where  he  made  the-  acquaintance  of 
Rahl  and  Genelli.  In  1853  he  visited  Italy,  and 
painted  landscapes,  into  which  he  occasionally 
introduced  moonlight  efEects.  Andreae  died  at 
Munich  in  1873. 

ANDREAE,  T.,  is  mentioned  by  Strutt  as 
the  engraver  of  a  plate  representing  an  emblem- 
atical subject,  in  which  a  woman  is  lying  on 
the  ground,  in  the  front  of  the  print,  and  another 
female  is  standing  over  her,  holding  in  her  hand 
a  book,  inscribed  Giulio  Cesare  opera.  It  is 
slightly  etched,  in  a  very  indifferent  style,  and  is 
signed  T.  Andreae,  inv.  etfec. 

ANDRE-BARDON,  Michel  Francois,  an  his- 
torical painter  and  etcher,  was  born  at  Aix,  in 
Provence,  in  1700.  He  himself  signed  his  name 
Dandr:6-Bardon,  or  D.  Baedon,  because  his  uncle, 
Louis  Bardon,  made  him  his  heir  on  condition  that 
he  continued  the  name  of  Bardon ;  but  his  real 
name  was  Andr6,  as  the  registers  of  the  church  of 
St.  Madeleine  testify.  Michel  Fran9oi8  was  des- 
tined by  his  parents  for  jurisprudence,  and  studied 

37 


Andreani 


A  BIOGRAPHICAL  DICTIONARY  OF 


Andriessen 


at  Paris.  In  1719  he  began  to  design  during  his 
leisure  hours  under  the  direction  of  J.  B.  van 
Loo,  and  studied  painting  with  J,  F.  de  Troy. 
His  progress  was  so  rapid,  that  he  obtained,  in 
1725,  the  second  prize  at  the  Royal  Academy.  He 
went  afterwards  to  Rome,  and  after  being  there  six 
years  he  returned  to  France,  through  Venice,  where 
he  stayed  six  montlis.  He  painted  the  Palais-de- 
Justice,  the  Hotel  -de  -  Ville  (which  perished  in 
1792),  and  the  church  of  'St.  Jerome,  at  Aix.  He 
went  to  Paris,  where  he  displayed  his  talents,  not 
only  as  a  painter  and  etcher,  but  also  as  a  poet 
and  writer.  In  1735  he  became  a  member  of  tlie 
Academy ;  in  1752  professor ;  afterwards  secre- 
tary ;  and  finally  teacher  of  historical  painting. 
He  was  also  the  founder  of  the  Aoademie  des 
Beaux-Arts  at  Marseilles.  Andre  designed  with 
great  facility,  and  was  a  perfect  master  in  repre- 
senting the  nude.     He  died  at  Paris  in  1785. 

The  following  are  his  best  works  : 

Aix.  Museum,  The  Emperor  Augustus  ordering  the 

punishment  of  the  robbers  of  the 

State    money.      (Signed    Dandee- 

Bardon     aotjisextiensis     pinxit 

EOMiE  JETAT.    SUiE   29   ANNO  1729.) 

„    Falais-de-J nstice.  Allegorical  Figures  of  the  Virtues. 
Marseilles.       Mus.  Christ  on  the  Cross. 
MontpeUier.     Mus.  TulUa  driving  over  the  dead  body  of 
Servius  Tulhus. 

The  work  which  he  executed  of  '  Jason  plough- 
ing,' intended  for  the  tapestry  manufactory  at 
Beauvais,  has  disappeared.  The  following  are  his 
most  important  etchings : 

The  Dead  Body  of  Christ. 

Two  Dead  Children  at  the  entrance  of  a  vault. 

The  Burial  of  the  Dead. 

Johannes  Snellinks ;  after  Van  Dijck. 

ANDREANI,  Andrea,  a  painter,  and  very  cele- 
brated engraver,  was  born  at  Mantua,  according  to 
some  biographers,  about  the  year  1540,  others  say 
1646  ;  but  BruUiot  says  his  birth  did  not  take  place 
until  1660,  which  seems  the  more  likely,  for  his 
earliest  work  bears  date  1584.  His  works  as  a 
painter  are  little  known,  as  he  appears  to  have 
devoted  himself  to  engraving  at  an  early  period  of 
his  life,  when  he  settled  at  Home,  some  time  after 
the  art  of  chiaroscuro  on  wood  had  been  first 
practised  in  Italy  by  Ugo  da  Carpi.  His  works 
are  confined  to  woodcuts,  which  are  printed  in 
chiaroscuro,  and  he  carried  that  branch  of  engrav- 
ing to  a  much  higher  degree  of  perfection  than  it 
had  reached  before.  His  drawing  is  correct,  his 
execution  is  strong  and  spirited,  and  in  a  very 
masterly  style.  The  number  of  prints  attributed 
to  this  master  is  very  considerable,  as  he  is 
reported  to  have  procured  the  blocks  executed  by 
other  artists,  and  after  retouohing  them,  to  have 
published  them  as  his  own.  He  died  in  1623.  His 
works  have  frequently  been  confounded  ,,^^ 
with  those  of  Albrecht  Altdorfer,  from  his  ^T 
having  used  a  similar  cipher.  ■^  "- 

The  following  is  a  list  of  his  known  works,  all 
copies  from  his  contemporaries  or  painters  then 
lately  deceased  : 

The  pavement  at  Siena,  two  immense  prints ;  after  the 
design  of  Domenico  Beecafumi :  very  scarce  ;  dated 
1587. 

The  Deluge,  large  print,  vo.  four  sheets ;  after  Titian, 
with  his  cipher. 

Pharaoh's  Host  destroyed  in  the  Eed  Sea,  large  print, 
in  four  sheets ;  after  the  same,  1585,  with  his  cipher. 

The  Adoration  of  the  Magi;  after  Farmigiano,  1585, 
with  his  cipher. 

The  Purification;  after  Salviati,  with  his  cipher.  1608. 
38 


The  Virgin  and  Child,  with  a  bishop  kneeling ;  after  A, 

Casolani,  with  his  cipher.     1591. 
The  Virgin  and  Child,  with  St.  John  presenting  a  bird, 

and  a  female  saint  holding  a  lily ;  after  Giae.  Ligozzi, 

with  his  name. 
Christ  curing  the  Leper;   after  Parmigiano,  with  his 

cipher. 
Christ  curing  the  Paralytic ;  after  Franc,  de  Nauto  da 

Saiaiidia. 
The  Miraculous  Draught  of   Fishes ;   after  Raphael, 

1609,  with  his  cipher. 
Christ  departing  from  Pilate,  who  is  washing  his  hands ; 

after  a  basso-rilievo  of  Jean  Boulogne,  with  the  name 

of  the  engi'aver ;  in  two  sheets.     This  is  one  of  his 

most  finished  prints. 
Clurist  bearing  His  Cross  ;  after  A.   Casolani,  with  his 

cipher.     1591. 
The  Entombment  of  Christ ;  after  G.  Scolari,  with  his 

cipher. 
Another    Entombment,    half    figures ;    after  Maffaello 

Motta,  with  the  name  of  the  engraver. 
St.  Peter  preaching;  marked  with  the  name  FoUdoro, 

and  his  cipher.     1608. 
St.  Sebastian;   marked  Fridericm  Barotius  TTrhinaa, 

■with  his  cipher.     1608. 
The  lower  part  of  the  picture  of  St.   Nicholas,  by 

Titian,  with  the  cipher  of  Andreani. 
The  Triumph  of  the  Church ;  Christi  Triumphus,  large 

frieze,  in  eight  sheets ;  after  Titian,  dedicated  to  the 

Duke  of  Mantua  in  1599,  and  published  by  Calisto 

Ferrante  at  Borne  in  1608. 
An  emblematical  print,  of  a  Christian  after  life  received 

into  Heaven,  and  crowned  by  Jesus  Christ ;  marked 

B.   F.  for  Baptista  Franco,  and  the  cipher  of  the 

engraver.    An.  m.dc.x.  Mantoua. 
The  Picture  of  Human  Life,  represented  by  a  woman 

at  the  foot  of  a  rock,  assailed  by  the  passions ;  marked 

Jac.  Ligotivs,  inv.  et  Andreani,  1585.    Firenze. 
Tlu:ee  prints,  after  a  marble  group  by  Gio.  da  Bologna, 

seen  on  three  sides,  representing  the  Bape  of  the 

Sabines  ;  inscribed  Eapta  Sabinum  a  Jo.  Bolog.  marm, 

S;C.      M.D.LXXXIIII. 

Another  Bape  of  the  Sabines :  after  Jean  Boulogne,  in 

three  sheets ;  inscribed  Andreas  Andreanus  Mantua- 

nus  aeri  incidit,  fe.,  m.d.lxxxv.    Florentiis. 
Cleha  on  horseback,  with  one  of  her  attendants,  going 

to  cross  the  Tiber  ;  marked  with  the  name  of  Matu- 

rino,  and  his  cipher.     1608. 
Mucins    Scsevola  holding  his  hand    over    a    brazier; 

marked  with  the  name  of   Bald.  Feruzzi,  and  his 

cipher.    1608. 
The  Triumph  of  Julius  Csesar,  with  the  title ;  a  series 

of    10  prints ;    very    fine ;    after    And.    Mantegna. 

M.D.XCVIII. 

Venus  and  Cupid,  with  nymphs  bathing ;  after  Farmi- 
giano,  with  the  cipher  of  .Ajidreani.    1605. 

Circe  giving  drink  to  the  companions  of  Ulysses ;  oval 
print ;  after  Parmigiano,  with  his  name.     1602. 

A  "Woman  warming  herself  before  the  fire ;  marked 
Bernard  Malpitius,  inv.,  with  his  cipher. 

The  scene  of  a  comedy  represented  before  the  Grand 
Duke  Cosmo  I. ;  after  a  design  of  Bart.  Neroni,  largS 
piece.     1579. 

The  Triumph  of  Death,  a  Sepulchral  Monument,  repre- 
senting a  kind  of  rock,  on  which  are  the  three  Fates ; 
after  Fortuna  Fortunio,  with  the  cipher  of  the  en- 
graver 

Christian  Virtues,  six  pieces  ;  also  Force,  Truth,  and 
Virtue ;  all  after  Parmigiano. 

W.  B.  S. 

ANDREASI,  Ippolito,  who  was  bom  at  Man- 
tua in  1548,  was  an  imitator  of  Giulio  Romano: 
he  painted  pictures  of  merit  for  the  churches  of 
his  native  town,  where  he  died  in  1608.  The 
Louvre  possesses  a  '  Holy  Family '  by  him. 

ANDRES,  Fray  Leon  de,  a  Spanish  painter  of 
the  16th  century,  is  celebrated  for  the  miniatures 
he  executed  in  1568  for  choir-books — especially 
that  of  'El  Capitulario' — now  in  the  Escorial. 
He  died  in  1680. 

ANDRIESSEN,  Anthonie,  who  was  bom  at 
Amsterdam  in  1746,  painted,  in  conjunction  with 


Andriessea 


PAINTERS  AND  ENGRAVERS. 


Angel 


his  brother  Jurriaan,   under  whom    he      /yv 
studied,    landscapes    and    figure-pieces.    xTv^ 
He  died  at  Amsterdam  in  1813. 

ANDEIESSEN,  Christiaan,  who  was  born  at 
Amsterdam  in  1775,  was  the  son  and  scholar  of 
Jurriaan,  and  became  a  good  painter  of  history, 
genre  subjects,  landscapes,  views  of  towns,  and 
occasionally  portraits.  Among  his  works  may  be 
mentioned  a  Panorama  of  Amsterdam. 

ANDRIESSEN,  Hbndeick,  who  was  surnamed 
'Mancken  Heijn'  (The  Limper),  was  born  at 
Antwerp,  probably  in  the  year  1607.  He  was  a 
painter  of  still-life ;  composed  with  great  skill, 
and  finished  his  pictures  artistically.  He  died  in 
Seeland  in  1655. 

ANDEIESSEN,  Jurbiaan,  born  at  Amsterdam 
in  1742,  was  a  scholar  of  A.  Elliger  and  J.  M. 
Quinkhardt.  He  was  an  able  artist  in  decorative 
painting ;  the  decorations  of  the  new  theatre  at 
Amsterdam  were  executed  by  him  and  Numan. 
Several  distinguished  modern  Dutch  painters  are 
from  his  school.      He  died  at  Amsterdam  in  1819. 

ANDEIOLI,  GiROLAMo,  a  pupil  of  Brusasorci, 
was  a  painter  of  Verona.  His  name,  with  the  date 
1606,  was  inscribed  on  an  altar-piece  of  '  St.  Dome- 
nick  and  other  Saints '  formerly  in  the  church  of 
Santa  Caterina  di  Siena  at  Verona,  which  building 
now  no  longer  exists.  Other  paintings  of  Andri- 
oli  are  recorded,  but  none  are  extant. 

ANDEIOT,  .FRAN901S,  a  French  engraver,  who 
was  born  in  Paris  about  1655,  practised  both  in 
France  and  in  Italy,  especially  in  Rome.  He  fol- 
lowed the  style  of  F.  de  Poilly,  but  is  not  to  be 
classed  with  that  distinguished  master.  His  works 
are,  however,  esteemed  and  sought  after  for  the 
.  subjects  and  the  masters  after  whom  he  engraved. 
The  date  of  his  death  is  not  mentioned  in  any  of 
the  notices  respecting  him.  Among  his  most 
esteemed  works  are  : 

Two  Aimuuoiations ;  a/Ver  Albano. 

A  Magdalene ;  after  Ouido. 

Madonna  and  Child ;  after  Guido. 

The  Holy  Family,  with  a  rose ;  after  Eaphael. 

The  Crowning  with  Thorns ;  after  Domenichino ;  and 
the  same ;  after  A.nn.  Carraeci, 

The  Good  Samaritan ;  after  Poussin  ;  and  other  sub- 
jects of  sacred  history,  after  Giiillebault,  and  other 
masters. 

ANDBOUET-DUGERCEAU,  Jacques,  was  an 
architect  and  engraver  of  whom  but  scanty  records 
have  survived.  His  parents'  name  was  Androuet, 
but  they  acquired  the  affix  '  dv,  Gerceau '  from  a 
hoop  which  they  hung  on  their  house  as  a  dis- 
tinguishing mark,  and  the  double  name  was  adopted 
by  their  son.  Jacques  was  born  about  1510,  pro- 
bably at  Paris,  but  it  was  at  Orleans,  the  home  of 
his  family,  that  he  spent  the  greater  part  of  his 
life ;  and  most  of  his  works  bear  the  date  of  that 
city.  He  is  said  to  have  studied  under  Etienne 
Delaulne  ;  but  the  strong  reseniblanoe  of  his  style 
to  that  of  Leonhard  Thiry,  another  artist  of  Fon- 
tainebleau,  has  led  to  the  belief  that  he  formed  his 
manner  from  the  artists  of  that  school.  He  visited 
Italy  with  George  d'Armagnac,  ambassador  of 
Francis  I.  to  the  Venetian  Court,  and  on  his  return 
in  1546-47  he  was  patronized  by  the  royalty  and 
nobility  of  France.  It  is  supposed  that  he  retired 
to  Annency,  or  Geneva,  towards  the  close  of  his  life, 
and  died  there- — after  1684.  As  an  engraver  his 
subjects  were  various  —  mythological,  architect- 
ural, perspective,  trophies,  arabesques,  friezes. 
Caryatides,  vases,  furniture,  &c. ;  we  mention : 


The  Marriage  of  the  Virgin ;  after  Farmigiano  (Fran- 
ciscus  Parmetisis  Inventor). 

The  Birth  of  Christ ;  unsii/ned. 

The  Gods  of  Heathen  Mythology;  after  Mosso;  20 
plates. 

The  Loves  of  the  Gods;  after  Ferine  del  Yoga  and 
Bosso;  20  plates. 

The  Labours  of  Hercules ;  after  Bosso ;  6  plates. 

The  Life  of  Psyche ;  after  Baphael;  32  plates. 

The  Dog  of  Montargis  fighting  his  Master's  Murdere? 
(faict  d.  Montargis). 

Plans  of  Antwerp,  Jerusalem,  Rome,  &c. 

Landscapes,  24  plates. 

'  Le  Premier  Volume  des  plus  Excelleuts  Bastiments 
de  France.'    Paris,  m.d.lxxvi. 

'  Le  Second  Volume  des  plus  Bxcellents  Bastiments  de 
France.'  Paris,  M.D.LXxrx.  Both  volumes  are  dedi- 
cated to  Catherine  de  Medicis,  for  whom  they  were 
executed. 

ANEDA,  JuAN  DE,  was  born  at  Burgos,  where 
he  painted  in  1565,  in  conjunction  with  Juan  de 
Cea,  several  pictures,  which  are  still  to  be  seen  in 
the  cathedral. 

AISTESI,  Paolo,  landscape  painter  and  etcher, 
was  born  at  Eome  about  the  year  1700.  He 
painted  landscapes  with  considerable  success  at 
Florence  and  at  Eome.  The  frescoes  in  the  Villa 
Albani,  near  Eome,  are  done  by  him,  in  conjunc- 
tion with  Antonio  Bicchierai  and  Niocol6  Lapic- 
cola.  They  bear  the  date  1761,  with  the  signature 
Paolo  Anesi  fece.  He  was,  Lanzi  tells  us,  one  o£ 
the  masters  of  Francesco  Zuccarelli.  He  painted 
ancient  ruins  in  the  manner  of  Pannini,  and  his 
works  have  been  much  confused  with  those  of  that 
artist.  Four  small  landscapes,  by  Anesi,  are  in  the 
Hohenzollern-Hechingen  Gallery  at  Lowenberg. 

ANGARANO,  Conte  Ottavio.  According  to 
Zanetti,  this  artist  was  of  a  patrician  family  of 
Padua,  and  flourished  at  Venice  in  the  second  half 
of  the  17th  century.  It  is  not  mentioned  by  whom 
he  was  instructed  in  the  art,  but  he  was  a  reput- 
able painter  of  history,  and  acquired  considerable 
celebrity  by  a  picture  he  painted  for  the  church  of 
SanDaniele,  at  Venice,  representing  the  'Nativity,' 
which  is  highly  commended  by  his  biographer,  and 
of  which  there  is  an  etching,  as  some  say,  by  him- 
self ;  but  Bartsch  ascribes  it  to  Giuseppe  Diaman- 
tini.  Angarano  painted  in  the  manner  of  the 
followers  of  Caravaggio. 

ANGE,  FRANgois  l'.    See  L'Ange. 

ANGEL,  J.  X.    See  Ximenez  Angel. 

ANGEL,  Pedro  (or  Angelo),  the  first  of  Spain's 
good  engravers,  flourished  at  Toledo  at  the  end  of 
the  16th  and  beginning  of  the  17th  century.  The 
frontispiece  to  the  '  History  of  Our  Lady  of  Gua- 
daloupe,'  containing  the  portrait  of  that  ungainly 
idol,  published  in  1597,  is  one  of  his  earliest  works. 
The  elegant  armorial  design  in  the  title,  and  the 
fine  portrait  of  Cardinal  Tavera  in  '  Salazar's 
Chronicle,'  published  1603  ;  and  the  still  finer  and 
rarer  portrait  of  Cardinal  Ximenez  de  Cisneros  in 
Eugenic  de  Noble's  'Life,'  published  1604,  are 
by  Angelo.  He  likewise  engraved  a  title-page 
for  Luis  de  Tena's  '  Commentary  on  St.  Paul's 
Epistle  to  the  Hebrews,'  1611-17  ;  a  print  of 
'  Our  Lady  of  the  Conception,'  and  other  devo- 
tional subjects. 

ANGEL,  Philips,  who  was  born  at  Middelburg, 
in  the  early  part  of  the  17th  century,  painted  at 
Haarlem  (where  he  entered  the  Guild  in  1639),  at 
Leyden,  and  afterwards  in  Ispahan,  and  in  Batavia, 
where  he  probably  died — after  1665.  His  only 
known  work  —  a  picture  of  still-life,  signed  P. 
Angel,  1660 — is  in  the  Berlin  Museum.    If  this 

39 


Angeli 


A  BIOGRAPHICAL  DICTIONARY  OP 


Angolo 


date  is  correct  it  must  have  been  painted  while  he 
was  in  the  East. 

ANGELI,  Battista.    See  Ansolo. 

ANGELI,  FiLiPPO  DB  LiANo  d',  was  called  II 
Napolbtano,  from  his  being  sent  to  Naples  when 
he  was  verj'  young.  He  was  born  at  Rome 
towards  the  end  of  the  16th  century,  and  was  the 
son  of  an  artist  who  was  employed  under  Sixtus 
V.  He  excelled  in  painting  landscapes  and  battles, 
and,  according  to  Baglioni,  was  much  employed  in 
ornamenting  the  palaces  and  villas  at  Rome.  He 
frequently  painted  architectural  views,  with  a 
number  of  figures  arranged  and  composed  with 
great  ingenuity.  He  died  at  Rome  during  the 
pontificate  of  Urban  VIIL,  about  1640.  The 
Louvre  has  a  '  Satyr  and  Peasant '  by  him,  and 
his  own  portrait  is  in  the  UflSzi  at  Florence. 

ANGELI,  GiULio.    See  Angolo. 

ANGELI,  GiULio  Cbsaee,  born  at  Perugia  about 
1570,  studied  in  the  school  of  the  Carracoi,  at 
Bologna.  He  was  more  remarkable  for  his  colour 
than  design,  and  excelled  rather  in  the  draped 
than  the  naked  figure.  There  is  a  vast  work  by 
him  in  the  oratory  of  Sant'  Agostino  in  Perugia, 
where  he  died  in  16.?0. 

ANGELI,  Giuseppe,  a  Venetian  painter,  scholar 
of  Piazzetta,  whose  style  he  imitated,  was  born 
about  1709.  He  painted  cabinet  pictures,  and 
some  altar-pieces.  His  heads  have  considerable  ex- 
pression, and  his  extremities  are  well  drawn.  The 
painting  in  the  cupola  of  San  Rocco  at  Venice  is 
one  of  his  best  works.  He  executed  numerous 
decorations  in  the  churches  and  public  buildings  of 
Padua  and  Rovigo,  as  well  as  of  Venice.  He  died 
at  Venice  in  1798.  In  the  Louvre  there  is  a 
'  Little  Drummer '  by  him. 

ANGELI,  Maeco.    See  Angolo. 

ANGELI,  Niccol6,  an  Italian  engraver,  flour- 
ished about  the  year  1635.  He  was  a  disciple 
of  Remigio  Canta-Gallina,  and,  in  conjunction  with 
his  instructor,  engraved,  from  the  designs  of 
Giulio  Parigi,  a  set  of  plates  representing  the 
festivals  which  took  place  at  Florence  on  the 
occasion  of  the  marriage  of  the  Prince  of 
Tuscany. 

ANGELICA,  a  miniature  painter  of  Tarragona, 
executed,  in  1636,  the  illuminations  of  the  cathe- 
dral choir-books  with  great  neatness  and  skill. 

ANGELICO,  Fra  (Giovanni  d\  Fibsolb).    See 

FiBSOLE. 

ANGELINI,  SciPIONE,  who  was  born  at  Perugia 
in  1661,  was  a  skilful  painter  of  flowers  ;  in  his 
pictures  they  appear  newly  plucked,  and  sparkling 
with  dewdrops.  He  painted  a  great  number, 
which  he  sold  to  dealers,  who  exported  them  to 
England,  France,  and  Holland.  He  practised  at 
Rome  ;  and  died  at  Perugia  in  1729. 

ANGELIS,  PiEERB.     See  Angillis. 

ANGELO,  MicHABL.    See  Buonarroti. 

ANGELO,  Pbdbo.     See  Angel. 

ANGELO  DEL  MORO.     See  Angolo  del  Moro. 

ANGELUCCIO,  a  scholar  of  Claude  Lorrain, 
was  living  in  1680,  but  died  young.  He  is  men- 
tioned as  an  artist  of  considerable  talent ;  his 
works  are  perhaps  sometimes  mistaken  for  his 
master's. 

ANGIER,  Paul,  an  engraver,  of  whom  little 
more  is  known  than  that  he  resided  in  London 
about  the  year  1749,  and  that  he  was  instructed  in 
the  art  by  John  Tinney.  He  was  chiefly  em- 
ployed in  engraving  for  the  booksellers,  and 
executed   several   small  plates,  principally  land- 

40 


scapes,  in  a  neat  style,  but  without  much  taste. 
His  best  print  is  a  '  View  of  Tivoli,'  after  Mouche- 
ron.  There  is  a  print,  dated  1749,  by  him,  of  a 
view  of  Roman  ruins,  after  Pannini,  very  neatly 
engraved. 

ANGILLIS,  Pierre,  (wrongly  called  Angelis), 
was  bom  at  Dunkirk,  in  1685.  After  learning  the 
rudiments  of  design  in  his  native  town,  he  visited 
Flanders  and  Germany,  and  resided  some  time  at 
Antwerp,  where  he  was  made  a  master  of  the 
Guild  of  St.  Luke,  in  1715-16;  and  at  Diisseldorf, 
where  he  had  an  opportunity  of  improving  him- 
self, by  studying  the  paintings  in  the  Electoral 
Gallery.  He  painted  conversation-pieces,  and  land- 
scapes with  small  figures,  into  which  he  was  fond 
of  introducing  fruit  and  fish.  He  came  to  England 
about  the  j'ear  1719,  where  he  met  with  great 
encouragement,  remaining  till  1727,  when  he  set 
out  for  Italy,  and  passed  three  years  at  Rome, 
where  his  pictures  were  admired.  But  being  of  a 
reserved  disposition,  and  without  ostentation,  he 
exhibited  his  works  with  reluctance,  his  studious 
and  sober  temper  inclining  him  more  to  the  pursuit 
of  his  art  than  to  the  advancement  of  his  fortune. 
On  his  return  from  Italy,  he  stayed  at  Rennes,  in 
Brittany,  and  met  with  so  much  employment,  that 
he  settled  in  that  city,  where  he  died  in  1734. 
His  style  was  a  mixture  of  those  of  Teniere  and 
Watteau,  with  more  grace  than  the  former,  and 
more  nature  than  the  latter.  His  pencil  is  easy, 
bright,  and  flowing,  but  his  colouring  is  occasion- 
ally faint  and  nerveless. 

ANGIOLILLO,  called  Roccadiramb,  was  a 
Neapolitan,  and  flourished  about  the  year  1450. 
He  was  a  disciple  of  Antonio  Solario,  called  II 
Zingaro,  and,  according  to  Dominici,  painted  • 
several  pictures  for  the  churches  at  Naples.  One 
of  his  most  esteemed  works  was  a  picture  in  the 
church  of  San  Lorenzo,  representing  the  '  Virgin 
and  Infant  Jesus,  with  St.  Francis,  St.  Anthony  of 
Padua,  and  St.  Louis.'  He  died  about  the  year 
1458. 

ANGLUS,  Benjamin.  This  artist  is  mentioned 
by  Heineken  as  the  engraver  of  two  emblem- 
atical subjects,  one  after  Antonio  Tempesta ;  the 
other  is  probably  from  his  own  design,  as  he  adds 
the  word/ea'i  to  his  name. 

ANGOLO  DEL  MORO,  Battista,  (commonly 
called  Angeli,  and  occasionally  Angblo  and 
Agnolo),  was  born  at  Verona,  about  the  year 
1512.  He  was  a  scholar  of  Francesco  Torbido, 
called  II  Moro,  whose  daughter  he  married,  and 
whose  name  he  added  to  his  own.  He  improved 
his  stj'le  by  studying  the  works  of  Titian,  and 
painted  several  pictures,  both  in  oil  and  fresco,  for 
the  churches  at  Verona,  and  sometimes  in  compe- 
tition with  Paolo  Veronese.  In  Sant'  Euphemia  he 
had  painted  a  fresco  of  '  Paul  before  Ananias,' 
which,  on  the  demolition  of  the  wall  on  which 
it  was  painted,  was  sawn  out  with  great  care, 
and  removed  to  another  part  of  the  church.  His 
colouring  is  more  vigorous  than  that  of  his  in- 
structor, and  his  design  more  graceful.  Such  is 
his  picture  in  San  Stefano  of  '  An  Angel  pre- 
senting the  Palms  of  Martyrdom  to  the  Inno- 
cents.' He«also  painted  much  in  Venice,  Mantua, 
and  Murano.  We  have  several  slight  but  spirited 
etchings  by  this  master,  in  which  the  extremities 
of  the  figures  are  drawn  in  a  very  masterly  style. 
In  conjunction  with  Battista  Vicentino,  he  en- 
graved a  set  of  fifty  landscapes,  mostly  after 
Titian,  which  are  executed  in  a  bold,  free  style. 


Angolo 


PAINTERS  AND  ENGRAVERS. 


Anna 


We  have  also  the  following  plates  as  specimens  of 
his  work  in  this  line : 

The  Nativity,  or  Adoration  of  the  Shepherds;  after 

Farmigiano. 
The  Virgin,  with  the  Infant  Christ  and  St.  John ;  S.  A. 

del  Mora,  fee. 
The  Holy  Family,  with  St.  Elisabeth  and  St.  John; 

after  Raphael. 
Another  Holy  Family;  after  the  same. 
The  Martyrdom  of  St.  Catherine;   after  Bernardini 

Campi. 
The  Baptism  of  Christ  by  St.  John ;  after  the  same. 

ANGOLO  DEL  MORO,  Giulio,  (commonly  called 
Angbli),  the  brother  of  Battista,  was  a  sculptor, 
architect,  and  painter.  He  was  a  native  of  Verona, 
tut  laboured  chiefly  at  Venice,  and  in  the  churches 
and  the  Doge's  Palace  of  that  city  he  has  left 
several  pictures.  He  flourished  in  the  16th  cen- 
tury and  the  beginning  of  the  17th.  There  is  no 
record  of  him  later  than  1618.  There  was  a  third 
brother,  Gieolamo,  who  was  also  a  painter,  but  of 
no  great  merit. 

ANGOLO  DEL  MORO,  Marco,  (commonly  called 
Angbli),  the  son  and  pupil  and  assistant  of  Bat- 
tista, flourished  in  the  latter  half  of  the  16th 
century  at  Venice  and  Verona.  He  assisted  his 
father  in  his  wall  decorations  at  Murano.  He 
also  practised  the  art  of  engraving  with  consider- 
able success. 

ANGUISGIOLA,  Sofonisba, (or  Angosciola,  also 
written  Anguisola,  Angussola,  and  Anguscinola). 
This  celebrated  painter,  the  eldest  of  six  sisters, 
was  bom  of  an  ancient  family  at  Cremona,  about 
1535.  She  received  her  first  instruction  in  the 
art  from  Bernardino  Campi,  to  whom  she  went  in 
1546,  but  afterwards  became  a  scholar  of  Bernardo 
Gatti,  called  Sojaro.  After  leaving  those  masters, 
her  first  efEort  in  art  was  an  effusion  of  filial 
affection,  expressed  in  a  portrait  of  her  father  and 
two  of  his  children.  This  performance  was  uni- 
versally admired,  and  she  was  soon  considered  as 
one  of  the  most  eminent  portrait  painters  of  her 
time.  She  did  not,  however,  confine  herself  to 
portraits,  but  painted  some  historical  subjects  of 
a  small  size,  that  were  highly  esteemed,  and 
established  her  reputation.  The  fame  of  this 
painter  induced  Philip  II.  of  Spain,  the  great 
encourager  of  art  in  his  time,  to  invite  her  to 
Madrid,  where  she  arrived  about  the  year  1560, 
attended  by  three  of  her  sisters.  One  of  her  first 
works  in  Spain  was  a  portrait  of  the  Queen  Isa- 
bella, which  was  presented  by  the  king  to  Pope 
Pius  IV.,  to  whom  she  was  nearly  related,  accom- 
panied by  a  letter  addressed  to  his  Holiness  by 
Sofonisba,  to  which  that  pontifE  replied  in  an 
epistle,  highly  extolling  her  performance,  and 
assuring  her  that  he  had  placed  it  amongst  his 
most  select  pictures.  She  was  married  twice :  first 
to  Don  Fabricio  di  Moncada,  a  Sicilian  nobleman, 
after  whose  death  she  returned  to  her  own  country 
by  way  of  Genoa.  There  she  married  as  her 
second  husband  Orazio  Lomellini,  the"captain  of 
the  galley  in  which  she  made  the  voyage.  She 
died  at  Genoa  about  the  year  1625.  The  following 
may  be  noted  among  the  most  important  of  her 
paintings : 

Portrait  of  herself,  seated  at  a  clavecin  {signed).    In  a 

private  collection  in  Bologna. 
Portrait  of    herself  (similar  to  the  Bologna  picture). 

In  the  possession  of  Lord  Spencer  at  Althorpe. 
Portrait  of  herself.    At  Nuneham  Park. 
Portrait  of  herself  painting  a  picture  (signed).    In  the 

UMzi,  Florence. 


Portrait  of  herself  holding  a  book  {signed  and  dated 

1554).    In  the  Belvedere,  Vienna. 
Three  of  her  sisters  playing  chess   {formerly  in  the 

collection  of  Lucien  Buonapa'rte  ;  one  of  her  best  works). 

In  the  possession  of  Count  RaczynsM  at  Berlin. 
Portrait  of  a  nun  {signed).    In  the  possession  of  Lord 

Yarhorough. 
Portrait  of  a  man.     At  Burleigh  House. 
Portrait  of  a  Venetian  Ambassador  {signed).    In  the 

Brognoli  Gallery  at  Brescia. 
Madonna  and  child   (dated  1559).     In  the  Bresdani 

Collection  at  Cremona. 

ANGUISGIOLA.  All  the  five  sisters  of  Sofo- 
nisba painted  with  more  or  less  success.  Elena, 
the  next  in  age  to  Sofonisba,  after  having  studied 
with  her  under  Campi  and  Gatti,  entered  the  con- 
vent of  San  Vincenzo,  at  Mantua,  where  she  was 
still  living  in  1584.  Lucia,  the  third  in  age,  who 
died  in  1565,  distinguished  herself  both  in  painting 
and  music ;  a  portrait  of  the  physician  'Pietro  Maria 
of  Cremona '  by  her,  signed  '  Lucia  Anguisola, 
Amilcaris  filia,  adolescens,  fecit,'  is  in  the  Madrid 
Gallery.  Mineeva  died  young.  Eueopa  and  Anna 
Maeia  painted  subjects  from  sacred  history  for 
churches. 

ANGUS,  William,  an  English  designer  and  en- 
graver of  landscapes  and  buildings,  was  born  in 
1752.  He  was  a  pupil  of  William  Walksr.  He 
engraved  and  published  a  great  number  of  views 
of  gentlemen's  seats  in  England  and  Wales,  which 
were  executed  by  him  in  a  delicate  and  pleasing 
manner.  He  was  "also  employed  on  many  other 
topographical  publications  of  the  period.  He  did 
not  confine  his  graver  to  his  own  drawings,  but 
exercised  it  on  those  of  Stothard,  Paul  Sandbj', 
Edward  Dayes,  George  Samuel,  and  others  of  high 
repute.     He  died  in  1821. 

ANICHINI,  PiBTEO,  a  Florentine  engraver,  of 
whose  life  we  have  no  particulars.  He  is  said  by 
Basan  to  have  been  born  in  1610  ;  he  died  in  1645. 
Among  other  plates  engraved  by  him,  we  have 
the  following : 

■A  Holy  Family ;  small  plate,  lengthways ;  dated  1644. 
The  Good  Samaritan  ;  small,  lengthways. 
Cosmo  Prince  of  Btruria. 
Evangelista  TorriceUi,  the  mathematician. 

ANIELLO.    See  Poetic. 

ANIEMOLO,  Vincenzo,  (or  Ainbmolo^,  called 
Vincenzo  Romano,  was  born  at  Palermo  towards 
the  end  of  the  15th  century.  After  having 
studied  for  some  time  in  his  native  town  the 
works  of  Perugino  and  other  masters,  he  went  to 
Rome,  where,  if  he  did  not  receive  personal  in- 
struction from  Raphael,  the  works  of  that  master 
had  a  great  effect  on  his  style.  Aniemolo  left 
Rome  at  the  time  of  its  pillage  and  went  to 
Messina ;  thence  he  returned  to  Palermo,  where 
he  lived  until  his  death,  which  occurred  in  1540. 
He  has  left  in  the  churches  of  his  native  town 
many  pictures  of  merit.  Of  these  we  may  mention 
the  'Virgin  and  Child  between  fOur  Saints,'  in  San 
Pietro  Martire ;  the  '  Virgin  of  the  Rosary,'  dated 
1540,  in  San  Domenico ;  and  the  '  Sposalizio,'  in 
Santa  Maria  degli  Angeli.  All  bear  strong  traces 
of  the  influence  of  Raphael. 

ANISIMOFF  was  a  Russian  genre  painter,  who 
obtained  a  reputation  in  the  course  of  the  first 
ten  years  of  the  19th  century  by  the  execution  of 
a  number  of  spirited  pictures  depicting  scenes 
from  Russian  popular  life. 

ANJOU,  Ren^  of.     See  Ren:^. 

ANNA,    Baldassare    d',  a   Fleming  by  birth, 

41 


Annella 


A  BIOGRAPHICAL  DICTIONARY  OF 


Anthoniszoon 


but  of  the  Venetian  school  of  painting.  He  was  a 
pupil  of  Corona  of  Murano,  and  after  his  master's 
death  completed  several  of  his  works.  He  also 
produced  many  original  pictures  for  the  Servi  and 
other  churches,  which,  though  inferior  to  those  of 
Corona  in  the  selection  of  forms,  surpass  them  in  the 
softness,  and  sometimes  in  the  force,  of  the  chiaro- 
scuro. He  flourished  toward  the  close  of  the  16th 
and  the  beginning  of  the  17th  century.  The  last 
record  we  have  of  him  is  in  1639. 

ANNELLA  di  MASSIMO.     See  Beltkano. 

ANN  UNCI  A^AO,   Thomaz  Jos^   da.     See   Da 

ANNnNCIAgAO 

ANRAADT,  Pietbr  van,  flourished  at  Amster- 
dam, where  he  settled  in  1672,  and  married  the 
daughter  of  the  Dutch  poet  Jan  van  der  Veen. 
Notwithstanding  the  merit  of  this  master,  little  is 
known  of  the  circumstances  of  his  life.  Accord- 
ing to  Houbraken,  he  was  a  very  eminent  his- 
torical painter,  and  that  author  mentions  a  picture 
of  '  Regents '  painted  by  him  for  the  '  Huiszitten- 
huis '  at  Amsterdam.  Balkema  describes  him  as 
a  painter  of  portraits,  animals,  and  conversation- 
pieces. 

ANSALDO,  Andeea,  was  born  at  Voltri,  a  small 
town  near  Q-enoa,  in  1584.  He  was  at  first  a 
scholar  of  Orazio  Cambiaso ;  but  becoming  im- 
pressed with  the  beauty  and  splendour  of  the 
works  of  Paolo  Veronese,  he  studied  them  with 
great  attention,  and  formed  for  himself  an  excel- 
lent style  of  colouring,  both  in  oil  and  in  fresco. 
His  chief  work  was  an  'Assumption  of  the  Virgin,' 
in  the  cupola  of  the  church  of  the  Annunziata  at 
Genoa.  Many  other  works  of  this  master  are  in 
the  churches  and  palaces  in  that  city,  and  of  his 
native  town.  He  possessed  a  fertile  invention, 
and  his  compositions  are  decorated  with  architec- 
ture and  landscape,  introduced  with  a  very  happy 
effect.  He  died  in  1638  in  Genoa,  having  acquired 
the  reputation  of  being  one  of  the  best  painters  of 
his  time. 

ANSALONI,  ViNCENzo,  was  a  native  of  Bologna, 
and  a  disciple  of  Lodovico  Carracci.  Under  so  able 
an  instructor  he  became  a  reputable  painter  of 
history.  Malvasia  speaks  in  very  favourable  terms 
of  an  altar-piece  by  this  master,  in  the  chapel  of 
the  family  of  Fioravanti,  in  the  church  of  St. 
Stefano  at  Bologna,  representing  the  '  Martyrdom 
of  St.  Sebastian.'  His  chef-d'oeuvre  is  a  picture 
in  the  church  of  the  Celestine  Monks,  representing 
the  Virgin  Mary  with  the  Infant  Saviour  in  the 
clouds,  and  below,  St.  Roch  and  St.  Sebastian. 
According  to  Zani,  he  flourished  about  1615,  and 
died  young. 

ANSANO  DI  PIETRO  (di  Menico  or  Dombnico). 
See  Sano  di  Pieteo. 

ANSBLIN,  Jean  Louis,  a  French  line-engraver, 
who  was  born  in  Paris  in  1754,  was  a  pupil  of  A. 
de  Saint-Aubin.  He  became  engraver  to  the  king, 
and  died  at  Paris.in  1823.  Among  his  best  works 
are  the  following : 

La  Marquise  de  Pompadour  ;  after  Van  Loo. 

The  Siege  of  Calais ;  after  Bertheiemy. 

Moliere  reading  his  '  Tartuffe '  at  the  house  of  Ninon  de 
Lenclos ;  after  Monsiau. 

The  Sleeping  Child;  after  Donato  Creti;  for  Laurent's 
Musee  Fran<;ais. 

ANSELL,  Chaeles,  flourished  towards  the  close 
of  the  18th  century.  His  name  occurs  only  twice — 
1780  and  1781— in  the  catalogues  of  the  Roya! 
Academy.  He  was  celebrated  for  his  drawings  of 
the  horse,  but  also  drew  domestic  subiects.     His 

42  •• 


'  Death  of  a  Race-horse '  was  engraved  in  six 
plates,  and  published  in  1784. 

ANSELMI,  GlOEGlo,  born  at  Verona,  in  1723, 
was  a  pupil  of  Balestra.  His  masterpiece  is  the 
painting  in  fresco  in  the  cupola  of  Sant'  Andrea 
at  Mimtua.     He  died  in  1797. 

ANSELMI,  MiOHBLANGBLO,  called  'Michel- 
angelo da  Lucca,'  was  born  at  Lucca,  in  1491,  and 
was  a  disciple  of  Bazzi.  He  principally  resided 
at  Parma,  where  one  of  his  first  performances 
was  a  considerable  work  painted  from  a  design 
of  GiuHo  Romano,  representing  the  'Coronation 
of  the  Virgin.'  He  painted  several  pictures  of  his 
own  composition  for  the  cimrches  in  Parma,  some 
of  which  bear  a  resemblance  to  the  style  of  Cor- 
reggio.       He  died  in  1554,  at  Parma. 

The  following  are  his  best  works  : 

Florence.  Uffizi.  Nativity. 

London.    NoHhirook  Coll.  Madonna  and  Saints. 
Paris.        Louvre.  Virgin  in  Glory. 

Parma.      Cathedral.  Madonna  and  Child. 

„  Gallery.  Christ  on  the  way  to  Calvary. 

^'Secmu"  ]     Coronation  of  the  Virgin. 
Eeggio.     S.  Prospero.         Baptism  of  Christ. 

ANSIAUX,  Jean  Joseph  El^onoeb  Antoinb,  a 
French  historical  and  portrait  painter,  a  scholar  of 
Vincent,  was  born  at  Liege,  in  1764.  His  works, 
taken  from  sacred  and  profane  history,  and  poetical 
subjects,  are  numerous,  and  place  him  among  the 
best  artists  of  the  French  school  in  the  19th 
century.  He  also  painted  portraits  of  several 
distinguished  persons,  ministers,  and  generals  of 
Napoleon.     He  died  at  Paris  in  1840. 

'The  following  are  some  of  his  best  works : 


Angers.  Cathedral. 
Arras.  Cathedral. 
Bordeaux.  Museum. 

Le  Mans.  Cathedral. 
liege.    Cathedral. 

„        Hdtel-de-Ville. 

LiUe.      Musewm, 

»  »» 

Metz.      Cathedral. 


1827. 


Saising  of  the  Cross. 

iResurrection. 

Eichelieu  presenting  Poussin 

to  Louis  XIIL    1817. 
Adoration  of  the  Kings. 
Ascension.     1812. 
Conversion  of  St.  Paul.  1814. 
Eetum  of  the  Prodigal  Son. 

1819. 
St.    John    rebuking    Herod. 

1822. 
Knding  of  Moses.    1822. 
The  Flagellation. 
Paris      S.  Etienne-du-Mont.  St.  Paul  preaohing  at  Athens. 

ANSUINO(or  Ansovino),  of  Forli,  who  flourished 
about  1465,  was  one  of  the  pupils  of  Squarcione, 
a  fellow-worker  with  Mantegna  in  the  frescoes  in 
the  Eremitani  Chapel  at  Padua  ;  and  his  work 
bears  traces  of  the  influence  of  that  master.  The 
inscription  Opus  Ansvini  is  attached  to  the  repre- 
sentation of  '  St.  Christopher.' 

ANTHONISSEN,  H.  (?  Hendrik)  van,  a 
Dutch  marine  painter  who  flourished  about  the 
middle  of  the  17th  century.  He  painted  in  the 
style  of  J.  van  Goyen  and  Jan  Parcellis.  He  is 
the  author  of  sea  paintings,  in  the  Hermitage,  St. 
Petersburg,  and  the  Prague  Gallery,  which  through 
their  signatures  have  been  ascribed  to  a  mythical 
Hendeik  van  Antem. 

ANTHONISZOON,  Coenelis,  (or  Antoniszoon), 
was  born  at  Amsterdam,  about  the  year  1500. 
He  excelled  in  representing  the  interior  views 
of  towns,  which  he  did  wjth  uncommon  fidelity. 
In  the  H6tel-de-Ville  at  Amsterdam  is  a  picture 
by  this  master,  representing  that  city  as  it  was 
in  1536.  He  afterwards  painted  twelve  views  " 
of  the  same  city,  with  its  principal  public  build- 
ings, which  he   engraved   on  twelve  blocks  of 


Anthony 


PAINTERS  AND  ENGRAVERS. 


Antonio 


wood.     These  prints  are  now  rare.     He  was  also 
known  as  Teunissen — the  abbreviation 
of  his  name.     Hence  his  monogram.     In    <-  X  rw 
Meyer's  '  Kiinstler-Lexikon  '  is  a  list  of    ^Lii  ^ 
his  engravings. 

ANTHONY,  George  "Wilfred,  landscape 
painter,  was  born  at  Manchester,  where  he  studied 
landscape  painting  under  Ralston,  and  afterwards 
under  Barber  of  Birmingham.  After  travelling 
about  for  some  time,  he  finally  settled  at  Man- 
chester as  a  drawing-master.  He  was  also  an 
art-critic,  and  wrote  several  very  able  reviews  of 
local  exhibitions  for  the  '  Manchester  Guardian.' 
He  died  at  Manchester,  in  1859. 

ANTIDOTUS,  a  disciple  of  Euphranor,  and  the 
instructor  of  Nicias  the  Athenian,  flourished  about 
B.C.  336.  He  was  more  remarkable  for  the  labori- 
ous finish  of  his  encaustic  paintings  than  for  the 
ingenuity  of  his  invention.  His  colouring  was  cold, 
and  his  outline  hard  and  dry.  Among  the  few 
pictures  by  him  which  have  been  noticed,  were  '  A 
Warrior  ready  for  Combat ; '  'A  Wrestler  ; '  and 
'  A  Man  playing  on  the  Flute.'  Pliny  is  the  only 
writer  who  has  mentioned  him. 

ANTIGNA,  Jean  Pierre  Alexandre,  was 
bom  in  1818  at  Orleans,  at  the  college  of  which 
city  he  was  educated.  He  was  taught  drawing 
by  Salmon,  a  professor  of  merit,  who,  discover- 
ing the  talent  of  his  pupil,  induced  him  in  1836 
to  enter  the  studio  of  Norblin.  After  remain- 
ing here  a  twelvemonth  he  placed  himself  under 
Delaroche,  from  whom  he  received,  during  seven 
years,  instruction  and  counsel.  Under  his  influ- 
ence he  made,  in  1841,  his  debut  in  religious 
subjects,  which  he  continued  to  paint  until  about 
1846,  when  he  turned  his  attention  to  genre  paint- 
ing, and  it  was  in  this  branch  of  art  that  he 
achieved  his  reputation.  He  was  awarded  medals 
at  the  Salons  of  1847,  1848,  and  1851,  and  he  also 
obtained  a  medal  at  the  Paris  Exhibition  of  1855, 
which  included  a  good  collection  of  his  works.  He 
was  decorated  with  the  Legion  of  Honour  in  1861. 
He  died  on  the  27th  of  February,  1878.  His  chief 
works  are : 

Angers.      Museum.     The  Mirror  of  the  Woods.    1865. 
Avignon.  Museum.     Vision  of  Jacob. 
Bordeaux.  Museum.     Episode  of  the  Vendean  War.  1864. 
Orleans.    Museum.     The  Chimney  Corner. 
„  „  The  Krst  Plaything. 

„  „  The  Storm. 

„  „  Women  Bathing, 

Paris.      Luxembourg.  The  Fire.    1850. 

0.  J.  D. 

ANTIPHILUS,  a  painter  of  Egypt,  was  of 
Greek  extraction,  and  a  pupil  of  Ctesidemus.  He 
flourished  in  the  time  of  Ptolemy  Philopator,  at 
the  close  of  the  third  century  before  Christ.  He 
invented  the  caricatures  known  as  '  Grylli,'  —  a 
kind  of  grotesque  monsters,  part  animal  or  bird 
and  part  man.  Quintilian  praises  him  for  his 
facility  in  painting,  and  he  is  also  noticed  by 
Pliny  and  Lucian.  Amongst  his  works  mentioned 
are  a  'Satyr  with  a  Panther-hide,'  a  '  Boy  blow- 
ing a  Fire,'  and  portraits  of  Philip  of  Macedon 
and  Alexander  the  Great. 

ANTIQUUS,  Johannes,  was  born  at  Groningen 
in  1702,  and  learned  from  Gerard  van  der  Veen  the 
art  of  painting  on  glass,  which  he  practised  for 
some  years ;  but  he  afterwards  became  a  scholar 
of  Jan  Abel  Wassenberg,  a  respectable  painter  of 
history  and  portraits,  under  whom  he  studied  some 
time.  He  afterwards  went  to  France,  where  he 
was  much  employed  as  a  portrait  painter,  but  did 


not  long  remain  at  Paris,  being  desirous  of  visiting 
Italy.  He  resided  chiefly  at  Flo*eiice,  where  he 
was  employed  by  the  Grand  Duke  of  Tuscany  for 
six  years.  His  principal  work  was  a  large  picture 
of  the  '  Fall  of  the  Giants,'  which  was  esteemed  of 
suflicient  merit  to  occasion  the  sketch  of  it  to  be 
placed  in  the  Florentine  Academy.  After  passing 
several  years  in  Italy,  he  returned  to  Holland, 
where  he  met  with  a  very  flattering  reception,  and 
was  employed  by  the  Prince  of  Orange  in  the 
Palace  of  Loo,  where  he  painted  a  large  picture  of 
'  Mars  disarmed  by  the  Graces,'  and  several  other 
works.  He  was  a  correct  draughtsman  and  a 
good  colourist.  He  died  in  1750.  His  brother 
Lambert  was  also  a  painter  of  merit.  He  was 
living  at  Groningen  as  late  as  1751. 

ANTOINE,  S^BASTIEN,  an  engraver  of  no  great 
celebrity,  was  born  at  Nancy,  in  1687.  We  have 
by  him  a  portrait  of  Augustin  Calmet,  a  large  oval 
plate,  dated  1729  ;  the  '  Enterprise  of  Prometheus,' 
from  the  ceiling  at  Versailles,  painted  by  Mignard  ; 
and  a  representation  of  the  crown  of  jewels  used 
at  the  coronation  of  Louis  XV.  in  1722.  He 
worked  chiefly  with  the  graver,  in  a  slight,  feeble 
style.  He  is  known  to  have  engraved  as  late  as 
1761. 

ANTOLINEZ,  Josi,  was  born  at  Seville  in 
1639.  At  an  early  age  he  was  sent  to  Madrid  to 
study  under  Francisco  Rizi,  one  of  the  painters  of 
Philip  IV.  He  painted  history  and  portraits,  and 
was  also  admired  for  the  landscapes  he  introduced 
into  his  works.  Palomino  spoke  favourably  of 
two  pictures  by  this  master,  which  were  in  the 
church  of  La  Magdalena  at  Madrid ;  they  repre- 
sented the  '  Miraculous  Conception,'  and  the  '  Good 
Shepherd.'  He  died,  from  the  efEeots  of  wounds 
received  in  a  duel,  at  Madrid  in  1676. 

ANTOLINEZ  t  SARABIA,  Francisco,  who  was 
born  at  Seville  in  1644,  was  nephew  of  Jos6  Anto- 
linez.  He  was  an  historical  and  landscape  painter, 
and  studied  in  the  school  -of  Murillo,  whose  style 
and  manner  of  colouring  he  followed.  He  went  to 
his  uncle  at  Madrid  in  1672  ;  but  notwithstand- 
ing his  having  already  distinguished  himself  as  a 
painter,  he  left  the  profession  for  literary  pursuits, 
and  for  the  purpose  of  obtaining  a  lucrative  situa- 
tion at  the  bar,  having  been  originally  educated  at 
Seville  for  the  law.  Being  unsuccessful,  he  was 
compelled  again  to  have  recourse  to  painting  as  a 
means  of  subsistence.  It  was  then  that  he  pro- 
duced those  small  pictures  from  the  Bible  and  the 
life  of  the  Virgin,  which  are  so  much  admired  by 
amateurs  for  their  invention,  colour,  and  facility 
of  execution.  He  died  in  1700  at  Madrid,  regretted 
by  the  true  friends  of  art,  who  lamented  the  mis- 
application of  those  talents  with  which  he  was 
endowed. 

ANTON  VON  WORMS.    See  Woensam. 

ANTONAZO  (or  Antoniacci).     See  Aquilio. 

ANTONELLO  da  MESSINA.  See  Antonio, 
Antonello  d'. 

ANTONIANUS,  Silvanus.  According  to  Pa- 
pillon,  this  artist  was  an  engraver  on  wood,  and 
flourished  about  the  year  1567.  He  executed  a  set 
of  cuts  for  a  book  of  Fables,  published  at  Antwerp 
in  1667,  entitled  Centum  Fabulce  ex  antiquis 
auctoribue  delectce,  et  a  Gabriele  Faerno  Cremo- 
nensi  carminibus  explicatm.    He  usually  -^ 

marked  his  prints  with  a  monogram  com-       JJ 
posed  of  an  S  and  an  A.  t/f  I 

ANTONIASSO  (or  Antoniacci).    See  Aquilio. 

ANTONIO,  Antonello  d',  (or  Degli  Antonj), 

43 


Antonio 


A  BIOGRAPHICAL  DICTIONARY  OF 


Apelles 


commonly  known  as  Antonbllo  da  Messina,  played 
an  important  pafft  in  the  introduction  of  oil  paint- 
ing into  Italy.  We  have  few  authentic  details  of 
this  artist's  life.  He  was  born  at  Messina  about 
the  middle  of  the  15th  century  (some  writers  say 
in  1414,  others  in  1421,  &c.),  and  studied  art_  in 
Sicily,  where  he  painted  some  time.  According 
to  Summonzio,  lie  was  a  scholar  of  Colantonio, 
an  obscure  artist.  He  went  subsequently  to 
Naples,  and  having  seen  there,  in  possession  of 
Alfonso  of  Aragon,  a  painting  by  Jan  van  Eyck, 
he  was  so  struck  by  it,  that  he  left  everything 
and  went  to  Flanders,  where  he  studied  princi- 
pally after  the  works  of  Van  Eyck,  and  became 
acquainted  with  his  disciples,  in  conjunction  with 
whom  he  is  supposed  to  have  executed  several 
works.  After  having  thus  acquired  the  art  of 
painting  in  oil,  he  returned  to  Italy  about  the 
year  1465,  and  it  is  quite  certain  that  he  was  at 
Messina  in  1472  and  1473,  when  he  painted  in  San 
Gregorio  a  triptych,  representing  the  Virgin  and 
Child  enthroned,  with  two  Angels  holding  the 
crown,  between  St.  Benedict  and  St.  Gregory.  In 
1473  he  visited  Venice,  where  he  painted  a  '  Ma- 
donna and  St.  Michael,'  in  San  Cassiano,  now  lost, 
which  was  long  considered  the  chief  ornament  of 
that  church ;  besides  this  he  executed  excellent 
portraits  of  a  small  size,  for  which  he  had  high 
reputation.  His  introduction  of  painting  in  oil 
made  a  great  sensation  among  the  artists  at  Venice, 
and  he  soon  became  followed  by  Bartolommeo  and 
Luigi  Vivarini,  Giovanni  and  Gentile  Bellini,  Oar- 
paccio  and  Cima.  He  is  also  said  to  have  visited 
several  towns  in  Lorabardy  between  1480  and 
1485,  and  to  have  been  known  at  Milan  as  an  artist 
of  merit.  The  exact  date  of  his  death  is  uncer- 
tain, but  it  probably  occurred  at  Venice  about  1493. 
Antonello  was  the  first  Italian  painter  who  prac- 
tised Van  Eyck's  method  of  painting  in  oil.  He 
was  an  eminent  colourist,  and  his  tones  are  so 
warm,  clear,  and  briglit  that  he  almost  surpassed 
Van  Eyck.  As  an  Italian  he  tried  to  unite  a  certain 
simplicity  and  natural  beauty  with  the  character- 
istic Flemish  execution  of  the  details  ;  but  he  did 
not  succeed,  and  for  that  reason  his  outline  is 
sometimes  stiff  and  bard.  His  portraits  were 
entirely  successful,  and  possessed,  in  spite  of  all 
the  detail,  a  certain  idealism.  The  following  is  a 
list  of  some  of  his  authentic  paintings,  compiled 
for  the  most  part  from  Meyer's  '  Kiinstler-Lexikon : ' 

Antwerp.      Museum. 


Berlin. 


Museum. 


Dresden.      Gallery. 
Genoa.  S^iiiiala  Pal. 
London,  ^at.  Galleri/. 
Messina.    S.  Gregono. 


„  ^.  Niccolo. 

Milan,  Casa  Trivuld. 

Padua.     Casa  Miari. 

'  „     Casa  Maldv/ra. 

Paris.        Louvre. 


Eome.  Pal.  Borghese. 
Venice     Academy. 
44 


Christ  on  the  Cross  between  the  two 
Thieves,  with  the  Virgin  and  the 
Evangelist;    1475. 

The  Virgin  with  the  Child  in  a  land- 
scape {signed). 

St.  Sebastian  (signed). 

A  man's  portrait  {signed  1445  ; 
oric/inally  1478?). 

St.  Sebastian. 

Ecce  Homo. 

Salvator  Mundi.     1465. 

The  Virgin  and  Child  between 
St.  Gregory  and  St.  Beaedict. 
1473. 

St.  Nicholas. 

Portrait  of  a  man. 

Ecce  Homo. 

St.  Sebastian. 

Portrait  of  a  man,  dated  1475  (pur- 
chased at  the  Pourtales  sale  in 
1865, /or  frs.  113,500  =  £4540). 

Portrait  of  a  man  in  a  red  dress. 
1475. 

Christ  bound  to  the  pillar. 

A  Nun  in  tears. 


Venice.        Academy.  A  Virgin  reading  at  a  desk. 

Casa  GiovaneiU.  The  portrait  of  a  young  Patrician. 
Vienna.      Belvedere.  The  dead  body  of  Christ  supported 
by  three  Angels. 

ANTONIO;  GiEOLAMO  da,  a  Carmelite  Friar, 
who  entered  'his  order  in  1490,  at  Florence,  and 
worked  in  it  and  for  it  until  his  death  in  1629.  He 
is  known  chiefly  by  two  works — the  one  a  picture 
of  '  Christ  as  a  Man  of  Sorrows,'  signed  and  dated 
1504,  in  the  Carmine  :  the  other,  an  altar-piece, 
representing  '  Christ  adored  by  the  Virgin  and  St. 
.loseph,'  signed  and  dated  1519,  in  the  Scuola 
della  Carita,  at  Savona. 

ANTONIO,  Pedeo,  was  born  at  Cordova  in  1614, 
and  was  a  scholar  of  Antonio  del  Castillo.  Some 
pictures  which  he  painted  for  the  convent  of  San 
Pablo  at  Cordova,  established  his  character  as  a 
good  colourist.    He  died  in  1675  in  his  native  city. 

ANTONIO  DA  FERRARA.     See  Ferraea. 

ANTONIO  DA  MONZA,  Fra.     See  Monza. 

ANTONIO  da  MORANO.     See  Mueano. 

ANTONIO  DA  TRENTO.     See  Teento. 

ANTONIO  DE  HOLANDA.     See  Holanda. 

ANTONIO  DB  SAN  ANTONIO.  See  San  An- 
tonio. 

ANTONIO  VBNEZIANO.     See  Veneziano. 

ANTONISSEN,  Heneicds  Josephus,  a  painter  of 
landscapes  and  cattle,  was  bom  at  Antwerp  in 
1737.  He  entered  the  studio  of  Balthazar  Besohey, 
in  1762-53,  and  three  years  later  he  was  free  of  the 
Guild  at  Antwerp  of  which  he  was  twice  Dean. 
His  works  are  mostly  in  private  collections  on  the 
Continent.  In  the  Stadel  Gallery  at  Frankfort 
there  is  a  '  Landscape  with  Cattle'  by  him  ;  signed 
and  dated  1792.  He  died  at  Antwerp,  in  1794. 
He  instructed  numerous  scholars,  and  amongst 
them  the  celebrated  Ommeganck. 

ANTONISZOON,  Coknelis.     See  Anthoniszoon. 

ANTONJ,  Degli.    See  Antonio,  Antonello  d'. 

ANTUM,  Aart  van,  was  a  Dutch  marine-painter, 
who  flourislied  from  about  1630  to  1640.  A  sea- 
piece  by  him,  signed  A.  A.,  is  in  the  Berliu 
Museum. 

APABICIO,  Josfi,  a  Spanish  historical  painter, 
was  born  at  Alicante,  in  1773,  and  studied  in  Paris 
under  David.  His  chef-d'oeuvre, '  The  Redemption 
of  Algerian  Captives,'  is  in  the  Madrid  Gallery. 
He  died  in  Madrid,  in  1838. 

APELDOORN,  Jan,  a  landscape  painter  and 
designer,  was  scbolar  to  Jordan  Hoorn,  a.  Amers- 
foort,  where  he  was  born  in  1765.  He  painted  but 
few  pictures  in  oil.  He  resided  nearly  fifty  years 
at  Utrecht,  but  died  in  his  native  town  in  1838. 

APBLLES,  the  greatest  of  all  Grecian  painters, 
was  probably  born  at  Colophon  in  Ionia,  although, 
according  to  Pliny  and  Ovid,  he  was  a  native  of 
the  isle  of  Cos  ;  whilst  Strabo  and  Lucian  call  him 
an  Ephesian.  Neither  the  date  of  his  birth,  nor 
that  of  his  death,  is  known  ;  it  is  only  certain  that  he 
flourished  from  before  B.C.  336  until  after  B.C.  332. 
He  was  a  disciple  of  Paraphilus,  and  was  probably 
of  a  distinguished  family,  as  no  student  of  mean 
birth  was  adihitted  into  the  school  of  that  master. 
Combining  in  himself  all  the  excellences  of  the 
artists  who  had  preceded  him,  and  endowed  with 
a  genius  capable  of  contending  with  the  most 
arduous  difiioulties,  Apelles  is  generally  supposed 
to  have  carried  art  to  the  highest  attainable  per- 
fection. He  not  only  excelled  in  composition, 
design,  and  colouring,  but  also  possessed  an  un- 
bounded invention.  He  was  select  and  beautiful 
in  his  proportions  and  contourSj  and,  above  all,  his 


Apelles 


PAINTERS  AND  ENGEAVERS. 


Apelles 


figures  were  always  distinguished  by  an  unspeak- 
able grace,  which  was  peculiar  to  him,  and  may  be 
almost  said  to  have  been  the  effect  of  inspiration. 
No  painter  ever  applied  to  the  study  of  his  art 
with  more  persevering  assiduity  than  Apelles.  He 
never  permitted  a  day  to  pass  without  practising 
some  branch  of  his  art ;  hence  the  proverb,  Nulla 
dies  sine  lined. 

His  extraordinary  talents,  and  the  polished 
accomplishments  of  his  mind,  secured  him  tlie 
patronage  and  esteem  of  Alexander  the  Great, 
from  whom  he  received  the  exclusive  privilege  of 
painting  his  likeness.  Among  others,  was  a  por- 
trait of  Alexander  holding  a  thunderbolt,  painted 
on  the  walls  of  the  temple  of  Diana,  at  Ephesus : 
which  was  so  admirably  executed,  that  Plutarch 
reports  that  it  used  to  be  said  there  were  two 
Alexanders,  one  invincible,  the  son  of  Philip,  the 
other  inimitable,  the  work  of  Apelles.  For  this 
picture  he  received  twenty  talents  (£4320). 

But  his  most  admired  production,  which  is  said 
to  have  cost  the  enormous  sum  of  100  talents 
(£21,600),  was  a  picture  of  Venus  rising  from  the 
sea,  called '  Venus  Anadyomene,'  which  was  painted 
for  the  temple  of  .Slsoulapius  at  Cos,  and  which 
Ovid  has  celebrated  in  his  verses  : 

Si  "Venerem  Cois  nunquam  pinxisset  Apelles, 
Mersa  sub  sequoreis  ilia  lateret  aquis. 

Pliny  asserts  that  Alexander  permitted  his  fa- 
vourite mistress,  the  beautiful  Campaspe,  to  sit  to 
liim  for  his  Venus,  and  that  the  painter  became 
so  enamoured  of  his  model,  that  the  conqueror 
resigned  her  to  him.  Other  writers  pretend  that 
Phryne  served  him  as  a  model  for  his  Venus.  We 
are  told  by  .3Dlian,  in  his  '  Various  Histories,'  that, 
having  painted  a  portrait  of  Alexander  on  horse- 
back, which  was  not  so  much  admired  as  it  de- 
served by  the  monarch,  whose  horse  neighed  at 
the  sight  of  the  charger  in  the  picture,  Apelles  said 
to  Alexander :  "  Sire,  it  is  plain  that  your  horse  is 
a  better  judge  of  painting  than  your  Majesty." 

One  of  this  painter's  disciples  having  shown  him 
a  picture  of  Helen,  which  he  had  loaded  with  gold, 
"Young  man,"  said  the  painter,  "  not  being  able 
to  make  thy  Helen  beautiful,  thou  hast  resolved 
to  make  her  rich." 

One  of  the  chief  excellences  of  Apelles  in  por- 
trait painting  was  to  give  so  perfect  a  resemblance 
of  the  jerson  represented,  that  the  physiognomists 
were  able  to  form  a  judgment  as  easily  from  his 
pictures  as  if  they  had  seen  the  originals.  This 
readiness  and  dexterity  in  taking  a  likeness  was  of 
singular  utility  to  the  painter,  in  extricating  him 
from  a  very  perilous  dilemma  into  which  he  was 
thrown  at  the  court  of  Ptolemy.  When  that 
prince  reigned  in  Egypt,  Apelles,  who  had  not 
the  good  fortune  to  be  in  favour  with  Ptolemy, 
was  driven  by  a  storm  into  the  port  of  Alexandria, 
where  his  enemies  suborned  a  mischievous  fellow, 
who  was  one  of  the  king's  buffoons,  to  play  a 
trick  upon  him,  by  inviting  Apelles,  in  the  king's 
name,  to  supper.  On  his  arrival,  finding  Ptolemy 
surprised,  and  not  very  well  pleased  with  his  visit, 
he  apologized  for  his  coming  by  assuring  the 
king  that  he  should  not  have  presumed  to  wait 
upon  him  but  by  his  own  invitation.  Being  re- 
quired to  point  out  the  person  who  had  thus  im- 
posed upon  him,  he  sketched  his  portrait  from 
memory,  with  a  coal  upon  the  wall,  which  Ptolemy 
instantly  recognized  to  be  his  buffoon.  This  ad- 
venture reconciled  him  to  Ptolemy,  who  after- 
wards loaded  him  with  wealth  and  honours. 


Antiphilus,  a  painter  of  reputation,  though 
greatly  inferior  to  Apelles,  who  was  then  at  the 
court  of  Ptolemy,  accused  him  of  having  been 
implicated  in  the  conspiracy  of  Theodotus, 
governor  of  Phoenicia,  affirming  that  he  had  seen 
Apelles  at  dinner  with  Theodotus,  and  that,  by 
the  advice  of  that  painter,  the  city  of  Tyre  had 
revolted,  and  Pelusium  had  been  taken.  The 
accusation  was  totally  groundless,  Apelles  never 
having  been  at  Tyre,  and  having  no  acquaintance 
with  Theodotus.  Ptolemy,  however,  in  the  height 
of  his  resentment,  without  examining  into  the 
affair,  concluded  him  guilty,  and  would  have 
punished  him  with  death,  had  not  an  accomplice 
of  the  conspirators  declared  his  innocence,  and 
proved  that  the  accusation  originated  in  the 
jealousy  and  malevolence  of  Antiphilus.  Stung 
with  confusion  at  having  listened  to  so  infamous 
a  slander,  Ptolemy  restored  Apelles  to  his  favour, 
presented  him  with  a  hundred  talents,  to  compen- 
sate for  the  injury  he  had  sustained,  and  con- 
demned Antiphilus  to  be  his  slave. 

On  his  return  to  Greece,  as  a  memorial  of  the 
persecution,  and  to  avenge  himself  of  his  enemies, 
Apelles  painted  an  allegorical  picture  representing 
'  Calumny,'  in  which  he  seems  to  have  exerted  all 
his  inventive  faculties.  Of  this  ingenious  compo- 
sition, Lucian  has  furnished  us  with  the  following 
description  :  "  On  the  right  of  the  pict\ne  was 
seated  a  person  of  magisterial  authority,  to  whom 
the  painter  has  given  large  ears,  like  those  of 
Midas,  who  held  forth  his  hand  to  Calumny,  as  if 
inviting  her  to  approach.  He  is  attended  by 
Ignorance  and  Suspicion,  who  are  placed  by  his 
side.  Calumny  advanced  in  the  form  of  a  beau- 
tiful female,  her  countenance  and  demeanour  ex- 
hibiting an  air  of  fury  and  hatred.  In  one  hand 
she  held  the  Torch  of  Discord,  and  with  the  other 
dragged  by  the  hair  a  youth,  personifying  Inno- 
cence, who,  with  eyes  raised  to  heaven,  seemed 
to  implore  the  succour  of  the  gods.  She  was  pre- 
ceded by  Envy,  a  figure  with  a  pallid  visage  and 
an  emaciated  form,  who  appeared  to  be  the  leader 
of  the  band.  Calumny  was  also  attended  by  two 
other  figures,  who  seemed  to  excite  and  animate 
her,  whose  deceitful  looks  discovered  them  to  be 
Intrigue  and  Treachery.  At  last  followed  Re- 
pentance, clothed  in  black,  and  covered  with  con- 
fusion, at  the  discovery  of  Truth  in  the  distance, 
environed  with  celestial  light."  Such  was  the 
ingenious  fiction  which  indicated  the  vengeance  of 
Apelles,  and  which  may  be  regarded  as  one  of 
the  most  admirable  examples  of  emblematical 
painting  that  the  history  of  the  art  affords. 
Raphael  made  a  drawing  from  Lucian's  description 
of  this  picture  ;  it  is  now  in  the  Louvre. 

It  was  customary  with  Apelles  to  exhibit  his 
pictures  publicly,  not  for  the  purpose  of  being 
flattered  with  the  incense  of  applause,  but  with  an 
intention  of  profiting  by  whatever  just  criticism 
might  be  made  on  the  work.  That  the  public 
might  feel  themselves  at  liberty  to  express  their 
sentiments  freely,  he  usually  concealed  himself 
behind  a  panel,  that  his  presence  might  not  be 
a  restraint  on  the  expression  of  their  judgment. 
On  one  of  these  occasions,  a  cobbler  found  fault 
with  some  incorrectness  in  the  representation  of  a  . 
slipper,  and  Apelles,  convinced  of  the  judicious 
observation  of  the  artisan,  made  the  necessary 
alteration.  The  picture  being  again  offered  to 
public  view  in  its  improved  state,  the  cobbler, 
proud  of  the  success  of  his  first  criticism,  ventured 

45 


Apens 


A  BIOGRAPHICAL  DICTIONABY  OF 


Appiani 


to  find  fault  with  the  leg,  when  Apelles,  discover- 
ing himself,  addressed  to  him  the  well-known 
sentence  which  has  since  become  proverbial,  Ne 
supra  crepidam  sutor.  Tlie  modesty  of  this  great 
painter  was  not  less  worthy  of  admiration  than 
his  extraordinary  talents.  Far  from  being  jealous 
of  his  contemporaries,  he  not  only  extolled  their 
merit,  but,  favoured  as  he  was  by  fortune,  made 
use  of  his  wealth  in  promoting  the  interest  of  his 
rivals.  His  generous  conduct  to  Protogenes  is 
generally  known,  and  is  more  particularly  noticed 
in  the  account  of  that  painter.  Apelles  wrote  a 
work  on  painting,  which  has  unfortunately  been 
lost. 

APENS,  C,  a  Dutch  engraver,  who  worked  at 
Groningen  in  the  second  half  of  the  17th  century. 
He  engraved  the  portraits  of  Samuel  Maresius,  D.D., 
and  other  persons. 

APOLLODOEUS,  a  Greek  painter,  was  a  native 
of  Athens,  and  flourished  about  B.C.  408.  He  was 
the  first  who  succeeded  in  the  blending  of  tones, 
and  in  the  distribution  of  light  and  shadow,  and 
may  be  nailed  the  inventor  of  oliiaroscuro.  Among 
his  works  is  mentioned  a  picture  of  '  Ajax  struck 
by  Lightning,'  which  was  formerly  at  Pergamus. 

APOLLONIO,  GiAOOMO,  was  born  at  Bassano  in 
1582  or  1584.  He  was  the  grandson  of  Jacopo  da 
Ponte,  and  received  instruction  in  art  from  his 
uncles  Girolarao  and  Giambattista  da  Ponte.  His 
style  is  precisely  that  of  his  instructors,  and  his 
works  are  only  distinguished  from  theirs  by  a  less 
vigorous  tone  and  a  less  animated  touch.  In  the 
cathedral  at  Bassano  is  a  '  Magdalene '  by  this 
master ;  and  a  picture  of  '  Christ  on  the  Cross, 
adored  by  St.  Bonaventura,'  signed  and  dated  1611, 
is  in  the  church  of  the  Padri  Biformati ;  but  his 
most  esteemed  work  is  the  '  Martyrdom  of  St. 
Sebastian,'  in  the  church  dedicated  to  that  saint. 
He  died  in  1654,  and  was  buried  in  San  Francesco, 
in  Bassano. 

APONTE,  Pedeo  de,  (or  Ponte),  who  was  born 
at  Saragossa  in  the  beginning  of  the  15th  century, 
was  painter  to  John  II.  of  Aragon.  Ferdinand  V. 
took  him  to  Castile,  and  appointed  him  '  pintor 
de  camera '  in  1479.  He  is  said  to  have  studied  in 
Italy  under  Luca  Signorelli  and  Ghirlandaio.  He 
may  be  considered  one  of  the  founders  of  the 
school  of  Aragon.  He  painted  an  altar-piece  in 
the  parish  church  of  San  Lorenzo  at  Huesca. 

APOSTOOL,  CoRNEHS,  a  Dutch  amateur  painter, 
and  engraver  in  aquatint,  was  born  at  Amsterdam 
in  1762.  He  visited  England,  but  returned  home 
in  1796,  and  was  in  1808  appointed  director  of  the 
Amsterdam  Museum,  which  office  he  held  until  his 
death  in  1844.  He  engraved  a  portrait  of  Lavinia 
Fenton,  afterwards  Duchess  of  Bolton,  after  Ho- 
garth, as  well  as  landscapes  for  the  'Beauties  of 
the  Dutch  School,'  'Select  Views  in  the  South  of 
France,'  '  Travels  through  the  Maritime  Alps,'  and 
Daniell's  'Views  of  Hindostan.' 

APPEL,  Jakob,  was  born  at  Amsterdam  in  1680. 
After  passing  some  time  under  Timotheus  de  Graaf, 
he  was  instructed  in  landscape  painting  by  David 
van  der  Plaas.  According  to  Descamps;  he  at  first 
imitated  the  works  of  Tempesta,  but  changed  his 
manner,  and  adopted  that  of  Albert  Meijeringh. 
His  landscapes  are  not  without  merit ;  but  he  was 
more  successful  in  his  portraits.  He  died  in  1751 
at  Amsterdam. 

APPELIUS,  Jean,  who  was  born,  it  is  said,  in 
Switzerland,  flourished  at  Middelburg  in  the  second 
half  of  the  18th  century  as  a  painter  of  portraits, 

46 


history,  and  landscapes.  His  productions  are  gener- 
ally large,  and  exhibit  much  artistic  talent. 

APPELMAN,  Babend,  was  born  at  the  Hague 
in  1640,  and  in  his  youth  visited  Italy.  His  land- 
scapes are  taken  from  the  views  in  the  vicinity 
of  Rome.  In  1676  he  entered  the  Painters'  Guild  at 
the  Hague.  He  was  at  one  time  employed  by  the 
Prince  of  Orange,  and  decorated  a  saloon  in  the 
palace  at  Soestdijk  with  very  pleasing  landscapes 
painted  in  a  good  style,  and  well  coloured.  He 
also  painted  portraits,  and  put  in  the  landscape 
backgrounds  of  many  of  the  portraits  of  Jan  de 
Baan  and  others.    He  died  in  1686. 

APPELMANS,  G.,  was  a  native  of  Holland,  and 
flourished  at  Leyden  about  the  year  1670.  He 
was  chiefly  employed  in  engraving  portraits  and 
other  book-plates  for  the  publishers.  He  also 
engraved  the  portrait  of  Thomas  Bartholinus,  and 
the  plates  for  the  '  Anatomia  Bartholiniana,'  pub- 
lished in  1674.  They  are  neatly  executed,  but 
in  a  stiff,  formal  style. 

APPERT,  EuGiiNE,  who  was  born  at  Angers  in 
1814,  went  to  Paris  in  1837,  and  became  a  disciple 
of  Ingres.  He  painted  numerous  pictures  of  merit, 
among  which  are  a  portrait  of  '  Pope  Alexander  HI. 
as  a  Beggar,'  which  is  now  in  the  Luxembourg ; 
'  Nero  before  the  dead  body  of  Agrippina,'  in  the 
Museum  of  Montauban,  and  several  pictures  of 
religious  subjects  in  the  hospital  of  Angers.  Ap- 
pert  painted  genre  and  historical  subjects,  and  also 
still-life.  He  was  a  Chevalier  of  the  Legion  of 
Honour.     He  died  at  Cannes  in  1867. 

APPIANI,  Andeba,  'the  elder,'  who  was  born 
at  Milan  in  1764  (or  1761  ?),  excelled  both  in  fresco 
and  oil  painting.  In  his  style  there  is  much  origin- 
ality, and  a  gracefulness  which  approaches  that  of 
Correggio.  His  best  performances  in  fresco  are  to 
be  seen  in  the  palace  at  Milan  ;  they  have  been  en- 
graved by  Rosaspina  and  others.  Of  his  works  in 
oil,  'Rinaldo  in  the  garden  of  Armida,' '  Olympus,' 
and  '  Venus  and  Cupid,'  are  specimens  of  great 
beauty.  Napoleon  sat  to  him  for  his  portrait,  and 
appointed  him  his  painter.  A  portrait  of  '  Napoleon 
enthroned  between  Victory  and  Peace '  is  in  the 
Leu chtenberg  Gallery,  at  St.  Petersburg,  a  'Boaz 
and  Ruth '  is  in  the  Belvedere,  at  Vienna.  At  the 
restoration  of  the  Bourbons  he  lost  his  pension,  and 
an  attack  of  apoplexy,  which  he  had  suffered  in 
1813,  having  rendered  it  impossible  for  him  to 
paint,  he  was  reduced  to  the  extremity  of  selling 
all  his  drawings  and  other  valuables  to  procure 
subsistence.  He  lived  in  this  condition  until  1817, 
when  another  attack  of  apoplexy  caused  his  death 
at  Milan.  He  was  a  member  of  the  . 
Legion  of  Honour,  and  a  knight  of  the  AtV 
Iron  Crown.  IIW 

The  following  works  are  also  by  him : 

Milan.     Gallery.         Portrait  of  Himself. 

„  „  Jupiter  crowned  by  the  Hours. 

„  „  Portrait  of  Bonifazio  Asioli,  musi- 

cian. 

„  „  Portrait  of  General  Charles-Antoine 

Desaix. 

„  „  Portrait  of  Napoleon  Buonaparte. 

,1  „  Apollo  and  the  dying  Hyacinthus 

(fresco). 

„  „  Daphne  pursued  by  Apollo  (fresco). 

„  „  St.  John  the  Evangelist  (fresco). 

I,  „  Apollo's  Chariot. 

APPIANI,  Andrea,  '  the  younger,'  who  was  the 
great-nephew  of  the  painter  of  the  same  name,  was 
born  in  1817.  He  studied  at  Rome  under  Minardi 
and  Frans  Hayez,  and  became  a  good  historical 


Appiaui 


PAINTERS  AND  ENGRAVERS. 


Aquila 


painter.  He  was  employed  by  the  King  of  Italy, 
the  Emperor  of  Austria,  and  other  personages  of 
celebrity.  Of  his  works  may  be  mentioned '  Petrarch 
and  Laura'  (1852);  'Laban  and  Jacob,'  and  'La 
povera  Maria '  (1859).     He  died  in  18G5. 

APPIANI,  Francesco,  was  born  at  Anoona  in 
1704,  and  was  a  scholar  of  Domenico  Simonetti, 
called  II  Magatta.  He  afterwards  studied  at  Rome, 
in  the  time  of  S.  Conoa  and  Mancini- — with  whom 
he  lived  in  habits  of  intimacy — and  acquired  a 
pleasing  and  harmonious  style.  Of  this  he  has 
given  proof  in  his  picture  of  'The  Death  of  St. 
Domenick,'  which  was  painted  by  order  of  Bene- 
dict XIII.  for  the  church  of  San  Sisto  Vecchio  in 
Rome,  and  procured  him  the  honour  of  a  gold 
medal  and  chain.  He  resided  the  greater  part 
of  his  life  at  Perugia,  where  he  decorated  the 
choir  of  the  cathedral,  and  many  of  the  churches. 
He  died  in  1792. 

APPIANI,  Niocol6,  (or  Appiano),  a  Milanese 
painter,  who  flourished  about  the  year  1610.  It 
is  said  that  he  was  a  scholar  of  Leonardo  da  Vinci, 
and  Cesariani  compares  him  with  the  greatest 
masters  of  the  age.  Two  works  in  the  Brera,  the 
'  Baptism  of  Christ,'  and  the  '  Adoration  of  the 
Magi,'  are  ascribed  to  Appiani. 

APPIER,  Jean,  called  Hanzelet,  an  engraver 
and  etcher,  flourished  in  Lorraine  in  the  first  half 
of  the  17th  century.  His  works,  which  are  exe- 
cuted in  Callot's  early  manner,  bear  dates  from 
1610  to  1630,  and  are  signed  with  the  initials 
/.  A.  M.  (Jean  Appier  Hanzelet),  or  /.  A.  (Jean 
Appier),  or  in  full.  Besides  the  following,  he 
executed  various  engravings  of  pyrotechnic  instru- 
ments used  in  war  and  for  amusement. 

Portrait  of  Elis^e  de  Haranoourt,  Governor  of  Nancy. 
Taict  a  Nancy  far  Jean  Affier^  1610  {an  etching 
finished  m'th  the  graver). 

Ornamental  Title-page  and  small  Views  of  a  Journal  of 
a  Travel  in  the  Levant. 

Title-page.    An  Allegory.    /.  A.  Hanzelet,  feeit,  1617. 

Missale  Bomanum,  1631. 

APSCH,  Jeeom  Andreas,  a  German  engraver 
on  wood,  born  at  Nuremberg  about  the  year  1490. 
He  assisted  Hans  Burgkmair  in  executing  the 
woodcuts  for  a  book  published  at  Vienna,  entitled 
Ber  Weyss  Kunig,  or  '  The  W^ise  King,'  contain- 
ing the  principal  events  of  the  life  and  reign  of 
the  Emperor  Maximilian  I.     He  died  in  1556. 

APSHOVEN.  Concerning  a  family  of  artists 
of  this  name  much  uncertainty  has  been  expressed. 
The  two  brothers,  Thomas  (miscalled  Theodor), 
and  Ferdinand,  have  been,  by  some,  considered  to 
be  the  same  man.  As  regards  the  spelling  of  the 
surname,  it  is  sometimes  found  Apshoven,  and 
sometimes  Abshoven  or  Abtshoven,  but  the  first 
seems  to  be  the  most  correct  form. 

The  following  are  the  members  of  the  Apshoven 
family  who  practised  art  at  Antwerp  in  the  16th 
and  17th  centuries.     Some  are  too  unimportant  for 
separate  notices- 
Ferdinand  i.  I     — ai.ieis). 

Ferdinand  11.  (1676—1664-6). 


Thomas  (1622—1664-6).  Ferdinand  III.  (1630—1694). 

Ferdinand  IT.  (1640—       ).     Willem  (1664—       ). 

Waagen  mentions  a  Michael  van  Apshoven,  but 
he  is  not  recorded  by  any  other  author.  The 
information  given  below  is  taken,  in  a  great 
lueasiire,  from  Meyer's  '  Kiinstler-Lexikon. ' 

APSHOVEN,  Ferdinand  van,  'the  elder,'  is 
recorded  to  have  been  baptized  at  Antwerp,  on  the 


17th  of  May,  1576.  In  1592-93  he  entered  the 
atelier  of  Adam  van  Noort,  and  in  1596-97  he  was 
free  of  the  Guild  of  Painters  of  that  city.  He  was 
both  an  historical  painter  and  a  portraitist ;  but  no 
work  by  him  exists.  That  he  was  successful  as  a 
teacher  in  art  is  evident,  for  the  records  of  the 
Guild  mention  seven  pupils  of  his.  He  died  in 
1654  or  1655. 

APSHOVEN,  Ferdinand  van,  'the  younger,' 
son  of  the  painter  of  the  same  name,  and  brother 
of  the  more  celebrated  Thomas,  was  baptized  in 
1630.  He  was  a  pupil  of  Teniers  the  younger, 
and  in  1657-58  he  was  admitted  to  the  Antwerp 
Guild  as  a  master's  son.  In  1664  he  took  the  oath 
as  Captain  in  the  13th  Division  of  the  '  Civic- 
guard.'  In  1678-79  he  was  offered,  but  declined  to 
accept,  the  office  of  Dean  to  the  Guild.  In  1694  he 
died,  and  was  buried  in  the  church  of  St.  Walburg, 
in  Antweip.  Ferdinand  van  Apshoven' s  pictures, 
like  those  of  his  brother,  closely  resemble  the 
style  of  Teniers,  under  whose  name  many  of  them 
have  passed.  An  Interior,  with  two  figures — 
almost  equal  to  a  Teniers — is  in  the  Rotterdam 
Museum ;  another  Chamber,  with  three  figures, 
is  in  the  Museum  at  Dunkirk  ;  and  a  third,  '  Peas- 
ants in  a  Tavern,'  is  in  the  possession  of  M.  van 
Lerius,  of  Antwerp. 

APSHOVEN,  Thomas  van  (miscalled  Theodoe), 
son  of  Ferdinand  the  elder,  was  baptized  at  Ant- 
werp on  the  30th  of  November,  1622.  He  became 
the  favourite  pupil' of  David  Teniers  the  younger, 
whose  style  he  imitated  with  much  success.  We 
find  various  records  of  Apshoven.  In  1652  he 
took  the  oath  as  standard-bearer  in  the  6th  Division 
of  the  Civic-guard,  and  in  1657  he  was  made 
Captain  of  the  8th  Division.  His  death  occurred 
between  the  18th  of  September,  1664,  and  the 
same  day  in  the  following  year.  Apshoven' s  pic- 
tures, like  those  of  his  master,  represent  village 
festivals,  the  interiors  of  cabarets,  with  peasants 
regaling  and  amusing  themselves,  corps-de-gardes, 
and  chemists'  laboratories,  in  all  of  which  he  ap- 
proached so  near  to  the  admirable  style  of  his 
instructor,  that  his  pictures  may  easily  be  mis- 
taken for  those  of  Teniers.  His  touch  is  un- 
commonly light  and  spirited,  and  his  colouring 
clear  and  silvery.  The  works  of  this  painter  are 
frequently  met  with  in  Flanders,  where  they  are 
judged  worthy  of  being  placed  in  the  best  collec- 
tions. The  Dresden  Gallery  has  a  picture  of 
fruits,  &c.,  by  him,  signed  '  t.  v.  apshoven.'  The 
Darmstadt  Gallery  has  a  Landscape,  painted  in 
1656  ;  the  Cassel  Gallery  '  Dancing  Peasants  ; ' 
and  the  Prague  Gallery,  an  Interior,  by  Apshoven. 
AQUA,  Ceistoforo  dall'.  See  Dall'  Aoqua. 
AQUILA,  Arnoud.  See  Halbn. 
AQUILA,  Francesco  Faraonb,  an  eminent 
Italian  engraver,  was  the  nephew  (not  the  brother) 
of  the  celebrated  Pietro  Aquila :  he  was  born  at 
Palermo  about  1676,  and  established  himself  at 
Rome  about  the  year  1690,  and  laboured  there  till 
about  1740.  His  engravings  are  numerous,  and 
some  of  them  highly  esteemed.  His  style  of  exe- 
cution is  perhaps  neater  than  that  of  Pietro,  but  he 
is  very  inferior  to  him  in  correctness  of  drawing 
and  expression.  He  sometimes  worked  with  the 
graver  only,  but  his  plates  in  that  way  are  cold, 
wanting  in  effect,  and  by  no  means  equal  to  those 
in  which  he  called  in  the  assistance  of  the  point. 
Some  of  his  prints  are  after  his  own  designs. 
Among  his  works  is  a  set  of  nineteen  large  plates 
of  the  '  Stanze '  of  the  Vatican,  after   Raphael, 

47 


Aquila 


A  BIOGRAPHICAL  DICTIONARY  OP 


Arbasia 


entitled  Picturae  Sanctij  Urhinatis   ex  Aula   ei 
Conclavibus   Palatii    Vaticani   (1722) ;    also  as 
below : 
St.  Rosalia ;  from  his  own  design. 
Mars,  with  his  armour  hung  on  a  tree  ■  the  same. 
The  Cardinal  Casini  ;  after  Vicinelli. 
The  Cardinal  Giuseppe  Maria  de  Thomasijs ;  after  F. 

Nelli. 
La  Vierge  au  Panier  ;  after  Correggio. 
The  Last  Supper ;  after  Atbani.    1711. 
The  First  Vault  in  the  Vatican;    after  Giro  Ferri ; 

1696 ;  circular. 
Two  cupolas,  one  in  the  chapel  of  the  Holy  Sacrament, 

and  the  other  in  the  church  of  San  Sebastian ;  after 

Metro  da  Cortona  ;  circular. 
Another  cupola,  in  the  Chiesa  Nuova ;  after  the  same 

painter  ;  circular. 
A  Warrior,  to  whom  Mars  offers  a  sword,  and  Minerva 

a  crown  of  laurel ;  after  Ant.  Bonjigli. 
The  Victory  of  Constantine  over  Maxentius ;  after  And. 


The  Triumph  of  Constantine ;  after  the  same. 

The  dead  Saviour  in  the  lap  of  the  Virgin  Mary,  with 
St.  Mary  Magdalene,  and  St.  Francis  ;  after  Carracci. 

A  Bishop  announcing  to  the  Virgin  Mary  the  arrival  of 
the  body  of  St.  Helena. 

The  Repose  in  Egypt,  with  St.  Joseph  at  work  in  the 
background. 

The  Bark  of  St.  Peter ;  after  Lanfranco. 

Our  Saviour  with  a  Glory,  the  Virgin  Mary,  St.  Am- 
brose, and  St.  Charles  Borromeo ;  crfter  Carlo  Ma/ratti. 

Three  large  priuts — Of  the  vault  of  St.  Francis  Xavier 
at  Naples ;  after  Faolo  de  Mattel. 

Venus  showing  the  arms  to  ^neas.;  after  N.  Foussin. 

AQUILA,  Giorgio,  called  '  Maestro  Giorgio  da 
Firenze,'  flourished  from  1314  to  1325.  He  was  a 
native  of  Florence,  and  is  said  to  have  been  the 
first  Italian  artist  who  used  nut  oil  in  painting. 

AQUILA,  PiETRO,  the  uncle  of  Francesco,  was 
born  at  Marsala,  near  Palermo,  probably  between 
1640  and  1645.  The  early  part  of  his  life  was 
passed  in  a  seminary,  preparatory  to  his  devoting 
himself  to  an  ecclesiastical  life  ;  and  on  his  arrival 
at  Rome  he  actually  became  a  monk,  which  seclu- 
sion, however,  did  not  prevent  his  following  his 
natural  inclination  for  art.  He  died  toward  the 
close  of  the  17th  century.  According  to  Baldinucci 
he  was  a  respectable  painter,  but  his  reputation 
has  reached  a  higher  rank  as  an  engraver.  His 
drawing  is  extremely  correct,  and  he  etched  his 
plates  in  a  bold  and  free  manner.  His  best  prints 
are  those  he  engraved  after  the  Carracci,  which  are 
very  highly  esteemed,  and  the  five  mentioned 
below  after  Pietro  da  Cortona  are  very  fine.  The 
number  of  his  plates  is  very  considerable, 
some  of  which  are  engraved  from  his  own  7D 
compositions  :  viz.  J~  A- 

SUBJECTS   AFTER   HIS   OWN   DESIGNS. 
The  Adoration  of  the  Magi. 
The  Flight  into  Egypt ;  dedicated  to  B.  0.  de  Vingte- 

milHis. 
The  Holy  Family,  with  St.  John  kissing  the  foot  of  our 

Saviour. 
Lions  fighting ;  an  emblematical  subject  \  inscribed  spes 

suscitat  iras. 
Fourteen  plates  containing  160  medallions  of  Roman 

Emperors,  from  medals  in    the    cabinet  of  Queen 

Christina  of  Sweden. 

SUBJECTS  AFTER   ITALIAN   MASTERS. 
St.  Luke,  Patron  of  the  Academy ;  after  Zazzaro  Baldi. 
Sacrifice  of  Polyxena ;  after  Fietro  da  Cortona. 
Xenophon  returned  from  the  Chase ;  after  the  same. 
The  Rape  of  the  Sabines ;  after  the  same. 
The  Battle  of  Arbela ;  after  the  same. 
The  Triumph  of  Bacchus ;  after  the  same. 
Moses  and  the  Daughters  of  Jethro ;  after  Ciro  Ferri. 
Moses  striking  the  Rock ;  after  the  same. 
The  Virgin  Mary  appearing  to  St.  Alexis ;  after  the  same. 
48 


The  Vestals  keeping  up  the  sacred  fire ;  after  the  same. 

La  Vierge  au  Pistolet ;  after  Carlo  Maraiti. 

The  Triumph  of  Religion ;  after  the  same. 

St.  Luke  showing  the  Virgin  Mary  the  portrait  he  Lad 
painted  of  her ;  after  the  same. 

The  Death  of  the  Virgin ;  after  Morandi. 

The  Bible  of  Raphael,  a  set  of  fifty-two  prints;  en- 
titled Imagines  Veteris  ac  Novi  Testamenti.  Cesare 
Fantetti  engraved  thirty-seven  of  the  prints  in  this 
Bible ;  the  remaining  fifteen  are  by  Pietro  Aquila, 
and  are  very  superior  to  those  of  Fantetti. 

The  Famese  Gallery,  in  twenty-five  plates,  with  the 
statues  and  ornaments. 

The  Chamber  of  the  Palace  Famese,  in  thirteen  plates  • 
inscribed  Imagines  Farnesiani  CubicuU. 

The  Assembly  of  the  Gods,  from  the  painting  by  Lan- 
franco, in  the  Villa  Borghese  at  Rome ;  in  nine  plates. 

There  are  some  other  plates  by  this  artist,  which 
will  be  found  described  in  the  '  Dictionnaire  des 
Artistes,'  by  Heineken,  and  in  Meyer's  'Allge- 
meines  Kiinstler-Lexikon.' 

AQUILA,  PoMPBO  dall'.     See  Dall'  Aquila 

AQUILIO,  Antonio,  called  Antoniasso,  Anto- 
NIACOI,  or  Antonazo,  was  a  painter  who  flourished 
in  Rome  in  the  latter  part  of  the  15th  century. 
He  was  much  eraploj-ed  for  the  churches  and  con- 
vents ;  but  his  style  was  only  mediocre.  A  paint- 
ing by  him  of  the  year  1464  is  in  the  sacristy  of 
the  convent  of  Sant'  Antonio  del  Monte  at  Eieti. 
It  represents  the  Madonna  and  Child  with  SS. 
Anthony  and  Francis.  Another,  of  the  year  1483, 
is  in  the  cathedral  of  Velletri,  and  a  third  is  in 
the  cathedral  of  Capua.  It  was  executed  in  1489 
for  Girolamo  Gaetano,  Archbishop  of  Capua,  and 
bears  the  following  inscription:  antonatius  eo- 
MAKUS  M.  FOE.  P.  MCOCCLXXXix.  It  has  been  much 
injured  by  restoration.    Antoniasso  died  about  ISOO. 

AQUILIO,  Marco,  a  son  of  Antonio  Aquilio,  is 
the  author  of  the  '  Resurrection,'  still  preserved  in 
the  refectory  of  the  convent  of  Santa  Chiara,  at 
Rieti.  The  predella  contains  scenes  drawn  from 
the  Passion ;  on  the  border  of  one  of  them  can  be 
read,  Marcus  Antonius  MagiJ  Antonatii  romanus 
depinxit  m.d.x.l. 

ARAGON,  Juan  be,  an  historical  painter  who 
resided  at  Granada  in  1580,  and  was  one  of  the 
distinguished  professors  who  ornamented  the 
beautiful  monastery  of  St.  Jerome. 

ARALDI,  Alessandro,  who  was  born  at  Parma 
about  the  year  1465,  studied  under  Cristoforo 
Caselli,  of  the  school  of  Giovanni  Bellini.  He 
painted  history  in  a  style  which  Lanzi  denomin- 
ates antico  inoderno.  In  the  Parma  Gallery  is  a 
picture  by  this  master,  representing  the  'Annuncia- 
tion,' which  is  mentioned  as  a  very  creditable  per- 
formance ;  and  in  the  cathedral  there  is  a  fresco, 
executed  by  him  in  1509,  of  the  '  Virgin  and  Child, 
with  St.  Joseph.'  The  churches  of  his  native  city 
contain  works  by  him.     He  died  in  or  after  1530. 

ARBASIA,  Cesare,  a  native  of  Saluzzo,  and  a 
pupil  of  Federigo  Zuccaro,  flourished  towards  the 
close  of  the  16th  century.  He  visited  Spain 
during  the  reign  of  Philip  II.,  and  there  executed 
some  important  works.  His  style  is  an  imitation 
of  the  works  of  Leonardo  da  Vinci,"and  he  is  incor- 
rectly stated  to  have  been  his  scholar.  His  chief 
excellence  was  in  fresco  painting,  to  which  the 
ceiling  of  the  church  of  the  Benedictine  monks  at 
Siivigliano,  the  work  in  the  Palazzo  Pubblico  of  his 
native  town,  and  other  considerable  paintings,  bear 
testimony.  He  was  an  artist  of  great  ability,  and 
painted  some  excellent  pictures  at  Malaga  and  Cor- 
dova, in  fresco  and  oil.  For  a  picture  of  the  '  In- 
carnation,' and  some  other  works  in  the  cathedral 


Arbos 


PAINTERS  AND  ENGRAVERS. 


Arenius 


of  Malaga,  he  was  paid  three  thousand  ducats.  At 
Cordova,  in  1583,  he  painted  in  fresco,  in  the  sanc- 
tuary of  the  cathedral,  the  martyrs  of  that  place. 
Leaving  Spain,  probably  with  Federigo  Zuccaro, 
his  former  master,  he  went  to  Rome,  and  was 
one  of  the  founders  of  the  Academy  of  St.  Luke, 
of  _  which  Zuccaro  was  the  first  president.  He  is 
said  to  have  died  in  Spain  in  1614,  and  is  ranked 
by  Palomino  and  Cean  Bermudez  among  the  Span- 
ish painters.  Palomino's  account  of  this  painter  is 
incorrect  in  almost  every  statement. 

ARBOS  Y  AYERBE,  Manuel,  who  was  a  good 
Spanish  miniature  painter,  was  sent  to  Rome  by 
Ferdinand  VIL,  and  was  subsequently  court- 
painter  to  Isabella  II.     He  died  at  Madrid  in  1876. 

ARCA,  Leonaedo  dell'.     See  Dell'  Arca. 

ARCAGNDOLO  (Abcagnolo,  or  Aeoagno). 
See  CiONB,  Andeea  di. 

ARCHER,  John  Wtkeham,  was  born  at  New- 
castle-upon-Tyne, in  1808.  In  1820  he  came  to 
London,  and  became  a  pupil  of  John  Scott,  the 
celebrated  engraver  of  animals.  In  1827  he  pro- 
duced in  Newcastle  a  series  of  large  etchings  of 
Fountains  Abbey  in  Yorkshire,  and  etchings  of  the 
Abbey  Church,  and  Abbot's  Tower  at  Hexham. 
He  then  removed  to  Edinbui'gh,  where  he  made 
a  collection  of  drawings  of  the  ancient  edifices 
and  streets  of  that  town,  after  which  he  returned 
to  London,  and  entered  the  studio  of  Messrs.  W. 
and  E.  Finden,  in  order  to  improve  himself  in 
engraving  upon  steel.  Having  been  elected  a 
member  of  the  New  Society  of  Painters  in  Water 
Colours,  he  produced  a  series  of  drawings  of  St. 
Mary  Overy,  previous  to  its  restoration,  and  of 
Lambeth  Palace  in  all  its  parts.  Archer  was 
the  author  of  '  Vestiges  of  Old  London,'  a  large 
quarto  volume,  illustrated  by  etchings  ;  likewise 
of  a  series  of  papers  in  Douglas  Jerrold's  Maga- 
zine, entitled  '  The  Recreations  of  Mr.  Zigzag  the 
Elder,'  and  of  numerous  contributions  to  different 
journals.  His  principal  drawings  are  a  series, 
some  hundreds  in  number,  of  the  ancient  remains 
of  London  and  its  vicinity,  in  the  possession  of 
Mr.  William  Twopenny,  and  a  series  of  the  an- 
tiquities of  his  native  county  of  Northumberland, 
in  the  collection  at  Alnwick  Castle.  He  also 
claimed  to  have  revived  the  ancient  practice  of 
engraving  on  monumental  brass,  and  produced 
several  large  monuments  of  this  description  from 
his  own  designs.  He  likewise  painted  a  few  works 
in  oil.     He  died  May  25,  1864. 

ARCHIjyiEDES.     See  Genobls. 

ARCIMBOLDO,  Giuseppe,  was  born  at  Milan  in 
1533.  He  excelled  in  painting  the  interiors  of 
kitchens,  with  fruit,  vegetables,  culinary  utensils, 
&o.,  and  occasionally  introduced  into  his  pictures 
grotesque  figures  and  drolleries,  formed  of  flowers 
and  fruits,  which  at  a  distance  appeared  like 
human  figures.  He  was  a  favourite  artist  of  the 
Emperors  Maximilian  II.  and  Rudolph  II.,  in 
whose  service  he  was  employed  the  greater  part  of 
his  life.  He  died  at  Milan  in  1593.  Four  works 
by  him  are  in  the  Belvedere  at  Vienna — 'Summer' 
and  '  Winter,'  which  he  painted  in  1663 ;  '  Fire ' 
three  years  later  ;  and  '  Water.' 

ARCIONI,  Daniele,  (or  Ciecioni,)  a  worker  in 
niello,  who  is  highly  praised  by  Ambrogio  Leone, 
is  little  known  in  the  history  of  the  arts.  He 
appears  to  have  been  a  contemporary  of  Maso 
Finiguerra  and  other  eminent  niellotori.  He 
flourished  at  Milan  about  1600. 

AECO,  Alonso  del.    See  Del  Abco. 


ARDEMANS,  Teodoeo,  an  eminent  architect 
and  painter,  was  born  at  Madrid  in  1664,  and 
studied  painting  in  the  school  of  Claudio  Coello. 
His  father  was  a  German.  As  he  chiefly  followed 
architecture,  his  works  as  a  painter  were  few,  hut 
the  fresco  of  the  '  Apotheosis  of  St.  Francis '  with 
which  he  ornamented  the  vault  of  the  sacristy  of 
San  Francisco  at  Madrid  was  considered  a  master- 
piece. No  painting  by  him  now  remains.  He  was 
made  painter  to  the  king  in  1704,  and  held  that 
post  till  his  death,  which  took  place  at  Madrid  in 
1726.  He  designed  the  celebrated  frontispiece  to 
the  '  Diario  de  los  Viages  de  Felipe  V.,'  which  was 
engraved  by  Edelinck  ;  and  it  is  said  that  he  him- 
self practised  the  art  of  engraving. 

ARDENTE,  Alessandeo,  a  Piedmontese  painter, 
who  appears,  from  the  dates  on  his  pictures,  to 
have  flourished  from  the  year  1565  to  1592.  In 
the  church  of  San  Paolo,  at  Lucca,  is  a  picture  of 
St.  Antonio  Abate,  signed,  and  bearing  the  former 
date ;  and  at  Moncaliere,  near  Turin,  an  altar- 
piece  of  the  'Adoration  of  the  Magi,'  with  the 
latter.  At  Turin,  in  the  Monte  della  Pieta,  is  a 
picture  of  the '  Conversion  of  St.  Paul,'  by  Ardente, 
painted  with  a  grandeur  of  style  that  would  in- 
duce us  to  think  he  was  educated  in  the  Roman 
school.  He  was  painter  to  Duke  Charles  Emmanuel 
of  Savoy,  in  whose  service  he  died  in  1695. 

AREGIO,  Pablo  de,  (Aeigo,  or  Aeeegio,)  is 
named  among  the  Spanish  painters,  but  it  is  more 
than  probable  that  he  was  an  Italian,  as  his  name 
imports  (Paolo  da  Reggio,  or  Arezzo).  He  painted, 
in  1506,  in  conjunction  with  Francesco  Neapoli, 
the  doors  of  the  high  altar  of  the  cathedral  of 
Valencia,  with  subjects  from  the  Life  of  the  Virgin, 
which  are  admired  for  correct  design,  noble  charac- 
ter, grandeur  of  form  and  expression,  and  all  those 
fine  qualities  in  art  that  belong  to  the  school  of 
Leonardo  da  Vinci,  of  whom  both  the  painters  are 
supposed  to  Lave  been  pupils. 

ARELLANO,  Josi  de,  a  Spanish  flower  painter 
of  the  18th  century,  is  represented  in  the  Madrid 
Gallery  by  two  works. 

ARELLANO,  Juan  de,  born  at  Santorcaz  in 
1614,  was  a  scholar  of  Juan  de  Solis,  but  not  suc- 
ceeding in  the  higher  branches  of  art,  he  copied 
the  flower-pictures  of  Mario  di  Fieri,  and  after- 
wards by  attention  to  nature  became  very  eminent 
in  that  department.  His  pictures  are  highly 
esteemed  in  Spain,  and  are  to  be  found  in  most  of 
the  collections.  There  are  six  flower-pieces  by  him 
in  the  Madrid  Gallery.    He  died  at  Madrid  in  1676. 

ARELLIUS  was  a  painter  of  some  celebrity,  at 
Rome,  a  short  time  before  the  reign  of  Augustus. 
From  the  manner  in  which  he  is  mentioned  by 
Pliny,  he  must  have  possessed  considerable  ability. 
That  writer  reproaches  him  severely  for  having 
selected,  as  the  models  for  his  goddesses,  the  most 
celebrated  courtesans  of  his  time ;  a  reproach 
which  he  never  thought  of  making  to  some  of  the 
greatest  artists  of  Greece,  who  constantly  availed 
themselves  of  the  same  practice. 

ARENDS,  Jan,  born  at  Dordrecht  in  1738,  was 
a  brother  of  the  poet  Roelof  Arends.  He  was 
a  pupil  of  J.  Ponse,  and  painted  landscapes  and 
marine  subjects.  He  laboured  many  years  at 
Amsterdam  and  Middelburg,  but  returned  event- 
ually to  Dordrecht,  where  he  died  in  1805.  He 
was  well  skilled  in  perspective,  and  practised 
engraving. 

ARENIUS,  Oloe,  a  Swedish  portrait  painter, 
and  son  of  a  minister  in  Upland,  was  born  in 

49 


Aretino 


A  BIOGRAPHICAL  DICTIONARY  OP 


Arias 


1701.  He  studied  under  David  von  KrafEt,  and 
afterwards  went  to  the  Netherlands  to  study  the 
old  masters.  His  portraits  and  miniatures  in  oil 
are  much  esteemed,  and  are  to  be  found  in  all  the 
public  galleries,  as  well  as  in  the  best  private  col- 
lections, in  Sweden.  Many  of  them  have  been 
engraved.     He  died  at  Stockholm  in  1766. 

ARETINO.     See  Spinelli. 

ARETUSI,  Cesaeb,  was  a  native  of  Bologna, 
where  he  flourished  in  the  second  half  of  the  16th 
century.  It  is  not  said  under  whom  he  studied, 
but  lie  formed  his  style  from  the  works  of  Bagna- 
cavallo.  In  conjunction  with  Giambattista  Fiorini, 
he  painted  the  cupola  of  the  cathedral  of  San  Pietro 
at  Bologna.  Aretusi  died  in  1612.  His  portraits 
are  very  highly  esteemed,  and  his  great  success  in 
that  line  accounts  for  his  having  executed  so  few 
historical  works.  Several  of  the  most  illustrious 
personages  of  his  time  sat  to  him,  and  his  portraits 
have  a  beauty  of  colour  and  a  breadth  that 
remind  us  of  the  works  of  Correggio.  Lanzi  ob- 
serves that  he  was  distinguished  as  a  colourist  in 
the  Venetian  taste,  but  in  point  of  invention 
weak  and  dull,  while  Giambattista  Fiorini,  on  the 
other  hand,  was  full  of  fine  conceptions,  but 
worthless  in  his  colouring.  These  two  artists 
formed  an  intimate  friendship,  and  by  uniting 
their  powers  produced  paintings  of  considerable 
merit.  The  following  works,  entirely  executed 
by  Aretusi,  are  at  Bologna :  in  San  Benedetto,  a 
'  Deposition  from  the  Cross ; '  in  San  Francesco, 
an  '  Annunciation,'  and  a  '  Conception  ; '  in  San 
Giovanni  in  Monte,  '  The  Birth  of  the  Virgin  ; '  in 
the  Theatine  Church,  'St.  Bartholomew  ;  '  in  Santa 
Maria  della  Carita,  a  '  Madonna,  with  Charity 
and  St.  Francis.'  He  could  assume  the  style  of 
almost  any  painter,  and  even  pass  ofl!  his  imita- 
tions for  originals.  Those  of  Correggio  were  par- 
ticularly successful,  and  he  received  a  commission 
to  execute  a  copy  of  the  celebrated  '  Notte,'  by 
that  master,  for  the  church  of  San  Giovanni  in 
Parma.  Mengs,  who  saw  it,  declared  that  were  the 
original  at  Dresden  by  any  accident  lost,  it  might 
be  well  replaced  by  so  fine  a  replica.  This  per- 
formance obtained  for  him  the  honour  of  copying 
the  painting  executed  by  Correggio  for  the  tribune 
of  the  same  church,  which  had  been  renjoved  to 
extend  the  choir  ;  and  that  picture,  says  Ruta,  in 
his  Guida,  from  its  accurate  imitation  of  the  taste 
displayed  in  the  original,  of  its  conception  and  of 
its  harmony,  led  those  unacquainted  with  the  fact 
to  suppose  it  to  he  the  work  of  AUegri.  This  is 
confirmed  by  Pungileoni  in  his  '  Memorie  istoriohe 
di  Antonio  Allegri,  detto  II  Correggio.' 

ARETUSI,  Pelleseino  de,  (generally  called 
Pellegbino  Munaei,  and  also  Pbllegeino  da 
MoDENA,)  was  instructed  in  painting  by  his  father, 
Giovanni,  who  flourished  at  Modena  in  the  latter 
part  of  the  15th  century.  In  1509  he  painted 
an  altar-piece  for  the  hospital  of  Santa  Maria  de' 
Battii  (afterwards  Santa  Maria  della  Neve),  which 
gained  him  great  reputation.  The  celebrity  of 
Raphael,  then  in  the  zenith  of  his  fame,  drew 
him  to  Rome,  where  he  had  the  advantage  of 
being  admitted  into  the  school  of  that  inimitable 
painter.  His  talent  was  soon  discovered  by  his 
able  instructor,  and  he  was  selected  by  him  to 
assist  in  the  great  works  he  was  then  engaged  on 
in  the  Vatican.  He  was  entrusted  to  paint,  from 
the  designs  of  Raphael,  the  '  Histories  of  Jacob  and 
Solomon,' which  he  executed  entirely  to  the  satisfac- 
tion of  his  master.    Besides  these,  he  painted  some 

60 


pictures  of  his  own  composition  for  the  churches 
at  Rome,  particularly  in  Sant'  Eustachio  (now- 
perished),  and  in  San  Giacomo  degli  Spagnuoli, 
where  he  painted,  in  fresco,  the  life  of  St.  James. 
After  the  death  of  Raphael  he  returned  to  Modena, 
where  he  was  employed  on  several  of  the  public 
edifices,  and  painted  in  the  church  of  San  Paolo 
his  celebrated  picture  of  the  '  Nativity  of  Christ,' 
which  was  designed  with  all  the  grace  and  dignity 
of  his  great  teacher.  He  also  painted  the  'Adorar 
tion  of  the  Magi,'  in  San  Francesco,  and  the  '  Coro- 
nation of  the  Virgin,'  in  the  church  of  the  Servites. 
This  eminent  artist  was  high  in  the  public  esteem, 
and  in  the  midst  of  a  brilliant  career,  when  the 
world  was  deprived  of  his  talents  by  an  unforeseen 
and  dreadful  catastrophe.  His  son  happened  to 
have  a  quarrel  with  one  of  hie  companions,  which 
ended  in  the  death  of  his  antagonist.  Pellegrino, 
apprised  of  the  fatal  accident,  ran  out  into  the 
street,  to  endeavour  to  save  his  son  from  the  pursuit 
of  justice ;  he  was  encountered  by  the  relatives  of 
the  deceased,  who  fell  upon  him  with  the  greatest 
fury,  and  killed  him.  This  tragical  event  hap- 
pened in  1523.  No  scholar  of  Raphael  approached 
nearer  to  him  in  the  sublime  character  of  his 
heads,  and  the  grandeur  of  his  forms. 

AREVALO,  J.  C.  DE.     See  Cano. 

AREZZO,  Jacopino  da,  a  miniature  painter  of 
the  15th  century,  illustrated,  about  1436,  a,  Bible, 
Prayer-book,  &c.,  for  the  Marohese  da  Ferrara,  and 
shortly  afterwards  the  '  Commentaries  '  of  C^sar 
and  a  '  Theseus,'  the  works  of  Albertus  Magnus, 
a  Psalter,  and  a  book  of  love-songs. 

AREZZO,  MoNTANO  d'  ,  flourished  about  the  end 
of  the  13th,  and  the  commencement  of  the  14th, 
centuries.  In  1305  he  painted  two  chapels  of  the 
Castel  Nuovo,  and  in  1306  two  chapels  of  the 
Castel  del  Uovo,  at  Naples.  He  was  a  favourite  of 
King  Robert,  who  knighted  him  in  1310.  The 
chapel  of  the  Monastery  of  Monte  Vergine,  near 
Avellino,  has  a  picture  of  the  Madonna  said  to  he 
by  him.  The  Dormitory  dei  Giovannetti  of  the 
Seminario  Urhano,  at  Naples,  has  a  half-length 
picture  of  a  Bishop  by  him.  The  dates  of  Montano 
d'Arezzo's  birth  and  death  are  no  longer  known, 
and  little  can  now  be  found  belonging  to  this  artist. 

ARFIAN,  Antonio  db,  a  native  of  Triana,  a 
suburb  of  Seville,  studied  under  Murillo  and  Luis 
de  Vargas.  He  was  employed  on  several  import- 
ant works,  both  in  fresco  and  in  oil ;  among 
which  was  the  grand  altar-piece  of  the  cathedral 
which  he  painted  in  1654,  in  concert  with  Antonio 
Ruiz.  Neither  the  date  of  his  birth  nor  that  of 
his  death  has  been  mentioned  by  any  writer,  but 
he  was  still  living  in  1587,  in  which  year,  with  his 
son  Alonzo's  assistance,  he  painted  the  '  Legend 
of  St.  George,'  in  the  church  of  the  Magdalene. 

ARGENTO,  Antonio  dall'.    See  Aleotti. 

ARGUELLO,  Juan  Bautista,  painted  still-life 
in  the  cathedral  at  Seville,  in  1594.  Nothing 
further  is  known  of  him. 

ARIAS  FERNANDEZ,  Antonio,  an  histori- 
cal painter,  was  born  at  Madrid  about  1620,  and 
studied  under  Pedro  de  las  Cuevas.  At  the  age  of 
fourteen  he  painted  the  great  altar-piece  of  the  Car- 
melite monastery  at  Toledo.  This  gained  him  much 
credit ;  yet,  far  from  being  inflated  by  the  praises 
he  received,  ho  pursued  his  studies  with  great 
assiduity,  and  at  tlie  age  of  twenty-five  was  one 
of  the  best  painters  at  Madrid.  The  Duke  of 
Oliyarez  selected  him  to  paint  the  series  of  por- 
traits of  the  kings  and  queens  of  Spain  which  were 


Aridices 


PAINTERS  AND  ENGRAVERS. 


Arnau 


in  the  old  palace  at  Madrid.  His  death  occurred 
in  that  city  in  1684.  The  Madrid  Museum  has  by 
him  '  Clirist  witli  the  tribute  money,'  and  '  Charles 
V.  and  Philip  II.  of  Spain,  seated  on  a  throne.' 
lie  left  a  daughter,  who  practised  portrait-painting 
with  success. 

ARIDICES,  of  Corinth,  was,  with  Telephanes, 
the  first  to  improve  upon  the  earliest  essays  of 
Greek  artists,  which  consisted  in  tracing  a  simple 
outline.  Aridices  introduced  other  lines  indicative 
of  the  internal  parts  of  the  figure,  but  it  was  still 
only  an  outline  without  colour. 

ARIENTI,  Carlo,  (or  Abeienti,)  one  of  the 
earliest  painters  of  the  modern  Italian  school, 
was  born  at  MUan  about  1800  (or  at  Arcore  near 
Monza  in  1794)  ;  and  became  President  of  the 
Academy  in  that  city.  He  was  summoned  to 
Turin  by  Charles  Albert-  to  paint  in  the  royal  palace 
a  battle-piece  representing  a  victory  gained  over  the 
Austrians.  Arienti  then  settled  in  Turin,  and  was 
made  President  of  the  Art  Academy,  and  became 
the  instructor  of  numerous  good  artists.  He 
subsequently  accepted  the  presidentship  of  the 
Academy  at  Bologna,  where  he  died  in  1873.  He 
painted  historical  pictures  of  large  dimensions. 
A  '  Murder  of  the  Innocents '  by  him  is  in  the 
Belvedere  Gallery  at  Vienna. 

ARIGO.    See  Aeegio. 

ARIJAENSZ,  PiETER.     See  Aahtsen. 

ARISTEIDES,  a  celebrated  Greek  painter  who 
flourished  about  B.C.  360 — 330,  was  a  native  of 
Thebes.  He  was  a  brother  and  pupil  of  Nicoma- 
chus,  and  contemporary  with  Apelles.  He  ex- 
celled in  painting  battle  pictures  ;  one  of  the  most 
celebrated  of  which  was  '  The  Capture  of  a  City,' 
in  which  the  expressions  of  a  dying  woman  and 
her  infant  were  much  admired  :  Alexander  the 
Great  took  this  picture  to  Macedonia.  Aristeides 
also  painted  a  '  Battle  with  the  Persians,'  in  which 
there  were  one  hundred  figures ;  this  was  pur- 
chased for  a  large  sum  by  Mnason  of  Elatea. 
Attalus,  king  of  Pergamus,  bought  a  picture  by 
Aristeides,  '  A  Sick  Man  on  his  bed,'  for  100 
talents  (about  £23,600),  and  Pliny  says  that 
Lucius  Mummius  refused  more  than  200  talents 
for  a  '  Bacchus '  which  he  captured  at  the  siege  of 
Corinth,  and  placed  in  the  temple  of  Ceres  at  Rome. 
An  unfinished  picture  of  '  Iris '  is  mentioned  by 
Pliny  as  having  excited  great  admiration. 

ARISTOLAUS,  a  Greek  painter  who  flourished 
about  B.C.  308,  was  a  native  of  Athens,  and  son 
and  disciple  of  Pausias.  He  was  celebrated  among 
the  painters  of  his  time  for  the  severity  of  his 
style  ;  from  which  we  may  infer  that  he  united 
a  purity  of  form  with  a,  strict  simplicity  in  his 
compositions.  His  pictures  were  usually  confined 
to  a  single  figure,  and  he  made  choice  of  those 
eminent  personages  whose  memory  was  endeared 
to  their  country  by  their  virtues  and  exploits. 
Among  these  were  Theseus,  Epaminondas,  and 
Pericles. 

ARISTOPHON,  the  son  and  pupil  of  the  elder 
Aglaophon,  and  brother  of  Polygnotus,  was  a 
native  of  Thasos.  Pliny,  who  places  him  among 
the  painters  of  the  second  rank,  mentions  two 
works  by  him- — '  Ancseus  wounded  by  the  boar 
and  mourned  over  by  his  mother  Astypalsea  ;  ' 
and  a  picture  containing  figures  of  Priam,  Helen, 
Ulysses,  Deiphobus,  Dolon,  and  Credulitas. 

ARLADD,  BenoIt,  a  younger  brother  of  Jacques- 
Antoine  Arlaud,  was  bom  at  Geneva.  He  painted 
miniatures  in  Amsterdam  and  afterwards  in  Lon- 
e2 


don,  where  he  died  in  1719.  A  few  of  Ids  portraits 
are  known  from  engravings. 

ARLAUD,  Jacques  Antoinb,  was  born  at  Geneva 
in  1668.  His  first  employment  in  art  was  the 
painting  of  small  ornamental  miniatures  for  the 
jewellers  at  Dijon.  He  however  attempted  some 
portraits,  and  was  sufficiently  successful  to  en- 
courage him  to  settle  at  Paris,  when  he  was  about 
twenty  years  of  age.  It  was  not  long  before  he 
distinguished  himself  in  that  metropolis,  and  his 
pleasing  style  of  painting  portraits  and  fancy  sub- 
jects recommended  him  to  the  patronage  of  the 
Duke  of  Orleans,  who,  being  fond  of  the  art, 
became  his  pupil,  and  accommodated  him  with 
apartments  in  the  palace  of  St.  Cloud.  He  was 
also  favoured  with  the  protection  of  the  Princess 
Palatine,  who  presented  him  with  her  portrait,  set 
in  diamonds,  and  on  his  expressing  a  desire  to  visit 
England,  gave  him,  in  1721,  a  letter  of  recom- 
mendation to  the  Princess  of  Wales,  afterwards 
Queen  Caroline,  whose  portrait  he  had  the  honour 
of  painting.  He  returned  to  Paris,  where  he  re- 
mained for  a  few  years,  and  having  acquired  an 
ample  fortune,  he  settled  in  1729  at  Geneva,  where 
he  died  in  1743.  Works  by  him  are  in  the  Library 
and  Museum  of  that  city.  His  own  portrait  is  in 
the  Uffizi,  Florence. 

ARMANN,  ViNCENZo,  (called  MoNSu  Armanno,  ) 
a  Fleming  by  birth,  was  bom  in  1598.  He  prac- 
tised at  Rome  as  a  landscape  painter,  and  his 
pictures  are  praised  for  their  similitude  to  nature. 
Without  much  selection  of  ground,  or  trees,  or 
accompaniments,  they  charm  by  their  truth,  and  a 
certain  stillness  of  colour,  pleasingly  chequered 
with  light  and  shade.  Passeri  relates  that  he  was 
imprisoned  by  the  Inquisition  for  eating  flesh  on 
fast  days,  and  that  on  his  liberation  he  quitted 
Rome  in  disgust,  and  died  at  Venice  in  1649  on  his 
way  back  to  his  native  country. 

ARMENINI,  Giovanni  Battista,  who  was  bom 
at  Faenza  in  1540,  and  was  a  pupil  of  Perino  del 
Vaga,  published  in  1587,  at  Ravenna,  a  work 
entitled, '  De'  veri  Precetti  della  Pittura ; '  but  he  is 
considered  a  better  theorist  than  practitioner.  He 
died  in  1609. 

ARMESSIN.    See  Db  l'Armessin. 

ARMSTRONG,  Cosmo,  an  English  engraver  of 
some  repute  at  the  beginning  of  the  nineteenth  cen- 
tury, engraved  illustrations  to  Kearsley's  Shake- 
speare (which  appeared  in  1805),  to  Cooke's  Poets, 
and  to  the  Arabian  Nights.  He  was  a  Governor  of 
the  Society  of  Engravers,  and  exhibited  as  late  as 
1821. 

ARNALD,  George,  bom  in  Berkshire  in  1763, 
was  a  pupil  of  William  Pether,  and  at  twenty-five 
years  of  age  exhibited  his  first  picture  at  the 
Royal  Academy.  He  painted  moonlight  scenes, 
classical  landscapes,  and  marine  subjects,  and  in 
1810  was  elected  an  Associate  of  the  Academy. 
One  of  his  principal  pictures,  for  which  he  re- 
ceived a  commission  of  £500,  was  the  '  Battle  of 
the  Nile,'  now  in  Greenwich  Hospital.  He  died 
in  1841. 

ARNAU,  Juan,  a  Spanish  painter,  who  was 
bom  at  Barcelona  in  1595,  was  a  scholar  of  Eugenio 
Caxes,  at  Madrid.  He  painted  historical  subjects, 
and  was  chiefly  employed  in  the  churches  and 
convents  of  his  native  city.  In  the  monastery  of 
the  Augustines  there  are  several  pictures  painted 
by  him,  representing  subjects  from  the  life  of  St. 
Augustine,  and  in  the  church  of  Santa  Maria  del 
Mar  is   a  picture   of   'St.   Peter  receiving  from 

51 


Arnhold 


A  BIOGRAPHICAL  DICTIONARY  OP 


Arteaga 


Angels  the  keys  of  the  Church.'    He  died  at  his 
birthplace  in  1693. 

ARNHOLD,  JoHANN  Samuel,  who  was  bom 
in  1766  at  Heinitz,  a  village  near  Meissen,  studied 
in  the  Art  School  of  the  Porcelain  factory  of 
Meissen,  of  which  he  subsequently  became  pro- 
fessor. He  was  also  court-painter  in  Dresden. 
He  painted  in  oil  and  water-colours,  and  on  porce- 
lain and  enamel.  His  pictures  sometimes  repre- 
sented landscapes  and  hunting  scenes,  but  he  is 
chiefly  famous  for  his  fruit  and  flower  pieces. 
He  died  in  1827. 

ARNOLD,  George,  who  was  born  in  1763,  was 
elected  an  Associate  of  the  Royal  Academy  in 
1810.  He  was  appointed  landscape  painter  to 
the  Duke  of  Gloucester.  His  exhibited  works 
mostly  represented  English  scenery — occasionally 
views  in  Prance.     He  died  in  1841. 

ARNOLD,  Habeibt,  a  landscape  painter,  was 
born  in  1787.  Under  her  maiden  name,  Gouldsmith, 
this  lady  exhibited  frequently  at  the  Academy, 
and  at  the  gallery  of  the  Water  Colour  Society,  of 
which  she  was  elected  a  member  in  1813.  She 
'  also  occasionally  contributed  to  the  Sujfolk  Street 
Gallery.  She  married,  rather  late  in  life.  Captain 
Arnold,  R.N.  The  last  time  Mrs.  Arnold  con- 
tributed to  the  Royal  Academy  was  in  1854,  when 
she  sent  a  '  Landscape  with  Woodcutters'  Cottages 
in  Kent.'     She  died  in  January,  1863. 

ARNOLD,  Heinbich  Gotthold,  who  was  born 
in  1785  at  Lamiitz,  near  Radeberg  in  Saxony, 
studied  under  Schubert,  and  improved  himself  by 
studying  the  works  of  Titian,  Guido  Reni,  and 
other  great  masters  in  the  Dresden  Gallery.  He 
painted  with  much  success  portraits  and  sacred 
subjects  for  churches.  He  was  a  professor  in  the 
Academy  of  Dresden,  where  he  died  in  1854. 

ARNOLD,  JoHANN,  an  engraver  of  no  great 
merit,  was  born  at  Koniggraz  in  Bohemia,  in  1735, 
and  studied  under  Renz.  From  1763  to  1772  he 
worked  in  Prague.  We  have  by  him,  among 
other  things,  a  small  plate  of  '  Daniel  in  the  Lions' 
Den,'  and  a  '  Saul  and  the  Witch  of  Endor,'  both 
after  P.  X.  Palcko.  Meyer  gives  a  list  of  thirty- 
one  of  his  works. 

ARNOLD,  Jonas,  of  Ulm,  painter,  designer, 
and  engraver.  He  painted  portraits,  history,  and 
flower-pieces,  and  died  in  1669.  He  drew  the 
portraits  and  figures  engraved  by  Philip  Kilian, 
Sigismond  van  Bircken,  and  M.  Kiisell.  Jonas 
Arnold  had  two  sons,  who  flourished  at  Ulm — 
Joseph,  a  portrait  painter,  who  died  in  1671  ;  and 
Hans  Ulrich,  an  engraver,  who  died  in  1662. 

ARNOULLET,  Balthazar,  a  French  engraver 
on  wood,  who  resided  at  Lyons  in  the  second  half 
of  the  16th  century.  According  to  Papillon,  he 
executed  a  large  woodcut  of  the  town  of  Poictiers. 

ARNOULT,  Nicolas,  a  French  engraver,  who 
resided  at  Paris  in  the  latter  part  of  the  17th  cen- 
tury, and  acquired  some  reputation  by  his  por- 
traits of  the  personages  at  court.  Among  these 
are  three  of  Marie  of  Bavaria,  wife  of  Louis, 
Dauphin  of  France.  No  less  than  257  plates  by 
him  are  given  in  Meyer's  'Kiinstler-Lexikon.' 

ARNOUX,  Michel,  a  French  genre  painter,  born 
at  Belleville,  Paris,  in  1833.  He  studied  under 
Cogniet,  E.  Frere,  and  Dansaert,  and  died  in  1877. 
Amongst  his  works  are : 

The  Young  Mother. .  1866. 
A  Future  Companion.    1870. 
TheToUet.    1872. 
The  Elder  Sister.    1875. 
52 


A  Village  Smith.    1876. 
The  Barber's  Wife.    1877. 

ARPINO,  II  Cavaliere  d'.     See  Cbsaki. 

ARRAGONI.     See  Laubbntini. 

ARREDONDO,  Isidoeo,  an  eminent  Spanish 
painter,  was  bom  at  Colmenar  de  Oreja,  in  1653. 
He  was  first  a  scholar  of  Josef  Garcia,  but  he 
afterwards  studied  under  Francisco  Rizi.  He 
painted  history  with  much  success,  and  on  the 
death  of  Rizi,  in  1685,  he  was  appointed  painter 
to  Charles  II.  of  Spain.  One  of  his  principal  works 
was  a  large  picture  of  the  'Incarnation,'  which 
Palomino  mentions  as  a  very  grand  composition. 
He  painted  much  in  oil  and  fresco  in  the  churches 
and  palaces,  and  the  '  Legend  of  Cupid  and 
Psyche,'  in  the  royal  palace,  is  considered  one  of 
his  best  works.     He  died  at  Madrid  in  1702. 

ARREGIO.     See  Aresio. 

ARRIENTI.     See  Aeienti. 

ARROYO,  Diego  db,  a  miniature  painter,  who 
was  bom  at  Toledo  in  1498,  is  supposed  to  have 
studied  either  in  Italy  or  under  an  Italian  master. 
His  delicate  miniature  portraits  gained  him  much 
renown,  and  the  appointment  of  painter  to  Charles 
V.  He  also  illuminated  choir-books  for  the  cathe- 
dral of  Toledo.     Arroyo  died  at  Madrid  in  1551. 

ARSENIO,  Fra.     See  Mascagni. 

ARTARIA,  Claudio,  an  Italian  line- engraver, 
was  bom  at  Blevio  near  Como  in  1810.  He  was  a 
pupil  of  Longhi  and  of  Anderloni,  but  in  1842 
abandoned  the  practice  of  art  in  order  to  enter  the 
well-known  house  of  Artaria  in  Vienna.  He  died 
in  that  city  in  1862.  His  best  works  are  the 
following : 

The  Madonna  and  Child  with  Sfc.  John ;  after  Luini. 

The  Redeemer ;  after  Carlo  Sold. 

Leonardo  da  Vinci ;  after  the  portrait  hy  himself  in  the 

TribuTie  at  Florence. 
Archduke  Kainer  of  Austria ;  after  Pagani. 

ARTAUD,  William,  the  son  of  a  jeweller  in 
London,  gained  a  premium  at  the  Society  of  Arts 
in  1776,  and  exhibited  his  first  picture  at  the 
Academy  in  1780.  In  1786  he  won  the  gold  medal 
of  the  Academy,  and  nine  years  afterwards  ob- 
tained the  travelling  studentship.  He  painted 
portraits  and  Biblical  subjects,  some  of  which 
were  engraved  in  Macklin's  Bible.  His  last  pic- 
ture exhibited  at  the  Academy  was  in  1822. 

ARTEAGA  t  ALFARO,  Fbancisco,  brother  of 
Matias,  engraved,  besides  others,  four  plates  of 
emblems  for  La  Torre  Farfan's  book.  He  worked 
at  Seville,  where  he  died  in  1711. 

ARTEAGA  y  ALFARO,  Matias,  —  son  of 
Bartolom^  Arteaga,  an  engraver  of  repute  at 
Seville  in  the  reign  of  Philip  IV., — was  born  in 
Seville  about  1630,  and  studied  painting  under  his 
fellow-citizen,  Vald^s  Leal,  and  became  a  tolerable 
artist.  His  pictures,  mostly  of  the  Virgin,  with 
architectural  backgrounds,  were  inferior  to  his 
engravings.  The  best  were  two  altar-pieces  in  the 
conventual  church  of  San  Pablo.  He  executed 
prints  from  various  works  of  Vald^s  and  the 
younger  Herrera,  and  one  of  '  St.  Dominick,'  from 
a  drawing  by  Alonso  Cano  ;  also  a  '  St.  Ferdinand ' 
by  Murillo,  for  La  Torre  Farfan's  account  of  the 
Seville  festival  in  honour  of  St.  Ferdinand;  for 
which  he  likewise  engraved  views  of  the  Giralda 
tower  of  Seville,  and  of  the  interior  and  exterior 
of  the  cathedral.  He  also  executed  a  series  of 
fifty-eight  plates  for  the  '  History  of  St.  Juan  de 
la  Cmz,'  the  first  barefooted  Carmelite.     He  en- 


Artemon 


PAINTERS  AND  ENGEAVERS. 


Aslier 


graved  a  neat  plate  of  the  arms  of  the  family 
of  Arze  for  a  book  dedicated  to  a  member  of  the 
house,  in  1695.  His  works  are  usually  signed  with 
his  name  at  full  length,  or  in  a  contracted  form. 
He  died  at  Seville  in  1704. 

ARTEMON,  a  Greek  painter,  who  is  recorded  by 
Pliny  to  have  painted  a  picture  of  Queen  Strato- 
nice,  from  which  it  is  presumed  that  he  lived  about 
B.C.  300.  He  also  painted  '  Hercules  and  Deian- 
ira ; '  but  his  most  celebrated  works  were  the 
pictures  which  were  carried  to  Rome,  and  placed 
in  the  Octavian  Portico,  representing  '  Hercules 
received  amongst  the  Gods  ; '  and  the  '  History  of 
Jjaomedon  with  Apollo  and  Neptune.' 

ARTHOIS.    See  Aetois. 

ARTIGA,  Francisco  db,  a  celebrated  Spanish 
landscape  and  historical  painter,  was  bom  at 
Huesca,  about  1650.  He  painted  several  '  Sibyls,' 
'  Conceptions,'  and  perspective  views,  remarkable 
for  their  invention,  design,  and  colouring.  He  was 
also  an  engraver,  an  architect,  a  mathematician,  and 
an  author  of  reputation.   He  died  in  1711  at  Huesca. 

ARTLETT,  Richaed  Austin,  engraver,  was  born 
in  1807.  He  was  a  pupil  of  Robert  Cooper,  and 
afterwards  studied  under  James  Thompson.  He 
engraved  a  number  of  portraits,  among  which  are 
those  of  Lord  Ashburton,  after  Lawrence,  Lord 
Lyndhurst,  after  Chalon,  and  Mrs.  Gladstone,  after 
Say.  as  well  as  many  plates  of  sculpture  for  the 
'  Aiit  Journal,'  one  of  the  latest  being  '  The  Siren 
and  the  drowned  Leander,'  in  1873.  He  died  in 
that  year. 

ARTOIS,  Jacobus  van,  (or  Aetoys,  or  Jacques 
d'Aethois,)  a  very  eminent  landscape  painter,  was 
born  at  Brussels  in  1613.  He  studied  under  Jan 
Mertens,  an  otherwise  unknown  painter,  and  from 
nature  in  the  forests  round  his  native  city.  The 
landscapes  of  Artois  are  faithful  representations  of 
the  scenery  of  his  country ;  the  fields  and  forests 
in  the  neighbourhood  of  Brussels  were  the  subjects 
of  his  pictures,  which  are  touched  with  a  light  and 
free  pencil.  His  skies  and  distances  are  extremely 
well  represented,  and  his  trees  of  grand  form,  with 
a  foliage  that  appears  to  be  in  motion.  They  are 
very  frequently  decorated  with  admirable  figures 
by  David  Teniers,  Zegers,  Craeyer,  and  with  animals 
by  Snrjders,  which  very  materially  enhance  their 
value,  although  the  merit  of  his  landscapes  is  con- 
siderable. His  pictures  are  in  most  of  the  public 
galleries  on  the  Continent.  The  Brussels  Gallery 
has  five  ;  the  Darmstadt  four ;  the  Dresden  three  ; 
the  Copenhagen  two ;  the  Vienna  four ;  and  Madrid 
nine.  His  works  are  occasionally  seen  in  England ; 
and  there  are  several  in  French  Museums.  He  died 
after  1684.  His  brother  Nicolas,  and  his  son  Jean 
Baptiste,  were  also  painters. 

AETVELT,  Andeies  van,  was  bom  at  Antwerp 
in  1590.  He  excelled  in  painting  sea-pieces  and 
storms,  which  he  represented  with  great  force 
and  effect.  He  resided  for  some  time  at  Genoa. 
In  1632  Van  Dijok  painted  a  portrait  of  this  artist, 
which  is  now  in  the  Gallery  at  Augsburg.  Works 
by  him  are  rarely  met  with.  The  Belvedere  at 
Vienna  has  a  large  sea-piece.    Artvelt  died  in  1652. 

ARUNDALB,  Feancis,  an  architectural  draughts- 
man, was  bom  in  London  in  1 807.  He  studied  under 
Augustus  Pugin,  and  accompanied  him  to  Normandy, 
making  drawings  for  a  description  which  Pugin 
published  of  the  tour.  In  1831  Arundale  visited 
Egypt  with  Mr.  Hay,  and  in  1833  he  joined  Mr. 
Catherwood  and  Mr.  Bonomi  on  their  tour  to  the 
Holy  Land,  filling  many  portfolios  with  drawings 


of  the  interesting  monuments  and  ruins  of  Pales- 
tine. He  subsequently  visited  France  and  Italy, 
and  spent  several  winters  in  Rome.  He  made 
drawings  of  objects  of  interest  in  the  cities  of 
Italy,  in  Greece,  Sicily,  and  Asia  Minor.  He  died 
at  Brighton  in  1853.  Arundale  executed  a  few  oil- 
paintings  from  his  Eastern  sketches.  Of  his  pub- 
lished works  of  his  own  drawings  we  may  notice  : 

The  Edifices  of  Palladio.    1832. 
Illustrations  of  Jerusalem  and  Mount  Sinai.    1837. 
The  Early  History  of  Egypt  (executed  in  conjunction 
with  Mr.  Bonomi).    1857. 

ARZEEE,  Stepano  dall'.     See  Dall'  Aezeee. 

ASAM,  CosMAS  Damian,  who  was  bom  at 
Benediktbeuern,  in  Bavaria,  in  1686,  was  the  son 
of  Hans  Georg  Asam,  a  painter.  He  studied  for 
some  time  in  Rome,  but  subsequently  took  up  his 
residence  in  Munich,  and  devoted  himself  to  the 
decoration  of  the  churches  of  Bavaria  and  Switzer- 
land. As  examples  of  his  art  mention  may  be 
made  of  his  works  in  Munich,  Friedberg,  Schleiss- 
heim,  Innsbruck,  and  Ratisbon.  In  Weltenburg 
he  built  a  chapel,  and  decorated  it  with  paintings. 
He  died  in  1742.  There  are  some  prints  by  this 
master  from  his  own  designs,  among  which  are: 

A  Franciscan  Monk  kneeling,  with  the  Virgin  Mary  in 

the  clouds,  surrounded  by  angels. 
St.  Joseph  presenting  a  book  to  a  bishop. 

He  had  two  sons,  both  of  whom  were  painters: 
Feanz  Erasmus,  who  was  bom  at  Munich  in  1720, 
and  died  in  the  Cistercian  monastery  of  Schonthal 
in  Wiirtemberg  in  1795 ;  and  Bngelbeecht,  who 
was  a  monk  in  the  monastery  of  Fiirstenf  eld  near 
Munich. 

ASCANI,  Pellbgeino,  was  an  admirable  flower 
painter,  of  the  Modenese  school.  He  flourished 
at  Carpi  from  the  middle  of  the  17th  century  till 
about  1714.  His  brother  Simone  was  also  a 
painter. 

ASCANIUS.     See  Wijnen. 

ASCH,  PiETBR  Janszoon  van,  was  bom  at  Delft 
in  1603.  His  talent  lay  in  painting  landscapes  of 
a  small  size,  and,  according  to  Houbraken,  he  was 
one  of  the  most  admired  artists  of  his  time.  His 
works  are  executed  in  the  style  of  Wijnants  and 
the  Ruisdaels.  Among  the  best  of  them  are,  a 
'  Landscape,  with  the  town  of  Delft  in  the  back- 
ground,' painted  in  1669,  in  the  Town  Hall  at 
Delft;  a  'Landscape'  in  the  Van  der  Hoop  Gallery 
at  Amsterdam ;  and  one  in  the  gallery 
of  Copenhagen.  The  date  of  Van  Asoh's  ^\ 
death  is  not  recorded,  but  he  lived  to  a  great  Vx) 
age. 

ASCIANO,  Giovanni  d',  a  pupil  of  Bama  of 
Siena,  is  said  to  have  completed  the  frescoes  left 
unfinished  by  that  master  at  San  Gimignano.  At 
Asciano,  his  birthplace,  there  is  a  work  by  Gio- 
vanni, similar  in  style  to  the  works  of  Bama. 
This  painter  flourished  about  1380. 

ASCLEPIODORUS,  an  Athenian  painter,  who 
flourished  about  the  il2th  Olympiad,  was  a  con- 
temporary of  Apelles,  who  admired  his  works  for 
the  exact  symmetry  of  their  proportions,  and  caused 
them  to  be  purchased  at  very  large  prices.  Pliny 
reports  that  he  painted  twelve  pictures  of  the  Gods 
for  Mnason,  the  tyrant  of  Elatea,  for  which  he  was 
paid  five  talents  (£1180)  each. 

ASENSIO,  — ,  a  Spanish  painter,  who  lived 
at  Saragossa  about  the  end  of  the  17th  century, 
distinguished  himself  in  portraiture. 

A^HER,  Louis  (Julius  Ludwio),  was  born  at 

53 


A  BIOGRAPHICAL  DICTIONARY  OF 


A.slifield 

Hamburg  in  1804.  He  studied  in  his  native  town 
under  Gerdt  Hardorf  and  Leo  Lehmann,  and  in  1821 
went  for  farther  instruction  to  Dresden,  and  thence 
to  Diisseldorf ,  where  he  entered  the  atelier  of  Cor- 
nelius :  there  he  made  the  acquaintance  of  Kaulbach, 
■with  whom  he  continued  a  friendship  through  hfe. 
In  1825  he  accompanied  his  master  to  Munich,  and 
was  there  employed  by  him  on  the  frescoes  of  the 
Glyptothek.  In  1827  he  returned  to  Hamburg; 
he  then,  in  1832,  went  through  Berlin  to  Italy,  and 
remained  there  three  years.  On  his  return  to  Ger- 
many, with  the  exception  of  a  second  visit  to  Italy 
in  1839,  in  company  with  his  friend  Kaulbach,  he 
resided  at  Munich  and  at  Hamburg,  where  he  died 
in  1878.  ,    .  ^ 

Asher's  works,  which  consist  of  historical  pictures, 
genre  paintings,  and  portraits,  are  found  for  the  most 
part  in  Hamburg— both  in  public  buildings  and 
private  collections. 

The  following  are  some  of  the  best  examples  or. 
his  art: 

Peasant  Family.     1835. 

Eesurrection  of  Christ.     1851. 

King  Lear  with  the  dead  body  of  Cordelia.    1854. 

St.  Cecilia. 

Maria  I'Ortolana. 

Portrait  of  Mile.  Jenny  Lind. 

ASHFIELD,  Edmund,  an  English  painter  in 
crayons,  who  flourished  towards  the  close  of  the 
17th  century,  was  a  scholar  of  Michael  Wright. 
His  portraits  were  much  admired.  He  was  the 
instructor  of  Lutterel,  whose  merit  in  crayon 
painting  surpassed  that  of  his  master.  He  died 
about  1700.  There  are  a  few  portraits  by  him  at 
Burleigh  House. 

ASHFORD,  William,  was  born  at  Birmingham 
about  1746.  Early  in  life  he  went  to  Dublin  and 
took  a  situation  in  the  Ordnance  Office,  which  he 
gave  up  in  order  to  follow  landscape  painting. 
He  was  one  of  the  original  members,  andthe  first 
president,  of  the  Hibernian  Academy,  instituted  in 
1823.  Late  in  life  he  retired  to  Sandymount,  near 
Dublin,  where  he  died  in  1824.  The  Fitzwilliam 
Museum  at  Cambridge  possesses  some  of  his  best 
landscapes. 

ASNE,  Michel  l'.     See  L'Asne. 

ASPARI,  DoMENloo,  who  was  born  at  Milan  in 
1746,  studied  under  Valdrighi  at  Parma,  and  there 
executed  some  decorative  paintings  for  the  Ducal 
Palace.  On  his  return  to  Milan,  he  almost  entirely 
gave  up  painting  in  order  to  devote  his  atten- 
tion to  engraving,  forming  his  style  from  that  of 
Piranesi :  in  this  branch  of  art  he  was  very  success- 
ful. His  masterpiece  of  painting  is  the  '  Madonna 
and  Child  enthroned,  with  Saints,' which  he  executed 
for  the  church  of  Osnago.  His  portrait,  by  himself, 
is  in  the  Milan  Gallery.     He  died  in  1831. 

Of  his  engravings  we  may  mention  the  following : 

The  Flight  into  Egypt ;   after  a  picture  said  to  he  hy 

Correggio. 
The  Last  Supper ;  after  Leonardo  da  Vinci, 
M.  Peregrina  Amoretti ;  after  Boroni. 
Twenty-three  Views  of  Milan. 

ASPER,  Hans,  a  Swiss  painter,  bom  at  Zurich 
in  1499.  He  painted  portraits  with  great  success, 
and  was  also  esteemed  for  his  drawings  of  game, 
birds,  and  flowers,  which  he  imitated  with  much 
truth  to  nature.  He  painted  also  pictures  of  battles 
and  kindred  subjects.  Notwithstanding  that  the 
merit  of  this  artist  was  such  as  to  be  thought  de- 
serving of  a  medal  being  struck  to  record  it,  he 
lived  and  died  in  poverty.     He  was  town-painter ; 

64 


Assclie 


but,  unfortunately,  most  of  the  works  which  he 
executed  in  that  capacity  on  public  buildings  have 
been  destroyed  by  being  painted  over,  or  by  the 
pulling  down  of  the  houses.  He  died  at  Zurich 
in  1571.  Numerous  portraits,  ascribed  to  Asper, 
are  in  the  Town  Library  and  other  collections  of 
Zurich.  One  of  his  best  works  is  a  portrait  of 
Regula  Gwalter,  a  daughter  of  Zwingli,  and  her 
little  daughter  of  seven  years  old,  in  the  Town 
Library,  which  also  possesses  Zwingli's  portrait, 
by  the  same  painter.  It  is  difficult, 
however,  to  distinguish  Asper's  pic-  t\\  WtSk 
tures  from  those  of  other  artists  of  tTl  IfiU 
the  same  school. 

ASPERTINI,  Amico,  the  younger  brother  of 
Guide  Aspertini,  was  born  at  Bologna  about  1475. 
He  studied  under  Ercole  Roberti  Grandi  and 
Lorenzo  Costa,  but  he  appears  to  have  acquired 
the  greatest  part  of  his  art  education  by  visiting 
various  cities  in  Italy.  From  1606  till  1510  he 
was  engaged  on  his  masterpiece,  the  paintings 
of  the  '  History  of  the  Crucifixion,'  which  have 
been  recently  restored,  in  the  chapel  of  Sant' 
Agostino  in  San  Frediano,  at  Lucca.  He  also 
executed  works  of  merit  in  many  of  the  churches 
and  houses  of  Bologna ;  with  Cotignola,  Bagna- 
cavallo,  and  Innocenzo  da  Imola  he  decorated  the 
chapel  '  della  Pace '  in  San  Petronio,  but  the 
work  has  since  been  destroyed  ;  with  Francia  and 
Costa  he  painted  in  Santa  Cecilia  the  still  existing 
frescoes  of  the  history  of  that  saint.  The  Pinaco- 
teca  at  Bologna  has  a  '  Madonna  and  Child  vsdth 
Saints,'  by  him,  and  the  Berlin  Gallery  an  'Adora- 
tion of  the  Shepherds,'  signed  amicus  bononiensis 
EACIEBAT.  Aspertini  died  at  Bologna  in  1652. 
He  was  also  a  sculptor.  According  to  Vasari, 
he  was  called  'Amico  da  due  Pennelli,'  from  his 
being  able  to  paint  with  both  hands  at  the  same 
time.  He  was  of  a  most  capricious  and  whim- 
sical disposition,  approaching  sometimes  to  mental 
derangement. 

ASPERTINI,  GuiDO,  was  born  at  Bologna 
about  the  year  1460.  He  was  the  scholar  of 
Ercole  Grandi,  and  proved  a  very  reputable 
painter  of  history.  His  principal  work,  which  he 
finished  in  1491,  was  the  '  Crucifixion,'  under  the 
portico  of  the  cathedral  at  Bologna.  It  has  since 
perished.  He  died  in  the  prime  of  life  when  35 
years  of  age.  In  the  Pinacoteca  at  Bologna  is 
an  '  Adoration  of  the  Kings,'  by  him. 

ASPRUCK,  Feanz,  a  goldsmith,  designer,  and 
engraver,  of  a  Brussels  family,  flourished  in  Augs- 
burg from  about  1598  to  1603.  From  the  resem- 
blance of  his  drawing  to  that  of  R.  Spranger,  it 
is  probable  he  may  have  been  his  scholar.  There 
are  a  few  prints  by  him  with  the  initials  of  his 
name,  F.  A.;  thirteen  plates— full-length  figures 
— '  Christ  and  the  Apostles,'  after  Agostino  Car- 
raoci,  and  '  Cupid  and  Anteros,'  a  small  plate, 
after  Joseph  lieintz. 

ASSCHE,  Henei  van,  bom  at  Brussels  in  1774, 
showed  from  his  earliest  years  a  predilection  for 
painting,  and  received  from  his  father,  who  was 
a  distinguished  amateur  artist,  the  first  principles 
of  design  and  perspective.  He  was  afterwards 
placed  with  Deroy  of  Brassels,  from  whom  he  re- 
ceived further  instructions  in  painting.  Journeys 
in  Switzerland  and  Italy  contributed  to  develop 
his  talent  as  a  landscape  painter.  His  great 
partiality  for  representing  waterfalls,  mountain 
streams,  and  mills  gained  for  him  the  name  of 
'  The  Painter  of  Waterfalls.'     Several  pictures  by 


Asschoonebeck 


PAINTERS  AND  ENGRAVERS. 


Atkinsou 


him  may  be  seen  in  public  and  private  collections 
of  Brussels,  Ghent,  Lille,  and  Haarlem,  some  of 
which  are  enriched  with  figures  and  animals  by 
Ommeganck.     He  died  at  Brussels  in  1841. 

ASSCHOONEBECK,  Adeiaan.  This  artist  was 
a  native  of  Holland,  and  flourished  about  the  year 
1690.  We  have  by  him  some  slight  incorrect 
etchings,  representing  the  '  Flight  of  James  the 
Second  from  England.' 

ASSELIJN,  Jan,  (or  Asselin,)  a  celebrated  land- 
scape painter,  was  born  at  Diepen,  near  Amsterdam, 
in  1610.  He  was  a  scholar  of  Bsajas  van  de  Velde, 
but  he  went  to  Italy  when  young,  where  he  re- 
mained many  years.  He  was  denominated  '  Krab- 
betje,'  on  account  of  a  contraction  in  his  fingers. 
He  died  at  Amsterdam  in  1660.  His  pictures  repre- 
sent views  in  the  vicinity  of  Rome,  decorated  with 
figures  and  cattle,  in  the  manner  of  N.  Berchem, 
and  enriched  with  vestiges  of  Roman  architecture. 
His  skies  and  distances  are  tenderly  coloured,  and 
there  is  a  charming  eSect  of  sunshine  in  some  of 
his  works  that  resembles  the  warmth  of  Jan  Both. 
His  pencil  is  remarkably  firm  and  neat,  and  the 
trees  and  plants  are  touched  with  great  sharpness 
and  spirit.  His  pictures  are  highly  esteemed, 
and  are  worthy  of  a  place  in  the  choicest  ^T 
collections.  They  are  seen  in  many  of  the  Jyl 
public  galleries  on  the  Continent. 

Amsterdam.  Museam,        The  watchfulness  of  Jan  de  Witt 
(an  enraged  Swan — an  allegory) . 
„  Van  der  Hoop  Coll.  Italian  landscape. 
Berlin.  Gallery.  Italian  sea-port. 

Oassel.  Gallery.  Landscape. 

Copenhagen.GaKery.  Italian  landscape ;  and  others. 

Darmstadt.  Gallery.  A  rocky  shore. 

Florence.       Uffizi.  Landscape. 

Paris.  Louvre.  Italian  views  (four). 

Petersburg.  Sermitage.     View  in  Italy. 

„  „  Sea-port. 

Vienna.        Czemin  Coll.  Landscape. 

„     Liechtenstein  Coll.  Italian  sea-port  {replica  of  the 
Berlin  picture). 

ASSELT,  Van  dee.    See  Van  dee  Asselt. 

ASSEN,  Jan  van,  who  was  born  at  Amsterdam 
in  1635,  was  a  good  painter  of  history,  portraits, 
and  landscape,  in  the  Italian  manner  ;  he  studied 
particularly  the  works  of  Tempesta.  He  died  at 
his  birthplace  in  1695. 

ASSEN,  Johann  Walter  van,  is  a  name  which 
has  been  given,  rightly  or  wrongly,  to  the  artist 
who  used  the  accompanying  mono- 
gram, which  is  found  on  several  _  kk  Vw 
paintings  as  well  as  on  some  wood-  \  ffK^  J\ 
cuts.    See  Coenblisz,  Jacob. 

ASSERETO,  Giovacchino,  (or  Axaeeto,)  who 
was  bom  at  Genoa,  studied  under  Borzone  and 
Ansaldo,  by  whose  instructions  he  profited  so  well, 
that  at  the  age  of  sixteen  he  painted  a  picture  of 
the  '  Temptation  of  St.  Anthony,'  for  the  oratory 
of  Sant'  Antonio  Abate  in  Sarzano.  He  painted 
much  in  the  churches  and  palaces  of  Genoa,  and 
there  are  stOI  pictures  by  him  in  several  churches 
and  rehgious  houses  in  that  city.  He  painted 
from  1600  to  1649. 

ASSERETO,  Giuseppe,  son  and  scholar  of  Gio- 
vacchino Assereto,  painted  historical  subjects  in 
the  style  of  his  father.  He  died  after  1650,  when 
stiU  young. 

ASSISI,  Andbea  da.    See  Alovigi. 

ASSISI,  TiBEEio  DA,  was  a  scholar  and  imitator 
of  Perugino.  His  works,  which  are  not  of  great 
merit,  may  be  seen  in  the  churches  of  Perugia  and 
the  neighbourhood.     A  fresco  is  at  San  Martino, 


outside  Trevi ;  a  lunette  containing  a  '  Virgin  and 
Child,'  with  a  '  Madonna  between  two  Saints,'  dated 
1510,  and  five  scenes  from  the  life  of  St.  Francis, 
dated  1512,  are  still  at  Montefalco. 
AST,  B.  VAN  DEB.  See  Van  des  Ast. 
ASTA,  Andbea  dell'.  See  Dell' Asta. 
ASTLEY,  John,  an  English  portrait  painter, 
was  born  at  Wem,  in  Shropshire,  about  1730. 
He  was  a  scholar  of  Hudson,  and  afterwards 
visited  Italy,  about  the  same  time  that  Sir  Joshua 
Reynolds  was  at  Rome.  He  possessed  talents  of 
a  superior  order,  and  painted  portraits  with  great 
reputation  and  success.  A  lady  of  large  fortune. 
Lady  Daniell,  whose  portrait  he  had  painted,  con- 
ceived an  affection  for  him,  and  offered  him  her 
hand  :  on  his  marriage  he  relinquished  the  profes- 
sion. He  died  in  1787.  (For  further  details  of 
his  somewhat  romantic  life  see  Redgrave's  Dic- 
tionary.) 

ASTOR,  Diego  de,  of  Toledo,  studied  under 
Domenico  Theotocopuli,  and  in  1606  engraved, 
under  his  superintendence,  a  '  St.  Francis,'  after 
Nic.  de  Vargas.  Astor  was  engraver  to  the  Mint 
of  Segovia,  and  was  also  employed  to  engrave  the 
royal  seals.  Of  his  plates  we  may  notice  the  til  le- 
page  to  Colmenares'  '  Historia  de  Segovia '  (Ma- 
drid, 1640),  and  that  to  Sonet's  book  on  'Speech 
for  the  Dumb,'  one  of  the  best  works  of  the  kind. 
ATHENION  was  a  native  of  Maroneia,  in 
Thrace,  and  was  a  disciple  of  Glauoion  of  Corinlh, 
a  painter  of  whom  no  other  mention  is  made. 
Athenion  appears  to  have  been  a  contemporary  of 
Nicias,  as  his  works  are  compared  by  Pliny  to 
those  of  that  painter,  and  without  any  disparity, 
for  he  adds,  "  If  he  had  Uved  to  maturity,  no  one 
would  have  been  worthy  to  be  compared  to  him." 
Though  his  colouring  was  more  austere  than  that 
of  Nicias  it  was  not  less  agreeable.  He  painted 
for  the  temple  of  Eleusis  a  picture  said  to  have 
been  a  portrait  of  Phylarchus  the  historian ;  and 
at  Athens,  '  Achilles  disguised  as  a  girl,  discovered 
by  Ulysses.' 

ATKINSON,  John  Augustus,  who  was  born  in 
London  in  1775,  went,  when  quite  young,  with 
his  uncle  to  St.  Petersburg,  where  he  studied  in 
the  picture  galleries.  In  1801  he  returned  to 
England,  and  in  1803  published  'A  Picturesque 
Representation  of  the  Manners,  Customs,  and 
Amusements  of  the  Russians,'  in  100  plates, 
drawn  and  etched  by  himself.  He  afterwards 
painted  a  '  Battle  of  Waterloo,'  which  was  en- 
graved by  John  Burnet.  He  also  painted  in 
water-colours.  His  last  contribution  to  the  Aca- 
demy exhibition  was  in  1829.  The  date  of  his 
death  is  not  recorded :  he  was  still  living  in  1831. 
ATKINSON,  Thomas  Witlam,  who  was  born 
of  humble  parents  about  1799,  began  life  as  an 
ecclesiastical  stone-carver.  In  1831  he  published 
his  '  Gothic  Ornament,'  and  afterwards  settled  in 
Manchester  as  an  architect.  In  1840  he  went  to 
London,  then  through  Hamburg  and  Berlin  to  St. 
Petersburg,  where  he  obtained  permission  to  travel 
in  the  inore  unfrequented  parts  of  the  Russian 
Empire  in  Asia.  He  made  many  drawings  and 
sketches,  and  on  his  return  to  England  published 
the  following  works,  illustrated  by  his  hand : 
Oriental  and  'Westem  Siberia.  1858. 
Travels  in  the  Eegion  of  the  Upper  and  Lower  Amoor. 

1860. 
EeooUectionB  of  the  Tartar  Steppes  and  their  Inhabit- 
ants.   1863. 

Atkinson  died  at  Little  Walmer  in  1861. 

55 


Attavante 


A  BIOGRAPHICAL  DICTIONARY  OF 


Aubry 


ATTAVANTE  (or  Vante),  a  friend  of  Gherardo, 
and  an  imitator  of  Bartolommeo  della  Gatta,  was 
employed  by  Matthias  Corvinus,  King  of  Hungary, 
for  whom  he  executed  a  missal,  now  in  the  Royal 
Library  at  Brussels.  There  is  another  breviary 
by  him  in  the  National  Library  at  Paris,  executed 
in  the  manner  of  the  Ghirlandaj.  Other  missals 
in  Florence  and  Rome  are  also  ascribed  to  him. 
Attavante,  who  was  a  miniature  painter  of  great 
merit,  worked  at  Florence  towards  the  close  of  the 
15th  century. 

ATTIRET,  Jean  Denis,  who  was  born  at  D61e 
in  1702,  studied  art  first  under  his  father,  an  un- 
known painter  ;  and  then  improved  his  style  by  a 
visit  to  Rome.  On  his  return  he  painted  portraits 
at  Lyons  and  at  D61e.  When  little  more  than  30 
years  of  age  he  entered  the  order  of  Jesuits,  and 
during  his  noviciate  painted  four  works  for  the 
cathedral  of  Avignon.  In  1737  Attiret  went  to 
China,  rose  to  high  honour  at  court,  and  was  ap- 
pointed painter  to  the  Emperor.  He  painted 
numerous  portraits,  pictures  for  churches,  battle- 
scenes,  landscapes,  and  fruit  and  flower  pieces. 
Works  by  him  are  in  the  Royal  Palace  at  Pekin, 
where  he  died  in  1768. 

AUBERT,  AtJQUSTiN  Raymond,  who  was  born 
at  Marseilles  in  1781,  studied  at  first  under 
Guenin,  and  subsequently  with  Peyron,  in  Paris, 
to  which  city  he  went  in  1802.  He  soon,  how- 
ever, returned  to  his  native  town,  and  in  1810  was 
made  Director,  of  the  School  of  Design,  and  in  that 
capacity  directed  the  studies  of  numerous  pupils 
who  afterwards  became  celebrated.  He  painted 
history,  landscape,  and  portrait  subjects  with 
much  success.  The  museum  and  churches  of  his 
native  town  possess  several  good  examples  of  his 
art.  Some  of  his  chief  pictures,  taken  from  sacred 
history,  are  of  large  dimensions.  He  died  on  his 
estate,  near  Marseilles,  in  1847. 

AUBERT,  Jean,  a  French  engraver,  flourished 
in  Paris  from  about  1720  to  1741,  in  which  year  he 
died.  His  prints  are  little  more  than  slight  etch- 
ings, and  without  much  effect.  He  engraved  the 
Portrait  of  GiUot;  some  Academy  figures,  after 
Edme  Bouchardon ;  and  a  'Drawing-book,'  from 
Raphael  and  other  masters,  after  drawings  by 
Bouchardon.     He  was  also  an  architect. 

AUBERT,  Michel.  This  artist  was  born  in 
Paris  about  1704.  He  engraved  portraits  and  his- 
torical subjects.  His  manner  is  slight  and  free, 
and  in  some  of  his  historical  prints  he  appears  to 
have  imitated  the  style  of  Gerard  Audran,  but  not 
with  very  great  success.  He  died  in  Paris  in 
1767.     His  plates  are : 

POETEAITS. 

Elizabeth,  Queen  of  England ;  4to. 

Charles  Emmanuel,  Duke  of  Savoy ;  after  Van  DijcTc. 

Victor  Amadeus,  King  of  Sardinia ;  after  Errand. 

James  I.,  King  of  England. 

Philip  of  France,  Duke  of  Orleans ;  after  Nocret. 

Marquise  de  Montespan. 

Louis  XY.  on  horseback ;  after  Le  Sueur. 

Louis,  Dauphin  of  France,  on  horseback ;  after  the  same. 

Two  portraits — The  Dauphin  and  the  Dauphiness ;  after 

la  Tour, 
Portrait  of  Charles  Stuart,  oval ;  after  the  same. 
Sixty-two  portraits  for  Ji'Argenville's  Abrige  de  la 

Vie  des  plus  fameux  Feintres. 

SUBJECTS  AFTER  DIFFERENT  MASTERS. 

The  Circumcision ;  after  Ciro  Ferri, 
St.  Francis :  after  Ouido ;  arched. 
66 


Pan  instructed  by  Cupid,  half-length  figures;   after 

Annibale  Oarracei. 
St.  George  kneeling  before  the  Virgin  Mary  and  Infant ; 

after  Parmigiano. 
Mars  and  Venus,  bound  by  Love;  after  Faolo  Vera- 

nese,  for  the  Crozat  Collection. 
Mars  disarmed  by  Venus ;  after  the  same,  for  the  same- 
Vanity,  an  allegorical  subject ;  after  Bouchardon. 
Venus  reposing  with  Cupid ;  after  Boucher. 
The  Death  of  Adonis ;  after  the  sam^. 
Laban  seeking  for  his  Gods ;  after  Jeaurat. 
The  Reconciliation  of  Jacob  and  Esau ;  after  the  same. 
The  Promenade  on  the  Eamparts;  after  Watteau. 
The  Rendezvous  de  Chasse ;  after  the  same. 

AUBERT,  Pierre  Eugene,  a  French  engraver 
and  pupil  of  Scheuder,  was  born  in  Paris  in  1789, 
and  died  there  in  1847.  His  best  work  is  a 
'  View  at  Samboanga  in  the  island  of  Mindanao,' 
after  E.  Goupil ;  he  also  engraved  '  Ulysses  and 
Nausicaa,'  after  the  picture  by  Rubens  in  the 
Aguado  Gallery. 

AUBERTIN,  FRANgois,  who  was  bom  at  Metz 
in  1773,  began  life  as  a  soldier,  but  subsequently 
became  an  engraver  in  aquatint,  in  which  pro- 
cess he  made  certain  technical  improvements.  He 
worked  at  Dresden,  Berlin,  Paris,  and  at  Ghent, 
where  he  died  by  suicide  in  1821.  Aubertin 
engraved  plates  after  Berchem,  Paul  Potter,  C. 
Vanloo,  Dietrich,  and  others. 

AUBIN,   Atjgustin  de   SAINT.      See    Saint- 

AUBIN. 

AUBRIER,  — ,  was  a  French  engraver  of  the 
18th  century  (?)  by  whom  we  have  a  portrait  of 
Cesare  Borgia,  Duke  of  Valentinois. 

AUBRIET,  Claude,  who  was  born  at  Chfilons- 
sur-Marne  about  1666,  studied  under  Jean  Joubert, 
and  became  famous  for  his  drawings  of  plants. 
In  1700  he  accompanied  the  botanist  Tournefort 
to  the  Levant,  and  on  his  return  was  made,  by 
Louis  XIV.,  painter  at  the  Jardin  du  Roi.  He 
died  in  Paris  in  1742.  The  national  libraries  of 
Paris  and  Gottingen  possess  botanical  drawings 
by  his  hand. 

AUBRY,  Abraham,  was  a  native  of  Oppenheim, 
and  flourished  about  the  year  1660.  He  studied 
under  his  elder  brother  Peter,  and  assisted  him  in 
his  publications  in  Strasburg.  He  also  carried  on 
a  considerable  business  as  a  printseller.  He  resided 
at  Strasburg,  Nuremberg,  Frankfort  -  on  -  Main, 
and  Cologne,  and,  Fiissli  tells  us,  was  still  living  in 
1682.  He  engraved,  besides  other  prints,  eleven  of 
the  twelve  plates  representing  the '  Twelve  Months 
of  the  Year'  (1663),  after  Sandrart;  the  month 
of  May  was  engraved  by  F.  Brun. 

AUBRY,  Etiennb,  who  was  born  at  Versailles 
in  1746,  studied  under  J.  A.  Silvestre  and  Joseph 
Vien,  and  soon  became  noted  for  his  portraits  and 
genre  subjects.  He  exhibited  several  works  of 
great  merit  at  the  Salon  ;  but  his  life  was  cut 
short  in  its  prime  in  1781,  in  which  year  he  had 
exhibited  the  'Parting  of  Coriolanus  from  his 
Wife.' 

AUBRY,  JoHANN  Philipp,  an  engraver  and 
printseller,  who  resided  at  Frankfort  about  the 
year  1670,  and  was  a  relative  of  Peter  and  Abra- 
ham Aubry.  He  engraved  a  great  number  of 
plates  for  the  booksellers,  as  well  as  for  his  own 
collection.  They  chiefly  consist  of  portraits,  and 
are  executed  in  a  very  indifferent  style. 

AUBRY,  Louis  FRANgois,  who  was  bom  in 
Paris  in  1770,  studied  under  Vincent  and  Isabey, 
and  became  celebrated  as  a  portrait  painter. 
He  exhibited   at  the  Salon  of  1810  portraits  of 


Aubry 


PAINTEES  AND  ENGRAVERS. 


Audouin 


the  King  and  Queen  of  Westphalia,  which  were 
praised  for  their  colouring.  He  died  about  1850. 
AUBRY,  Petek.  According  to  Huber,  this 
artist  was  born  at  Oppenheim,  about  the  year  1596. 
He  was  the  elder  brother  of  Abraham  Aubry,  and 
was  also  established  at  Strasburg  as  a^printseller. 
He  is  said  to  have  died  there  in  1666,  but  a  print 
bearing  date  1668  has  his  name  as  publisher.  He 
engraved  a  great  number  of  portraits  of  eminent 
persons  of  different  countries,  a  long  list  of  which 
is  given  by  Heineken.  They  are  executed  with 
the  graver  in  a  very  indifEerent  style.  Among, 
others  are  the  following : 

Oliver  Cromwell. 

Ferdinand  Ernest,  Count  of  "Wallenstein. 

Johannes    Schmidt,  D.D., -Professor  of  Theology  at 

Strasburg. 
Michael  Virdung,  Professor  at  Altdorf. 

AUBEY-LECOMTE,  Hyacinthe  Louis  Viotoe- 
Jban  Baptistb,  draughtsman  on  stone,  was  born 
at  Nice  in  1797.  He  studied  under  G-irodet-Trio- 
son,  and  became  a  draughtsman  of  great  merit, 
and  did  much  for  the  improvement  of  the  art.  He 
died  in  Paris  in  1858.  Many  of  Aubry-Lecomte's 
engravings  are  from  works  by  his  instructor :  he 
also  engraved  after  Prud'hon,  Gerard,  Dejuinne, 
Vernet,  Greuze,  and  other  French  painters.  He 
executed  a  lithograph  of  the  '  Madonna  di  San 
Sisto,'  from  the  copy  of  Raphael's  picture  which 
is  in  Rouen.  The  subjects  of  his  works  are  various 
— historical,  both  sacred  and  secular,  allegorical, 
portraits,  and  of  a  genre  character. 

AUBDISSON,  JULIEN  HoNOP.]^  Geemaiw,  Mar- 
quis d',  who  was  born  in  1786,  painted  and  exhi- 
bited, from  1812  to  1822,  in  the  Paris  Salon,  several 
poetical  and  historical  pictures  ;  namely,  '  Paris 
taking  leave  of  Helen,'  '  Heetor  forcing  Paris  to 
quit  Helen,'  'Alexander  and  Bucephalus,'  and  the 
'  Punishment  of  Hebe.' 

AUDEBERT,  Jean  Baptists,  a  French  painter 
and  etcher,  was  born  at  Rochefort  in  1759.  He 
engraved  the  plates  of  the  '  Histoire  Naturelle  des 
Singes,'  published  in  1800,  and  the  '  Histoire  des 
Colibris,'  published  in  1803.  He  particularly  ex- 
celled in  drawing  and  engraving  animals,  and 
other  objects  of  natural  history.  He  died  in  Paris 
in  1800. 

AUDBN-AERD,  Robert  van,  (orOuDEN-AERD,) 
was  a  reputable  painter,  and  a  still  more  cele- 
brated engraver.  He  was  born  at  Ghent  in  1663, 
and  was  first  a  scholar  of  Francis  van  Mierhop, 
but  he  afterwards  studied  under  Hans  van  Gleef. 
When  he  was  twenty-two  years  of  age  he  went  to 
Rome,  where  he  became  a  disciple  of  Carlo  Maratti. 
Under  this  master  he  became  a  good  painter  of 
historical  subjects.  He  amused  himself  with  the 
point  in  his  leisure  moments,  and  some  of  his 
plates  were  shown  to  Carlo  Maratti,  who  recom- 
mended him  to  devote  himself  entirely  to  the  art 
of  engraving.  He,  however,  painted  several  pic- 
tures for  the  churches  of  his  native  city,  to  which 
he  returned  after  an  absence,  it  is  said,  of  thirty- 
seven  years.  He  died  at  Ghent  in  1748.  His 
best  work  is  the  altar-piece  of  the  high  altar  in 
the=  church  of  the  Carthusians  at  Ghent,  represent- 
ing '  St.  Peter  appearing  to  a  group  of  Monks  of 
that  order.'  In  the  church  of  St.  James  is  a 
picture  by  him  of  '  St.  Catharine  refusing  to  worship 
the  False  Gods.'  Several  other  works  by  this 
master  are  in  the  churches  and  convents  of  his 
native  city,  all  of  which  are  painted  in  the  style 
of  C.  Maratti. 


The  plates  which  he  executed  entirely  with  the 
graver  are  not  considered  equal  to  those  in  which 
he  introduced  the  point.  His  drawing  shows  a 
perfect  acquaintance  with  the  human  figure,  and 
is  very  correct.    The  principal  part  of  his  prints 

are  after  the  pictures  of  Carlo     .  _.  •  _     .-•  — . 

Maratti.     The  following  is  a      /?  W       yt? 
list  of  the  more  important :        J-  V-ArA.«        iVj 


poetraits. 


1695. 


The  Cardinal  Saoripante ;  after  G.  B.  GauUi. 

The  Cardinal  Taurusi ;  after  the  same. 

The  Cardinal  Ottoboni ;  after  the  same. 

The  Cardinal  3?.  Barberini ;  after  0.  Maratti. 

The  Cardinal  Henri  de  la  Grange  d'Arquien ;  after  F. 

Desportes.     1695. 
The  Cardinal  Giuseppe  Aichinto  ;  after  Q.  Fasseri. 
The  Cardinal  Andrea  di  Santa  Croce  ;  after  the  same. 
The  Father  Francesco  Caraccioli ;  after  A.  Frocaceini, 

SUBJECTS   AFTER   CARLO   MAEATTI. 

Hagar  and  Ishmael  in  the  desert ;  etchinff. 

The  Sacrifice  of  Abraham;  etching. 

Bebekah  and  the  servant  of  Abraham ;  etching, 

David  with  the  head  of  Goliath ;  etching. 

Bathsheba  in  the  bath. 

The  Annunciation. 

The  Adoration  of  the  Magi ;  etching. 

The  Flight  into  Egypt ;  same. 

The  Repose  in  Egypt ;  octagon. 

Our  Saviour  on  the  Mount  of  Olives. 

The  Crucifixion. 

The  dead  Saviour  in  the  lap  of  the  Virgin,  with  the 
Marys  and  St.  John. 

The  Death  of  the  Virgin. 

The  Assumption  of  the  Virgin. 

The  Virgin  Mary  with  the  Infant  Jesus  distributing 
chaplets  to  nuns. 

Mary  Magdalene  penitent. 

The  Martyrdom  of  St.  Blaise. 

St.  Anthony  of  Padua  kissing  the  Infant  Jesus. 

St.  Philip  Neri. 

Janus,  first  King  of  Italy,  received  amongst  the  Gods. 

Romulus  and  Remus. 

Apollo  and  Daphne,  in  two  sheets. 

The  Pope  Innocent  XII.  on  his  throne,  at  his  feet  Heresy 
subdued,  and  the  Four  Quarters  of  the  "World  pros- 
trate. 

SUBJECTS   AFTER   DIFFERENT   ITALIAN    MASTERS. 

The  Triumph  of  Julius  Csesar,  a  series  of  ten  plates  > 

after  A.  Mantegna. 
The  Nativity ;  after  Fietro  da  Coriona. 
Five  etchings — Of  the  life  and  death  of  St.  Bibiana ; 

three  after  Fietro  da  Cortona,  and  two  after  Bernini. 
Hippomenes  and  Atalanta,  a  group  ;  after  Bernini. 
The  Rape  of    a  Sabine   woman  j    after  Giovanni  da 

Bologna. 
St.  Facundo ;  after  Giac.  Brandt. 
The  Birth  of  the  Virgin ;  after  Ann.  Carracoi. 
The  Scourging  of  St.  Andrew ;  after  Domeniohino, 
St.  Andrew  led  to  crucifixion ;  after  the  same. 
St.  Andrew  transported  to  Heaven  ;  after  the  same. 
St.  Luke  painting  the  portrait  of  the  Virgin;   after 

Mare  Antonio  Franceschini. 
The  Wrath  of  Achilles ;  after  G.  B.  Gautti ;  in  three 

sheets. 

ADDINET,  Philip,  of  a  French  family  which 
came  to  this  country  at  the  revocation  of  the 
Edict  of  Nantes,  was  bom  in  Soho,  London,  in  1766. 
He  was  apprenticed  to  John  Hall,  and  was  first 
employed  to  engrave  the  portraits  in  Harrison's 
'  Biographical  Magazine,'  &c.  Among  his  larger 
works  are  portraits  of  Sir  Benjamin  Hobhouse  and 
Sir  William  Domville,  and  an  excellent  engraving 
of  Barry's  unfinished  portrait  of  Dr.  Jolmson.  He 
died  in  London  in  1837. 

AUDOUIN,  PiBREB,  an  eminent  French  en- 
graver, and  pupil  of  Beauvarlet,  was  born  in  Paris 
in  1768,  and  died  there  in  1822.     He  engraved  for 

57 


Audran 


A  BIOGRAPHICAL  DICTIONAEY  OF 


Audran 


the '  Muste  PranQais,'  published  by  Laurent,  several 
of  the  finest  works  of  the  Italian  and  Dutch  masters. 
The  following  are  fine  specimens  of  his  talent : 

Jupiter  and  Antiope ;  after  Correggio, 

La  belle  Jardiniere ;  after  Maphael. 

The  two  portraits  called  Eaphael  and  his  Fencing- 
master  ;  ascribed  to  Raphael. 

The  Entombment  of  Christ ;  after  Caravaggio. 

Charity ;  after  Andrea  del  Sarto. 

Melpomene,  Erato,  and  Polyhymnia ;  after  Le  Sueur. 

Two  subjects,  after  Terborch ;  one  after  Mieris ;  and 
one  after  JSetscher, 

Marie  Therese  Charlotte,  Duchess  of  Angouleme ;  after 
Dermont. 

Madame  Le  Brun  ;  after  herself. 

Louis  XVIII.  in  his  coronation  robes ;  after  Le  Gros. 

AUDBAN  Family,    the, 


J._ 


Charles 
(1694-1674) 


Claude  I. 
(1697—1677) 


Germain 
(1631—1710) 


Claude  H.  GSrard 

(1639—1684)       (1640—1703) 


Claude  III.  Benoit  I.  Jean  Louis 

(1668—1734)  (1661—1721)  (1667—1766)  (1670—1712) 

Benoit  n. 
(1698—1772) 

AUDRAN,  Benoit,  'the  elder,' the  second  son 
of  Germain  Audran,  was  bom  at  Lyons  in  1661. 
He  received  his  first  instruction  in  the  art  of  en- 
graving from  his  father  ;  but  had  afterwards  the 
advantage  of  studying  under  his  uncle,  the  cele- 
brated Gerard  Audran.  Although  he  never  equalled 
the  admirable  style  of  his  uncle,  he  engraved  many 
plates  of  historical  subjects  and  portraits,  which 
have  justly  established  his  reputation.  His  style, 
like  that  of  Gerard,  is  bold  and  clear  ;  his  draw- 
ing of  the  figure  is  very  correct ;  and  there  is  a 
fine  expression  of  character  in  his  heads.  He 
was  received  into  the  Academy  in  1709,  and  was 
appointed  engraver  to  the  king,  with  a  pension. 
He  died  in  1721,  in  the  village  of  Ouzouer,  near 
Sens.  His  portrait,  after  J.  Vivien,  has  been  en- 
graved by  his  nephew  Benoit,  the  younger.  The 
following  are  his  principal  plates  : 

POETEAITS. 

Charles  le  Goux  de  la  Berchere,  Archbishop  of  Nar- 

bonne  ;  after  L.  de  Boulogne. 
Jean  Baptiste  Colbert ;  after  C.  Lefebvre  ;  oval. 
Joseph  Clement  of   Bavaria,  Elector  -  Archbishop  of 

Cologne  ;  after  J.  Vivien. 
Henri  de  Beringhen ;    after  Nanteuil.     1710. 
Samuel  Frisching,  General  of  the  Swiss :  after  J.  Saber 

1713. 
J.  F.  A.  Willading ;  after  J.  Suber.    1718. 
Equestrian  Statue  of  Louis  XTV.;  after  Besjardina  ; 

by  B.  and  J.  Audran. 

SUBJECTS  AFTBE   VARIOUS  MASTERS. 

The  Baptism  of  Jesus  Christ ;  after  Albani. 

David  with  the  Head  of  Goliath ;  after  a  picture  in  the 
Louvre,  formerly  attributed  to  Michelangelo,  but  now 
ascribed  to  Daniele  da  Volterra  ;  two  plates,  engraved 
in  1716  and  1717. 

Moses  defending  the  Daughters  of  Jethro;  after  Le 


The  Espousals  of  Moses  and  Zipporah ;  after  the  swine. 
The  Elevation  of  the  Cross ;  after  the  same.    1706. 
The  Descent  from  the  Cross ;  after  the  same. 
An  allegorical  subject — Holland  accepting  Peace ;  after 

the  same. 
Zephyrus  and  Flora ;  after  Ant.  Coypel. 
The  Pleasures  of  the  Garden ;  two  friezes ;  after  Mig- 

nard;  engraved  by  Benoit  and  Jean  Audran. 

58 


The  Saviour  with  Martha  and  Mary;  after  Le  Sueur. 
St.  Paul  preaching  at  Ephesus  ;  after  the  same. 
Alexander  drinking  the  Cup  which  his  Physician  pre- 
sents him ;  after  the  same. 
The  Accouchement  of  Marie  de  Medicis ;  after  Subens. 
The  Exchange  of  the  Two  Queens ;  after  the  same. 
[The  two  last  form  part  of  the  Luxembourg  Gallery.] 

Several  other  prints  by  this  artist  are  specified 
in  the  '  Dictionnaire  des  Artistes,'  by  Heineken, 
and  in  Meyer's  '  AUgemeines  Kiinstler-Lexikon  ' 
upwards  of  two  hundred  are  enumerated. 

AUDRAN,  Benoit,  called  '  the  younger,'  to  dis- 
tinguish him  from  his  uncle,  was  born  in  Paris  in 
1698,  and  died  there  in  1772.  He  was  the  son 
and  pupil  of  Jean  Audran,  and  engraved  in  the 
same  manner  as  his  father.  He  engraved  prints 
after  Paolo  Veronese,  Poussin,  Natoire,  Lancret, 
Wal;teau,  and  other  French  artists. 

AUDRAN,  Charles.  This  artist  was  the  first 
of  the  Audran  family  who  became  eminent  iu  the 
art  of  engraving.  He  was  bom  in  Paris  in  1594. 
In  his  boyhood  he  showed  a  great  disposition  for 
the  art ;  he  received  some  instruction  in  drawing, 
and  when  still  young  went  to  Rome  to  perfect 
himself:  there  he  produced  some  plates  that  were 
admired.  He  adopted  that  species  of  engraving 
that  is  entirely  performed  with  the  graver,  and 
appears  to  have  formed  his  style  by  an  imitation 
of  the  works  of  Cornells  Bloemaert.  On  his  return 
to  France  he  lived  for  some  time  in  Lyons,  but 
finally  settled  in  Paris,  where  he  died  in  1674, 
aged  80.  He  marked  his  prints,  which  are  very 
numerous,  in  the  early  part  of  his  life  with  a  C-, 
until  his  brother  Claude,  who  also  engraved  a  few 
plates,  marked  them  with  the  same  letter ;  he  then 
changed  it  for  K.,  as  the  initial  of  Karl.  The 
following  are  his  principal  prints  : 

portraits. 

Henri  of  Conde,  with  the  Pour  Cardinal  Virtues ;  JT. 
Audran,  sc. ;  oval. 

Andre  Laurent,  physician  to  Henry  IV. ;  oval. 

Pierre  Seguier ;  oval,  with  ornaments ;  after  Chauveau. 

An  allegorical  subject,  of  two  Portraits,  with  a  Genius 
painting  a  third  Portrait ;  inscribed  on  the  pallet, 
mius  ex  duobus;  signed  C.  Audran,  fecit. 

subjects  after  different  masters. 

The  title  for  the  Gallery  of  the  Great  "Women,  repre- 
senting Anne  of  Austria  and  nineteen  other  eminent 
women,  with  a  subject  from  their  life  in  the  back- 
ground ;  after  Fietro  da  Cortona. 

The  Annunciation ;  inscribed  Spiritus  Sanctus,  fe, ; 
after  Lodovico  Carracci,  incorrectly  attributed  on  the 
plate  to  Annibale  ;  very  fine ;  it  is  the  picture  in  the 
Cathedral  at  Bologna. 

The  Baptism  of  Christ ;  small  oval ;  after  Ann.  Car- 
racci; no  name. 

St.  Francis  de  Paula;  after  Mellin  ;  marked  Oarl.  Au- 
dran, so. 

The  Stoning  of  Stephen ;  after  Palma  '  the  younger! 

The  Conception  of  the  Virgin  Mary ;  after  Stella. 

The  Nativity ;  after  the  same. 

The  Holy  Family,  with  St.  Catharine  and  Angels;  after 
the  same  ;  fine. 

The  Virgin  and  Infant  Jesus,  St.  John  presenting  an 
Apple,  and  St.  Catharine  kneeling;  after  Titian; 
very  fine. 

The  Virgui  Mary  and  Infant  Jesus  treading  on  the 
Serpent ;  after  G.  L.  Valesio. 

A  Thesis,  representing  Religion  as  the  true  Knowledge ; 
inserih^i  Nonjudicamus,  Sjc;  after  C.  Vignon. 

St.  Francis  de  Paula  in  ecstasy  before  the  Sacrament ; 
after  S.  Vouet. 

Frontispiece  for  a  Book,  Fame  holding  the  Portrait 
of  Cardiaal  Mazarin ;  after  the  same. 

The  Assumption  of  the  Virgin-  after  Domeniehino; 
very  fine. 


Audrau 


PAINTERS  AND  ENGRAVERS. 


Audrau 


In  Dr.  Meyer's  '  Kiinstler-Lexikon '  is  a  list  of 
223.  of  his  works. 

AUDRAN,  Claude,  'the  eldest,' the  brother  (or, 
as  some  say,  the  cousin)  of  Charles,  was  born  in 
Paris  in  1597.  After  receiving  some  instruction 
from  Charles,  he  removed  to  Lyons,  where  he 
died  in  1677.  Whether  he  visited  Rome  or  not  is 
uncertain.  His  engravings,  which  are  signed 
either  Claude  Audran,  or  CI.  Audran,  are  executed 
after  the  manner  of  Cornells  Cort  and  F.  Villa- 
mena.  They  are  chiefly  portraits  and  allegories. 
He  left  three  sons,  Germain,  Claude  the  younger, 
and  Gerard. 

AUDRAN,  Claudk,  'the  younger,'  the  second  son 
of  Claude  I.,  was  born  at  Lyons  in  1639.  He  studied 
drawing  with  his  uncle  Charles  in  Paris,  and  sub- 
sequently went  to  Rome.  On  his  return  he  was 
engaged  by  Le  Brun  at  Paris,  and  assisted  him  in 
his  pictures  of  the  '  Passage  of  the  Granicus,'  the 
'  Battle  of  Arbela,'  and  in  many  other  of  his  works ; 
and  was  an  imitator  of  his  style.  He  painted  also 
in  fresco,  under  the  direction  of  Le  Brun,  the 
chapel  of  Colbert's  Ch&teau  at  Sceaux,  the  gallery 
of  the  Tuileries,  the  grand  staircase  at  Versailles, 
and  other  works.  He  drew  well,  and  had  great 
facility  of  eexcution.     He  died  in  Paris  in  1684. 

AUDRAN,  Claude,  called  '  the  third,'  to  dis- 
tinguish him  from  his  grandfather  and  his  uncle, 
was  born  at  Lyons  in  1658.  He  was  the  eldest 
son  of  Germain  Audran,  from  whom  he  received 
instruction  in  art;  he  studied  also  under  his  uncles, 
Claude  II.  and  Gerard.  He  was  appointed  cabinet 
painter  to  the  king ;  and  also  held  for  twenty-nine 
years  the  sinecure  office  of  keeper  of  the  Luxem- 
bourg Palace,  where  he  died  in  1734.  He  painted 
in  oil  and  frescoes  in  several  of  the  royal  resid- 
ences of  Prance.  The  '  Twelve  Months,'  which  he 
executed  for  tapestry  for  the  king,  were  engraved 
by  his  brother  Jeaii.  Claude  Audran  was  instructor 
to  the  celebrated  painter  Watteau. 

AUDRAN,  GiRAED,  the  third  son  of  Claude  I., 
was  born  at  Lyons  in  1 640.  After  learning  the  first 
principles  of  design  and  engraving  from  his  father 
and  from  his  uncle  Charles,  he  was  sent  to  Paris, 
and  received  instructions  from  Le  Brun,  who  gave 
him  some  of  his  pictures  to  engrave.  He  after- 
wards, in  1667,  visited  Rome  for  improvement, 
and  he  is  said  to  have  studied  under  Carlo  Maratti. 
During  a  residence  there  of  three  years,  he  executed 
some  plates  which  gained  him  great  reputation, 
particularly  a  portrait  of  Pope  Clement  IX.  The 
fame  of  Gerard  Audran  induced  Louis  XIV.  to 
invite  him  to  return  to  Paris  ;  and  soon  after  his 
arrival  he  was  appointed  engraver  to  the  king, 
with  a  considerable  pension,  and  apartments  in  the 
Gobelins.  He  now  applied  himself  with  great  as- 
siduity, and  renewed  the  connection  with  the  cele- 
brated painter  Charles  Le  Brun,  whose  principal 
works  are  the  subjects  of  some  of  his  finest  plates. 
'  The  Battles  of  Alexander '  will  ever  be  regarded 
as  a  lasting  monument  of  their  fame.  About  the 
year  1675,  he  apparently  paid  a  second  visit  to 
Rome,  for  his  '  Four  Cardinal  Virtues,'  after  the 
picture  by  Domenichino,  in  St.  Carlo  a'  Catinari,  at 
Rome,  are  signed, '  G.  Audran  sculp.  Romae,  1675.' 
He  died  at  Paris  in  1703,  aged  63.  The  name  of 
this  distinguished  engraver  is  familiar  to  every 
admirer  of  the  art,  which  he  may  be  said  to 
have  carried  to  the  highest  pitch  of  perfection, 
particularly  in  bis  large  plates  of  historical  sub- 
jects. The  following  is  a  list  of  his  principal 
works:  they  are  signed  variously  G.  A.  F. :  G.  Au. 


f.:  Gir.  Audran:   Ge  Audran:   and  Gerardus 
Audran. 

POETKAITS  AND  SUBJECTS  FBOM  HIS  OWN  DESIGNS. 

Pope  Clement  IX.,  of  the  family  of  EospigUosi. 

Andrea  Argoli  of  Padua. 

Samuel  Sorbiere ;  engraved  at  Rome  in  1687. 

Henri  Amauld,  Bishop  of  Angers. 

Benoit  Langlois,  Capuchin. 

Fran9ois  du  Quesnoy,  called  Fiamingo,  sculptor. 

St.  Paul  preaching  at  Athens,  vignette ;  inscribed  Non 
enim,  S;c. 

Wisdom  and  Abundance,  above  two  Genii  with  a  Ban- 
ner ;  inscribed  Zouis  le  Grand.    Frontispiece,  1680, 

SUBJECTS  FKOM  VARIOUS  ITALIAN  MASTERS. 

.fflneas  saving  his  father  Auohises  ;  after  Dommichitto, 

The  Mystery  of  the  Eosary ;  after  the  same. 

The  Martyrdom  of  St.  Agnes ;  after  the  same. 

The  Temptation  of  St.  Jerome ;  after  the  same. 

The  Four  Cardinal  Virtues,  from  the  paintings  in  the 

church  of  St.  Carlo  a'  Catinari,  at  Rome,  representing 

Justice,  Temperance,  Prudence,  and  Fortitude ;  after 

the  same.    1675. 
Two  friezes,  St.  Paul  preaching,  and  the  Descent  of  the 

Holy  Ghost,  on  one  plate ;  after  Pietro  da  Cortona. 
Sixteen  prints — Of  the  History  of  .fflneas,  in  the  Pam- 

phili  Gallery ;  after  the  same. 
Three  plates — Of  the  Triumph  of  David,  in  the  Sac- 

chetti  Palace ;  after  the  same. 
The  Death  of  St.  Francis ;  after  Ann.  Oarracei. 
The  Martyrdom  of  St.  Sebastian ;  after  the  same. 
The  Temptation  of  St.  Anthony ;  after  the  same. 
The  Discovery  of  Achilles  disguised ;  after  the  same. 
St.  Hyacinth  ;  an  etching ;  after  Guereino. 
The  Magdalene,  half  length ;  after  Guido. 
St.  Peter  walking  on  the  Sea ;  after  Lanfra/noo. 
The  Nativity,  a  small  plate ;  after  a  drawing  by  Talma 

'  the  younger! 
Thirteen  Hieroglyphical  Figures ;  after  Saphael,  in  the 

Vatican. 
Fourteen  plates,  called  Emblems,  or  Cupid  and  Psyche  ; 

after  Saphael;  in  a  loggia  in  the  Famese  garden; 

dedicated  to  Charles  le  Brun. 
Moses  ar.d  the  Burning  Bush ;  after  Saphael. 
Paul  and  Barnabas  at  Lystra ;  (tfter  the  same. 
The  Death  of  Ananias ;  after  the  same. 
The  Descent  of  the  Saracens  in  the  Port  of  Ostia ; 

from  a  drawing  by  Saphael ;  etching,  without  his 

name. 
The  Clemency  of  Scipio;  after  a  drawing  by  Saphael; 

etching,  without  his  name. 
St.  Ignatius  beaten  by  Demons;  after  a  drawing  by 

SubenSj  and  not  after  Saphael,  as  expressed  on  the 

plate  ;  it  is  St.  Ignatius,  and  not  St.  Paul. 
Jesus  Christ  giving  the  Keys  to  St.  Peter  in  presence 

of  the  Apostles ;  a  fine  etching ;  JJ.  K.  inv.,  G.  Au., 

sc. ;  very  scarce. 
Silenus  drmking ;  after  Giulio  Somano  ;  etching. 
The  Rape  of  Deianeira ;  after  the  same. 
Ganymede ;  after  Titian  ;  an  octagon. 

SUBJECTS   FBOM   VARIOUS   FRENCH   MASTERS. 

Moses  taken  out  of  the  Eiver  Nile ;  after  N.  Poussin  ; 

engraved  by  Benoit  and  Jean  Audran,  and  retouched 

by  Gerard. 
St.  John  baptizing  the  Pharisees  in  the  Jordan ;  after 

N.  Poussin  ;  two  sheets ;  very  fine. 
The  "Woman  taken  in  Adultery ;  after  the  same;  fine. 
St.  Frances,  a  Roman  Saint,  kneefing  before  the  Virgin 

Mary ;  after  If.  Poussin  ;  copied  from  a  print  by  P. 

del  Po. 
The  Flight  of  Pyrrhus ;  after  the  same;  in  two  sheets ; 

fine. 
Coriolanus  appeased  by  his  Family ;  after  the  same. 
Furius  Camillus  delivering  up  the  Schoolmaster  to  his 

Pupils ;  large  plate ;  after  the  same. 
Rinaldo  and  Aimida;   after  the  same,  engraved  by 

Gerard,  assisted  by  Jean  and  Benoit  Audran. 
Daphne  changed  into  a  Laurel ;  after  the  same. 
Narcissus ;  after  the  same. 
The  Empire  of  Flora ;  after  the  same. 
The  Plague  at  Rome ;  after  the  same. 

59 


Audran 


A  BIOGRAPHICAL  DICTIONARY  OF 


Audran 


Time  discovering  Truth ;  after  N.  Foussin  ;  a  ceiling. 

The  Plague ;  c^ter  F.  Mignard.  In  the  first  impres- 
sions of  this  plate,  the  figure  in  the  clouds  is  Juno 
with  a  Peacock ;  in  the  latter  the  figure  is  changed 
to  that  of  the  destroying  Angel. 

Christ  bearing  His  Cross ;  after  the  same. 

Three  plates — Of  the  ceiling  of  the  lesser  Gallery  at 
Versailles ;  after  the  same  ;  Apollo  and  the  Muses, 
Prudence  and  Vigilance. 

Six  plates — Of  the  ceiUng  of  the  Val  de  Grilce,  repre- 
senting the  Felicity  of  the  Blessed. 

The  Martyrdom  of  St.  Laurence  ;  after  Le  Sueur. 

The  Martyrdom  of  St.  Gervais  and  St.  Protais ;  after 
the  same 

The  Aurora;  after  the  same;  inscribed  Lueerna  pe- 
dibus. 

Time  and  Truth  dispersing  the  Clouds  of  Ignorance  ; 
after  L.  Testellin. 

Pharaoh's  Host  destroyed  in  the  Red  Sea;  after  F. 
Verdier. 

Flight  into  Egypt ;  after  the  same. 

Battle  of  the  Saracens ;  after  Botwguignon, 

Taking  of  the  Town  of  Damietta. 

The  Judgment  of  Solomon ;  after  Ant.  Coypel. 

The  Deluge ;  after  la  Fage. 

The  Passage  of  the  Red  Sea ;  after  the  same. 

The  Eape  of  Proserpine ;  after  the  marble  by  Girardon. 

Moses  and  the  Burning  Bush ;  after  Chas.    le  Brun. 

The  Descent  of  the  Holy  Ghost ;  after  the  same. 

The  Stoning  of  Stephen ;  after  the  same. 

Four  sheets — Of  the  triumphal  Entry  of  Constantine 
into  Rome ;  after  the  same. 

Five  sheets  —  Of  the  Ceiling  of  the  Chapel  of  the 
chateau  of  Sceaux ;  after  the  same  ;  very  fine. 

Six  sheets — Of  the  Pavilion  of  Sceaux,  called  the 
Pavilion  of  Aurora ;  dedicated  to  Louis  XIV. ;  after 
the  same. 

Thirteen  large  sheets,  making  together  the  four  prints 
of  the  Battles,  &c.  of  Alexander ;  after  le  Brun.  1. 
The  Passage  of  the  Granicus.  2.  The  Defeat  of 
Darius  at  Arbela.  3.  Porus  brought  before  Alex- 
ander after  his  Defeat.  4.  The  triumphal  Entry  of 
Alexander  into  Babylon. 

To  these  are  added,  The  Family  of  Darius ;  engraved 
by  Gerard  Edelinck,  and  noticed  under  his  name. 

[The  best  impressions  of  these  superb  prints  are  those 
marked  with  the  name  of  Goyton,  the  printer.] 

AUDEAN,  Germain,  who  was  born  at  Lyons 
in  1631,  was  instructed  by  his  uncle  Charles  in  the 
art  of  engraving  in  Paris.  He  died  at  Lyons  in 
1710.  His  merit  was  considerable,  although  very 
inferior  to  that  of  some  others  of  his  family.  Ger- 
main had  four  sons,  Claude  III.,  Benoit  I.,  Jean, 
and  Louis.  He  engraved  several  plates,  consisting 
of  portraits,  and  a  variety  of  ornaments,  ceilings, 
and  vases,  amongst  which  are  the  following : 

Portraits  of  Charles  Emmanuel  II.  of  Savoy,  and  his 

wife,  in  an  oval ;  after  F.  de  la  Monce. 
Portrait  of  Cardinal  de  Bicheheu,  in  an  oval. 
Portrait  of  Theophile  Eeynauld.     1663. 
Six  sheets  of  Ceilings ;  after  George  Charmeton. 
Six  ornaments  of  Vases ;  after  N.  Robert. 
A  book  of  Friezes ;  after  Za  Fage. 
A  book  of  views  in  Italy ;  after  Fancus. 
Six  Landscapes ;  after  Gaspar  Foussin. 
Thirty-one  designs — Of  Fountains,  Friezes,  &c. ;  after 

Le  Brun. 

His  plates  are  signed  with  his  surname,  and 
vi'itli  his  Christian  name,  in  the  following  forms : 
O :  Ger :  Germ  :  and  in  full. 

AUDRAN,  Jean,  the  brother  of  Benoit,  and  the 
third  son  of  Germain  Audran,  was  born  at  Lyons 
in  1667  ;  having  learned  the  rudiments  of  the  art 
under  his  father,  he  was  placed  under  the  care 
of  his  uncle,  the  famous  Gerard  Audran,  in  Paris. 
Before  he  was  twenty  years  of  age  he  displayed 
uncommon  ability,  and  became  a  very  celebrated 
engraver.     In  1706  he  was  made  engraver  to  the 

60  ' 


king,  with  a  pension  and  apartments  at  the  Gobe- 
lins. The  hand  of  a  great  master  is  discernible  in 
all  his  plates ;  and  without  having  attained  the 
extraordinary  perfection  of  Gerard  Audran,  his 
claim  to  excellence  is  very  considerable.  He  died 
in  1756.     His  principal  prints  are : 

POETEAITS. 

Louis  XV. ;  full  length  ;  after  Gohert. 

Maximilian  Emmanuel,  Elector  of  Bavaria,  with  his 
Page  ;  full  length  ;  after  Vivien. 

Clement  Augustus  of  Bavaria,  Elector-Archbishop  of 
Cologne ;  after  the  same. 

The  Duke  d'Antin ;  after  Eiaaud. 

The  Abbe  Jean  d'Estrees ;  after  the  same. 

Victor  Marie,  Duke  d'Estrees,  Marshal  of  France;  after 
Zargilliere. 

Cardinal  Pietro  Ottoboni ;  after  Trevisani. 

Fran9ois  de  Salignac  de  la  Motte  Fenelon,  Archbishop 
of  Cambray  ;  after  Vivien. 

Francjois  Pierre  Gillet ;  after  Tortebat. 

Francois  Robert  Secousse,  sitting ;  after  Figaud. 

Peter  Paul  Rubens ;  after  Van  Dijck  ;  for  the  Luxem- 
bourg Gallery. 

Noel  Coypel,  Painter  to  the  King ;  after  Coypel. 

Antoine  Coysevox,  Sculptor  to  the  Kmg ;  after  Rigaud. 

[The  two  last  were  engraved  by  Audran  for  his  recep- 
tion at  the  Academy  in  1708.] 

SnSJEOTS    AFTBB   VAEIOUS   MASTEES. 
Our  Saviour  preaching  to  the  Multitude ;  after  Raphael. 
The  Infant  Savioxir  regarding  the  Cross  presented  by 

Angels ;  after  Albani. 
The  Nativity ;  after  Fietro  da  Cortona  ;  oval. 
The  Good  Samaritan ;  after  Ann.  Carracci  ;  arched. 
St.  John  administering  the  Sacrament  to  the  Virgin; 

after  Lodovico  Carracci. 
I'Our  Saviour  on  the  Moimt  of   Olives ;  after  Domeni- 

chino. 
St.  Andrew  led  to  Crucifixion ;  after  Gnido. 
The  Martyrdom  of  St.  Peter ;  after  Guido  ;  on  the  plate 

improperly  called  after  Domenichino. 
St.  Paul  preaching  at  Athens ;   after  Ciro  Ferri ;  a 

small  frieze. 
The  Triumph  of  Galatea;  after  Carlo  Maratti;  for  the 

Crozat  Collection. 
The  Miracle  of  the  Loaves ;  after  Claude  Audran. 
Six  plates — Copies  of  the  large  Battles  of  Alexander; 

by  G.  Audran. 
St.  Augustine ;  after  F.  de  Champagne. 
Simeon  holding  the  Infant  Jesus ;  after  M.  Corneille. 
Moses  saved  from  the  Nile;  after  Ant.  Coypel. 
Jacob  and  Laban  ;  after  the  saine. 
Athaha  and  Joash ;  after  the  same. 
Esther  before  Ahasuerus ;  after  the  same. 
The  Resurrection ;  after  the  same. 
Cupid  and  Psyche ;  after  the  same. 
Our  Saviour  curing  the  Sick ;  after  Ant.  Dieu. 
Christ  bearing  His  Cross ;  after  the  same. 
The  Elevation  of  the  Cross ;  after  Van  Dijck. 
The  Crucifixion ;  after  the  satne. 
The  French  Parnassus ;  after  the  bronze  by  Gamier, 
The  Miraculous  Draught  of  Fishes ;  after  Jouvenet. 
The  Resurrection  of  Lazarus ;  after  the  sa/ms. 
The  Queen  Blanche  inspired  with  the  Holy  Spirit ;  after 

the  same. 
Acis  and  Galatea;  after  F.  Marot. 
Venus  punishing  Psyche ;  after  J.  M.  Nattier. 
Psyche  consoled  by  Cupid;  a,fter  the  same. 
The  dead  Christ,  with  the  Marys,  St.  John,  and  Nico- 

demus ;  after  Foussin. 
The  Rape  of  the  Sabines;   efter  Foitssin;  his  most 

esteemed  print. 
St.  Scholastica  at  the  point  of  Death ;  after  J.  Restout. 
Andromache  entreating  for  her  Son ;  after  L,  Silvestre, 
Henri  IV.  deliberating  on  his  future  Marriage ;  after 

Rubens. 
Henri  IV.  departing  for  the  German  War;  after  the 

same. 
The  Coronation  of  Marie  de  M^diois ;  after  the  same, 
[The  three  last  form  part  of  the  Luxembourg  Gallery.] 

AUDRAN,  Louis,  the  fourth  and  youngest  son 


Audran 


PAINTEES  AND  ENGRAVERS. 


Auvray 


of  Germain  Audran,  was  bom  at  Lyons  in  1670, 
and  instructed  in  engraving  by  his  uncle  Gerard. 
He  did  not  execute  many  plates,  but  assisted  his 
brothers  in  forwarding  theirs.  He  died  at  Paris  about 
1712.  He  engraved  some  copies  of  the  large  plates 
executed  by  his  relatives.  There  is  a  set  of  seven 
middle-sized  plates  by  him  of  the  '  Seven  Acts  of 
Mercy,'  after  Bourdon.  He  also  engraved  after 
the  works  of  Le  Brun,  Poussin,  and  other  French 
painters. 

AUDRAN,  Pbospek  Gabeiel,  the  grandson  of 
Jean  Audran,  born  in  Paris  in  1744,  was  a  pupil 
of  his  uncle  Benoit  II.,  but  having  no  vocation 
for  art,  he  abandoned  it  for  the  law.  He  after- 
wards became  teacher  of  Hebrew  in  the  College 
de  France,  which  office  he  retained  until  his  death 
in  1819.     He  etched  some  studies  of  heads. 

AUER,  JoHANN  Paul,  who  was  born  at  Nurem- 
berg in  1636,  studied  from  1654  to  1658  under 
Georg  Christoph  Bimmart  at  Eatisbon.  In  1660 
he  went  to  Venice,  and  there  received  instructions 
from  Pietro  Liberi.  He  then  went  to  Rome,  where 
he  stayed  upwards  of  four  years,  and  thence 
through  Turin  and  Lyons  to  Paris,  and  so  home 
to  Nuremberg  in  1670.  He  died  in  1687.  Auer 
painted  historical,  landscape,  and  genre  pictures, 
besides  portraits  of  many  famous  personages,  for 
which  he  was  very  celebrated. 

AUERBACH,  Johann  Gottfeibd,  was  bom  at 
Miihlhausen,  in  Thuringia,  in  1697.  He  went  to 
Vienna,  where  he  subsequently  rose  to  great  fame 
as  a  portrait  painter.  He  was  court-painter  to  the 
Emperor  Charles  VI.,  and  also  to  the  Empress  Maria 
Theresa.  He  died  in  Vienna  in  1763.  In  the  Bel- 
vedere Gallery  there  is  a  portrait  of  Charles  VI. 
by  him :  he  also  painted,  in  1728,  the  heads  of 
Charles  VI.  and  Count  von  Althan,  in  the  large 
picture  by  Solimena,  in  the  same  gallery,  which 
represents  the  Emperor  receiving  from  the  Count 
the  inventory  of  the  Royal  Picture  Gallery.  A 
'  St.  Anne,'  by  Auerbach,  is  in  the  church  of  St. 
Margaret  in  Vienna.  He  engraved  a  plate  of  him- 
self painting  the  portrait  of  his  wife. 

AUERBACH,  Karl,  son  of  Johann  Gottfried 
Auerbach,  was  bom  at  Vienna  in  1723,  and  became, 
under  his  father's  instruction,  a  talented  painter  of 
portraits  and  history.  The  cathedral  of  St.  Stephen 
in  Vienna  possesses  an  altar-piece  and  a  ceiling- 
painting  by  him.  At  Hetzendorf  and  Innsbruck 
there  are  also  examples  of  his  art.  Karl  Auerbach 
died  in  Vienna  in  1786  (or  1788). 

AUGUSTIN,  Jean  Baptiste  Jacques,  a  minia- 
ture painter  in  enamel,  was  born  at  St.  Die  (Vosges), 
in  1759.  He  went  to  Paris  in  1781,  where  he 
struggled  against  the  bad  taste  then  prevailing,  and 
regenerated  the  almost  forgotten  art  practised  by 
Petitot.  In  1819  he  was  appointed  miniature 
painter  to  the  King,  and  in  1821  was  honoured 
with  the  title  of  Chevalier  de  la  Legion  d'Honneur. 
His  miniatures,  which  are  distinguished  by  purity 
of  design,  vigour  of  tone,  and  richness  of  colour, 
are  eagerly  sought  for  by  collectors.  Amongst 
the  finest  portraits  produced  by  him  are  those  of 
'Napoleon  I.,'  'The  Empress  Josephine,'  'Louis 
Buonaparte,'  '  Caroline  Murat,'  '  Louis  XVIII.,' 
'  The  Duke  of  Angouleme,'  '  Baron  Denon,'  '  Gi- 
rodet  the  Painter,'  'Lord  William  Bentinck; '  and 
especially  his  female  portraits  after  Greuze.  He 
died  of  cholera  in  Paris  in  1832. 

AUGUSTINI,  Jan,  who  was  bom  at  Groningen 
in  1725,  studied  under  Philip  van  Dijk.  He 
painted  flowers  with  some  degree  of  merit ;  and  his 


portraits  were  considered  to  possess  an  astonish- 
ing resemblance.  He  died  at  Haarlem  in  1773, 
according  to  Van  der  WOligen  and  Van  Eynden, 
although  Terwesten  says  he  was  still  living  there 
in  1776. 

AULNE,  De  l'.     See  Delaune. 

AUROUX,  Nicolas,  an  engraver,  who  was  born 
at  Pont-Saint-Esprit  (Gard),  worked  in  Lyons  and 
Turin  in  the  middle  of  the  17th  century.  Heineken 
speaks  of  four  portraits  by  him,  and  a  print  of  the 
'  Virgin  Mary  holding  the  Infant  Saviour,  with  St. 
John  kissing  His  foot.'  There  is  also  a  Frontis- 
piece by  him  to  the  second  volume  of  Daniel 
Sennert's  Opera  Tuiedica;  dated  1650. 

In  Meyer's  '  Kiinstler-Lexikon '  there  is  a  list  of 
30  engravings  by  him. 

AUSTIN,  RioHAED  T.,  who  flourished  in  London 
in  the  beginning  of  the  19th  century,  studied 
under  John  Bewick,  and  became  a  wood-engraver 
of  moderate  ability.  He  was  chiefly  employed 
by  the  booksellers.  He  executed  the  outs  for 
Linnaeus's  '  Travels  in  Lapland,'  published  in  1811, 
and  occasionally  painted  landscapes. 

AUSTIN,  Samuel,  was  in  early  life  a  banker's 
clerk  in  Liverpool.  In  1824  he  went  to  London 
and  joined  the  Society  of  British  Artists,  with 
whom  he  exhibited  for  three  yeais.  He  then,  in 
1827,  became  an  associate  member  of  the  Society 
of  Painters  in  Water  Colours,  and  contributed 
landscapes  and  sea-side  pictures  to  their  exhibi- 
tions, until  his  death  in  1834. 

AUSTIN,  William,  an  English  engraver,  bom 
in  London  in  1721.  He  was  instructed  in  the  art 
by  George  Bickham,  and  has  engraved  some  plates 
of  landscapes,  after  Van  der  Neer,  Euisdael,  and 
Zuccarelli.  His  principal  works  were  a  set  of  six 
plates  of  '  Views  of  Ancient  Rome,'  and  four  of  the 
'  Ruins  of  Palmyra.'    He  died  at  Brighton  in  1820. 

AUSTRIA,  Don  Juan  of.     See  Juan. 

AUTGUERS,  G.,  a  French  engraver,  who  resided 
at  Lyons  about  the  year  1623,  worked  chiefly 
for  the  publishers,  and  engraved  some  portraits 
and  other  book  plates,  which  are  very  indifferently 
executed. 

AUTISSIER,  Louis  Maeie,  who  was  born  at 
Vannes,  in  Brittany,  in  1772,  studied  art  under 
Vautrin,  and  then  passed  some  time  as  a  soldier. 
He  afterwards  settled  at  Brussels,  and  devoted 
himself  to  miniature  painting,  and  became  famous 
for  his  portraits.  The  following  years  of  his  li£e 
were  divided  between  Belgium,  Holland,  and 
France.  He  exhibited  works  at  Brussels,  Ghent, 
Antwerp,  Amsterdam,  and  Paris ;  and  was  much 
employed  in  painting  miniature  portraits  of  the 
sovereigns,  nobility,  and  celebrities  of  Belgium 
and  the  Netherlands.  Autissier  occasionally  exe- 
cuted historical  works  also  in  miniature.  He  died 
at  Brussels  in  1830.  At  one  time  of  his  life  he 
adopted  the  Christian  names  of  Jean  Franjois, 
which  his  father  bore. 

AUTEEAU,  Jacques,  a  French  portrait  painter 
and  dramatic  poet,  was  born  in  Paris  in  1657.  He 
died  in  1745.  His  portrait  of  himself  is  in  the 
Musee  of  Versailles. 

AUTREAU,  Louis,  the  son  of  Jacques  Autreau, 
painted  portraits  and  genre  subjects.  He  was 
bom  about  1692  in  Paris,  where  he  died  in  1760. 
It  is  doubtful  whether  some  portraits  are  by  the 
father  or  by  the  son. 

AUVRAY,  Joseph  P^lix  Henri,  a  French  his- 
torical painter,  was  bom  at  Cambrai  in  1800.  He 
was  a  pupil  of  Momal  in  Valenciennes,  and  after- 

61 


Auvray 


A  BIOGRAPHICAL  DICTIONARY  OF 


Aveline 


wards  of  Gros  in  Paris.  He  exhibited  in  1824, 
'  St.  Louis  a  Prisoner,'  and  in  1827,  '  Gautier  de 
Ch&tiUon  defending  St.  Louis  against  the  Saracens,' 
now  in  the  Museum  of  Cambrai ;  '  St.  Paul  at  Athens,' 
&o.    He  died  in  1833,  in  his  native  city. 

AUVRAY,  PiEEEB  Laurent,  a  French  engraver, 
who  was  bom  in  Paris  in  1736,  studied  the  art  of 
engraving  under  Cars.  He  practised  in  Paris  and 
in  Basle.  He  engraved  portraits  of  French  come- 
dians and  other  subjects. 

ADZOU,  Pauline,  nee  DesmarquSts,  a  distin- 
guished paintress  of  familiar  subjects  and  portraits, 
was  born  in  Paris  in  1775.  She  was  instructed 
by  Regnault ;  and  several  of  her  interesting  pic- 
tures, purchased  by  the  French  Government,  the 
Duchess  de  Berri,  and  the  Society  of  Friends  to 
the  Arts,  have  been  engraved.  Two  scenes  from 
the  Life  of  the  Empress  Marie-Louise,  by  her,  are 
at  Versailles.    Madame  Auzou  died  in  1835  in  Paris. 

AVAlSfZI,  Degli  (or  De  Avaoiis).     See  Degli 

AVANZI. 

.  AVANZI,  Giuseppe,  was  born  at  Perrara  in 
1645,  and  studied  under  Costanzo  Cattaneo.  He 
painted  many  pictures  for  the  churches  and  con- 
vents in  that  city,  which  are  particularly  noticed 
in  Guarini'  s  description  of  the  pictures  and  sculp- 
ture of  Ferrara.  In  the  church  of  the  Madonna 
della  Pieta  are  four  pictures  of  subjects  from 
the  life  of  St.  Gaetano,  and  in  the  church  of  San 
Domenico  is  the  '  Marriage  of  St.  Catharine,'  con- 
sidered his  best  work.  In  San  Giuseppe  are  two 
scenes  from  the  life  of  St.  Thekla,  the  '  Annuncia- 
tion,' and  '  Visitation  of  the  Virgin,'  scenes  from 
the  '  Life  of  Christ,'  and  other  pictures.  Numerous 
other  churches  in  Ferrara  possess  examples  of  the 
art  of  Avanzi,  who  was  one  of  Ferrara' s  best 
painters.     He  died  in  1718. 

AVANZI,  Jacopo,  (or  Da  Vanzo,)  of  Verona, 
has  long  been  confused  with  Jaoopo  degli  Avanzi 
of  Bologna;  but  the  remains  of  an  inscription 
in  the  Cappella  San  Giorgio  point  to  Verona  as 
the  birthplace  of  Avanzi.  He  painted  decor- 
ations, in  conjunction  with  Altichiero  da  Zevio, 
in  the  Cappella  San  Felice  and  the  Cappella  San 
Giorgio  in  the  church  of  Sant'  Antonio  at  Padua, 
in  1377.  It  appears  that  the  principal  frescoes 
in  the  Cappella  San  Felice  were  the  work  of  Alti- 
chiero ;  and  of  those  in  the  Cappella  San  Giorgio, 
which  were  recovered  from  oblivion  in  1837  by 
Dr.  E.  Forster,  the  part  to  be  assigned  to  Altichiero 
has  given  rise  to  much  dispute  ;  but  it  is  thought 
by  some  authorities  that  Avanzi  executed  the 
principal  portion.  The  frescoes  represent  the 
earlier  part  of  the  '  History  of  our  Lord,'  the 
'  Coronation  of  the  Virgin,'  the  '  Crucifixion,'  and 
'  Legends  of  St.  George,  St.  Catharine,  and  St. 
Lucy.'  They  prove  the  painter  to  have  been  an 
artist  of  no  common  genius,  and  Kugler,  in  his 
description  of  them,  speaks  of  his  art  as  being 
above  that  of  his  contemporaries.  Avanzi  also 
painted  two  triumphal  processions  in  a  public  hall 
of  Verona,  which  have  long  since  perished.  He 
died  about  the  end  of  the  14th  century. 

AVANZINO,  Nuoci,  called  from  his  birthplace 
'  Avanzino  da  Citta  di  Castello,'  was  born  in  1551. 
When  he  was  still  young  he  visited  Rome,  and 
became  the  pupil,  and  subsequently  assistant,  of 
Niccol6  Pommerancio.  During  the  pontificates  of 
Sixtus  V.  and  Clement  VIII.  this  painter  was  held 
in  great  esteem,  and  employed  in  the  loggie  of 
San  Giovanni  in  Laterano.  He  also  painted  many 
pictures  for   the    churches  in   Rome,    of  which 

62 


Baglioni  gives  a  particular  account.  Among  his 
best  works  may  be  considered  his  paintings  in 
fresco  in  San  Paolo  fuori  le  mura,  representing 
the  '  Miracle  of  the  Serpent  in  the  Isle  of  Malta,' 
the  '  Decollation  of  St.  Paul,'  and  his  '  Taking  up 
into  the  third  Heaven.'  Avanzino  died  at  Rome 
in  1629. 

AVECEDO,  Ceistobal,  a  Spanish  painter,  some- 
time scholar  of  Bartolom^  Carducho  at  Madrid. 
A  Murcian  born,  he  is  enumerated  with  the 
nobilities  of  the  city  by  the  native  poet,  Jacinto 
Polo  de  Medina.  He  painted  for  the  chapel  of 
the  College  of  San  Fulgencio,  in  Murcia,  a  large 
picture  of  that  saint  adoring  the  blessed  Virgin ; 
this,  with  other  -v^-orks  executed  for  convents,  gives 
a  favourable  impression  of  his  powers.  He  flour- 
ished in  the  beginning  of  the  18th  century. 

AVED,  Jacques  Andr^  Joseph,  who  was  bom 
at  Douai  in  1702,  received  his  first  instruction  in  art 
from  Bernard  Picart.  Aftersometimespentintravel- 
ling  in  the  Netherlands,  he  went  in  1721  to  Paris,  and 
entered  the  studio  of  A.  S.  Belle.  At  that  time  he 
enjoyed  the  friendship  of  Carle  van  Loo,  Boucher, 
Chardin,  and  other  celebrated  painters.  He  soon 
rose  to  great  fame  through  his  portraits,  which  he 
painted  finely  and  carefully.  In  1738  Rousseau 
sat  to  him  ;  in  1751  he  went  to  the  Hague,  and 
painted  the  portrait  of  William  IV.  Soon  after  he 
executed  the  portrait  of  Louis  XV.,  and  was  made 
painter  to  the  king.  Aved  exhibited,  at  intervals, 
at  the  Paris  Salons  from  1737  to  1759.  He  died  at 
Paris  in  1766.  A  portrait  by  him  of  the  Marquis 
de  Mirabeau  is  in  the  Louvre.  His  works  have 
been  engraved  by  Balechou,  L^pici^,  Mellini,  Daul^, 
and  others. 

AVEELEN,  Jan  van  den.   See  Van  den  Aveelen. 

AVELINE,  Antoinb,  a  French  designer  and 
engraver,  born  in  Paris  about  the  year  1691.  He 
was  probably  the  son  and  pupil  of  Pierre  Aveline, 
'the  elder,'  with  whom  he  has  been  confused  by 
Heineken,  Le  Blanc,  and  others.  Antoine  died  in 
Paris  in  1743.  He  engraved  a  number  of  plates  of 
landscapes,  and  views  of  the  palaces  and  chiteaux 
in  Prance  and  other  parts  of  Europe,  executed  in 
a  neat  and  agreeable  style.  The  following  are 
worthy  of  notice  : 

Innocence ;  after  F.  Boucher. 

Six  volumes  of  Ornaments  and  Figures  a  la  mode ;  after 

Mondon^jUs. 
Bight  "Views  of  French  Chateaux. 
Four  Views  of  French  Towns. 
Four  Plates  for '  Nouvelle  Description  de  la  Villa  de 

Paris,'  hy  Germain  BHce. 

AVELINE,  FEANgois  Antoine,  who  was  bom  in 
Paris  in  1727,  was  the  son  of  Antoine,  and  cousm 
and  scholar  of  Pierre  '  the  younger,'  but  did  not 
equal  him  in  talent.  He  worked  chiefly  for  the 
booksellers  at  Paris,  and  afterwards  removed  to 
London ;  but  either  had  not  sufScient  ability  or 
industry  to  succeed,  for  he  died  there  in  indigence 
in  1762.     We  have  the  following  plates  by  him : 

Neptune  calming  the  raging  waves ;  after  Boucher. 

The  Four  Seasons ;  copied  from  Pierre  Aveline. 

Chinese  figures ;  six  plates ;  after  Boucher. 

The  Chinese  Bark ;  after  the  same. 

The  Spanish  Musician ;  after  J.  Velsen. 

The  Flemish  Musician ;  after  O.  Tenters. 

View  of  a  Port  in  the  Levant ;  after  Vemet. 

Chinese  figures  and  subjects ;  six  plates :  after  Fillement. 
London,  1759.  ■>        •        f         >  J 

_  AVELINE,  Pierre,  '  the  elder,'  was  bom  in  Paris 
in  1660.  He  studied  under  Adam  PereUe,  and 
engraved  landscapes,  views  of  towns,  and  garden 


Aveline 


PAINTERS  AND  ENGRAVERS. 


Avice 


scenes  in  the  manner  of  his  master.  He  died, 
according  to  Marietta,  in  1722.  The  following  are 
some  of  his  best  plates : 

Nine  Costume  plates. 

Six  Sea-views  (with  Fauard) ;  after  J.  van  Beecq. 

Eighteen  Landscapes ;  marked  Aveliiie  inv :  etfec. 

Numerous  Views  in  Paris. 

Numerous  Views  of  French  Ch&teaoz. 

AVELINE,  PiBEEB  Alexandre,  '  the  younger,' 
a  French  designer  and  engraver,  was  bom  in  Paris 
in  1710.  He  was  a  nephew  of  Antoine  Aveline. 
He  was  instructed  in  the  art  by  Jean  Baptiste  de 
Poilly.  His  drawing,  though  not  very  incorrect,  is 
stifE  and  formal.  It  is,  however,  to  be  regretted 
that  he  did  not  make  a  better  selection  of  subjects 
for  the  exertion  of  his  talent,  and  that  he  employed 
a  great  portion  of  his  time  in  trifling  and  insig- 
nificant sketches.  He  died  in  Paris  in  1760.  The 
following  are  his  prints  most  worthy  of  notice  : 

SUBJECTS   FROM   HIS   OWN  DESIGNS. 

Four  plates  of  the  Seasons,  represented  by  Children. 

Five  Plates  of  the  Senses. 

Four  Plates  of  the  Quarters  of  the  World. 

Venus  at  her  Toilet. 

Bacchus  and  Anadne. 

SUBJECTS   AFTEE   DIFFERENT   MASTERS. 

The  Cardinal  de  Fleury,  accompanied  by  the  Virtues ; 

after  Chevallier. 
The  Vrath  of  Neptune ;  after  Albani ;  inscribed  Quos 

ego. 
Jupiter  and  lo ;  after  ScMavone;  for  Crozat  Collection, 
Diana  and  Actaeon ;  after  J.  Bassano;  for  the  same. 
The  infant  Moses  brought  to  the  Daughter  of  Pharaoh 

after  Gioraione. 
Departure  of  Jacob ;  after  CastiffUone;   \  for  the  Bres- 
Noah  entering  the  Aik ;  after  the  same;  ]  den  Gallery. 
The  Death  of  Seneca ;  after  Luea  Giordano. 
Christ  healing  the  Sick ;  after  Jowvenet, 
A  Landscape ;  after  Nicolaas  Berchem  ;  fine. 
The  fortunate  Accident ;  after  Yan  Falens. 
Folly;  after  Corn.  Visscher. 

The  Birth  of  Bacchus ;  after  F.  Boucher.  • 

The  Rape  of  Europa ;  after  the  same. 
Three  Subjects  of  Cupid ;  after  the  same. 
La  Belle  Cuisiniere ;  after  the  same. 
Venus  and  Cupid ;  after  the  same. 
The  prudent  Shepherdess ;  after  the  same. 
The  Bape  of  Helen ;  after  JJeshayes. 
.^neas  succoured  by  Apollo ;  after  the  same, 
Hans  Carvel's  King ;  i^ter  J.  L.  JLaurain. 
La  Place  Maubert,  Paris ;  after  Jeaurat, 
The  Flemish  Trio;  after  A.  van  Ostade, 
A  Dog,  with  Game ;  after  Oudry. 
A  pair — One,  a  Boy  with  a  Mouse ;  the  other,  a.  Girl 

with  a  Cat ;  after  C.  JParrocel. 
Diana  at  the  Bath ;  after  Watteau. 
The  Bape  of  Europa;  after  the  same. 
The  Charms  of  Life ;  after  the  same. 
Italian  Recreation ;  after  the  same. 

AVELLI.     See  Xanto  Avblli. 

AVELLINO,  GritJLio,  or  Giacinto,  d',  called  II 
Messinese,  was  a  Sicilian,  bom  at  Messina  about  the 
year  1646.  He  is  said  to  have  been  a  scholar  of 
Salvator  Rosa,  at  Naples,  and  painted  landscapes 
in  the  grand  style  of  that  master.  After  visiting 
Rome,  Venice,  and  other  important  cities  of  Italy, 
he  settled  at  Ferrara,  where  landscape  painting, 
since  the  time  of  Dossi,  had  been  almost  abandoned, 
and  was  much  employed  by  the  nobility  of  Ferrara, 
as  well  as  of  Cremona,  and  it  is  in  those  cities 
that  his  works  must  be  sought.  He  enriched  his 
landscapes  with  ruins,  architecture,  and  figures, 
spiritedly  designed,  and  boldly  touched.  Avel- 
lino's  works  are  highly  prized  and  much  sought 
after.     He  died  in  1700,  at  Ferrara. 


AVELLINO,  Onofrio.  According  to  Dominici 
this  painter  was  born  at  Naples  in  1674 ;  he 
studied  under  Luca  Giordano,  and  subsequently 
with  Francesco  Solimena.  He  afterwards  passed 
some  years  at  Rome,  where  he  painted  the  vault  of 
the  church  of  San  Francesco  di  Paola,  which  is 
considered  his  best  performance.  In  the  church  of 
Santa  Maria  di  Monte  Santo  is  an  altar-piece  by  this 
master,  representing  a  subject  from  the  Life  of  St. 
Albert.  He  died  in  1741.  Avellino's  copies  of  the 
works  of  his  masters  were  so  successful  that  they 
have  passed  for  originals. 

AVELLO,  Feanc.  Santo.    See  Urbino,  Rov.  da. 

AVEMANN,  Wolf,  a  native  of  Nuremberg,  was 
a  pupil  of  Hendrik  van  Steenwijk,  and  painted 
interiors  of  churches  and  other  buildings  in  the 
manner  of  his  master.  After  the  year  1620  he 
left  Nuremberg  and  went  to  Hesse,  where  he  met 
with  a  violent  death. 

AVERARA,  Giovanni  Battista,  (or  Averaria, 
or  Aveenaeia,)  was  bom  at  Bergamo  about  the 
year  1508.  The  name  of  his  instructor  in  art  is 
not  known,  but  he  formed  his  style  of  colouring 
from  the  works  of  Titian.  Ridolfi  mentions  some 
fresco  paintings  by  this  master  in  favourable 
terms,  particularly  two  pictures  in  the  church  of 
San  Francesco,  at  Bergamo ;  he  also  executed  works 
in  the  Palazzo  del  Podesta  in  that  city.  He  painted 
landscape  and  architecture,  and  was  greatly  cele- 
brated in  his  day  for  his  observance  and  skilful 
representation  of  nature,  not  only  in  the  scenery, 
but  in  the  figures  and  animals  with  which  he  orna- 
mented his  pictures.  The  beauty  of  his  tints,  the 
design  of  his  infant  figures,  and  the  nature  of  his 
landscapes,  all  show  that  he  aspired  to  the  Titian 
manner.  Muccio,  in  his  'Teatro  di  Bergamo,'  calls 
him  a  universal  genius.     He  died  in  1548. 

AVEECAMP,  Hendrik  van,  was  sumamed  '  de 
Stomme  van  Kampen '  ('the  Mute  of  Kampen'), 
— a  name  Immerzeel  tells  us  he  obtained  on  ac- 
count of  his  taciturnity.  He  was  probably  born 
at  Kampen  about  the  end  of  the  16th  century,  and 
lived,  it  is  said,  at  the  Hague.  He  produced  many 
pictures,  principally  landscapes  ornamented  with 
cattle,  and  marine  subjects ;  but  they  have  lost 
much  of  their  value  on  account  of  their  change  of 
colour.  His  favourite  subjects  were  winter  scenes. 
The  Dresden  Gallery  has  two  Dutch  Kermesses  on 
the  ice ;  and  other  paintings  by  him  are  in  the 
Galleries  of  Berlin,  Rotterdam,  Antwerp,  and  in 
many  private  collections  in  Germany.  His  draw- 
ings with  the  pen,  and  in  black  chalk,  are  still 
held  in  great  estimation.  They  are  met  with  in 
several  of  the  collections  of  Germany  and  Holland; 
the  Stadel  Collection  at  Frank-  t  TTT  j-  7- 
fort;  the  Albertina  Gallery  at  f  /  I  1  fAf' 
Vienna  ;  the  Berlin  Museum,  and  *)  J.  S 

elsewhere. 

AVERNARIA.     See  Aveeaea. 

AVIANI,  Feancesco,  a  native  of  Vicenza,  flour- 
ished about  the  year  1630.  He  excelled  in  paint- 
ing perspective  and  architectural  views,  which 
were  frequently  embellished  with  figures  by  Giulio 
Carpioni.  His  pictures  usually  represent  the  most 
remarkable  views  in  Venice.  He  also  produced 
some  landscapes  and  sea-ports. 

AVIBUS,  Gaspaeo  ab.  See  Osello. 
AVICE,  Chevalier  Henri  d'.  This  amateur 
etched  for  his  amusement  some  plates  in  a  slight, 
though  spirited  style,  after  N.  Poussin,  and  other 
masters  ;  of  these  the  most  esteemed  is  a  middle- 
sized  plate  of  the  '  Adoration  of  the  Magi,'  after 

63 


Aviguon 


A  BIOGRAPHICAL  DICTIONARY  OF 


Aybar 


Poussin.     Avioe  flourished  in  the  middle  of  the 
17th  century. 

AVIGNON,  MiGNAED  d'.     See  Mionard. 

AVILA,  Andb^s  Sanchez  d'.    See  Sanchez  d' 

AVILA. 

AVILA,  Francisco,  was  a  portrait  painter  of 
Seville,  who  flourished  in  the  1 7th  century,  and 
was  distinguished  for  the  suavity  of  his  colour 
and  the  truth  of  his  likenesses. 

AVILA,  Hernando  de,  painter  and  sculptor  to 
Philip  II.  of  Spain,  flourished  in  the  ndddle  of  the 
16th  century.  He  was  a  pupil  of  Francisco 
Comontes.  He  executed,  in  1568,  an  altar-piece 
of '  St.  John  the  Baptist,'  and  the '  Adoration  of  the 
Kings,'  for  the  cathedral  of  Toledo. 

AVISSE,  FRANgois  Remi  Joseph,  a  French  genre 
painter,  who  was  born  at  Douai  in  1763.  He 
studied  in  Antwerp,  and  died  in  his  native  town 
in  1843. 

AVOGADEO,  PiETRO,  was  a  native  of  Brescia, 
and  flourished  about  the  year  1730.  He  was  a 
scholar  of  Pompeo  Ghitti,  whose  style  he  followed 
with  a  mixture  of  Venetian  colouring,  especially 
in  the  carnations.  The  contour  of  his  figures  is 
graceful,  and  the  general  effect  of  his  pictures  is 
harmonious  and  pleasing.  His  principal  work  is 
the  'Martyrdom  of  SS.  Crispin  and  Crispinian,' 
in  the  church  of  San  Giuseppe,  at  Brescia.  In 
the  church  of  San  Francesco  are  five  pictures 
illustrating  the  'Life  of  St.  Peter,'  in  the  chapel 
dedicated  to  that  saint.  Works  hy  him  are  in 
other  churches  of  Brescia.  Lanzi  observes  that, 
in  the  opinion  of  many,  Avogadro  holds  the 
first  place  in  Brescian  art,  after  the  three  great 
painters  in  Brescia  —  Bonvicino,  Gambara,  and 
Savoldo. 

AVONSTERN.     See  Seutee,  Dan. 

AVONT,  Peetee  van,  was  baptized  at  Mechhn 
on  the  14th  of  January,  1600  ;  the  day  of  his  birth 
is  not  recorded.  His  teacher's  name,  too,  is  not 
known.  In  the  year  1622-23  he  was  made  free 
of  the  Guild  of  St.  Luke  at  Antwerp,  and  his  name 
occurs  at  intervals  in  its  records,  as  well  as  in  those 
of  the  city,  till  his  death,  which  took  place  at 
Deurne,  near  Antwerp,  in  1652.  He  painted  land- 
scapes, enriched  with  figures  well  drawn,  and 
touched  with  great  spirit.  He  frequently  decor- 
ated the  landscapes  of  Vinokenboons,  Jan  Brueghel, 
the  elder  and  the  younger,  Jan  Wildens,  Lodowijok 
de  Vadder,  and  other  painters.  Three  signed  land- 
scapes by  him  are  in  the  Belvedere  Gallery,  two 
with  '  Holy  Families,'  and  one  with  '  Flora  and 
Genii.'  The  Munich  Gallery  has  a '  Holy  Family,'  in 
a  landscape,  the  joint  production  of  Avont  and 
Jan  Brueghel,  the  elder.  The  Liechtenstein  Gallery 
also  has  three  pictures  by  Avont.  Antwerp,  in  its 
churches  and  private  collections,  has  examples  of 
his  art.  The  etchings  of  Avont  are  rare,  and  not 
all  which  are  ascribed  to  him  are  genuine.  The 
following  are  some  of  the  plates  ^  a  T  T  /A 
which  have  been  engraved  after  7  Ar  \f  ^-\ 
his  works :  >-     '  >     ¥         V 

The  Virgin  Mary,  with  the  Infant  Jesus,  St.  John,  and 

St.  Elisabeth. 
Tte  Virgin  suckling  the  Infant,  with  St.  John  and  an 

Angel. 
The  Virgin  and  Infant  in  the  Clouds ;  inscribed  Eegina 

C(Bli. 
The  Magdalene  ascending  to  Heaven. 
Twenty-four  small  plates  of  Children,  on  each  plate  a 

Child  and  an  Angel.     They  were  entitled  F<edopce- 

gnion,  and  engraved  by  SoUar. 
The  Four  Elements,  represented  by  Four  Children. 

64 


Two  Bacchanalian  subjects  of  Children ;  one,  Bacchus 
drawn  in  his  Gar ;  the  other,  Bacchus  carried  by  Four 
Children;  Fet.  van  Avont,  inv.,fee.,  et  exc. 

AVRIL,  Jean  Jacques,  '  the  elder,'  was  bom  at 
Paris  in  1744 ;  he  was  a  scholar  of  J.  G.  Wille, 
and  has  engraved  several  pljites,  which  are  de- 
servedly admired.  He  died  in  Paris  in  1831.  By 
him  we  have  about  540  pieces,  some  of  large 
dimensions,  among  which  are : 

La  Tierge  au  linge ;  after  Raphael. 

Mars  going  to  Battle ;  after  Rubens. 

Mars  returning  from  Battle ;  after 'the  same. 

A  Shepherd  and  Shepherdess ;  called  the  Croc-en-Jamie; 

after  the  same. 
Apollo  with  the  Seasons,  dancing ;  after  Roussin, 
Diana  and  Actseon ;  after  Albani. 
Diana  and  Callisto ;  after  the  same. 
Venus  revenging  herself  on  Psyche ;  after  De  Troy, 
Pygmalion  and  Galatea ;  after  Marillier, 
St.  Genevieve ;  after  0.  van  Loo. 
Fishermen  returning ;  after  YernH. 
Travellers  in  a  Storm  ;  after  the  same. 
The  Shipwreck;  dated  1775 ;  after  the  same. 
The  Double  Eeoompense  of  Merit ;  after  R.  A,  Wille, 

1784. 
French  Patriotism ;  after  the  same.    1788. 
The  Taiing  of  Courtrai ;  after  Van  der  Meulen.    1782. 
The  Passage  of  the  Khine ;  after  Berchem. 
Catherine  II.  on  her  Travels ;  after  F.  de  Meys.     1790. 
Ulysses  and  Penelope ;  after  Le  Barbier. 
Combat  of  the  Horatii  and  Curiatii;  after  the-same. 

1787. 

AVRIL,  Jean  Jacques,  '  the  younger,'  who  was 
born  in  Paris  in  1771,  was  the  son  of  J.  J.  Avril, 
the  elder.  He  studied  under  Le  Barbier,  Suvee, 
and  Bervic,  and  engraved  some  excellent  plates 
from  pictures  by  the  old  masters,  as  well  as  many 
plates  of  sculpture  in  the  Louvre,  jBor  the  '  Musee 
Franyais.'     He  died  in  Paris  in  1835. 

AXARETO,  Giovacchino.     See  Assereto. 

AXELT,  JoHANN.     See  Azelt. 

AXMANN,  Joseph,  an  engraver,  who  was  bom 
atBriinn  in  1793,  first  studied  drawing  and  painting 
uJider  J.  J.  Weidlich,  and,  later,  engraving  under 
Blascloke  at  Vienna.  He  died  at  Salzburg  in  1873. 
Among  his  works  are  : 

Landscape ;  after  J.  d'Arthois. 

Samson  ;  after  Van  Rijck. 

Moonlight  Scene ;  after  Van  der  Near. 

The  Styrian  Charcoal  Burners ;  after  Gauermann. 

Madonna ;  after  Murillo. 

Francis  I.,  Emperor  of  Austria;  after  Schiavone,  and 

after  Schwager, 
Elizabeth,  Empress  of  Austria ;  after  Schwager. 

AXTMANN,  Leopold,  a  clever  animal  painter, 
born  at  Fulnek,  in  Moravia,  in  1700,  was  the  pupil 
of  John  George  Hamilton  of  Vienna,  and  rivalled 
him  in  reputation.  He  settled  at  Prague,  and  died 
there  in  1748.  He  excelled  in  painting  dogs  and 
horses  ;  there  are  several  good  pictures  By  him  in 
Bohemia. 

AYALA,  BeenabjS,  an  historical  painter,  who 
was  bom  at  Seville  in  the  beginning  of  the  17th 
century,  studied  under  Zurbaran,  and  imitated 
his  manner  in  his  tints  and  draperies.  No  doubt 
many  of  his  pictures  are  now  mistaken  for  the 
work  of  his  master.  He  was  one  of  the  founders 
of  the  Academy  at  Seville  in  1660,  and  was  a 
member  of  it  until  1671  ;  but  as  his  name  does  not 
appear  with  the  subscribers  to  the  statutes  in  1673, 
it  is  supposed  that  his  death  occurred  between 
those  years.  The  Museum  of  Seville  has  six  of 
his  works,  and  there  are  others  in  the  churches  of 
that  city  and  of  Madrid. 

AYBAE  XIMENEZ,  Pebro,  a  Spanish  painter» 


Ayerbe 


PAINTERS  AND  ENGRAVERS. 


Bacci 


•was  pupil  of  F.  Ximenez,  whose  style  he  imitated. 
He  painted  historical  subjects,  and  the  pictures  he 
produced  in  Calatayud,  in  1682,  are  praised  for 
their  composition,  design,  and  colour.  There  is  no 
account  of  him  after  that  year. 

AYERBE.     See  Akbos. 

AYLESFORD,  Henbage  Finch  fourth  Earl  of, 
previously  Lord  Guernsey,  who  was  bom  in  London 
in  17.51,  practised  art  as  an  amateur  with  much 
success.  He  was  an  honorary  exhibitor  at  the 
Royal  Academy  from  1786  to  1790.  His  works  are 
chiefly  water-colour  drawings  of  architectural  and 
rural  subjects:  he  also  executed  several  etchings. 
He  died  in  1812. 

AZEGLIO.    See  Tapaeelli  d'  Aziglio. 

AZELT,  JoHANN,  (or  Axelt,)  who  was  bom  in 
1654,  appears  in  Nuremberg  records  under  various 
names — Arzold,  Arzoldt,  and  Atzold.  He  seems 
to  have  confined  himself  almost  entirely  to  por- 
traits, which  are  but  indifiEerently  executed.  He 
engraved : 

The  Emperor  Joseph  I. ;  after  A.  Banneman. 

Georg  Friedrich,  Prince  of  "Waldeck. 

A  set  of  Portraits  of  the  Kings  of  Spain,  Himgarj-,  and 
Bohemia,  &c. ;  and  many  of  the  plates  in  Freher's 
Theatrum  Virorum  Bruditione  Clarorum. 

AZZERBONI,  Giovanni,  an  Italian  engraver, 
was  a  pupil  of  Guglielmo  Morghen.  He  worked 
at  Rome  towards  the  end  of  the  18th  century,  and 
appears  to  have  died  before  1810.  He  engraved 
'  The  Magdalene,'  after  Guercino. 

AZZOLINI,  Giovanni  Bernardo,  or  Bernardino, 
—  called  Mazzolini  or  Massolini  —  was  born  at 
Naples  about  the  year  1560.  He  went,  in  1610,  to 
Genoa,  where  there  are  several  of  his  works  in  the 
churches  and  convents,  and  in  private  collections. 
Two  pictures  by  him,  in  Genoa,  are  mentioned  by 
Soprani  as  works  of  great  merit:  the  one  an 
'Annunciation,'  painted  for  the  high  altar  of  the 
'  Monache  Turchine,'  and  the  other  a  '  Martyrdom 
of  St.  Apollonia,'  in  the  church  of  San  Giuseppe. 
Azzolini  also  worked  in  Naples  and  Rome.  He 
excelled  in  wax-work,  and  formed  heads  with  an 
absolute  expression  of  life. 


B 

BAADE,  Knud,  a  marine  and  landscape  painter, 
was  born  in  Skiold,  in  South  Norway,  in  1808,  and 
removed,  while  still  a  boy ,  with  his  family  to  Bergen, 
where  he  received  his-  first  instruction  in  art.  In 
1827  he  went  to  Copenhagen,  and  there  studied  at 
the  Academy  for  about  three  years,  when  want  of 
means  compelled  him  to  go  to  Christiania  and 
commence  portrait-painting :  thence  he  went  to 
study  in  Bergen,  where  the  mountain-topped  fiords 
and  rocky  bays  afforded  ample  subjects  for  his 
pencil — and  he  also  travelled  northward  to  Dront- 
heim  in  search  of  material  for  his  pictures.  In 
1836  he  was  persuaded  by  his  countryman,  Dahl, 
the  well-known  landscape  painter,  to  go  to  Dres- 
den, in  which  city  he  studied  for  three  years — 
returning  to  his  native  country  in  1839  on  account 
of  a  disease  in  his  eyes.  In  1846  he  went  to 
Munich,  and  soon  earned  as  a  landscape  painter 
a  reputation,  which  he  increased  year  by  year, 
executing  paintings  of  his  native  country  and  the 
scenes  around  his  native  coasts,  which  he  mostly 
depicted  with  moonlight  effects.  Though  but  an 
invalid,  he  laboured  at  Munich  'continually  until 
his  death,  which  occurred  in  that  city  in  1879. 


Baade  was  painter  to  the  Court  of  Sweden,  and  a 
member  of  the  Academy  of  Arts  at  Stockholm. 
The  following  are  among  his  best  works: 
Ohristiania.    Nat.  Gnllery.  "Wood  at  North  Kyst. 
London.  Saatli  Kensington  )  mi     Wreck 

Museum.        J 
Munich.         Pivfikothek.      Scene  from  Norse  Mythology. 
Stockholm,    Nat.  Gallery.    Ship  by  Moonlight. 

BAADER,  Amalie,  was  bom  at  Erding,  in 
Bavaria,  in  1763,  She  studied  engraving  under  J. 
Dorner,  the  director  of  the  gallery  at  Munich,  and 
practised  it  for  amusement,  not  as  a  profession. 
Her  mark,  an  A  and  B  interlaced,  is  found  on 
copies  after  Rembrandt,  G.  F.  Schmidt  of  Berlin, 
and  some  Italian  masters.  After  her  marriage  she 
was  known  by  her  husband's  name.  Van  Schat- 
tenhofer.     She  died  at  Munich  in  1840. 

BAAK  HATTIGH,  Jan,  a  painter  of  Utrecht, 
lived  in  the  middle  of  the  17th  century,  as  we  find 
by  a  picture  in  the  hospital  of  St.  Job  in  that 
city,  with  the  date  1642.  It  is  a  landscape  with 
figures  in  the  manner  of  Poelemburg,  and  ap- 
proaches so  near  to  that  master,  that  it  may  be 
concluded  he  was  one  of  his  scholars. 

BAAN,  J.  DE,  (or  Baen).     See  De  Baan. 

BABEL,  P.  B.,  a  French  designer  and  etcher, 
was  born  in  Paris  in  the  early  years  of  the  18th 
century  (perhaps  in  1720),  and  flourished  there  as 
late  as  1755.  He  is  said  to  have  died  in  1761. 
He  has  left  numerous  plates  of  ornamental  decora- 
tion— some  after  his  own  designs — chiefly  for  the 
embellishment  of  hooks.  Heineken  says  that  he 
was  also  a  goldsmith.  Among  his  productions 
are: 

The   plates   for    Blondel's  'Architecture    francaise.' 

1752-56. 
Seventy-two  vignette  illustrations,/}'^™  his  own  designs, 

for  '  Traite  de  perspective  a  i'usage  des  artistes,'  by 

B.  S.  Jeaurat.    Paris.    1750. 
Three  plates  of  a  Salon  for  the  Princess  Sartorinski,  of 

Poland;  after  J.  A.  Meissonnier. 
Seven  plates  of  decoration  for  the  H6tel  de  Soubise, 

Paris ;  after  Boffrand. 

BABUREN,  Theodoe  van,  (or  Babbuk,)  a  Dutch 
painter,  who  was  bom  in  1570,  was  a  scholar  of 
Pieter  Neefs.  He  painted  interiors  and  churches 
in  the  manner  of  that  master;  but  more  frequently 
made  choice  of  such  subjects  as  admitted  of  mirth 
and  conviviality ;  and  his  pictures  generally  repre- 
sent musical  assemblies,  card-players,  &c.,  painted 
in  a  free,  bold  manner,  in  which  his  drawing  is 
preferable  to  his  colour.  His  chef-d'oeuvre  is  an 
'  Entombment,'  in  the  style  of  Caravaggio,  in  San 
Pietro  in  Montorio,  at  Rome.  His  only  etching, 
and  this  is  rare,  is  from  this  picture.  He  died  at 
Utrecht  in  1624. 

BABYLONE.    See  Baebarj. 

BACAREEL.     See  Backeeeel. 

BACCARINI,  Jacopo,  was  born  at  Reggio  about 
the  year  1630.  He  was  a  scholar  of  Orazio  Talami, 
and  painted  history  in  the  style  of  that  master. 
Two  of  his  most  esteemed  pictures,  a  '  Repose  in 
Egypt,'  and  the  'Death  of  St.  Alexis,'  are  in  the 
church  of  San  Filippo  at  Reggio.    He  died  in  1682. 

BACCHIACCA,  II.     See  Dbeetini. 

BACCHIOCCO,  Caelo.  According  to  Averoldo 
this  painter  was  a  native  of  Milan.  That  author, 
in  his  '  Scelte  Pitture  di  Brescia,'  mentions  several 
of  the  pictures  of  this  master  in  the  churches  and 
convents  in  that  city,  particularly  in  the  church  of 
SS.  Giacomo  e  Filippo. 

BACCI,  Antonio,  a  native  of  Mantua,  or  of  Padua, 

65 


Bacciarelli 


A  BIOGRAPHICAL  DICTIONARY  OF 


Backhuizen 


was  born  about  1600.      He  was   a   still-life  and 
flower  painter,  and  was  living  at  Venice  in  1663. 

BACCIARELLI,  Maeoellci,  was  born  at  Rome 
in  1731,  and  studied  under  Benefial.  In  1750  he 
was  called  to  Dresden,  where  he  was  employed  by 
King  Augustus  III. ;  after  whose  death  he  went  to 
Vienna,  and  thence  to  Warsaw,  where  he  was 
much  patronized.  He  painted  a  set  of  the  Polish 
kings,  from  Boleslaus  Chrobry  downwards.  That 
of  Stanislaus  II.  (Stanislas  Augustus  Poniatowski) 
has  been  engraved  by  A.  de  Marcenay  de  G-huy, 
Kiistner,  and  A.  Fogg.  Bacciarelli  also  painted 
scenes  from  the  History  of  Poland.  He  died  at 
Warsaw  in  1818. 

BACCIO  DELLA  PoHTA  (Fra  Baetolommeo).  See 
Baetolommbo  di  Pagholo. 

BACCIOCCHI,  Fra  Feeeante.  This  painter 
was  a  monk,  of  the  order  of  the  Philippines.  Some 
of  his  works  are  noticed  in  Barotti's  account  of 
the  paintings  and  sculpture  at  Ferrara.  One  of 
his  best  pictures  was  the  '  Stoning  of  St.  Stephen,' 
in  the  church  of  San  Stefano  in  that  city ;  and 
in  Santa  Maria  del  SufEragio  there  was  a  'Holy 
Family'  by  him.  He  flourished  in  the  17th  cen- 
tury. 

Bach,  Karl  Daniel  Feiedeich,  who  was  born 
at  Potsdam,  in  1756,  studied  and  painted  in  Berlin, 
and  in  Italy,  where  he  was  much  influenced  by  the 
works  of  Raphael.  He  subsequently  became  pro- 
fessor in  the  Art  Academy  at  Breslau,  where  he 
died,  in  1826.  He  painted  historical  subjects,  por- 
traits, and  animals,  and  he  also  used  the  etching- 
needle. 

BACHELEY,  Jacques,  a  French  designer  and 
engraver,  was  born  at  Pont  1'  Eveque,  in  Normandy, 
in  1712.  He  studied  under  Philippe  le  Bas.  He 
was  a  member  of  the  Academy  at  Rouen,  where 
he  died  in  1781.  We  have  by  him  several  prints 
of  landscapes  after  the  Dutch  masters ;  amongst 
which  are  the  following  : 

View  in  Italy ;  after  Sart.  Breenherg. 

View  on  the  Tiber ;  after  the  same. 

View  of  the  Bridge  of  Voges ;  after  the  same. 

View  of  Rotterdam ;  after  Van  Goijen. 

The  Castle  of  Ryswick ;  after  Huisdael. 

View  near  Utrecht ;  after  the  same, 

A  Storm  on  the  Coast,  of  Greenland ;  after  J.  Peters. 

The  Redoubt  of  Schenck ;  after  B.  Beters. 

The  Mouth  of  the  Meuse ;  after  the  same. 

The  View  of  Havre  de  Grace ;  after  his  own  drawing. 

BACHELIER,  Jean  Jacques,  was  bom  in  Paris 
in  1724.  He  was  received  into  the  French  Academy 
as  a  flower  painter  in  1751,  and  again  as  an  historical 
painter  in  1763,  in  which  year  he  painted  the  '  Death 
of  Abel.'  His  picture  of '  Cimon  in  Prison,  nourished 
by  his  D&ughter,'  exhibited  in  1765  as  '  Charity  Ro- 
maine,'  was  allowed  to  replace  the  former  work  in 
the  Louvre.  In  1765  he  founded  a  school  of 
design  for  artisans,  still  in  existence.  He  died  in 
Paris  in  1805.  He  was  for  fourty-four  years 
Director  of  the  Porcelain  Factory  at  Sevres,  and 
was  also  Director  of  the  Academy  of  Painting, 
Sculpture,  and  Naval  Architecture  at  Marseilles 

BACHICHE,  Le.     See  Gaulli. 

BACHMANN,  Gboeg,  also  written  Pachmann,  was 
born  probably  in  1600,  in  Friedberg,  Bohemia.  He 
worked  for  many  years  in  Vienna,  and  the  churches 
of  that  city  contain  examples  of  his  art.  He  died 
there  in  1652.  Besides  pictures  of  sacred  history, 
Baohmann  also  executed  portraits  of  no  mean 
merit. 

BACICCIO.    See  Gaulli.  \ 

66 


BACKER,  Adkiaan,  the  nephew  of  Jacob  A. 
Backer,  was  bom  at  Amsterdam  in  1643.  He 
was  sent  to  Italy  when  he  was  young,  where  he 
studied  several  years,  and  acquired  a  taste  and 
correctness  of  design,  not  very  common  in  the 
artists  of  his  country,  which  is  discernible  in  all 
his  works.  His  most  esteemed  picture  is  in  the 
old  town-hall  at  Amsterdam,  representing  the  '  Last 
Judgment ;  '  it  is  an  ingenious  composition,  and  is 
painted  in  a  good  style.  A  '  Rape  of  the  Sabines,' 
signed  by  him  and  dated  1671,  is  in  the  Brunswick 
Gallery.  An  allegorical  picture  of  '  Painting, 
Peace,  and  Justice'  is  in  the  Antwerp  Museum. 
He  died  at  Amsterdam  in  1686. 

BACKER,  Bt.  (BAETH0L0M,a;u8,  or  Baeent),  was 
an  engraver,  who  flourished  at  Amsterdam  m  the 
middle  of  the  18th  century.  He  executed  plates 
of  portraits  and  views  in  a  neat,  finished  manner. 

BACKER,  Fbanz  de.     See  De  Backer. 

BACKER,  Jacob  A.,  or  Bakkee  (not  to  be  con- 
founded with  Jacob  de  Backer,  of  Antwerp), 
was  bom  at  Harlingen  in  1608  or  1609 ;  he  studied 
under  Lambert  Jacobsz  at  Leeuwarden,  and  then 
with  Rembrandt,  whose  studio  he  entered  between 
1632  and  1634.  His  chief  residence  was  at  Amster- 
dam, where  he  distinguished  himself  as  a  portrait 
painter.  Such  was  the  extraordinary  facihty  and 
rapidity  of  this  artist,  that  Houbraken  asserts  that 
he  finished  the  half-length  portrait  of  a  lady, 
dressed  in  a  troublesome  drapery  and  loaded  with 
jewels,  in  one  day.  He  also  acquired  great  reput 
ation  as  a  painter  of  history;  and  his  pictures 
were  extolled  in  the  poetry  of  Vondel,  his  country- 
man. He  died  in  1651,  at  Amsterdam,  in  the 
forty-second  year  of  his  age.  The  following  are 
some  of  his  most  important  works  : 

Amsterdam.  Tovm  hall.     Two  Archery-pieces ;  one  signed 
J.B.  1642. 
„       V.  der  Hoop  CoK.Syndics. 
Brunswick.  Museum.         Portrait  of  himself. 
„  „  Portrait  of  his  wife.  (?) 

,1  „  Sleeping  Nymph. 

Dresden.      Gallery.  Portrait  of  a  man  (with  mono- 

gram J.  A.  B.). 
jt  ),  Portrait  of  a  woman  (mth  mono- 

gram J.  A.  B.). 

He  also  etched  some  plates  from  his  own  designs. 

BACKER,  Jakob  de.    See  De  Backek. 

BACKER,  Nicolas  de.    See  Dk  Backee. 

BACKEREEL,  Gilles,  (or  Bakeeeel,)  who  was 
bom  at  Antwerp  in  1572,  studied  in  Italy  and  then 
returned  to  his  native  city,  the  churches  of  which 
formerly  possessed  a  number  of  his  works.  In 
the  Brussels  Museum  are  an  'Adoration  of  the 
Shepherds,'  and  the  '  Vision  of  St.  FeUx,'  and  in 
the  Vienna  Gallery  a- '  Hero  mourning  Leander.' 
Backereel's  name  is  also  frequently  distorted  into 
Baccarelles,  Bakanel,  Baccarelli,  Bacareel,  and 
Bakkarell.     The  date  of  hia  death  is  not  recorded. 

BACKEREEL,  Willem,  brother  of  GUles,  was 
bom  at  Antwerp  in  1570.  He  went  to  Italy  to 
study,  and  "stayed  there  until  his  death,  in  1600. 
He  painted  historical  subjects  and  portraits. 

BACKHUIZEN,  Hendeik  van  de  Sandb,  whose 
mother's  name  was  Van  de  Sande,  was  bom 
at  the  Hague  in  1795.  He  studied  under  J. 
Heijmans,  but  derived  most  of  his  art  instruction 
from  nature,  and  soon  became  noted  for  his  land- 
scapes, usually  containing  figures  or  cattle.  In 
1822  he  was  elected  a  member  of  the  Academy  at 
Amsterdam ;  and  in  1847  he  was  made  a  Knight 
of  the  Order  of  the  Lion.  He  died  in  his  native 
city  in  1860.     His  works  are  seen  in  the  public 


Backhuysen. 


PAINTERS  AND  ENGRAVERS. 


Badiale 


and  private  collections  of  Holland  and  Belgium. 
Two  winter-landscapes  by  him  are  in  the  Pina- 
kothek  at  Munich. 

BACKHUYSEN,  Ludolf.     See  Bakhuisen. 

BACLER  d'ALBE,  Louis  Albert  Guillain, 
Baron  de,  a  French  artist,  was  born  in  1761  at  St. 
Pol  (Pas  de  Calais).  He  was  a  brigadier-general, 
and  held  other  military  and  civil  offices  under 
Napoleon.  He  painted,  during  the  invasion  of 
the  French,  in  1797,  several  views  in  Italy :  the 
'  Battle  of  Lodi,'  the  '  Passage  of  the  Po,'  and 
several  other  victories  of  the  French  armies.  He 
also  painted  some  interesting  landscapes  and  clas- 
sical subjects,  such  as  the  '  Death  of  Paris,'  and 
'CEdipus  wandering  in  Greece.'  He  also  etched 
and  lithographed  a  large  number  of  landscapes. 
He  died  at  Sevres  in  1824. 

BACON,  Sir  Nathaniel,  who  was  bom  in  1547, 
was  a  half-brother  of  the  great  philosopher,  Lord 
Chancellor  Bacon.  He  practised  art  for  his  amuse- 
ment, after  the  manner  of  the  Flemish  school. 
There  exist  pictures  by  him  at  Gorhambury,  the 
family  seat,  consisting  of  a  whole-length  portrait 
of  himself,  a  half-length  of  his  mother,  and  a 
'  Kitchen-maid  with  Fowls,'  admirably  painted. 
Several  others  are  at  Redgrave  Hall,  Suffolk.  He 
died  in  1615.  His  monument  in  the  chance]  of 
Culford  church  has,  in  addition  to  his  bust,  the 
emblems  of  a  palette  and  pencils. 

BACQUOY.     See  Baqhoy. 

BADALOCCHIO,  Sisto  — called  by  Malvasia, 
SiSTO  Rosa — was  born  at  Parma  in  1681,  and  was 
educated  in  the  school  of  Annibale  Carracci.  He 
went  with  that  great  master  to  Rome,  and  assisted 
him  in  some  of  his  celebrated  works  in  that  city, 
notably  in  the  Farnese  Palace.  He  was  an  ac- 
complished designer,  and  possessed  an  inventive 
genius.  After  the  death  of  his  master,  in  1609, 
Badalocchio  returned  to  Bologna,  where  he  was 
much  employed.  He  also  worked  at  Gualtieri, 
Reggio,  and  Parma.  He  died  at  Bologna  in  1647. 
One  of  his  best  works  is  a  '  St.  Francis,'  in  the 
Parma  Gallery.  In  the  Verospi  Palace  at  Rome  he 
painted  in  fresco,  after  Albani, '  Polyphemus  seated 
on  a  Rook,  with  Galatea  and  her  Nymphs  ; '  'Poly- 
phemus hurling  a  Rock  on  Acis  and  Galatea ; ' 
'  Mercury  and  Paris,'  and  the '  Judgment  of  Paris  ; ' 
which  have  been  engraved  by  Giovanni  Girolamo 
Frezza.  Sisto  Badalocchio  etched  several  plates  in 
a  free  and  masterly  style ;  they  are  generally 
more  finished  than  those  by  Guido  Reni,  though 
not  quite  so  elegantly  or  so  carefully  drawn.  His 
ordinary  mark  was  aS".  B.,  f.  We  have  among 
others  the  following  plates  by  him : 

The  Statue  of  the  Laocoon;  after  the  aniiqu    marble 

(hii  test  work). 
Six  plates — The  Apostles  and  St.  Thomas  Aquinas; 

from  the  Cupola  of  the  Cathedral  at  Parma;  after 

Correggio. 
Twenty -three  plates  of  Baphael's  Bible;    after  the 

frescoes  in  the  Loggie  of  the  Vatican;  the  other 

plates  of  the  series  being  engraved  by  Zanfranco. 

1607. 
The  Holy  Family,  with  St.  Joseph  and  St.  John ;  after 

Sehidone. 

BADAROCCO,  Giovanni  Raffaello,  the  son  and 
scholar  of  Giuseppe  Badarocco,  was  bom  at  Genoa 
in  1648.  After  studying  some  time  under  his 
father  he  went  to  Rome,  and  entered  the  school  of 
Carlo  Maratti.  Aiming  at  a  freer  and  bolder  style, 
he  appears  to  have  preferred  the  works  of  Pietro 
da  Cortonato  those  of  his  master.  He  also  painted 
in  Naples  and  Venice,  whence  he  returned  to 
f2 


Genoa.  There  is  great  suavity  and  a  fine  impasto 
in  his  colouring,  which  a  profusion  of  ultramarine 
has  preserved  in  all  its  brilliancy.  He  was  much 
employed  in  easel  historical  pictures.  Two  of  his 
largest  and  best  works  were  in  the  Certosa  at 
Polcevera.     He  died  in  1726. 

BADAROCCO,  Giuseppe,  who  was  bom  at 
Genoa  in  1588,  became  a  scholar  of  Andrea  An- 
saldo,  under  whosffe  tuition  he  remained  some  years. 
He  was  called,  from  his  difficulty  of  hearing,  '  11 
Sordo.'  After  leaving  the  school  of  Ansaldo  he 
visited  Florence,  where  he  was  so  much  struck 
with  the  beauty  of  the  works  of  Andrea  del  Sarto, 
that  he  applied  himself  with  assiduity  to  the  study 
of  the  pictures  of  that  admirable  artist.  He  proved 
a  very  good  painter  of  history,  and  executed  several 
works  for  the  churches  and  public  edifices  at  Flor- 
ence, where  he  died  of  the  plague  in  1667. 

BADENS,  Feans,  was  born  at  Antwerp  in  1671. 
He  was  the  son  of  an  obscure  artist,  by  whom  he 
was  instructed  in  the  principles  of  design,  but 
he  afterwards  had  the  advantage  of  visiting  Italy, 
where  he  remained  four  years.  On  his  return  to 
the  Netherlands  he  gave  ample  testimony  of  the 
advantages  he  had  derived  from  his  studies.  Van 
Mander  speaks  of  him  in  very  favourable  terms  as 
a  painter  of  history  and  portraits,  and  says  that  he 
excelled  in  painting  what  are  called  '  Conversation 
Pieces.'  His  style  of  design  partook  of  the  taste 
he  had  acquired  in  Italy,  and,  like  most  of  the 
painters  of  his  country,  he  was  an  excellent  colour- 
ist.  His  works  have  now  entirely  disappeared.  It 
is  supposed  that  he  died  at  Amsterdam,  but  the 
year  is  not  recorded. 

BADENS,  Jan,  was  the  younger  brother  of  Prans 
Badens,  and  was  also  instructed  in  art  by  his  father. 
He  was  bom  at  Antwerp  in  1676,  and  following 
the  example  of  Frans,  he  went  to  Italy  at  an  early 
period  of  his  life,  where  he  resided  several  years. 
He  afterwards  visited  Germany,  where  his  works, 
both  in  historical  subjects  and  portraits,  were 
highly  esteemed.  He  was  favoured  with  the 
patronage  of  several  of  the  princes  of  the  empire, 
and  acquired  in  that  country  both  fame  and  for- 
tune. Returning  to  his  native  country,  where  he 
purposed  to  pass  the  remainder  of  his  life  in  the 
tranquil  enjoyment  of  the  fruits  of  his  talents 
and  industry,  he  was  robbed  and  pillaged  by 
banditti  of  all  he  possessed.  This  unfortunate 
event  threw  him  into  a  state  of  languor  and  de- 
spondency, which  occasioned  his  death  in  1603,  at 
the  age  of  27. 

BADESLADE,  Thomas,  a  landscape  artist, 
made  many  drawings  of  the  country-seats  of  the 
English  nobility  and  gentry,  which  were  published 
in  various  county  histories  between  1719  and 
1760. 

BADIALE,  Albssandko,  a  painter  and  engraver, 
was  born  at  Bologna  in  1623.  He  was  a  disciple  of 
Flaminio  Torre,  and  painted  several  pictures  for 
the  churches  and  public  edifices  at  Bologna.  He 
was  accidentally  shot  at  Bologna  in  1668.  He 
etched  several  plates  in  a  slight,  free  style,  from 
the  designs  of  himself  and  others.  He  marked  his 
prints  with  the  annexed  monogram.  We  \\\ 
have  the  following  prints  by  him ;  Xjl^ 

The  Virgin  Mary  seated,  with  the  Infant  Jesus  on  her 
lap,  between  St.  Philip  Neri  and  St.  Anthony  of 
Padua ;  after  Flaminio  Torre. 

The  Holy  Family ;  after  the  same. 

Christ  taken  down  from  the  Cross ;  after  the  same. 

Madonna  with  Child,  who  holds  a  cross  and  an  apple — 
half-length— «/?«?•  Carlo  Cignani. 

67 


Badile 


A  BIOGRAPHICAL  DICTIONARY  OF 


Bagnacavallo 


BADILE,  Giovanni,  a  painter  of  Verona,  flour- 
ished in  the  first  half  of  the  15th  century.  A 
signed  altar-piece  by  him  of  the  '  Madonna  and 
Saints,'  in  seven  compartments,  is  in  the  Verona 
Gallery.     Records  of  him  exist  from  1418  to  1433. 

BADILE,  Giovanni  Antonio,  the  great-grand- 
son of  Giovanni  Badile,  was  born  at  Verona  in 
1480.  He  was,  according  to  Lanzi,  the  first  of  the 
Veronese  painters  who  divested  himself  entirely  of 
the  Gothic  manner  that  prevailed  before  him,  and 
was  superior  to  his  contemporaries  in  the  expression 
of  his  heads  and  the  delicacy  of  his  colouring.  He 
was  the  first  teacher  of  his  nephew,  Paolo  Vero- 
nese. His  pictures  of  the  '  Raising  of  Lazarus,'  in 
the  Verona  Gallery,  and  '  The  Virgin  and  Infant 
in  the  Clouds,  with  several  Saints,'_  so  highly 
praised  by  Ridolfi,  are  worthy  of  the  in-  /T=^ 
structor  of  Paolo  Veronese  and  Zelotti.  /^Z^ 
Badile  died  in  1660. 

BADOUX,  RoBBET  DE,  a  native  of  Brussels,  was 
a  marine  painter  and  engraver  who  flourished  in 
the  first  half  of  the  17th  century.  He  engraved 
some  plates  for  the  'Academic  de  I'Bpee,'  pub- 
lished in  1628. 

BAECK,  Elias,  of  Augsburg,  called  'Helden- 
muth,'  who  was  born  in  1679,  was  a  painter  and 
engraver.  He  worked  for  some  time  in  Rome, 
then  in  Laybach,  but  finally  returned  to  Augsburg, 
where  he  died  in  1747.  His  chief  works — both 
in  painting  and  engraving  —  were  portraits  and 
landscapes.  His  engravings  are  sometimes  marked 
JS.  J3.  a.  H.  (Elias  Baeok,  alias  Heldenmuth).  See 
Meyer's  '  Kiinstler-Lexikon.' 

BAECK,  Johann  Geoeq,  an  engraver  of  Augs- 
burg, worked  from  about  1700  to  1729.  He 
engraved  portraits,  of  which  a  great  part  are  men- 
tioned by  Heineken.  Amongst  these  are  '  George 
I.'  of  England  and  '  Louis  XIV.'  of  France.  His 
mark  is  J.  B.  or  B.  fe. 

BAEHR,  Johann  Kael,  who  was  bom  at  Riga 
in  1801,  studied  under  Matthaei  in  Dresden,  and 
completed  his  art  education  by  a  sojourn  in  Italy. 
He  finally  settled  at  Dresden,  and  in  1840  was 
made  a  Professor  at  the  Academy  of  Fine  Art.  He 
died  there  in  1869.  Baebr  produced,  besides  many 
portraits,  numerous  historical  works  of  merit.  He 
was  also  the  author  of  several  literary  productions. 
The  following  are  some  of  his  best  paintings; 

Virgil  and  Dante. 

Tlie  Anabaptists  in  Miinster  {UtJwgraphed  hy  Hanfstdngl, 

and  hy  Teichgrdher). 
Iwan  the  Crael,  of  Russia,  warned  of  his  death  by  a 

iFinnish  Magician   {signed  and  dated  1850) ;    in  the 

Dresden  Galiery. 
Christ  and  St.  Thomas  (at  Kiev). 
Christ  on  the  Cross  (at  Zsckopau), 
Portrait  of  Julius  Mosen  (liihoffraphed  hy  SanfstdngV). 

BAEN,  J.  DE,  (or  Baan).     See  De  Baan. 

BAENER,  Johann  Alexandee,  a  German  en- 
graver, flourished  about  the  year  1670.  Among 
other  plates  he  engraved  an  emblematical  subject, 
representing  a  man  kneeling  at  the  feet  of  another 
man,  with  a  book  before  him  ;  and  a  hand,  holding 
a  sword,  is  striking  from  the  clouds  at  the  latter. 
It  is  executed  with  the  graver  in  a  coarse,  heavy 
style. 

BAERSTRAET.     See  Beeestkaaten. 

BAESTEN,  Maeia,  whose  maiden  name  was 
Ommeganck,  painted  landscapes  and  cattle.  She 
was  a  member  of  the  Academy  at  Antwerp  in  1784. 

BAGELAAR,  Ernst  Willem  Jan,  who  was  born 
at  Eindhoven,  in  Holland,  in  177.'5,  first  entered  the 

68 


army,  but  early  acquired  a  liking  for  the  fine  arts, 
and  instructed  himself  in  that  of  etching.  He 
acquired  further  knowledge  by  travelHiig  through 
Germany,  and  by  a  stay  in  Paris.  Giving  up 
soldiering,  he  retired  to  his  property  at  Zon,  near 
Eindhoven,  where  he  died  in  1837.  _  His  etchings, 
which  are  numerous,  are  executed  in  imitation  of 
drawings.  Many  of  them  are  landscapes  from  his 
own  designs.  The  style  of  Jan  Luyken  had  a 
special  charm  for  him,  and  he  possessed  a  con- 
siderable collection  of  his  drawings.  The  follow- 
ing will  show  the  variety  of  his  subjects : 

Euth  and  Boaz ;  after  LuyTcen. 

Paniel  in  prayer ;  after  the  same. 

The  sleeping  Jew ;  after  Rembrandt. 

Portrait  of  J.  ~W.  Pieneman ;  after  J.  W.  Fieneman. 

Portrait  of  the  poet  Jaxius  Secundns;  after  J.  van 

Schoreel. 
View  of  Arnheim ;  after  Schelflumt. 
Sea-piece  ;  after  Van  Goijen. 
Storm  at  Sea ;  after  L.  Bdkhuisen. 
A  set  of  six  plates  of  Cows ;  after  A.  Oidjp  (one  of  liis 

best  works). 
Two  Cows;  after  A.  van  de  Velde. 
A  Sheep ;  ajter  Berchem, 
A  Sheep;  after  Dvjardin 

BAGER,  Johann  Daniel,  who  was  bom  at  Wies- 
baden in  1734,  was  a  fruit  and  flower  painter.  He 
worked  some  time  at  Frankfort,  where  he  died  in 
1815.  Two  works  by  him  are  in  the  Stadel  GaUery 
in  that  city. 

BAGLIONI,  Cesabe.  This  artist  was  bom  at 
Bologna,  about  the  middle  of  the  16th  century ;  he 
was  the  son  of  an  obscure  painter,  Giovanni  Pietro 
Baglioni,  from  whom  he  received  some  instruc- 
tion ;  but  he  had  the  advantage  of  being  a  con- 
temporary of  the  Carracci,  and  without  being  a 
disciple  of  that  school,  he  adopted  their  style, 
particularly  in  landscapes,  in  which  he  excelled. 
He  was  a  universal  artist,  and  painted  history, 
animals,  and  fruit ;  in  all  of  which,  according  to 
Malvasia,  he  possessed  considerable  merit.  The 
principal  works  of  this  master  were  at  Bologna 
and  Parma,  where  they  were  highly  esteemed.  In 
the  church  of  the  Madonna  del  Soccorso,  at  Bologna, 
he  painted  a  picture  of  the  'Ascension,'  and  in  San 
Giorgio  an  altar-piece,  representing  '  St  Anthony 
and  St.  Martha.'  Baglioni  was  employed  in  1610 
by  the  Duke  Ranuccio  Farnese  at  Parma  to  paint 
the  church  or  oratory  of  Stirone,  dedicated  to  tjie 
Blessed  Virgin,  which  was  destroyed  in  1812. 

BAGLIONI,  Cavaliere  Giovanni,  called  'II 
Sordo  del  Barozzo,'  was  born  at  Rome  in  1571, 
and  was  a  scholar  of  Francesco  Morelli.  He 
was  employed  in  many  considerable  works  at 
Rome  during  the  pontificates  of  Clement  VIII. 
and  Paul  V.  In  the  church  of  Santa  Maria  dell' 
Orto,  he  painted  a  chapel  in  fresco,  where- he  repre- 
sented the  '  Life  of  the  Virgin ; '  and  in  San  Niccol6 
in  Careers  there  is  a  fine  picture  of  the  'Last 
Supper.'  But  his  most  esteemed  performance, 
which  now  no  longer  exists,  was  his  picture  in  St. 
Peter's,  of  that  Saint  raising  Tabitha  from  the 
dead,  for  which  he  was  made  a  Knight  of  the 
Order  of  Christ  by  Pope  Paul  V.  He  also  painted 
a  '  St.  Stephen,'  in  the  cathedral  of  Perugia,  and  a 
'  St.  Catharine,'  for  the  cathedral  of  Loretto.  He 
died  at  Rome  in  1644.  He  was  the  author  of  the 
'  Lives  of  the  Painters,  Sculptors,  and  Architects,' 
who  flourished  at  Rome,  from  the  Pontificate  of 
Gregory  XIII.  until  that  of  Urban  VIII.,  from 
1673  to  1642. 
BAGNACAVALLO.    See  Eamenghi. 


Bailey 


PAINTERS  AND  ENGRAVERS. 


Baker 


BAILEY,  JoHNj  designed  and  engraved  the 
illustrations  to  Hutchinson's '  Histories  of  Northum- 
berland and  of  Durham,'  published  between  1778 
and  1784.  He  was  afterwards  the  author  of  various 
works  on  agriculture. 

BAILLEUL,  P.  This  artist  was  a  native  of 
France,  and  resided  in  Paris  about  the  year  1722, 
where  he  engraved  some  of  the  plates  which  were 
published  at  that  time,  representing  the  ceremonies 
of  the  coronation  of  Louis  XV. 

BAILLIE,  Alexander,  an  engraver,  who  flour- 
ished about  the  year  1764,  was  born  in  Scotland. 
After  practising  his  art  in  Rome,  he  returned  to 
Edinburgh,  where  he  engraved  a  few  portraits,  and 
where,  it  is  believed,  he  died.  He  engraved  a 
plate  representing  a  half-length  figure  of  'St. 
Cecilia,'  and  a  'Holy  Family,'  both  after  Francesco 
Fernandi,  and  both  signed  with  his  name,  and  the 
above  date. 

BAILLIE,  Captain  William.  This  well-known 
amateur  acquired  a  distinguished  reputation  as  an 
engraver.  He  was  born  at  Killbride,  County  Car- 
low,  in  1723,  and  passed  the  early  part  of  his  life 
in  the  army,  from  which  he  retired  with  the  rank 
of  captain  of  cavalry.  On  leaving  the  service 
Captain  Baillie  devoted  his  life  entirely  to  the 
arts,  and  was  for  many  years  considered  one  of 
the  most  enlightened  connoisseurs  of  his  time. 
By  this  gentleman  we  have  several  plates  en- 
graved in  various  manners  ;  but  his  most  admired 
productions  are  those  he  executed  in  the  style  of 
Rembrandt,  and  his  charming  copies  after  the 
etchings  of  that  master.  He  died  in  1810.  The 
works  of  Captain  Baillie  were  published  in  two 
folio  volumes  by  Boydell,  in  1792,  entitled,  '  A 
Series  of  225  Prints  and  Etchings  after  Rembrandt, 
Tenters,  G.  Dou,  Poussin,  and  others.' 
The  following  are  the  principal,  some  of 
which  are  signed  with  his  name,  and 
some  marked  with  the  cipher  annexed : 

Bust  of  an  Old  Man,  with  a  gold  chain,  in  the  manner 

of  Eembrandt ;  two  plates,  one  without  the  chain. 
Landscape,  with  a  Stone  Bridge,  engraved  1764 ;  scarce. 
Landscape,  with  the  Ituins  of  a  Temple,  in  the  manner 

of  Claude. 
Portrait  of  Sofonisba  Anguisciola,  painter;  ipsapinxit. 
Landscape  by  Moonlight ;  after  A.  Cuijp. 
The  Pen-cntter ;  after  Gerard  Sou. 
The  Lacemaker ;  after  the  same. 
The  Mother  of  Gerard  Dou ;  after  the  same. 
Susannah  justified  by  Daniel ;  after  G.  van  den  Eokhout. 
Four  Officers,  two  playing  at  Trictrac;   after  Marc 

Geerarts;  scarce. 
Portrait  of  Frans  Hals,  painter;  F.  Mais,  pinxii. 
Portrait  of  Frans  van  Mieris ;  after  himself. 
Peasants  saying  Grace ;  after  Molenaer. 
A  Musical  Assembly ;  after  the  same. 
James,  Duke  of  Monmouth,  on  Horseback ;  after  Net- 

seher. 
Interior  of  a  Dutch  Chamber,  with  Feasants  regaling ; 

after  A.  Ostade.    1767. 
Interior,  with  Feasants  smoking  and  drinking;  after 

the  same.    1765.   ' 
Christ  healing  the  Sick,  commonly  called  the  Hundred 

Guilder  Print.   The  original  plate  by  Eembrandt,  pur- 
chased by  Captain  Baillie  in  Holland,  and  admirably 

retouched  by  him. 
Beggars  at  the  Door  of  a.  House ;  after  JRembrandfs 

etching. 
The  Gold-weigher;    finely  copied   from  Eembrandt' a 

etching. 
The  Three  Trees ;  Landscape ;  after  the  same. 
An  Old  Man,  half-length,  with  a  Beard  and  Cap;  W. 

Jiaillie,  1765 ;  after  Eembrandt. 
The  Entombment  of  Christ ;  two  plates  varied. 
An  Old  Man,  half-length,  with  a  large  Beard,  and  his 

Hands  in  the  Sleeve  of  his  Bobe.    1771> 


Landscape,  with  a  Horse  lying ;  after  Eembrandt' sprint. 

The  Holy  Family ;  after  Schidone. 

Interior  of  a  village  Alehouse ;  after  Teniers ;  fine. 

A  Student  sitting  before  a  Table  with  a  Globe  and 

Books ;  after  Terborcti. 
William,  Prince  of  Orange,  oa  Horseback;  after  the 

same. 
Soldiers  quarrelling  at  Dice ;  after  Valentin. 
Three  Searpieces ;  after  drawings  by  W.  van  de  Velde. 

BAILLIU,  B.  and  P.  de.  See  De  Baillhi. 
BAILLU,  Ernest  Joseph,  (or  Baillt,)  who 
was  born  at  Lille  in  1753,  studied  first  in  the 
Academy  of  Ghent,  then  at  Antwerp,  and  sub- 
sequently at  Paris.  In  1777  he  returned  to  Ghent, 
and  was  soon  afterwards  commissioned  by  the 
magistracy  to  paint  four  portraits  of  the  Emperor 
Leopold  11.  He  also  painted  a  portrait  of  Maria 
Christina  of  Austria.  In  1792  he  gained  a,  prize, 
at  the  Academy  of  Ghent,  for  his  '  CEdipus  Colo- 
neus,'  and  in  1811  he  received  a  gold  medal  for 
an  '  Allegory  on  the  Birth  of  the  King  of  Rome  ; ' 
both  of  these  works  he  presented  to  the  Society 
of  Art  and  Literature  of  Ghent.  He  died  in  that 
city  in  1823.  Baillu  devoted  himself  much  to 
decorative  paintings  on  walls,  wainscots,  and  fur- 
niture, in  which  branch  of  art  he  became  very 
famous. 

BAILLY,  David,  a  Dutch  painter,  was  born  at 
Leyden  in  1584.  After  studying  under  Kornelis  van 
der  Voort,  he  went  in  1608  to  Italy.  He  returned 
to  the  Netherlands  in  1613,  having  spent  some 
time  in  Germany,  both  going  and  coming.  He 
painted  especially  portraits,  and  sometimes  per- 
spective views  of  the  interiors  of  churches  and 
temples.  His  portraits  were  esteemed  for  their 
correct  likeness,  and  they  were  extremely  well 
coloured.  His  church  pieces  are  much  admired, 
though  inferior  to  those  of  Steenwijck,  or  Pieter 
Neefs.  He  was  still  living  in  1661.  His  works  are 
rarely  seen  in  public  galleries.  A  portrait  of  Maria 
van  Reigersbergen,  wife  of  the  celebrated  jurist 
Hugo  de  Groot, — signed  and  dated  1624, — is  in  the 
Museum  at  Amsterdam,  and  a  Male  Portrait  in  the 
Gottingen  Gallery.     He  was  also  an  engraver. 

BAILLY,  Jacques,  a  miniature  painter  and  en- 
graver, was  bom  at  Gragay  (Cher)  in  1629.  He 
etched  twelve  spirited  plates,  representing  bouquets 
of  flowers.  His  works  are  very  rare.  He  died  in 
Paris  in  1679. 

BAILLY,  Nicolas,  son  of  Jacques,  was  born 
in  Paris  in  1659,  and  died  there  in  1736.  He 
painted  landscapes,  and  etched  in  a  neat  manner 
17  views  of  the  environs  of  Paris. 

BAILY,  J.,  an  English  engraver,  practised  about 
the  year  1790.  He  engraved  some  plates  after 
Morland,  as  well  as  landscapes  and  views  in  aqua- 
tint, in  a   clever  manner. 

BAJARDO,  Giovanni  Battista.  This  painter 
was  bom  at  Genoa  about  the  year  1620.  It  is  un- 
certain under  whom  he  studied,  but  he  was  a 
reputable  painter  of  history,  and  executed  several 
works  for  the  churches  and  public  edifices  at 
Genoa,  which  are  deservedly  esteemed,  particularly 
those  in  the  portico  of  San  Pietro  di  Banchi,  and 
the  monastery  of  Sant'  Agostino.  His  compositions 
are  judicious,  his  design  graceful,  and  he  possessed 
great  facility  of  execution.  According  to  Soprani, 
he  fell  a  victim  to  the  plague,  which  visited  Genoa 
in  1657,  when  he  was  in  the  prime  of  life. 

BAKANEL.     See  Backeeeel. 

BAKER,  J.,  practised  as  a  portrait  painter  at 
the  beginning  of  the  18th  century.  He  was  one 
of  Sir  Godfrey  Kneller's  assistants,  and  is  best 

69 


A  BIOGRAPHICAL  DICTIONARY  OF 


Baker 

known  by  his  portrait  of  Sir  Stephen  Fox,  engraved 
by  Jean  Simon. 

BAKER,  John,  an  English  painter  of  flowers 
and  fruit,  born  about  the  year  1736,  was,  m  early 
life,  a  painter  pf  heraldic  ornaments  for  coaches. 
Afterwards  he  distinguished  himself  by  the 
brilliancy  of  his  groups  of  flowers  which  he  con- 
tributed to  the  Spring  Gardens  Exhibition.  He 
was  one  of  the  original  members  of  the  Royal 
Academy  of  Arts,  where  there  is  a  very  creditable 
specimen  of  his  talents.     He  died  in  1771. 

BAKER,  Joseph,  in  early  life  an  actor,  is  men- 
tioned by  Walpole  as  a  painter  of  the  mtenors  of 
churches,  both  in  England  and  Rome.  A  view  of 
the  interior  of  St.  Paul's,  by  him,  was  sold  at  the 
sale  of  Sir  Mark  Sykes's  pictures.  He  also  drew 
York  and  Lincoln  Cathedrals,  which  were  engraved 
by  Vivares.     He  died  in  1770. 

BAKER,  Thomas,  who  was  born  in  1809,  and  died 
in  1869,  practised  the  art  of  landscape  painting  in 
water-colour  in  the  midland  counties  with  success. 
He  was  known  as  '  Baker  of  Leamington.' 
BAKEREEL.     See  Backeebel. 
BAKHUISKN,   Ludolf,    (or    Baokhutsen,)    a 
celebrated  painter  of  sea-pieces  and  storms,  was 
born  at  Emden  in  1631.     He  was  of  a  respectable 
family,  and   was  intended   by  his   parents  for  a 
mercantile  profession,  for  which  purpose  he  was 
sent    to   Amsterdam.      His    time   was,  however, 
more    occupied    in    the   society   of    the  painters 
than   in   the   counting-house,    and  he   at   length 
became  a  pupil  of  Aldert  van  Everdingen,  under 
whom  he  remained  some  time.    He  also  studied,  it 
is  said,  under  Hendrik  Dubbels.     His  fondness  for 
shipping  led  him  frequently  to  the  port  of  Am- 
sterdam, where  he  made  drawings  of  the  different 
vessels.     These  designs  were  admirably  executed 
with   a  pen,   and   were  eagerly  sought   after  by 
collectors,  who  purchased  them  at  liberal  prices. 
This  encouragement  induced  him  to  attempt  the 
representation  of  similar  objects  in  painting.     His 
first  essays  were  successful,  and  his  pictures  were 
universally  admired.     He  frequently  exposed  him- 
self to  the  greatest  danger,  by  hiring  fishermen  to 
take  him   out  to   sea  in  the   most  tempestuous 
weather,  to  observe  the  forms  of  the  waves  mount- 
ing to  the  clouds  and  dashing  against  the  rocks ; 
and  he  has  represented  these  scenes  with  a  fidelity 
that  intimidates  the   beholder.      His  pictures  of 
these  subjects,  though  rather  dark  in  colouring, 
have  raised  his  reputation  even  higher  than  that  of 
W.  van  de  Velde,  although  the  works  of  the  latter, 
which  represent  the  sea  when  calm,   or  in  light 
breezes,  are  much  superior.     In  the  latter  part  of 
his  life  Bakhuisen  amused  himself  with  etching 
some  plates  of  views  of  shipping  on  the  Y,  a  small 
arm  of  the  sea  upon  which  Amsterdam  is  situated. 
He  died  at  Amsterdam  in  1708.     Bakhuisen  is  said 
to  have  given  instruction  in  drawing  to  Peter  the 
Great,  when  that  monarch  was  studying  at  Saar- 
dam.     He  also  practised  the  art  of  engraving,  and 
has  left  several  plates  of  marine  views,  and  his 
own  portrait.     His  most  celebrated  works  are : 

Amsterdam.  Museum.  Embarkation  of  Jan  de  Witt  on  the 
Dutch  fleet. 
„  „        Port  of  Amsterdam  {signed  and  dated 

1673). 
„  „        The  Zuider  Zee  {signed  and  dated 

1694),  and  others. 
Antwerp.     Museum.  A  "War  Vessel. 
Berlin.         Museum.  Stormy  Sea  on  a  Eocky  Coast. 

„  „        Slightly  Troubled  Sea  {signed  and 

dated  1664). 
70 


Baldacci 


Copenhagen.  Gallery.  Sea-pieces  and  others. 

Dulwioh.      Gallery.    Boats  in  a  storm  {signed  and  dated 


Florence.    Pitti  Pal.  .A  Eough  Sea  {dated  1669). 
Frankfort.  Stddel.     View  on  the  Y  {signed  and  dated 

1700). 
Hague.         Gallery.  Disembarkation  of  'William  III.  of 
England  in  I'Oranje-Polder  {signed 
and  dated  1692). 
„         Entrance  of  a  Dutch  port  {signed 
and  dated  1693). 
jj  „         View  of  the  Building  Yard  of  the 

East  India  Company  at  Amsterdam 
{signed  and  dated  1696). 
London.    Nat.  Gall.  Dutch  Shipping  {signed  and  dated 
1683). 
J,  „  Four  other  Sea-pieces. 

Paris.  Zouvre.    Dutch  Squadron  {dated  1675). 

,  „  Four  other  Sea-pieces. 

'Petexsbig.  Hermitage.  A  Shipwreck. 

^j  „  Portrait  of  an  old  man. 

Vienna.     Belvedere.  Port  of  Amsterdam.  ]  674. 
„  „  Xwo  others. 

BAKHUISEN,  Ltjdolf,  nephew  of  the  great 
marine  painter,  was  born  at  Amsterdam  in  1717, 
and  died  at  Rotterdam  in  1782.  He  was  a  good 
painter  of  horses  and  battles.  His  brother  Geehit 
Bakhuisen  practised  portrait-painting  as  an  ama- 
teur. He  lived  at  Rotterdam,  where  he  had  a  tile- 
kiln,  to  which  after  his  death  his  brother  LudoM 
succeeded. 

BAKKARELL.     See  Backekeel. 

BAKKBR.     See  Baokee. 

BAL,  CoENELis  Joseph,  who  was  bom  in  Ant- 
werp in  1820,  first  studied  in  the  Academy  there, 
and  then  went  to  Paris  and  formed  his  style  under 
Achille  Martinet.  In  1848  he  won  the  'Prix  de 
Rome,'  and  improved  his  knowledge  of  art  by 
travelling  in  Italy  and  elsewhere.  On  his  return 
to  Paris  he  made  himself  famous  by  his  engrav- 
ing of  Gallait's  '  Temptation  of  St.  Anthony.'  On 
the  death  of  Corr,  in  1862,  he  was  summoned  to 
Antwerp  to  fill  the  vacant  post  of  professor  to  the 
Academy.  He  died  in  his  native  city  in  1867. 
Bal  received  several  medals  and  the  order  of 
Leopold.  The  following  are  his  principal  engrav- 
ings : 

La  Belle  Jardiniere ;  after  Raphael     1856. 
The  Montenegrin  Woman  and  her  Child ;  after  Czermak. 
The  Temptation  of  St.  Anthony ;  after  Gallait. 
Jeanne  la  f olle ;  after  the  same. 

The  Abdication  of  Charles  V. ;   after  the  same  (left 
unflnished  at  Bal's  death). 

BALASSI,  Maeio,  was  bom  at  Florence  in  1604 
He  was  first  a  scholar  of  Jacopo  Ligozzi,  and 
after  the  death  of  that  master  he  studied  success- 
ively under  Rosselli  and  Domenico  Passignano, 
the  latter  of  whom  he  assisted  in  the  works  he 
executed  at  Rome  by  order  of  Pope  Urban  VIII. 
He  copied  the  '  Transfiguration '  of  Raphael,  for 
Prince  Taddeo  Barberini,  who  placed  it  in  the 
Capuchin  church  at  Rome,  where  it  is  still  to  be 
seen.  He  afterwards  accompanied  Prince  Ottavio 
Piccolomini  to  Vienna,  where  he  painted  the  por- 
trait of  the  Emperor  Ferdinand  III.  On  his  return 
to  Italy  he  worked  in  Prato,  Florence,  and  Empoli. 
For  the  church  of  Sant'  Agostino,  in  Prato,  he 
painted  a  picture  of  '  St.  Nicholas  of  Tolentino,' 
one  of  his  best  works,  and  for  the  Society  of  the 
Stigmata  in  Florence,  one  of  'St.  Francis.'  In  the 
Vienna  Gallery  there  is  a '  Madonna  and  Child'  by 
him,  painted  on  stone.     He  died  in  1667. 

BALDACCI,  Maria  Maddalena,  a  Florentine 
painter,  was  born  at  Florence  in  1718,  and  died 
there  in  1782.    She  executed  miniatures  and  crayon 


Baldassaie 


PAINTERS  AND  ENGEAVERS. 


Baldovinetti 


drawings,  and  among  them  the  portrait  of  the 
Empress  Maria  Theresa.  She  is  represented  in 
the  Uffizi  Gallery  by  her  own  portrait. 

BALDASSAEE,  who  worked  at  Forli  about  the 
year  1354,  is  supposed  to  be  the  author  of  a  frag- 
ment of  a  series  of  paintings  which  once  adorned 
the  church  Di  Schiavonia.  That  which  remains  is 
now  in  the  gymnasium  at  Forli,  and  represents 
the  Adoration  of  the  Magi  and  figures  of  SS.  Peter, 
Jerome,  Paul,  Augustin,  three  figures,  and  two 
horses,  "creations  that  do  more  honour  to  the 
school  of  Giotto  in  these  parts  than  any  assigned  to 
the  artists  named  by  Vasari"  (Crowe  and  Caval- 
caselle,  '  A  New  History  of  Painting  in  Italy,'  3 
vols.     1864). 

BALDI,  Antonio,  a  designer  and  engraver,  born 
at  La  Cava,  in  the  kingdom  of  Naples,  about  1692. 
After  having  passed  some  time  under  Solimena  he 
became  a  pupil  of  Magliar,  to  learn  the  art  of  en- 
graving. He  chiefly  resided  at  Naples,  and  was 
living,  Zani  says,  as  late  as  1768.  He  engraved 
several  plates,  principally  from  his  own  designs, 
amongst  which  are : 

The  Emperor  Charles  VI. ;  oval. 

Don  Carlos,  King  of  the  Two  Sicilies ;  oval. 

Nicholas  Cyrillus,  physician ;  after  S.  Cyrilliis, 

Maria  Aurelia  Caraccioli,  a  Kun ;  oval. 

St.  Ignatius  Loyola ;  oval ;  Ant.  Baldi  ex  Prototype. 

The  Monk  Raffaele  Manca,  with  an  Angel ;  oval. 

The  Communion  of  St.  Mary  of  Egypt;  A.  Baldi,  in. 

et  so. 
St.  Philip  Neri  in  Heaven ;  inscribed  Cui  nomen  dedit,  SjC. 
St.   Emilius  interceding  for   the    Neapolitans;    I)ivo 

Bmigdo  in  tdrres,  ^e. 
St.  Gregory,  with  the  subjects  of  his  Miracles,  1738; 

A'lit.  Baldi,  fee. 

BALDI,  Lazzaho,  was  bom  at  Pistoja  in  1624. 
He  went  to  Rome  when  he  was  very  young,  and 
became  a  scholar  of  Pietro  da  Cortona.  Under  so 
able  an  instructor  he  became  a  very  eminent  artist, 
and  painted  several  pictures  for  the  churches  and 
public  edifices  at  Rome,  which  are  particularly 
described  by  the  Abate  Titi.  In  the  pontifical 
palace  at  Monte  Cavallo  there  is  a  fine  picture  by 
this  master,  representing  'David  and  Goliath,'  and 
in  the  church  of  St.  Luke  an  altar-pieoe  of  the 
'  Martyrdom  of  St.  Lazarus.'  He  also  worked  in 
Camerino,  Pistoja,  and  Perugia.  He  died  at  Rome 
in  1703.  In  the  Vienna  Gallery  there  is  a  picture 
by  him  of  '  St.  Martin,  Bishop  of  Tours,  raising 
a  dead  child,'  which  has  been  engraved  by  J. 
Axmann.  As  an  engraver,  Baldi  is  known  by 
one  single  work,  'The  Conversion  of  St.  Paul,' 
marked  Lazzerus.  Baldus.  Pistoriensis.  invenit.  et. 
excudit. 

BALDINI,  Bacoio,  a  Florentine  goldsmith  and 
engraver,  is  a  master  of  whom  little  is  known. 
Vasari  tells  us  that  he  engraved  after  the  designs 
of  Botticelli,  and  that  he  was  a  disciple  of  Maso 
Finiguerra,  who  is  said  to  have  been  the  inventor  of 
engraving  in  Italy.  Nothing  has  been  ascertained 
for  certain  about  Baldini's  life,  but  it  is  supposed 
that  he  flourished  from  about  1460  to  1485. 
Almost  all  the  writers  on  the  subject  agree  that  he 
worked  in  conjunction  with  Botticelli,  but  as  their 
works  are  executed  in  the  same  manner,  and  bear 
neither  name  nor  monogram,  it  is  almost  impossible 
to  identify  them.  The  following  are  some  which 
are  most  frequently  attributed  to  Baldini : 

Plates  for  the  '  Monte  Santo  di  Die'    1477. 

Nineteen  Plates  of  Dante's  Inferno,  printed  at  Elorenoe 

by  Nicoolo  Lorenzo  della  Magna,  in  1481. 
Twenty-four  of  the  Prophets. 
Twelve  of  the  Sibyls. 


Theseus  and  Ariadne. 

Designs  for  jeweller's  ornaments. 

For  an  exhaustive  list  of  works  attributed  to 
Baldini,  and  for  a  further  account  of  the  artist, 
see  Meyer's  '  Kiinstler-Lexikon.' 

BALDINI,  Pietro  Paolo.  According  to  Titi, 
this  artist  was  a  native  of  Rome,  and  was  a  dis- 
ciple of  Pietro  da  Cortona.  He  flourished  in  the 
middle  of  the  17th  century.  He  painted  historical 
subjects,  and  several  of  his  works  in  the  public 
edifices  at  Rome  were  deservedly  admired ;  among 
others,  some  pictures  in  the  churches  of  San  Nic- 
colo  da  Tolentino,  and  Santa  Maria  di  Loretto ;  but 
above  all  an  altar-piece  representing  the  '  Cruci- 
fixion,' in  the  church  of  Sant'  Eustachio,  finely 
composed,  and  designed  with  great  care  and  cor- 
rectness. 

BALDINI,  Fra  TlBURZlo.  This  painter  was  a 
native  of  Bologna,  and  flourished  in  the  early  part 
of  the  17th  century.  It  is  not  said  under  whom  he 
studied ;  but,  according  to  Averoldo,  he  painted 
several  pictures  for  the  churches  and  convents  at 
Brescia,  of  which  the  most  esteemed  were  the 
'  Marriage  of  the  Virgin  with  St.  Joseph,'  and  the 
'  Murder  of  the  Innocents '  in  Santa  Maria  delle 
Grazie.  His  taste  reminds  us  of  the  excellent 
school  that  flourished  in  1500 — magnificence  in  the 
architecture,  great  copiousness  of  composition,  and 
clearness  of  efEect ;  but  in  the  general  tone  of  his 
tints,  and  of  his  flesh,  somewhat  of  a  coldness. 

BALDINI,  VlTTORIo,  an  Italian  printer  and 
engraver  on  wood,  who,  according  to  Papillon, 
flourished  about  the  year  1600.  He  died  at 
Perrara  in  1618.  Among  other  prints  he  executed 
the  woodcuts  for  an  ediuon  of  Tasso's  '  Aminta,' 
printed  by  him  at  Ferrara  in  1599.  He  worked  for 
the  Duke  of  Ferrara,  and  for  Clement  VIII. 

BALDOVINETTI,  Alesso,  was  bom  in  1427  at 
Florence.  It  is  not  known  who  was  his  master ; 
Baldinucoi  supposes  that  it  was  Uccelli.  About 
his  youth  Vasari  tells  us  only  that  Alesso,  being 
desirous  to  study  painting,  left  the  business  of 
his  father,  who  was  a  rich  merchant.  In  1448 
he  was  registered  as  a  member  of  the  Guild  of 
St.  Luke:  "Alesso  di  Baldovinetti,  dipintore." 
There  exists  a  curious  note-book  by  the  artist 
(Ricordi  di  A.  Baldovinetti,  published  by  G. 
Picrotti,  Lucca,  1868),  wherein  some  of  his  lost 
pictures  are  mentioned.  Albertini  states  ('Me- 
moriale,'  1510)  that  Baldovinetti  assisted  Andrea 
del  Castagno  and  Domenico  Veneziano  in  the 
fresco  paintings  of  Santa  Maria  Nuova,  executed 
between  the  years  1439  and  1453,  but  these  have 
been  destroyed.  The  following  are  the  only  pic- 
tures by  the  master  which  are  still  preserved :  In  the 
cloisters  of  Santa  Annunziata  he  painted  between 
the  years  1460  and  1462  a  large  fresco  representing 
'  The  Nativity,  with  the  Adoration  of  the  Shep- 
herds.' In  1465  he  furnished  the  design  for  the 
portrait  of  Dante,  painted  by  Domenico  del 
Michelino  in  the  duomo  of  Florence.  In  1470  he 
executed  the  large  panel  picture  representing  the 
'  Holy  Trinity  adored  by  the  Saints  Gualberto  and 
Benedict,'  for  the  altar  of  the  church  Santa  Trinity, 
now  in  the  Academy  at  Florence.  His  wall  paint- 
ings, in  the  choir  of  the  same  church,  representing 
scenes  from  the  Old  Testament,  with  many  portraits 
of  distinguished  contemporaries,  were  completed  in 
1496,  and  valued  in  the  following  year  by  the  four 
great  artists — Gozzoli,  Perugino,  Filippino  Lippi, 
and  Rosselli — at  1000  golden  florins.  These  were, 
however,  destroyed  in  17C0. 

71 


Baldrey 


A  BIOGRAPHICAL  DICTIONARY  OF 


Baldung 


Baldovinetti  is  certainly  one  of  the  most  promi- 
nent masters  of  the  early  Florentine  Renaissance. 
His  chief  merits  lie  in  the  utmost  care  with  which 
he  studied  and  represented  natural  objects.  The 
extensive  views  of  his  landscape  backgrounds  are 
especially  remarkable.  But  the  types  of  his  figures, 
which  are  taken  from  common  life,  are  rather  un- 
pleasing,  nor  is  his  colour  harmonious.  He  aimed 
at  finding  out  a  new  method  of  mixing  colours. 
Vasari  remarks  that  "  he  sketched  his  compositions 
in  fresco,  but  finished  them  in  secco,  tempering  his 
colours  with  a,  yolk  of  egg  mingled  with  a  liquid 
varnish,  prepared  over  the  fire."  Owing  to  this 
peculiar  process,  which  did  not  prove  to  be  success- 
ful, his  pictures  are  now  in  a  very  bad  state  of 
preservation.  With  better  success,  Baldovinetti 
devoted  himself  to  works  in  mosaic,  which  art  had 
not  been  practised  at  Florence  for  about  a  century. 
In  1481  he  restored  the  mosaic  picture  over  the  por- 
trait of  San  Miniate,  at  Monte,  and  in  the  following 
years  (1482—1490)  the  more  important  mosaics  in 
the  tribuna  and  in  the  cupola  of  the  Baptistery. 
He  died  at  Florence,  in  the  hospital  San  Paolo, 
August  29,  1499,  and  was  buried  in  San  Lorenzo. 
His  best  scholar  was  Domenico  Ghirlandajo,  who 
afterwards  painted  his  portrait  near  that  of  him- 
self in  the  frescoes  of  Santa  Maria  Novella 
(Vasari).     Of  his  works  may  be  mentioned : 

Florence.  Uffzi.  Enthroned  Virgin  and  Child,  with 

Six  Saints. 
„       S.  Niccolb.      The    Virgin    with    St.    Thomas 
(douUful). 
Paris.      Duchatel  Coll.  Virgin  and  Child  (douhtful). 

J.  P.  E. 
BALDBBY,  John,  an  English  painter,  was  born 
about  1750.  He  exliibited'  portraits  at  the  Royal 
Academy  in  1793  and  1794,  and  also  engraved  a 
few  portraits,  and  other  subjects,  in  the  chalk  style. 
He  was  living  in  1821.  Among  his  best  works 
are  the  following : 

Diana  and  her  Nymphs;  after  Carlo  Maratti. 
The  Benevolent  Physician ;  after  H.  Penny. 
Lady  Bawdon ;  after  JReynolas, 
The  Finding  of  Moses ;  after  Salvator  Mosa. 

BALDRIGHI,  GitrsEPPB,  was  bom  at  Stradella, 
near  Pavia,  in  1723.  After  studying  for  some 
years  at  Florence,  under  Vincenzo  Meucci,  and 
under  Boucher  in  Paris,  he  was  iQvited  to  the  Court 
of  Parma,  where  he  was  appointed  principal 
painter  to  the  Duke.  He  established  a  school  of 
painting  in  tliat  city,  which  was  much  frequented. 
One  of  his  most  admired  productions  is  a  picture 
of  '  Prometheus  released,'  in  the  Academy  at 
Parma  ;  he  likewise  painted  a  large  picture  of  the 
family  of  Philip,  Duke  of  Pai-ma,  which  gained 
him  great  reputation.  His  own  portrait  is  in  the 
UfBzi,  Florence.     He  died  at  Parma  in  1802. 

BALDUCCI,  Giovanni,  called  Gosci,  after  his 
maternal  uncle,  was,  according  to  Baldinucci,  a 
native  of  Florence ;  he  was  a  scholar  of  Battista 
Naldini.  In  1590  he  went  to  Rome,  where  he 
was  taken  under  the  protection  of  the  Cardinal 
Alessandro  de'  Medici,  afterwards  Leo  XL,  by 
whom  he  was  employed  for  some  time.  Several 
of  his  works  are  at  Rome  and  Florence.  Towards 
the  latter  end  of  his  life  he  visited  Naples,  where 
he  paintsd  some  pictures  for  the  churches.  He 
died  there  in  1603. 

BALDUCCI,  Matted,  a  native  of  Fontignano, 
was  an  associate  of  Bazzi  between  1517  and  1523. 
In  the  following  year  he  painted  an  altar-piece  in 

72 


San  Francesco  di  Plan,  Castagniano,  in  Montami- 
ata ;  and  works  by  him  are  seen  in  the  Academy 
and  churches  of  Siena. 

BALDDNG,  Hans,  (called  Geien  or  Gkun,  pro- 
bably from  his  habit  of  dressing  in  green,)  was 
bom   at   Gmiind,  in   Swabia,  between   1475  and 
1480;  he  was  a  painter,  engraver,  and  designer. 
Nothing  is  known  of  the  youth  of  this  important 
artist,  and  two   altar-pieces  in   the   Convent   of 
Lichtenthal,  near  Baden-Baden,  dated  1496,  are 
thought  to  be  his  earliest  productions.     His  first 
authenticated  painting,  dated  1501,  representing 
the  portrait  of  the  Emperor  Maximilian,  is  in  the 
artist's  sketch-book,  in  the  Cabinet  of  Engravings 
at  Carlsruhe.     In  1507  he  painted  the  altar-piece 
of  St.  Sebastian,  lately  in  the  possession  of  Herr  Fr. 
Lippmann  at  Vienna,  and  probably  also  the '  Adora- 
tion of  the  Magi,'  in  the  Museum  at  Berlin.    It  is 
very  likely  that  Baldung  worked  at  Nuremberg 
from  1507  to  1509,  where  he  executed  under  the 
direction  of  Albrecht  Diirer  the  copies  of  '  Adam 
and  Eve,'  after  that  master,  in  the  Pitti  Palace  at 
Florence,  and  also  probably  assisted  him  in  other 
works.      In  1509  he  removed  to   Strashurg  and 
bought  the  freedom  of  that  city;   in   1511  he 
went  to  Freiburg,  but  according  to  the  chroniclers 
stayed   subsequently  several  times  at  Strashurg, 
where  he  died  in  1545.     He  was  highly  esteemed 
by  the  nobility   of  his   time,  especially  by  the 
Margrave  of  Baden,  and  stood  on  very  intimate 
terms  with  Albrecht  Diirer.     Baldung,  though  he 
properly  belongs  to  the  Swabian  school,  exhibits 
in  his  works   a   close  imitation  of  the  style  of 
Albrecht  Diirer.     He   shows   himself  as  a  most 
energetic  and  characteristic  artist ;   he  possessed 
an  uncommon  gift  of  invention  and  expression, 
but  was  too  capricious  and  impetuous,  and  often 
too  fantastic.     His  colouring  is  excellent,  except 
in  his  latest  productions,  where  the  carnations  are 
too  pale.     He  painted  religious,  mythological,  and 
allegorical  subjects,  and  portraits.     It  may  here  be 
added  that,  if  the  altar-pieces  at  Lichtenthal  are 
really  by  him,  there  is  sufficient  proof  that  he 
studied  first  the  works  of  Schongauer.     His  chef- 
d'ceuwe  is  an  altar-piece  in  the  cathedral  of  Frei- 
burg; it  bears  the  inscription,  Joannes  Baldung 
Cog.  Geien  Gamundianus  Deo  et  Vietoti  Anspi- 
ciBUS  Faciebat  1516.     It  represents  the  'Corona- 
tion of    the  Virgin,'   on    the  inside  wings_  the 
'  Twelve  Apostles,'  and  on  the  outside  the  '  Visita- 
tion,' the  '  Flight  into  Egypt,'  the  '  Nativity,'  and 
an   'Annunciation,'   which  Kugler  attributes  to 
another  painter. 

His  designs,  distinguished  for  their  excellent 
conception  and  a  surety  of  hand  reminding  us  of 
Albrecht  Durer,  are  to  be  met  with  at  Basle,  Berlm, 
Carlsruhe,  Copenhagen,  Florence,  Hanover,  Lon- 
don, Paris,  and  Vienna. 

As  an  engraver  on  copper,  he  was  not  very 
excellent  in  the  technicalities.  The  following  plates 
may  be  mentioned : 

The  Man  of  Sorrows. 

The  Groom,  considered  his  best ;  an  etching. 
An  old  man  kissing  a  girl;  an  etching.    1507. 
St.  Sebastian. 

He  was,  however,  more  excellent  as  a  draughts- 
man on  wood.  What  has  been  said  of  his  paintings 
may  be  repeated  for  his  woodcuts ;  at  present  we 
know  over  60  prints  by  him,  which  are  _ 

signed  with  very  different  monograms,    TQ  W 
sometimes  the  two  letters  H.  B.  united. 


Balechou 


PAINTEES  AND  ENGRAVERS. 


Balen 


Adam  and  Eve  m  Paradise,  Eve  plucking  the  Apple. 
The  Fall  of  Adam ;  inscribed  on  a  Tablet,  lapsus  hu- 

mani  generis.    1511. 
Christ  and  the  Twelve  Apostles:  in  thirteen  plates. 

1518. 
The  Crucifixion,  with  St.  John  supporting  the  Virgin, 

and    Maiy  Magdalene  behind  the  Cross;    fine,  in 

chiaroscuro. 
Illustrations  to  the  Ten  Commandments.    1516, 1518, 

1531. 
St.  Sebastian,  two  difiereut  prints.    1S12  and  1514. 
A  Pieta. 

Silenus  drunk,  near  a  Tun :  Cupid  insulting  him. 
An  Incantation ;  in  chiaroscuro.     1510. 
Two  Landscapes ;  very  scarce. 
The  Groom  and  the  Sorceress ;  no  date. 
Four  small  upright  prints^Solomon's  Idolatry ;  Samson 

and  Dehlah;  David  and  Bathsheba;   and  Aristotle 

and  Phryne.    Very  fine. 
The  Holy  Family,  with  St.  Elisabeth  and  St.  Catharine ; 

half  length.    1512. 
Three  prints  of  Horses  in  a  Forest ;  marked  Baldung. 

1534. 
The  Fates. 

The  two  mothers,  called  the  '  Kinderaue.' 
Phyllis  riding  ou  Aristotle. 
The  portrait  of  Luther. 
The  portrait  of  the  Margrave  of  Baden. 
The  Virgin  with  St.  Anna,  both  holding  the  Infant 

Christ;    St.  Joseph,  St.  Joachim  behind.     A  large 

print. 

The  following  are  his  most  important  paintings : 


AschaSenburg.  Gall. 

Basle.  Gallery. 

Berlin. 


Darmstadt.    Gallery. 
Frankfort.      Stddel. 
Freiburg.        Cathedral. 
Munich.       Pinakothek. 

Sohleissheim.ffaK«r;y. 

Vienna.  Belvedere. 

„     Lippniann  Coll. 


Christ  on  the  Cross. 

Joseph    and    Mary    adoring    the 

Infant  Christ. 
Death  and  a  "Woman. 
Christ  on  the  Cross.     152 — •. 
Christ  on  the  Cross.     1512. 
Triptych.  Adoration  of  the  Kings 

— SS.  George  and  Maurice   on 

the  wings, and  two  FemaleSaints 

on  the  exterior.    1507. 
Stoning  of  St.  Stephen.    1522. 
'  Noli  me  tangere.'     1539. 
Heavenly  and  Earthly  Love. 
Altar-piece  [see  text). 
Portrait  of  the  Margrave  Phihpp 

Christoph  of  Baden.     1514. 
Portrait  of  the  Margrave  Philipp 

Christoph  of  Baden.    1515. 
Portrait  of  a  young  man.     1515. 
His    own    Portrait — clothed    in 


green. 


"W.  B.  S. 


BALECHOU,  Jean  Joseph,  a  celebrated  French 
engraver,  was  \>oni  at  Aries  in  1719.  He  studied 
first  under  a  seal-engraver  named  Michel  at  Avig- 
non, and  afterwards  under  Lepicie  in  Paris: 
but,  compelled  to  leave  that  city,  he  returned 
to  Avignon,  where  he  died  in  1764.  Balechou 
carried  the  handling  of  the  graver,  as  far  as 
regards  the  clearness  of  the  strokes  and  brilliancy 
of  colour,  to  a  higher  perfection  than  any  engraver 
of  his  country  that  had  practised  the  art  before 
him;  and  if  neatness  of  execution  were  the  greatest 
merit  of  a  print,  few  artists  would  have  an  equal 
claim  to  distinction  ;  but  if  the  excellence  of  the 
plate  consists  in  expressing  the  effect  produced  by 
the  painter,  and  in  giving  the  true  design,  and,  if  it 
may  be  so  expressed,  the  colour  of  the  picture, 
his  pretensions  to  superiority  will  be  considerably 
diminished.  Notwithstanding  the  fascination  of 
his  execution,  it  will  be  admitted  by  every  judicious 
observer,  that  his  flesh  appears  like  marble,  and 
that  the  deficiency  of  his  drawing  incapacitates 
him  from  giving  the  true  effect  of  the  style  and 
character  of  the  painter.  This  defect,  it  must  be 
confessed,  is  most  discernible  in  his  historical 


prints  and  some  of  his  portraits ;  and  it  will  be 
admitted  that  his  three  plates  after  Vernet  are 
among  the  fine  productions  of  the  graver,  although 
they  have  been  so  much  surpassed  by  our  own 
incomparable  Woollett.  The  following  are  his  most 
important  works : 

POBTEAITS. 
Anne  Charlotte  Gauthier  de  Loiserolle,  wife  of  J.  A. 

Aved ;  after  Aved. 
■William  IV.,  Stadtholder  of  the  Netherlands,  when 

Prince  of  Orange ;  after  the  same. 
Prosper  Jolyot  de  CraiUon ;  1751 ;  after  the  same;  fine. 
Jacques   Gabriel   GriUot,    abbe    de    Pontigny;    after 


Charles  EoUin;  1741;  after  G.  Coypel. 

Charles  Poree,  Jesuit ;  after  Neilson. 

Heinrich,  Count  von  Briihl ;  after  L.  Silvestre ;  fine ;  but 

it  must  be  before  the  name  of  Balechou,  as  it  was  ill 

retouched. 
Jean  de  Jullienne,  director  of  the  Gobelins ;   1752 ; 

after  Be  Troy. 
Madame  Julhenne ;  after  the  same. 
Don  Philip,  Infanta  of  Spain,  Duke  of  Parma;  after 

Vialy. 
Charles  Antoine  Coypel,  painter ;  after  himself. 
Augustus  in..  King  of  Poland;  after  Eigaud;  the  first 

impressions  are  very  fiaie ;  the  plate  was  afterwards 

much  altered 

SUBJECTS   AFTER   VARIOUS   MASTERS. 
Infancy  and  Youth ;  two  fancy  subjects ;  after  B.  Bardon. 
Five  fancy  subjects ;  after  JE.  Jeaurat. 
La  Terra ;  the  Portrait  of  Louisa  Elizabeth  of  France, 

Duchess  of  Parma ;  after  liattier. 
St.  Genevieve ;  after  C.  van  Loo. 
The  Storm;  after  Vernet  {his  chef-d'eeimre). 
The  Cahu ;  after  the  same. 
The  Bathers ;  after  the  same. 

BALEN,  Hendbik  van,  who  was  born  at  Ant- 
werp in  1660,  is  said  to  have  been  instructed  in 
the  art  by  Adam  van  Noort,  who  was   also  the 
master  of  Rubens.    On  leaving  that  school  he  went 
to  Italy,  where  he  studied  some  years,  and  painted 
several  pictures  which  were  greatly  admired.     On 
his  return  to  Antwerp  he  was  so  much  employed 
that  it  was  with   difficulty  he  could   satisfy  the 
demand  for  his  works.     In  1593  he  was  received 
into  the  guild  of  St.  Luke,  and  in  1609-10  he  was 
dean.     Balen  was  one  of  the  first  of  the  Flemish 
painters  who  succeeded  in  that  purity  of  colour, 
which  was  afterwards  carried  to  such  perfection 
by  Rubens  and  Van  Dyck.    In  his  cabinet  pictures 
he  generally  made  choice  of  very  agreeable  sub- 
jects, and  frequently  represented  the  '  Metamor- 
phoses '  of   Ovid,  in  which  the  landscapes  were 
generally  painted  by  Jan  Brueghel,  and  the  animals 
sometimes  by  Snyders,  who  with  Van  Dyck  was  a 
pupil  of  Van  Balen.    His  works  of  this  description 
were  extremely  popular,  and  were  placed  in  the 
choicest  collections.    He  did  not,  however,  confine 
himself  to  works  of  a  small  size,  but  painted,  with 
less  success  however,  many  pictures  for  the  churches. 
In  the  cathedral  at  Antwerp  there  is  a  fine  altar- 
piece  by  him.     The  centre  piece  represents  the 
'Virgin  Mary,  with  the  Infant  Saviour  and  St.  John ; ' 
and  on  the  two  folding-doors,  which  are  now  in 
the  Antwerp  Gallery,  a  'Choir  of  Angels.'     For 
another  altar  in  the  same  church  he  painted  '  St. 
John  preaching  in  the  Wilderness,'  also  now  in  the 
Antwerp  Gallery;  well  composed  and  admirably 
coloured.     Van  Balen  occasionally  painted  figures 
in  the  landscape  pictures  of  other  artists.    He  died 
at  Antwerp  in  1638  (or  1632).     The  following  are 
some  of  the  best  of  his  works ;   they  frequently 
occur  in  the  continental  galleries,  but  he  is  un- 
represented in  the  National  Gallery : 

73 


Balen 


A  BIOGRAPHICAL  DICTIONARY  OF 


Balmer 


Brussels. 

Cassel. 

Dresden. 

Gallery. 
Gallery. 
Gallery. 

n 

Hague. 
Munich. 

J7 

Gallery. 
Pinakothek. 

Paris.              Louvre. 
Petersburg.  Hermitage. 

Vienna. 

Belvedere. 

Amsterdam.  Gallery.    The  Gods  in  Olympus. 
Berlin.  Museum.   The  "Workshop  of  Vulcan  {part  by 

Jan  Brueghel). 

Plenty  {part  by  Brueghel). 

Diana  and  Actseon.      [by  Actaeon. 

Diana  and  her  Nymphs  surprised 

Bacchus  and  Ariadne  (signed). 

And  others. 

Offering  to  Cybele. 

A  Bacchanalian  Scene. 

The  Feast  of  the  Gods. 

And  many  others. 

A  Feast  of  the  Gods  {signed). 

Repose  of  the  Holy  Family. 

Virgin  and  Child. 

Jupiter  and  Europa. 

BALEN,  Jan  van,  the  son  of  Hendrik  van 
Balen,  vpas  bom  in  1611  at  Antwerp,  and  was 
instructed  by  his  father.  After  having  made  con- 
siderable progress  in  the  art,  his  father  sent  him  to 
Italy,  where  he  had  himself  derived  such  advan- 
tage from  his  studies.  He  remained  some  years 
at  Rome,  and  appears  to  have  attached  himself  to 
the  works  of  Francesco  Albani,  whose  charming 
style  he  has  imitated  without  attending  to  his 
purity  of  design.  He  returned  to  Antwerp  in 
1642,  and  died  there  in  1654.  In  all  his  pictures 
the  style  of  his  country  is  discernible  ;  although 
his  colouring  is  excellent,  and  his  pencil  free  and 
flowing,  we  have  always  to  regret  his  want  of 
taste,  and  his  inattention  to  the  correctness  of  his 
outline.  He  generally  painted  cabinet  pictures, 
although  he  sometimes  attempted  larger  works,  in 
which  he  was  less  successful.  He  had  two  brothers, 
Gaspar  (born  in  1615)  and  Hendrik  (born  in  1620), 
who  were  both  painters. 

BALEN,  Matthijs  van,  who  was  born  at  Dor- 
drecht in  1684,  studied  under  Arnold  Houbraken, 
and  became  a  good  painter  of  historical  pieces, 
landscapes,  and  portraits  ;  he  also  practised  the  art 
of  engraving.  He  died  in  his  birthplace  at  a  great 
age.  The  Darmstadt  Gallery  has  a  '  Holy  Family ' 
in  a  Landscape  attributed  to  him. 

BALESTRA,  Antonio,  was  born  at  Verona  in 
1666.  He  was  first  instructed  in  art  by  Giovanni 
Zeffio  ;  but  at  the  age  of  21  he  went  to  Venice, 
and  became  the  scholar  of  Antonio  Belluoci. 
After  passing  a.  short  time  with  this  master  he 
went  to  Bologna,  where  he  remained  some  time, 
and  afterwards  visited  Rome,  where  Carlo  Maratti 
was  then  in  high  reputation.  He  attended  the 
school  of  that  master,  gained  the  prize  at  the  Aca- 
demy of  St.  Luke  in  1694,  and  was  employed  to 
paint  several  pictures  for  the  churches  and  palaces 
at  Rome.  He  subsequently  resided  for  many  years 
in  Venice,  and  died  at  Verona  in  1740.  His  style 
bears  some  resemblance  to  that  of  Carlo  Maratti, 
and  his  works  are  held  in  considerable  estima- 
tion. He  selected  the  best  points  from  every 
school,  uniting  a  variety  of  beauties  in  a  style  of 
his  own,  which  partakes  least  of  all  of  the  Vene- 
tian, though  be  taught  in  Venice.  He  promoted 
the  reputation  of  that  school  both  by  his  lectures 
and  example,  and  left  two  excellent  imitators  in 
his  scholars  Mariotti  and  Nogari.  In  the  church  of 
Sant'  Ignazio  at  Bologna  is  a  picture  by  this  master, 
representing  the  '  Virgin  and  Infant,  with  St.  Igna- 
tius and  St.  Stanislaus.'  The  churches  of  Venice, 
Vicenza,  Padua,  Brescia,  and  Verona  also  possess 
examples  of  his  art.  Balestra  etched  some  plates 
from  his  own  designs  in  a  free,  masterly  style : 
these  are  sometimes  marked  with  his  name  at 
length,  sometimes  with  a  cipher.  We  have  by 
him,  amongst  others : 

74 


The  Sketch  of  the  Head  of  a  Warrior. 

Two  Soldiers ;  one  standing,  and  the  other  sitting  down. 

The  Virgin  Mary  and  Infant  in  the  Clouds,  with  St. 

John;  macrihei Mater pulchne  dileetionis;  Antonivs 

Balestra  in.  et  fecit.    1702. 
A  Vignette,  with  two  figures  holding  a  Flag     Verona 


Portrait  of  an  Architect,  Michele  Sanmicheli. 

BALESTRA,  Giovanni,  an  Italian  engraver, 
was  born  at  Bassano  in  1771.  He  studied  under 
Count  Remondini,  and  in  1803  went  to  Rome, 
where  he  remained,  until  his  death,  which  took 
place  in  1843.     Among  his  principal  works  are : 

Christ  and  the  Samaritan  "Woman  at  the  Fountain; 
after  Garofalo. 
'  The  Penitent  Magdalene ;  after  Murillo. 
Madonna  del  Eosario ;  after  Sassof errata. 
Aurora  and  Cephalus;  after  Anmbale  Carracei. 

BALLENBERGER,  Karl,  who  was  born  at 
Ansbach  in  1800,  went  to  Munich  as  a  stone-mason 
in  1831,  and  was  ther^  instructed  in  drawing  by  Fr. 
Hoffstadt,  and  subsequently  attended  the  Academy. 
He  established  himself  at  Frankfort,  and  became 
very  intimate  with  Philipp  Veit.  He  followed  the 
romantic  style  of  his  time,  and  studied  with  the 
greatest  perseverance  old  German  art.  Though 
his  productions  are  carefully  executed,  his  design 
and  colouring  are  hard  ;  he  nevertheless,  at  onetime, 
found  great  encouragement.  His  chief  paintings 
are  the  portraits  of  Conrad  I.,  Louis  of  Bavaria, 
and  Rupert  of  the  Palatinate,  in  the  Imperial  Hall 
of  the  '  Romer,'  at  Frankfort.  He  etched  a  plate 
of  the  arms  of  artists.  His  '  Death  of  St.  Meinrad ' 
has  been  engraved  by  H.  Niisser.  He  died  at 
Frankfort  in  1860. 

BALLI,  SiMONE,  a  Florentine  artist,  who,  not 
being  duly  appreciated  in  his  own  city,  went  to 
Genoa  and  practised  under  Pazzi.  His  style 
resembled  that  of  Andrea  del  Sarto.  In  addition  to 
his  pictures  for  the  churches  of  Genoa,  he  painted 
small  works  on  copper.  He  flourished  about  1600, 
and  died  at  an  advanced  age. 

BALLINI,  Camillo,  the  son  of  Gaspare  Ballini, 
a  goldsmith  at  Venice,  and  pupil  of  Jacopo  Palma 
'  the  younger,'  flourished,  according  to  Zani,  about 
the  latter  part  of  the  16th  century  :  he  was  both  a 
painter  and  engraver.  Lanzi  says  he  painted  in 
Venice  in  the  age  of  the  Mannerists  ;  Zani  speaks 
of  him  as  an  artist  of  talent,  and  Lodovico 
Dolce  commends  him  for  his  application  and 
assiduity.  Numerous  decorative  paintings  by  him 
are  in  the  Doge's  Palace  at  Venice. 

BALLIU,  P.  DE,  (or  Bailliu).    See  De  Bailliu. 

BALMER,  George,  the  son  of  a  house-painter, 
was  born  at  North  Shields  about  1806.  He  was 
brought  up  as  a  decorator,  and,  while  young, 
practised  at  Edinburgh..  Always  fond  of  art,  he 
found  time  to  contribute  to  an  Exhibition  of 
Water-Colour  Drawings  in  Newcastle  in  1831,  and 
afterwards  assisted  "W.  J.  Carmichael  in  painting 
the  large  picture,  '  The  Heroic  Exploit  of  Admiral 
CoUingwood  at  Trafalgar,'  now  in  the  Trinity 
House  at  Newcastle.  Soon  afterwards,  Balmer 
visited  Holland,  the  Rhine,  and  Switzerland,  stay- 
ing on  his  way  home  at  Paris,  where  he  studied 
the  masterpieces  in  the  Louvre.  On  his  return  he 
settled  in  London,  and  for  several  years  exhibited 
pictures  of  the  Rhine,  coast  scenes,  and  moon- 
light views.  In  1836  he  suggested  to  the  Findens 
the  publication  of  a  work  on  '  The  Ports  and  Har- 
bours of  Great  Britain,'  for  which  he  made  many 
drawings.  Soon  after  he  came  into  property,  and 
in  1842  retired  to  Ravensworth,  in  the  county  of 


Baltard 


PAINTERS  AND  ENGEAVERS. 


Bandinelli 


Durham,  where  he  died  in  the  prime  of  life  in 
April,  1846. 

BALTARD,  Louis  Pierre,  a  French  architect, 
painter,  and  engraver,  was  born  in  Paris  in  1764. 
He  occupied  himself  jBrst  with  landscape-painting 
and  engraving,  and  was  instructed  in  architecture 
by  Peyre  the  younger.  In  1786  he  went  to  Rome 
for  two  years ;  in  1792  he  designed  decorations  for 
the  Opera  at  Paris.  Soon  after  he  was  made  pro- 
fessor of  architecture  at  the  Polytechnic  School, 
and  subsequently  at  the  Ecole  des  Beaux-Arts. 
He  died  in  Paris  in  1846.  He  executed  part  of 
the  plates  for  the  '  Expedition  to  Egypt,'  and 
began  to  publish  at  the  same  time,  in  1803,  his 
'Paris  et  ses  Monumens.'  The  work  was  left 
unfinished  with  the  25th  part  on  account  of  the 
great  expense.  His  plates  are  without  exception 
of  a  light  and  pure  design :  among  them  ma}'  be 
mentioned : 

Becueil  de  vues  des  Monuments  antiques  et  des  prinoi- 

pales  fabriques  de  Rome ;  a  series  of  48  plates  in 

aquartint.     1806. 
Athlnseum  ou  Galerie  fran(;aise  des  productions  de  tous 

les  Arts ;  in  14  parts. 
La  Colonne  de  la  place  Venddme ;  145  plates.     1810. 
Essai  methodique  sur  la  decoration  des  edifices  et  des 

monuments ;  120  plates.    1817. 
Portrait  of  N.  Poussin. 

BALTHAZAR,  Domenico.     See  De  Costere. 

BALTHAZAR,  Pieter,  (Baltens,  or  Balten). 
See  Db  Costere. 

BALTZ,  J.  Georges,  a  painter  of  miniature 
portraits  and  landscapes  on  porcelain,  was  born  at 
Strasburg  in  1760.  Many  of  his  works  are  found 
in  cabinets  in  France,  Russia,  and  England.  He 
died  in  Paris  in  1831. 

BALZAC,  Charles  Louis,  who  was  born  in 
Paris  in  1752,  was  an  architect  and  architectural 
draughtsman.  He  made  many  drawings  for  De- 
non's  work  on  the  monuments  of  Egypt,  and  also 
views  of  various  interesting  Egyptian  buildings, 
such  as  the  interior  of  the  Mosque  at  Hassan,  the 
Palace  of  Karnac,  the  Great  Sphinx,  and  the 
Pyramids  of  Ghizeh.   Balzac  died  in  Paris  in  1820. 

BALZER,  JoHANN,  a  Bohemian  engraver,  was 
born  at  Kukus,  in  Bohemia,  in  1738.  He  was 
first  instructed  in  art  by  Rentz,  but  subsequently 
completed  his  education  by  travelling  through 
Germany,  where  he  visited  several  Academies. 
He  chiefly  resided  at  Prague,  where  he  produced 
numerous  works,  mostly  portraits,  and  died  in 
1799.  He  left  two  sons,  Anton  (1771—1807)  and 
JoHANN  Karl  (1771 — 1805),  who  were  both  en- 
gravers. In  conjunction  with  his  brothers  Mathias 
and  GeegoBj  and  his  son  Johann  Karl,  Johann 
Balzer  engraved  and  published  several  works ; 
amongst  which  are  the  following : 

A  set  of  fifty  plates  of  Landscapes  and  Architectural 
subjects,  with  Biblical,  mythological,  and  genre  groups 
of  figures}  after  Norbert  Grand,  an  old  German 
painter. 

Two  sets  of  Portraits  of  Artists  and  Learned  Men  of 
Bohemia  and  Moravia;  published  at  Prague  in  the 
years  1773  to  1782  (ninety  plates). 

BAMBERGER,  Friedrich,  bom  at  Wiirzburg 
in  1814,  was  instructed  in  the  principles  of  paint-- 
ing  at  Dresden ;  he  afterwards  visited  the  Aca- 
demy at  Berlin,  and  became  a  disciple  of  Krause, 
a  painter  of  marine  pictures,  and  at  Cassel  of 
Primavesi,  an  engraver.  In  1832  he  went  to  Munich, 
where  he  became  acquainted  with  Rottmann,  whom 
he  subsequently  followed  in  his  landscapes,  with 
great  success.     In  1845  he  visited  Normandy  and 


England,  and  one  of  his  best  paintings  of  that 
time  is  the  '  Battle-field  of  Hastings,  with  a  view  of 
the  sea.'  After  a  first  journey  to  Spain  he  settled 
at  Munich,  but  subsequently  paid  two  more  visits 
to  that  country.  Many  of  his  Spanish  landscapes 
were  highly  esteemed,  but  he  did  not  possess  the 
capacity  of  producing  great  effects.  Several  of  his 
productions  are  in  the  Pinakothek  and  the  Sohack 
Gallery  at  Munich.  His  drawings  and  studies  are 
of  especial  merit.  He  died  at  Neunenhain,  near 
Soden,  in  the  Taunus,  in  1873. 

BAMBINI,  GlAcoMO,  who  was  born  at  Ferrara 
about  1682,  was  a  scholar  of  Domenico  Mona. 
There  are  many  of  the  works  of  this  master  in 
the  churches  and  other  public  edificeg  in  his  native 
city.  In  the  cathedral  are  three  altar-pieces,  re- 
presenting the  'Annunciation,'  the  'Flight  into 
Egypt,'  and  the  '  Conversion  of  St.  Paul.'  He 
died  at  Ferrara  in  1622  or  1628.  A  particular 
account  of  his  other  works  will  be  found  in 
Barotti's  Pitture  e  Scolture  di  Ferrara. 

BAMBINI,  Cavaliere  Niccol6,  was  born  at  Venice 
in  1651,  and  first  studied  under  Giulio  Mazzoni  at 
Venice ;  but  afterwards  went  to  Rome,  where  he 
became  a  scholar  of  Carlo  Maratti.  According  to 
Lanzi,  he  was  a  correct  and  elegant  designer,  with 
a  chaste  and  simple  principle  of  colouring.  Some- 
times he  designed  in  the  taste  of  the  Roman  school, 
as  in  his  picture  of  San  Stefano,  painted  soon  after 
his  return  from  Rome  ;  and  at  others  he  imitated 
the  style  of  Liberi,  particularly  in  the  beauty  of 
his  female  heads.  He  died  at  Venice  in  1736.  He 
had  two  sons,  Giovanni  and  Stefano  Bambini, 
who  painted  in  the  style  of  their  father. 

BAMBOCCIO.     See  Laak,  Pieter  van. 

BAMESBIER,  Johann,  a  portrait  painter,  of 
German  extraction,  was  a  disciple  of  Lambert 
Lombardus.  He  was  born  in  1500,  and  died  in 
1598,  at  Amsterdam. 

BAMPPYLDE,  Coplbstone  Warre,  a  well-known 
amateur,  of  Hestercombe,  Somersetshire,  was  the 
only  son  of  John  Bampfylde,  M.  P.  He  was  an 
honorary  exhibitor  of  landscapes  at  the  Academy 
towards  the  end  of  the  18th  century,  and  a  few  of 
his  works  have  been  engraved  by  Vivares  and 
others.     He  died  in  1791. 

BANCHERO,  Anqelo,  was  born  in  1744  at 
Sestri,  near  Genoa,  and  went  to  Rome  and  studied 
painting  under  Pompeo  Batoni.  On  his  return  he 
executed  various  pictures  for  the  churches  of 
Genoa.  Especially  noticed  is  a '  St.  John  in  Prison,' 
painted  for  his  native  Sestri.  Banchero  died  in 
1793. 

BANCK,  Van  der.    See  Van  dbk  Banok. 

BANCKS,  Charles,  (or,  as  he  usually  wrote  it. 
Banks,)  was  a  Swiss  by  birth,  but  settled  in 
England  in  1746,  while  still  young.  He  practised 
the  art  of  miniature  painting,  and  occasionally 
exhibited  at  the  Royal  Academy  in  the  latter  part 
of  the  18th  century. 

BANDIERA,  Benedetto,  was  born  at  Perugia 
in  1567.  From  the  resemblance  of  his  works  to 
those  of  Federigo  Barocci,  it  is  supposed  he  was 
a  disciple  of  that  master.  He  painted  history, 
both  in  oil  and  in  fresco,  and  his  pictures  were  in 
considerable  repute.    He  died  in  1634. 

BANDINELLI,  Bartolommeo,  or  Baccio,  was 
born  at  Florence  in  1493.  He  was  a  very  dis- 
tinguished sculptor  ;  and  if  he  was  not  so  success- 
ful as  a  painter,  he  is  yet  entitled  to  our  notice 
from  the  grandeur  of  his  design,  although  he  did 
not  succeed  equally  well  as  a  colourist.     He  was 

76 


Banks 


A  BIOGBAPHICAL  DICTIONARY  OF 


Barabbino 


extremely  jealous  of  the  fame  of  Michelangelo,  and 
was  ambitious  of  excelling  in  both  arts,  in  imita- 
tion of  that  great  master.  But  it  is  seldom  that 
human  nature  is  endowed  with  the  faculties  of 
that  illustrious  artist,  and  it  is  probable  that  what- 
ever merit  Bandinelli  possessed  as  a  painter,  was 
deprived  of  the  tribute  to  which  it  might  be 
entitled,  by  being  brought  into  the  lists  against  so 
gigantic  an  adversary.  His  principal  works,  as  a 
paiuter,  were  the  '  Murder  of  the  Innocents,'  en- 
graved by  Marco  da  Ravenna,  and  the  '  Martyrdom 
of  St.  Laurence,'  engraved  by  Marc-Antonio.  He 
died  at  Florence  in  1560.  A  series  of  Studies  of 
Animals  by  Bandinelli  is  in  the  Louvre,  Paris. 

BANKS,  Qharles.     See  Banoks. 

BANNERMAN,  Albxandee,  was  bom  at  Cam- 
bridge about  the  year  1730.  He  engraved  several 
of  the  portraits  for  Walpole's  'Anecdotes  of  Paint- 
ers,' and  some  plates  for  Boydell's  collection, 
among  which  are : 

Joseph  interpreting  Pharaoh's  Dream;  after  Spagnoletto. 
The  Death  of  St.  Joseph ;  after  Velasquez. 

Children  Dancing ;  after  Ze  Nain. 

He  was  living  at  Cambridge  in  1770,  but  the 
date  of  his  death  is  unknown. 

BANNOIS,  — .  Strutt  mentions  this  artist  as 
the  engraver  of  a  portrait  of  Queen  Elizabeth  of 
England. 

BAPTIST,  Jacob.  This  artist,  a  native  of 
Deutekom,  probably  of  French  extraction,  resided 
at  Amsterdam  about  the  year  1720.  He  engraved 
principally  book-plates,  the  best  known  of  which 
are  the  plates  for  the  '  Histoire  du  Vieux  et  du 
Nouveau  Testament,'  from  the  designs  of  Goerte 
and  others,  published  by  Mortier  at  Amsterdam 
in  1700.  They  are  executed  in  a  very  indifferent 
style. 

BAPTIST,  Jan  Caspar,  a  native  of  Antwerp, 
was  a  scholar  of  Thomas  Willeborts.  He  visited 
England  during  the  civil  war,  and  was  much  em- 
ployed by  General  Lambert.  After  the  Restora- 
tion he  became  an  assistant  to  Sir  Peter  Lely, 
and  afterwards  to  Sir  Godfrey  Kneller.  He  drew 
well,  and  excelled  in  making  designs  for  tapestry. 
The  portrait  of  Charles  II.  in  the  hall  of  the 
Painter-Stainers'  Company,  and  that  of  the  same 
king  in  the  hall  of  St.  Bartholomew's  Hospital, 
were  painted  by  him.  He  died  in  London  in 
1691. 

BAPTISTS.     See  Monnoyer. 

BAQUOY,  Jean  Charles,  the  eldest  son  of  Mau- 
rice Baquoy,  was  born  in  Paris  in  1721.  He  en- 
graved book-plates  after  the  designs  of  Eisen, 
Gravelot,  Moreau,  and  others,  among  which  are  a 
Bet  of  vignettes  for  the  French  translation  of 
'Ovid's  Metamorphoses,'  published  by  Basan,  which 
are  executed  in  a  finished  style,  and  a  set  of  plates, 
after  Oudry,  for  the  Fables  of  La  Fontaine.  He 
also  engraved  after  Boucher,  "Watteau,  J.  Vemet, 
Wouwerman,  and  other  masters.  He  died  in 
Paris  in  1777. 

BAQDOY,  Maukioe,  a  French  engraver,  was 
born  about  1680,  and  worked  in  Paris  from  1710 
to  1740.  He  engraved  a  set  of  vignettes  for  the 
'Histoire  de  France, ''by  Gabriel  Daniel,  from  the 
designs  of  Boucher.  We  have  also  by  him  a  set 
of  landscapes  and  views,  and  a  naval  combat,  after 
P.  D.  Martin,  the  younger — one  of  the  four  large 
battle-pieces  after  Martin  engraved  at  Paris  for 
the  Czar,  Peter  the  Great.     Baquoy  died  in  1 747. 

BAQUOY,  Pierre  Charles,  the  son  and  pupil  of 
Jean  Charles  Baquoy,  was  born  in  Paris  in  1759. 

76 


Besides  a  variety  of  book-plates,  which  are  very 
neatly  executed,  we  have  by  him  several  prints 
after  French  painters.  He  died  in  Paris  in  1829. 
For  complete  lists  of  the  works  of  the  Baquoys 
see  Meyer's  '  Kiinstler-Lexikon.' 

BAR,  Bonaventueb  db,  who  was  horn  in  1700, 
painted  after  the  manner  of  Watteau.  He  became 
a  member  of  the  Academy  at  Paris  in  September 
1728,  or  December  1727,  and  his  reception  painting, 
a  '  F^te  ChampStre,'  is  in  the  Louvre.  He  died  in 
1729. 

BAR,  Jacques  Charles,  a  French  engraver, 
published,  in  1778,  a  series  of  coloured  plates  of 
the  costumes  of  military  and  religious  orders. 
Besides  these  he  executed  several  prints,  after  C. 
N.  Cochin,  fils,  and  one  called  '  The  Village  Bath,' 
in  colours,  in  conjunction  with  Chatelet.  He 
worked  in  Paris  from  1777  to  1800. 

BARA,  Jan,  (or  Barra,)  a  Dutch  engraver,  who 
was  born  about  the  year  1574.  He  came  to  Eng- 
land, and  died  in  London  in  1634.  Meyer's 
'Kiinstler-Lexikon'  erroneously  confounds  him 
with  Johannes  de  la  Baer,  a  Flemish  glass-painter, 
who  was  still  living  in  1669-60.  He  appears  to 
have  imitated  the  style  of  the  Sadelers,  but  he  by 
no  means  arrived  at  their  excellence.  His  works 
bear  date  from  1598  to  1632,  and  among  them  are 
the  following : 

PORTRAITS. 
Christian  II.,  Elector  of  Saxony.     1605. 
Prince  Maurice  of  Nassau-Orange. 
Joachim,  Count  of  Ortenburg. 
Louis,   Duke  of  Richmond  and    Leimox ;    after  Pa-ul 

van  Somer.     1624. 
Henrietta  Maria,  Queen  Consort  of  Charles  I. 

VARIOUS   SUBJECTS. 

Bust  of  a  Man,  with  two  allegorical  figures  representing 

Painting  and  Science.     1622. 
A  Landscape,  with  Phaeton  demanding  of  Apollo  the 

conduct  of  his  Car ;  Jo.  JBarrafe. 
The  History  of  Tobit ;  after  Zapponi  ;  four  plates. 
Christ  and  the  Apostles ;    after  Joost  van    Wingen  ; 

thirteen  plates. 
Christ  and  His  Disciples  going  to  Emmausj    Joann 

harrafe. 
A  Landscape,  with  Susannah   and  the  Elders;  Joh. 

Barra  fecit  Londini,  1627. 
The  Five  Senses  ;  Johannes  Barra  fe.;  five  plates. 
The  Seasons  ;  after  P.  Steevens  ;  four  plates. 
Susannah  and  the  Elders  ;  after  H.  Goltzius.    1598. 
Bathsheba  bathing ;  after  G.  Weyer. 
The  Parable  of  the  Sower ;  after  A.  Bloemaert. 
Herodias,  with  the  Head  of  St.  John  the  Baptist ;  after 

Johann  von  Aachen. 
Twelve  plates  of  Grotesque  Ornaments  ;  after  Nicasius 

Bousseel,  marked  Johan:  Barra:  sculp.    Londinij. 

1623. 

BARABBINO,  Simonb,  was  bom  at  Polcevera, 
near  Genoa,  about  the  year  1585,  and  was  a  dis- 
tinguished scholar  of  Bernardo  Castello.  His 
extraordinary  talent  alarmed  the  jealousy  of  his 
instructor  to  such  a  degree  that  he  expelled  him 
from  his  Academy.  He  soon  afterwards  painted  a 
picture  of  '  St.  Diego,'  for  the  Nunziata  del  Guae- 
tato,  which  Soprani  considered  equal  in  merit  to 
the  work  of  Castello.  Not  meeting  with  the  en- 
coui  ngement  he  merited  at  Genoa,  he  established 
himself  at  Milan,  where  he  received  the  tribute 
due  to  his  ability,  which  his  fellow-citizens  had 
denied  him.  One  of  the  finest  works  of  this 
painter  is  the  ■'  Dead  Christ  with  the  Virgin,  St 
Michael,  and  St.  Andrew,'  in  the  church  of  San 
Girolamo  at  Milan.  Lanzi  says  be  quitted  his 
profession  and  turned  to  merchandise,  in  which 


Barabe 


PAINTERS  AND  ENGRAVERS. 


Barbarelli 


he  did  not  succeed,  and  that  he  died  in  prison. 
He  must  have  been  quite  old  when  he  died,  as  Zani 
says  he  was  living  in  1664. 

BAEABB,  — ,  a  French  architect  and  engraver, 
a  native  of  Rouen,  flourished  about  the  year  1730 
at  Paris  and  Versailles.  He  engraved  prints  of 
architectural  subjects,  and  was  one  of  the  first  to 
work  in  aquatint. 

BARATTA,  Antonio,  (or  Babatti,)  an  Italian 
designer  and  engraver,  was  bom  at  Florence  about 
the  year  1727.  He  engraved  several  plates  for  a 
volume  of  prints  from  pictures  in  the  collection  of 
the  Marquis  Gerini,  published  at  Florence  in  1759. 
He  also  engraved,  among  other  portraits,  that  of 
the  painter  Giovanni  Bettini  Cignaroli,  after  Delia 
Rosa. 

BARBALONGA,  Antonio,  a  member  of  the 
noble  family  of  the  Alberti,  is  often  confused 
with  Antonio  Ricci.  He  was  born  at  Messina 
in  1600,  and  was  there  instructed  in  painting  by 
Sim  one  Comand6.  He  went  lo  Rome,  where  he 
became  a  disciple  of  Domenichino,  whose  style 
he  imitated  with  great  skill.  He  executed  a  great 
number  of  paintings  for  churches,  his  chief  work 
being  tlie  '  Conversion  of  St.  Paul,'  in  the  convent 
church  of  St.  Anna  at  Messina ;  others  are  to  be 
met  with  at  Rome,  Palermo,  and  Madrid.  He  died 
at  Messina  in  1649. 

BARBALONGA,  Antonio.    See  Ricci,  Antonio. 

BARBALONGA,  Juan  db.     See  Veemeijen. 

BAKBAHELLI,  Giobgio,  (or  Baebabella) — 
commonly  called,  from  his  handsome  stature, 
GioBGioNE — was  born  about  1476,  near  Castelf  ranco 
(probably  at  the  village  of  Vedelago),  where  he 
spent  the  early  years  of  his  life.  His  father,  per- 
ceiving his  inclination  for  art,  placed  him  under 
the  tuition  of  Giovanni  Bellini,  at  Venice,  where 
Titian  soon  after  became  his  fellow- student.  Gior- 
gione  was  one  of  the  first  of  the  Venetian  painters 
who  broke  through  the  timid  and  constrained  style 
to  which  art  had  been  confined,  and  introduced  a 
freedom  of  outline,  a  boldness  of  handling,  and  a 
vigorous  effect  of  chiaroscuro,  which  were  before 
unknown.  Rich  and  harmonious  in  his  colouring, 
dignified  in  his  characters,  broad  and  simple  in 
his  arrangement  of  light  and  shadow,  he  was  the 
first  that  practised  the  admirable  blending  of  his 
tints,  which  fonns  so  great  a  part  of  the  beauty 
of  Venetian  colouring.  He  began  by  painting 
Scriptural  subjects,  but,  before  he  left  Bellini,  he 
turned  his  attention  toward  genre  painting  and  por- 
traiture. He  was  the  first  amongst  the  Venetians 
to  give — after  the  manner  of  Bellini — prominence 
to  landscapes ;  and  into  them  he  introduced  strange 
allegories,  fables,  and  legends.  His  pictures  be- 
came the  admiration  of  Titian,  who,  if  he  did  not 
actually  study  in  the  atelier  of  his  former  fellow- 
pupil,  was  influenced  by  his  style,  and  became  for 
a  time  an  ardent  disciple.  On  leaving  Bellini, 
Giorgione — after  paying  a  visit  to  Castelfranco, 
which  town  he  occasionally  visited  during  his  life 
— settled  in  Venice,  where  he  was  much  patronized 
and  fully  employed.  His  was  a  genius  that  was 
early  developed,  and  there  is  scarcely  an  artist 
who  enjoyed  such  fame  as  Giorgione  did  during 
the  course  of  his  short  life.  Even  in  his  youth 
he  was  employed  to  paint  the  portraits  of  such 
famous  personages  as  the  Doges  Agostino  Barba- 
rigo  and  Leonardo  Loredano,  Queen  Catarina  Cor- 
naro  of  Cyprus,  and  Gonzalvo  of  Cordova.  His 
easel -works  are  unfortunately  very  scarce,  and 
this  is  perhaps  to  be  acooimted  for  by  the  par- 


tiality  he  displayed  for  fresco  decorations.  In 
Castelfranco  there  are  portions  of  frescoes  attri- 
buted— with  more  or  less  coiTectness — to  him  ;  but 
it  was  at  Venice  that  he  chiefly  laboured  in  that 
branch  of  art,  though  but  little  now  remains,  and 
even  in  Vasari's  time  some  of  his  work  was  fast 
disappearing.  He  painted,  amongst  others,  frescoes 
on  the  Soranzo  Palace,  and  on  his  own  house,  in 
the  Campo  di  San  Silvestro ;  but  most  famous  of 
all  were  the  frescoes  he  executed,  in  1506 — 1507, 
on  the  fa9ade  of  the  Fondaco  de'  Tedeschi  (or 
Mart  of  the  Germans),  facing  the  Grand  Canal, 
and  although  Carpaccio,  Lazzaro  Bastiani,  and 
Vittore  di  Matteo  valued  it  at  no  less  than  150 
ducats,  Giorgione  was  much  disgusted  because 
Titian's  work  on  another  side  of  the  building  was 
preferred  to  his.  Giorgione's  frescoes  represented 
on  the  upper  part  single  individuals,  and  below 
trophies,  men  on. horseback,  &c.,  but  all  that  re- 
mains of  them  now  are  the  head,  torso,  and  arms 
of  a  female  figure,  which  even  at  the  close  of  the 
18th  century  were  in  a  much  damaged  condition. 
Giorgione  died  in  1511  at  Venice,  Vasari  says,  of 
the  plague.  His  remains  were  taken,  in  1638,  to 
Castelfranco,  and  buried  in  the  church  of  San 
Liberale. 

When  the  shortness  of  his  life  is  taken  into 
account,  it  is  not  to  be  wondered  at  that  but  few 
works  by  him  are   now  known ;    and,  moreover, 
few   artists    have    had    more    pictures    wrongly 
assigned  to  them  than  Giorgione.     Amongst  the 
number  of  painters  whose  works  have  been  given      / 
him,  may  be  mentioned,  Sebastiano  del  Piombo ;     '' 
Palma ;   Cariani   and   Lotto   of   Bergamo  ;    Pelle-  / 
grino  and  other  painters  of  the  Friulian  school ;  and' 
Romanino,  Moretto,  Savoldo,  Calisto  da  Lodi,  and 
others  of  Brescia ;  Bonif azio,  Andrea   Sohiavone, 
and  others. 

Of  the  works  that  are  universally  agreed  to  be 
by  him  we  may  notice  the  following : 


Oastelfrango.  Church, 


Florence.       Pitti  Fed. 


Tirgin  and  Child  between  St. 
Francis  and  St.  Liberale  {paint- 
ed about  1504:  the  St.  Zwerale 
is  supposed  to  ie  a  portrait  of 
Matteo,  a  son  of  Tuzio  Costanza, 
for  whom  the  picture  was  exe- 
cuted). There  is  an  old  copy  of 
this  work  at  Stafford  House. 

A  Concert  (considered  one  of  his 
best  works)  ;  a  copy  is  in  the 
Talazz^Doria,  Rome. 

Judgment  of  Solomon. 

Miracle  of  the  Little  Moses. 


„  Vffin.. 

Kingston-Lacy  "mar  |  j^^gment  of  Solomon  {unfinished). 

Adoration  of  the  Kings, 

A  Knight  in  Armour  {supposed  to 
he  the  original  study  for  the  figure 
of  St.  Ziberale  at  Castelfranco). 

Birth  of  Christ. 

Christ  bearing  the  Cross. 

Three  Astrologers. 


Leigh     Court     {near  \ 
Bristol).  j 

London.  Jf/'at.  Gallery. 


„         Beaumont  Col. 
"Vicenza.  CasaLoschi. 
Vieima.  Belvedere. 


Amorigst  those  works  which  tradition  commonly 
ascribes  to  Giorgione,  but  of  which  the  authen- 
ticity is  doubted  by  numerous  critics,  we  may 
notice  the  following : 

DOUBTED  WOBKS. 

Dresden.  Gallery.  Meeting  of  Jacob  and  Eachel  {at- 

tributei  to  Giovanni  d^  Busi). 

London.  N'at.  Gallery.  Death  of  Peter  Martyr  {said  to  he 
by  a  later  Venetian  or  Ferrarese 


Madrid.  Museum, 


David  with  the  head  of  Goliath. 

77 


Barbarini 


A  BIOGRAPHICAL  DICTIONARY  OF 


Barbarj 


Paris.     Louwe.  Concert    (doubted   iy    Crowe    and 

Cavalcaselle). 
„  „  Holy  Family. 

Venice.  Manfrini  Gal.  The  Horoscope. 

For  further  information  concerning  Giorgione, 
Bee  Crowe  and  Cavalcaselle' s  'History  of  Painting 
in  North  Italy,'  and  Meyer's  '  Kiinstler-Lexikon.' 

BARBARINI,  Feanz,  an  Austrian  artist  of 
Italian  origin,  was  bom  at  Znaim  in  1804.  He 
excelled  as  a  painter  of  landscapes  and  as  an  en- 
graver. He  studied  at  Vienna,  under  Jos.  Kem- 
pel,  a  sculptor,  but  devoted  himself  afterwards  to 
landscape  painting,  in  oil  and  water-colour,  in 
which  branch  he  improved  himself  by  visiting 
Salzburg,  the  Tyrol,  and  Switzerland.  He  died 
at  Vienna  in  1873.  Among  his  etchings  may  be 
mentioned : 

A  Mountainous  Region  in  Austria. 

The  Country-house. 

On  the  Road  to  Schonbrnnn.     1827. 

The  Must  Waggon,  1827  ;  after  J.  A.  Klein. 

The  Saddled  Horse  ;  after  the  same. 

The  Country  of  the  Bernese  Oberlaud;    after  Ville- 

neuve. 
A  series  of  17  landscapes  ;  after  Rothmuller. 

BARBARJ,  Jacopo  de',  called  also  Jacob  Walch, 
and  the  '  Master  of  the  Caduceus,'  was  bom  at  Ve- 
nice about  1450,  and  was  working  at  the  beginning 
of  the  16th  century.  The  history  of  this  master 
has  long  been  a  matter  of  dispute  among  critics.  It 
now  seems  satisfactorily  established  that  Barbarj 
and  Walch,  who  were  formerly  considered  as  two 
difEerent  artists,  were  really  the  names  of  the  same 
master,  who  was  simply  called  Walch  (that  is,  a 
foreigner),  in  Germany,  because  of  his  Italian  birth. 
The  evidence  for  this  birth  rests  chiefly  on  a  state- 
ment made  by  Diirer  in  a  MS.  preface  to  his 
'  Book  of  Human  Proportions,'  preserved  in  the 
British  Museum.  He  speaks  in  this  of  "  a  man 
named  Jacobus,  born  at  Venice,  a  delightful 
painter,"  who  showed  him,  when  he  was  quite 
young,  a  figure  of  a  man  and  a  woman,  drawn  to 
scale,  which  greatly  delighted  him,  and  "  moved 
him  to  try  to  arrive  at  like  results."  When  Diirer 
went  to  Venice  in  1606  he  mentions  in  one  of  his 
letters  that  Jacopo  was  not  there,  and  indeed  it 
is  generally  believed  that  in  this  year  he  accom- 
panied Count  Philip  of  Burgundy  to  the  Nether- 
lands, stopping  on  *he  way  at  Nuremberg.  M. 
Emile  Galiohon,  who  was  the  first  to  throw  light 
on  the  history  of  this  master,  supposes  that  he 
first  went  to  Nuremberg  at  this  date  ;  but  an  earlier 
residence  there  of  some  length  is  more  probable, 
considering  that  Walch  is  mentioned  by  Neudorfier, 
the  historian  of  the  Nuremberg  artists,  as  belong- 
ing to  that  town.  He  says  also  that  Hans  von 
Kulmbach  was  his  pupil.  M.  Ch.  Ephrussi,  in  his 
recent  monograph  on  Barbarj,  considers  that  he 
resided  in  Nuremberg  between  the  years  1494  and 
1500,  and  even  an  earlier  date  may  well  be  sur- 
mised. But  some  time  before  1500  Barbarj  must 
have  been  back  in  Venice,  for  at  that  date  he 
executed  an  immense  plan  or  bird's-eye  view  of 
tliat  city,  which  was  engraved  on  wood,  and  pub- 
lished by  Anton  Kolb,  the  head  of  the  German 
merchants  settled  in  Venice.  After  his  journey  to 
the  Netherlands  we  lose  sight  of  him,  until  his 
name  appears  in  1510  in  the  accounts  of  Margaret, 
Regent  of  the  Netherlands.  He  is  here  called 
"  Valet  de  ohambre  and  Court-painter "  to  this 
princess,  and  it  is  recorded  that  a  sum  of  seventy- 

78 


six  livres  and  six  deniers  was  paid  to  him  in 
order  that  he  might  buy  a  velvet  doublet  and  a 
robe  lined  with  lamb's-skin.  In  1511,  also,  a 
yearly  pension  was  accorded  to  him  "  in  considera- 
tion of  his  good,  agreeable,  and  continual  service," 
he  being  then  "weak  and  old,  and  receiving  no 
other  wage."  Before  1516  we  know  he  must  have 
died,-  for  in  that  year  he  is  spoken  of  in  an  inven- 
tory of  the  Archduchess  Margaret's  effects  as  "the 
late  Master  Jacopo."  In  1521,  when  Diirer  was 
travelling  in  the  Netherlands,  he  saw  a  sketch- 
book by  Jacopo,  which  he  admired  so  much  that 
he  asked  the  archduchess  to  give  it  him,  but  she 
said  she  had  already  promised  it  to  Bemhard  van 
Orley. 

Jacopo  de'  Barbarj' s  art  forms  a  point  of  contact 
between  the  German  and  Italian  schools,  but  his 
style  is  more  that  of  a  Germanized  Italian  than  of 
an  Italianized  German.  His  subjects  are  chiefly 
chosen  from  classical  mythology,  and  a  classic 
grace  and  feeling  are  seen  in  his  treatment  of  them, 
though  in  execution  his  prints  are  often  entirely 
German. 

Very  few  paintings  can  be  with  certainty 
ascribed  to  this  master.  One  of  these,  a  still-life 
subject,  in  the  Augsburg  Gallery,  is  signed  Jac  de 
barbarj.  P.  1504,  with  the  Caduceus  underneath  on 
a  conspicuous  folded  sheet  of  paper,  painted  in  one 
corner  of  the  picture.  There  seems,  therefore,  no 
doubt  about  the  authenticity  of  this  work,  though 
it  is  a  strange  subject  (a  pair  of  gauntlets,  and  a 
bird,  hanging  against  a  wooden  wall)  to  find 
painted  by  such  a  master.  Other  paintings 
ascribed  to  him  are  : 

1.  St.  Jerome  in  his  Cell ;  also  ascribed  to  Van  Eyck  and 
Memling,  and  by  Crowe  and  Cavalcaselle  to  Antonello 
da  Messina.  Now  in  the  possession  of  Lord  North- 
brook. 

2.  A  bust  figure  of  Christ,  signed  with  the  Caduceus  and 
the  initials  I.  A.  D.  B.,  in  the  Weimar  Gallery. 

3.  Virgin  and  Saints,  formerly  in  the  Galichon  OoHec- 
tion,  signed  with  the  Caduceus  and  initials  I.  A.  F.  P. 

4.  A  Bust  of  Christ.  \ 

5.  St.  Catharine.        ^.AH  in  the  Dresden  Gallery. 

6.  St.  Barbara.  j 

But  it  is  as  an  engraver  that  Jacopo  de'  Barbarj 
is  chiefly  known.  Bartsch  enumerates  24  copper- 
plates by  him,  and  more  recent  critics  29.  These 
are: 

MYTHOLOGICAL   SUBJECTS. 

1.  Apollo  and  Diana. 

2.  Ariadne,  also  called  Cleopatra. 

3.  Mars  and  Venus. 

4.  Venus. 

5.  The  great  Sacrifice  to  Priapus. 

6.  The  little  Sacrifice  to  Priapus. 

7.  The  Guardian  Angel. 

8.  Two  Tritons  caressing  in  the  Sea. 

9.  A  Fury  carried  off  by  a  Triton. 

10.  Pegasus. 

11.  Fauns. 

12.  Family  of  Satyrs. 

13.  A  Victory. 

14.  Victory  and  Fame,  or  Imperial  Rome. 

15.  The  Two  Doctors. 

16.  The  Two  Centaurs. 

17.  Peasant   and  Family,   called   by   Bartsch  'Adam 

and  Eve.' 

18.  Three  men  bound  (Les  Supplicies). 

SACRED   SUBJECTS. 

19.  Adoration  of  the  Magi. 

20.  Jesus  Christ. 

21.  Sebastian  bound, 

22.  Holy  Family,  with  St.  Paul. 

23.  Auothex  Holy  Family  (small  square  plate). 


Barbasan. 


PAINTERS  AND  ENGRAVERS. 


Barbian 


24.  Holy  Family,  in  an  enclosed  place. 

25.  Judith  and  HolofemeB. 

26.  St.  Catharine. 

27.  St.  Jerome. 

28.  Hagar. 

The  supposition  that  Jacopo  de'  Bar- 
barj  was  also  a  sculptor  has  not  been 
proved.  He  signed  usually  with  the 
Caduceus.  But  it  has  been  supposed 
that  the  plates  signed  with  W.  which 
are  generally  attributed  to  A¥olgemut 
are  also  bj'  him.  (See  article  by  Dr.  Anton 
Springer,  Zeitschrift  fUr  hilden.de  Kunst,  October 
1876.)  Dr.  Springer  is  of  opinion  that  though  he 
signed  with  the  Caduceus  in  Italy,  he  adopted  the 
W.  in  Germany  in  reference  to  his  cognomen  of 
Walch. 

See  article  by  Emile  Galichon,  in  '  Gazette 
des  Beaux-Arts,'  September  1873;  'Notes  Bior 
graphiques  sur  Jacopo  de  Barbarj,'  by  Charles 
Ephrussi,  1876.  M.  M.  H. 

BARBASAN,  Louis,  was,  according  to  Florent 
le  Comte,  a  monk  of  the  Abbey  of  Premontre, 
and  engraved  the  plan  and  perspective  view  of 
that  monastery,  from  a  design  of  P.  Bayette, 
another  ecclesiastic  of  the  same  order. 

BARBATELLI,  Bernabdino,  called  Poccstti, 
also  Beknaedino  'dalle  Geotteschb,'  'dalle 
Facciate,'  or  '  DALLE  MuSE,'  was  born  at  Flor- 
ence in  1542  or  1548.  He  was  a  scholar  of 
Michele  di  Ridolfo  Ghirlandajo.  After  quitting 
the  school  of  Miohele,  he  went  to  Rome  and 
studied  the  works  of  Raphael  and  other  great 
masters  there.  He  subsequently  returned  to  his 
native  place,  not  only  a  pleasing  and  graceful 
figurist,  but  rich  and  learned  in  his  compositions  ; 
hence  he  was  enabled  to  adorn  his  historical  sub- 
jects with  beautiful  landscapes,  with  sea  views, 
with  fi-uit  and  flowers,  draperies  and  tapestries, 
which  he  imitated  to  admiration.  He  was  more 
successful  in  fresco  than  in  oil  painting.  Very 
few  of  his  pictures  on  panel  or  canvas,  but  many 
of  his  frescoes,  remain  in  Florence.  He  died  at 
that  city  in  1612.  The  following  are  some  of  his 
best  works  : 

Florence.  S.  Annun-      Scenes    from    the    life    of    the 
ziata,  founder  of  the  Convent  of  the 

Servites. 
„        San  Marco.    Scenes  from  the  life  of  St.  An- 
thony (fresco). 
„       Pitti  Palace.  Life   of   Cosimo  I.  (decoration  of 

great  Saloon). 
„        Certosa.  Life  of  St.  Bruno. 

BARBAULT,  Jean,  a  French  painter  and  en- 
graver, who  resided  some  time  at  Rome,  was  born 
about  1705.  As  a  painter  he  is  little  known,  but 
he  etched  a  set  of  prints  of  '  Les  plus  beaux 
Monuments  de  Rome  ancienne,'  as  well  as  two 
other  series  of  archaeological  plates.  He  likewise 
executed  a  few  engravings,  amongst  which  are 
the  '  Martyrdom  of  St.  Peter,'  after  Subleyras,  and 
the  'Arrival  of  Columbus  in  America,'  after  Soli- 
mena.    He  died  in  Rome  in  1765  or  1766. 

BARBE,  Jan  Baptista,  a  Flemish  engraver,  was 
bom  at  Antwerp  in  1578.  In  1595  he  entered  the 
studio  of  Philippe  Galle,  and  in  1610  he  was  re- 
ceived as  a  master  into  the  Guild  of  St.  Luke.  He 
soon  afterwards  went  to  Italy  to  improve  himself 
in  drawing,  which  may  account  for  his  being  more 
correct  in  his  design  than  many  of  his  country- 
men. On  his  return  to  Antwerp  he  engraved 
several  small  and  middle-sized  plates,  in  a  very 


neat  manner,  and  in  a  style  very  similar  to  that 
of  Wieriox.  He  died  at  Antwerp  in  1649.  Van 
Dyok  painted  a  portrait  of  this  artist,  which  is 
engraved  by  Bolsweit. 

SUBJECTS    FROM    HIS   OWN   DESIGNS. 


The  Annunciation ;  inscribed  i 

The  Nativity;  inscribed  Peperit JUium. 

The  Virgin  Mary  and  St.  Joseph  arriving  at  Bethlehem ; 

inscribed  £t  reclinavit  ewm,  SjC. 
The  Virgin  suckling  the  Infant  Jesus  in  a  Garland 

of  Flowers ;  inscribed  Beatus  venter,  Sjc. 
Christ  on  the  Mount  of  Olives ;  In  diebus,  Sjc. 
Christ  and  the  Disciples  at  Emmaus ;  Et  aperti  aunt,  S^c, 
The  Crucifixion;  Proheflli,  JfC 
St.  Ignatius  Loyola  kneeling  before  an  Altar. 
Four  Emblematical  Subjects  of  the  Christian  Vu:tues. 

AFTER   VARIOUS   MASTERS. 

The-tEepose  in  Egypt ;  St.  Joseph  presenting  an  Apple 

to  the  Infant ;  after  G.  B.  Paggi. 
The  Holy  Family,  with  the  Infant  Jesus  embracing  St 

Joseph;  after Rnbens. 
Twenty-four  plates  of  the  Life  and  Miracles  of  Father 

Gabriel  Maria,  founder  of  the  Annunciades ;  with  his 

Portrait;  aper  A.  van  Diepenbeeck. 
The  Virgin  seated  on  a  Throne,  holding  the  Infant,  with 

a  Bird ;  after  Prans  Franck,  the  elder. 

In  Meyer's  '  Kunstler-Lexikon '  there  is  a  list  of 
148  of  his  engravings. 

BARBELLA,  Giovanni  Giacomo,  was  born  at 
Cremona  in  1690,  and  died  in  1656.  He  is  highly 
extolled  by  Pasta  for  his  pictures  in  various 
churches  at  Bergamo  ;  and  particularly  for  an 
altar-piece  in  San  Lazzaro,  representing  the  titular 
Saint,  remarkable  for  its  dignity  of  character  and 
decision  of  hand. 

BARBER,  Charles,  was  born  in  Birmingham,  and 
early  in  life  settled  in  Liverpool,  where  he  became 
president  of  the  Institute  of  Art  in  1813.  He 
afterwards  exhibited  landscapes  with  the  Water- 
Colour  Society.  He  was  an  occasional  contributor 
to  the  Royal  Academy,  sending  there — '  A  View  of 
Dovedale,'  '  Evening  after  Rain,'  and  other  land- 
scapes with  figures.  He  died  at  Liverpool  in 
1854. 

BARBER,  Chbistophee,  who  was  born  in  1736, 
was  a  celebrated  miniature  painter  of  his  time,  and 
was  especially  careful  in  the  preparation  of  his 
colours.  He  was  a  member  of  the  Incorporated 
Society  of  Artists,  and  an  occasional  contributor  to 
the  Royal  Academy,  where,  in  1808,  he  exhibited 
a  portrait  of  himself  in  his  seventy-first  year.  He 
died  in  Marylebone  in  1810. 

BARBER,  John  Vincent,  the  son  of  an  artist  at 
Birmingham,  made  drawings  for  '  Graphic  Illustra- 
tions of  Warwickshire,'  which  was  published  in 
1829,  and  exhibited  landscapes  at  the  Royal  Aca- 
demy from  1812  to  1830.  It  is  believed  that  he 
died  at  Rome  soon  after  the  latter  year. 

BARBER,  Thomas,  born  in  Nottingham  about 
1768,  practised  in  the  midland  counties  as  a  por- 
trait painter  for  many  years.  In  1819,  while 
residing  at  Derby,  he  exhibited  at  the  Royal  Aca- 
demy a  portrait  of  Mrs.  Siddons.  He  died  at 
Nottingham  in  1843. 

BARBER-BEAUMONT,  John  Thomas.  See 
Beaumont. 

BARBIANI,  Andrea.  This  painter  was  bom 
at  Ravenna  about  the  year  1680,  and  is  supposed 
by  Lanzi  to  have  studied  under  Cesare  Pronti. 
He  painted  history  in  the  style  of  that  master,  and 
there  are  several  of  his  works  in  the  churches  and 
public   edifices   of    Ravenna  and  Rimini,   which 

79 


Barbiani 


A  BIOGRAPHICAL  DICTIONARY  OF 


Barbierj 


prove  him  to  have  been  an  artist  of  considerable 
ability.  Among  his  most  esteemed  productions 
is  '  The  Four  Evangelists,'  in  the  cupola  of  the 
cathedral  of  Ravenna.  He  died  at  that  city  in 
1754. 

BARBIANI,  Giovanni  Battista,  was  a  native  of 
Ravenna,  and  flourished  about  the  year  1636.  It 
is  not  said  under  whom  he  studied,  but  from  his 
manner  it  is  probable  that  he  was  a  scholar  of 
Bartolommeo  Cesi.  His  chief  works  in  oil  are 
his  '  St.  Andrea '  and  '  St.  Giuseppe,'  in  the  church 
of  the  Franciscans,  and  his  '  St.  Peter '  in  Sant' 
Agata,  at  Ravenna.  His  best  work  in  fresco  is 
the  'Assumption  of  the  Virgin,'  in  the  cupola  of 
the  chapel  of  the  Madonna  del  Sudore,  in  the 
cathedral  at  Ravenna,  which  Lanzi  says  may  be 
looked  at  with  pleasure,  even  after  seeing  the 
cupola,  by  Guide,  in  that  city. 

BARBIE,  Jacques,  (or  Barbibe,)  an  en^aver, 
who  worked  in  Paris  from  1735  to  1779,  and 
executed  among  others  the  following  portraits: 

Louis  XVI.  when  Dauphin ;  bust  in  profile. 

Catharine  II.  of  Russia  ;  after  J.  G.  de  Mailly. 

Joseph  II.  of  Austria.     1777. 

Charles  III.  of  Spain. 

General  AVolfe  ;  after  Sir  Joshua  Reynolds. 

BARBIER,  Jean  Jacques  FKANgois  le.  See 
Lebarbiek. 

BARBIER,  Nicholas  Alexandre,  a  French 
landscape  painter,  was  born  in  Paris  in  1789.  He 
at  first  executed  architectural  subjects,  but  after- 
wards joined  the  realistic  school  of  landscape 
painting,  and  exhibited  a  great  number  of  works 
at  the  Paris  Salons  from  1824  to  1861.  He  died 
at  Sceaux  in  1864. 

BARBIER- WALBONNE,  Jacques  Luc,  a  French 
historical  and  portrait  painter,  was  bom  at  Nismes 
in  1769.  He  was  a  pupil  of  David,  and  painted 
several  subjects  from  Roman  history,  and  others  of 
a  less  heroic  kind ;  also  portraits  of  the  distin- 
guished generals  of  France.  In  the  Gallery  of 
Versailles  are  portraits,  bj'  him,  of  Moreau  and 
Moncey.     He  died  at  Passy  in  1860. 

BARBIEKE,  Alessandro  del.     See  Fei. 

BARBIERE,  Domenioo  del.    See  Del  Barbibeb. 

BARBIERI,  Francesco,  called  Da  Legnano,  was 
bom  in  a  fortress  called  Legnano,  in  the  vicinity 
of  Brescia,  in  1623.  He  was  first  intended  for  the 
profession  of  arms,  but  having  evinced  a  great 
desire  of  becoming  a  painter,  he  was  placed  under 
Bernardino  Gandini.  He  did  not  long  continue 
with  that  master,  but  became  a  scholar  of  Pietro 
Ricchi,  who  had  studied  under  Guido  Reni.  He 
painted  history  and  landscapes,  both  in  oil  and 
in  fresco ;  and  in  all  his  works  showed  a  ready 
invention,  and  a,  wonderful  facility  of  execution. 
He  died  at  Verona,  according  to  Orlandi,  in  1698. 

BARBIERI,  Giovanni  Francesco,  (called  Guer- 
cino,  squint-eyed,)  was  born  of  humble  parentage 
at  the  small  town  of  Cento,  in  the  Ferrarese  terri- 
tory, in  1591.  Such  was  the  early  indication  he 
gave  of  unoommon  genius,  that  before  he  was 
ten  years  old  he  painted  a  figure  of  the  Virgin 
on  the  fagade  of  his  father's  house,  which  would 
have  been  considered  as  a  very  extraordinary  pro- 
duction, even  at  a  more  mature  age.  He  was  a 
pupil  of  Zagnoni  at  Cento,  and  of  Cremonini 
and  Gennari  at  Bologna.  But  he  was,  in  a 
great  measure,  the  disciple  of  his  own  genius  and 
of  nature.  It  is  probable  that  he  derived  some 
advantage  from  studying  the  celebrated  picture  by 
Lodovico  Carracci,  at  the  Capuchins  at  Cento,  of 

80 


which  he  always  spoke  in  terms  of  the  highest 
admiration.  The  works  of  Guercino  are  distin- 
guished by  three  different  styles,  which  he  followed 
at  different  periods  of  his  life.  In  his  early  works 
he  seems  to  have  been  seduced  into  a  violent  and 
daring  contrast  of  light  and  shadow,  from  the 
extraordinary  estimation  in  which  the  pictures  of 
Caravaggio  were  at  that  time  held ;  and  though 
he  is  always  superior  to  that  master  in  design  and 
dignity  of  character,  his  first  productions  were 
infected  with  the  vitiated  principles,  and  something 
of  the  vulgarity,  of  that  painter.  After  having 
visited  Bologna,  Venice,  and  Ferrara,  and  having 
made  a  stay  of  some  duration  in  Rome,  he  changed 
his  manner ;  and  his  second  style  is  distinguished 
by  a  grander  and  more  elevated  taste  of  design, 
more  amenity  and  sweetness  in  his  colouring,  a 
fine  expression  in  his  heads,  and  an  extraordinary 
relief,  without  the  aid  of  harsh  and  violent  con- 
trast. Such  is  his  masterpiece,  the  celebrated 
picture  of  '  St.  Petronilla,'  in  the  Gallery  of  the 
Capitol,  Rome :  it  was  formerly  in  a  chapel  in  St. 
Peter's,  and  is  now  represented  by  a  copy  ia 
mosaic ;  such  are  also  the  '  Aurora,'  which  he 
painted  in  fresco  in  the  casino  of  the  Villa 
Ludovisi,  Rome,  his  '  St.  William  of  Aquitaine 
assuming  the  garb  of  a  Monk,'  in  the  Bologna 
Gallery,  his  '  Dido '  in  the  Spada  Gallery.  Rome ; 
and  to  iiis  best  time  also  belong  his  'Angels  weep- 
ing over  the  Dead  Body  of  Christ,'  in  the  National 
Gallery,  and  a  '  St.  Peter  raising  Tabitha,'  in  the 
Pitti  Palace.  On  the  death  of  his  patron,  Gregory 
XV.,  in  1623,  Guercino  left  Rome,  and  removed  to 
Cento,  where  he  spent  nearly  20  3'ears.  In  1626 
he  undertook  his  immense  work  of  the  Duomo  at 
Piacenza,  where  he  has  carried  fresco-painting  to 
the  highest  perfection,  in  the  beauty  and  force  of 
his  colouring,  the  boldness  of  his  foreshortening, 
and  the  magic  of  his  relief.  The  cupola  is  divided 
into  eight  compartments,  in  the  upper  part  of 
which  he  has  represented  the  Prophets,  accom- 
panied by  Angels ;  and  in  the  lower,  the  Sibyls, 
and  subjects  from  the  New  Testament.  These 
admirable  performances  caused  Guercino's  powers 
to  rank  among  those  of  the  greatest  artists  of 
his  time.  In  1642,  after  the  death  of  Guido,  he 
went  to  Bologna.  Towards  the  latter  part  of  his 
life,  the  celebrity  which  that  painter  had  acquired 
by  the  beauty  and  suavity  of  his  style,  induced 
Guercino  once  more  to  alter  his  manner.  He  en- 
deavoured to  imitate  the  grace  and  elegance  of 
Guide's  forms,  and  the  silvery  sweetness  of  his 
colouring ;  but  in  attempting  delicacy,  he  fell  into 
feebleness  and  languor,  and  lost  sight  of  the  energy 
and  vigour  by  which  his  best  works  are  distin- 
guished. Of  the  pictures  painted  in  his  last  and 
weakest  manner,  are  most  of  those  in  the  churches 
at  Bologna,  the  'Prodigal  Son,'  in  the  Turin 
Gallery,  the  'Hagar  and  Ishmael,'  in  the  Milan 
Gallery,  and  several  paintings  in  the  Louvre, 
which  gallery  contains  no  less  than  twelve  works 
by  Guercino.  He  died  at  Bologna  in  1666.  He 
was  the  head  of  a  numerous  school  of  painters, 
amongst  whom  we  may  notice  Benedetto  Gennari 
the  younger,  and  G.  Bonatti.  In  Guercino's  best 
works  even,  we  look  in  vain  for  the  graces  of  ideal 
beauty,  or  the  purest  choice  of  selected  nature. 
His  figures  are  distinguished  neither  by  dignity  of 
form  nor  nobleness  of  air ;  and  there  is  generally 
something  to  be  wished  for  in  the  expression  of 
his  heads  ;  but  he  subdues  us  by  the  vigour  of  his 
colouring :  he  is  brilliant  in  his  lights,  tender  in. 


Barbieri 


PAINTERS  AND  ENGRAVERS. 


Earenger 


his  demi-tintg,  and  always  energetic  in  his  shadows. 
His  drawing  is  bold,  and  often  correct,  and  his 
execution  is  of  the  most  prompt  and  daring  facility. 
Of  this  we  have  a  convincing  proof  in  the  sur- 
prising number  of  important  works  he  accom- 
plished. Malvasia  gives  a  list  of  them,  by  which 
it  appears  that  he  painted  106  altar-pieces  for 
churches,  144  large  historical  pictures,  besides  his 
great  fresco  works,  and  his  numerous  Madonnas, 
portraits,  and  landscapes,  in  private  collections. 
The  following  is  a  list  of  several  of  his  best 
works: 


Bologna.     Finacoteca. 


Brussels.      Museam. 


Dresden.      GdUery. 


Dulwich.    College. 
Florence.     Pitii  Pal. 


Genoa.  Pal.  BrigTwli, 

)»  J) 

London.       Nat.  Gall. 

Madrid.  Musenm. 

Milan.  Prera. 

Modena.  Gtill.  Estense. 

Naples.  Museum. 
Paris.  Louvre. 


Petersburg.  Hermitage. 


Eome.  Borghese. 

))  'J 

„  Capitol  Mus. 

»  M 

)J  >» 

»  )» 

u  Corsini  Pal. 

if  »j 

,,  V.  Ludovisi 


„  Spada  Pal. 

»  Vatican. 

Vienna       Belvedere. 


The  Duke  of  Aquitaine  receiving 

the  cloak  of  St.  Felix. 
St.  BruDO  and  his  companion  in 

the  desert. 
Apollo  and  Marsyas. 
And  others. 
A  young  man  placed  under  the 

protection  of  the  Virgin  by  his 

patron  Saints,  Nicholas,  Francis, 

and  Joseph. 
Venus  finding  the  body  of  Adonis. 

1647. 
Cephalus  and  the  body  of  Procris. 

1644. 
Diana. 
Semiramis. 
And  ten  others. 

The  Woman  taken  in  Adultery. 
St.  Sebastian. 
Madonna    della  Bondinella  (with 

the  Swallow). 
Six  others. 
St.  Peter. 
His  own  Portrait. 
The  Samian  Sibyl. 
Endymion  Asleep. 
'..  Cleopatra. 
Death  of  Cato. 
Angels   weeping  over   the    dead 

body  of  Christ. 
Susannah  at  the  Bath. 
Diana. 

Abraham  dismissing  Hagar. 
,  Marriage  of  St.  Catharine. 
Magdalene. 

Lot  and  his  Daughters. 
Virgin  and  Child. 
The  Eesurrectiou  of  Lazarus. 
Salome  with  the  Head  of  John  the 

Baptist. 
The  Patron  Saints  of  Modena. 
Circe. 

His  own  Portrait. 
St.  Cecilia. 
And  others. 
St.   Anne,   the  Virgin,   and   the 

Infant  Christ. 
Assumption  of  the  Virgin. 
Martyrdom  of  St.  Catharine. 
St.  Jerome. 
Mater  Dolorosa. 
Eeturn  of  the  Prodigal  Son. 
The  Persian  Sibyl. 
St.  Petronilla  raised  from  the  tomb. 
St.  John  the  Baptist. 
Cleopatra  and  Octavius. 
Ecce  Homo. 
Christ  at  the  "VTell. 
Aurora  driving  away  Night  (fresco). 
Fame    with    Force   and    Virtue 

(fresco). 
The  Death  of  Dido. 
Incredulity  of  St.  Thomas. 
St.  Margaret  of  Cortona. 
Eeturn  of  the  Prodigal  Son. 


This  laborious  artist  left  an  incredible  number  of 
admirable  drawings,  which  are  highly  esteemed ; 
many  of  them  were  engraved  by  Bartolozzi.     We 
a 


have  a  few  etchings  by  Guercino,  executed  with 
great  freedom  and  spirit ;  they  are  as  follow : 

St.  Anthony  of  Padua ;  half-length ;  Joan  Fr.  Cent 

St.  John ;  the  same  mark. 

St.  Peter ;  Joan  F.  Barbieri,  f. 

St.  Jerome,  with  a  Crucifix ;  the  same  marlc. 

Bust  of  a  Man  with  a  cap  and  a  beard. 

Bust  of  a  "Woman. 

Bust  of  a  Man,  in  an  Oriental  costume. 

A  life  of  Guercino,  by  J.  A.  Calvi,  was  pub- 
lished at  Bologna  in  1808. 

BARBIERI,  Ldca.  According  to  Malvasia,  this 
painter  was  a  native  of  Bologna,  and  a  scholar  of 
Alessandro  Tiarini.  He  painted  architectural  views 
and  landscapes,  and,  in  conjunction  with  Francesco 
Carbone  (who  painted  the  figures),  executed  some 
extensive  works  for  the  palaces  and  public  edifices 
at  Bologna.  He  flourished  at  the  end  of  the  16th 
and  the  beginning  of  the  17th  century.  He  is  not 
to  be  confused  with  Lodovico  Babbieei,  a  painter 
of  Bologna  of  the  same  period. 

BARBIERI,  Paolo  Antonio.  This  painter  was 
the  brother  of  Giovanni  Francesco  Barbieri,  called 
Guercino.  He  was  born  at  Cento,  a  village  near 
Bologna,  in  1603.  The  subjects  of  his  pictures 
are  flowers,  fruit,  and  game,  but  he  particularly 
excelled  in  painting  fish,  which  he  represented 
with  astonishing  fidelity.     He  died  in  1649. 

BARBOR,  Lucius,  a  miniature  painter,  worked 
chiefly  in  enamel,  and  exhibited  at  the  exhibitions 
in  Spring  Gardens,  London.     He  died  in  1767. 

BARBUDO,  El.     See  Vermeijen. 

BARGA,  Gavaliere  Giambattista,  .(or  Baechi,) 
was  a  native  of  Mantua,  but  became  a  citizen  of 
Verona.  He  flourished  about  1650.  He  is  men- 
tioned by  Lanzi  and  Zani  as  an  artist  of  greut 
ability.  It  is  uncertain  whether  he  was  instructed 
by  D.  Feti,  for  his  style  was  varied,  but  abounding 
with  pictorial  grace  and  beauty. 

BARCA,  Vicente  CALDERON  db  la.  See 
Caldekon. 

BARCLAY,  Hugh,  born  in  London  in  1797, 
practised  as  a  miniature  painter,  and  was  likewise 
celebrated  for  his  copies  of  the  Italian  Masters  in 
the  Louvre.     He  died  in  1859. 

BARCO,  Del.    See  Del  Bahco. 

BARDIN,  Jean,  a  French  historical  painter, 
born  at  Monthar  in  1732,  was  a  pupil  of  Lagrtoee, 
the  elder ;  and  afterwards  studied  at  Eome.  He 
became  a  popular  artist  in  France,  and  was  ad- 
mitted into  the  Academy  in  1779.  He  was  made 
director  of  the  art  school  at  Orleans  in  1788.  His 
subjects  are  partly  historical,  partly  poetical,  and 
sometimes  religious.  He  was  the  instructor,  in 
the  elements  of  art,  of  David  and  Regnault.  He 
died  at  Orleans  in  1809.  * 

BARDON,  Michel  FEANgois  d' ANDRE.  See 
Andei^-Baedon. 

BARDUCCI,  V.  The  name  of  this  engraver  is 
afiBxed  to  a  portrait  of  Pascal  Paoli,  the  Corsican 
General.     It  is  dated  1768. 

BARDWELL,  Thomas,  was  an  English  por- 
trait painter,  who  died  about  the  year  1780.  He 
painted  some  portraits  of  the  principal  characters 
of  his  time,  and  pubHshed,  in  1756,  '  The  Practice 
of  Painting  and  Perspective  made  easy.' 

BAREN,  Jan  Anton  van  dee.  See  Van  dee 
Baben. 

BAREND  van  BRUSSEL.    See  Oelbt. 

BARENGER,  Jambs,  a  nephew  of  William 
WooUett,  the  celebrated  engraver,  was  born  in 
1780 ;  and  was  well  known  as  a  painter  of  race- 

81 


Barentseu 


A  BIOGRAPHICAL  DICTIONAEY  OF 


Barker 


horses,  deer,  dogs,  and  other  animals.  It  is  be- 
lieved that  he  died  soon  after  1831,  the  last  year 
of  his  exhibiting  at  the  Royal  Academy. 

BARENTSEN,  Diek,  was  born  at  Amsterdam, 
in  1634.  He  was  the  son  of  an  artist  of  little 
celebrity  (perhaps  Barent  de  Dowe,  called  II 
Sordo),  who  taught  him  the  rudiments  of  drawing. 
When  twenty-one  years  of  age  he  went  to  Italy 
and  visited  Venice,  where  he  had  the  good  fortune 
to  be  admitted  into  the  school  of  Titian, who  con- 
ceived for  him  a  particular  regard,  and  bestowed 
on  him  many  marks  of  friendship.  After  passing 
seven  years  under  that  great  master,  he  returned 
to  Holland,  and  met  with  great  success  as  a  por- 
trait painter.  The  style  he  had  acquired  by  a 
minute  study  of  the  works  of  Titian  was  peculiarly 
favourable  to  him  in  his  portraits  ;  and  in  that 
branch  of  art  he  was  reputed  the  ablest  artist  of 
his  country  at  the  time  in  which  he  lived.  One  of 
his  principal  historical  works  was  an  altar-piece, 
representing  the  '  Fall  of  Lucifer,'  which  he  painted 
for  the  great  church  at  Amsterdam.  This  picture 
was  destroyed  during  the  religious  troubles  of  his 
country.  He  died  at  Amsterdam  in  1592.  A  por- 
trait of  the  Duke  of  Alva  by  him  is  in  the  Gallery 
of  that  city. 

BARENTZEN,  Emilius  Ditlev,  was  born  at 
Copenhagen  in  1799.  He  first  studied  jurisprud- 
ence, and  then  spent  five  years  in  the  West  Indies. 
In  1821  he  entered  the  Academy  at  Copenhagen, 
and  studied  under  Eckersberg.  In  1831  and  1832 
he  visited  Paris  and  Munich;  but  settling  in  his 
native  city,  be  soon  rose  to  great  reputation  as  a 
portrait  painter,  and  there  executed  no  less  than 
two  thousand  works.     He  died  in  1868. 

BARGAS,  A.  F.,  a  Flemish  draughtsman  and 
engraver,  who  lived  at  the  beginning  of  the  18th 
century.  He  etched  a  set  of  six  landscapes,  from 
his  own  designs,  and  a  set  of  four  landscapes, 
after  Pieter  Bout,  which  are  sometimes  with  ^ 

the  name  of  Bargas,  and  sometimes  with-      ZX« 
out  it.  -J-  •*- 

BARGONE,  GiAcOMO,  was  a  native  of  Genoa, 
and  studied  under  Andrea  and  Ottavio  Semini. 
He  became  one  of  the  most  promising  artists  of 
his  country.  His  drawing  was  remarkably  correct, 
his  execution  free  and  prompt,  and  the  contour  of 
his  figures  extremely  graceful.  The  possession 
of  such  talents  excited  the  jealousy  of  a  contem- 
porary artist,  Lazzaro  Calvi,  who,  as  Soprani 
relates,  after  inviting  him  to  a  repast,  mixed  a 
stupefying  drug  in  a  goblet  of  wine,  from  the 
efEects  of  which  the  unfortunate  victim  perished 
in  the  prime  of  life.  He  flourished  in  the  16th 
century.     • 

BARKER,  Benjamin,  a  brother  of  'Barker  of 
Bath,'  was  born  in  1776,  and  became  a  landscape 
painter  of  some  note.  He  exhibited  both  at  the 
Royal  Academy  and  at  the  Water-Colour  Society, 
from  1800  to  1821,  and  occasionally  at  the  British 
Institution.     He  died  at  Totnes  in  1838. 

BARKER,  Charles,  was  a  native  of  Birming- 
ham, who  during  forty  years,  at  the  early  part  of 
the  i9th  century,  resided  at  Liverpool,  where  he 
ranked  high  as  a  teacher  of  art.  He  was  elected 
president  of  the  Liverpool  Academy,  to  which  he 
was  a  regular  contributor.  He  occasionally  also 
exhibited  at  the  Royal  Academy  in  London ;  his 
last  works  exhibited  there  were,  in  1849,  '  Evening 
after  Rain,'  '  A  Luggage  Train  preparing  to  Shunt,' 
and  '  The  Dawn  of  Day,  a  Foraging-Party  Return- 
ing.'    H  3  died  in  1854. 

82 


BARKER,  Henry  Aston,  who  was  bom  at  Glas- 
gow in  1774,  assisted  his  father,  Robert  Barker, 
in  his  panoramas,  and  in  time  became  known  for 
those  which  he  executed  by  himself.  He  worked 
at  Constantinople,  Paris,  Palermo,  Copenhagen, 
Malta,  and  Venice.  He  died  at  Bilton,  near  Bristol, 
in  1856,  having  retired  from  his  profession  as  early 
as  1826.  The '  Coronation  Procession  of  George  IV.' 
was  his  last  work. 

BARKER,  Robert,  inventor  and  painter  of 
Panoramic  Views,  was  bom  at  Kelts,  county 
Meath,  in  1739.  The  first  panorama  he  painted 
was  a  '  View  of  Edinburgh,'  exhibited  by  him  in 
that  city  in  1788,  and  in  London  in  1789.  This 
picturesque  mode  of  exhibiting  on  a  large  scale 
soon  became  popular ;  and  Views  of  London, 
Dublin,  Athens,  Lisbon,  and  other  places,  quickly 
followed,  until  Barker's  Panoramas  became  cele- 
brated among  the  fashionable  exhibitions  of  the 
day.  He  died  at  Lambeth  in  1806,  leaving  two 
sons,  who  carried  on  similar  exhibitions  for  many 
years  in  the  house  built  in  1793  by  their  father  in 
Leicester  Square. 

BARKER,  Samuel,  was  a  cousin  of  John 
Vanderbank,  by  whom  he  was  instructed  in  por- 
trait painting ;  but  having  a  talent  for  painting 
fruit  and  flowers,  he  imitated  Jean  Baptiste,  and 
would  probably  have  excelled  in  that  branch  of 
art,  had  he  not  died  young,  in  1727. 

BARKER,  Thomas,  (called  '  Barker  of  Bath,')  a 
painter  of  landscape  and  rural  life,  was  born  in  the 
year  1769,  near  the  village  of  Pontypool,  in  Mon- 
mouthshire. His  father,  the  son  of  a  barrister, 
having  run  through  a  considerable  property,  com- 
menced practice  as  an  artist,  but  never  attempted 
more  than  the  portraits  of  horses.  Young  Barker 
early  showed  a  remarkable  genius  for  drawing 
figures  and  designing  landscapes  ;  and  on  the  re- 
moval of  his  family  to  Bath,  the  liberal  encourage- 
ment of  Mr.  Spaokman,  an  opulent  coach-builder 
of  that  city,  afEorded  him  the  means  of  following 
up  the  bent  of  his  inclination.  During  the  first 
four  years  he  employed  himself  in  copying  the 
works  of  the  old  Dutch  and  Flemish  masters,  which 
he  imitated  very  successfully.  At  the  age  of 
twenty-one  he  was  sent  to  Rome,  with  ample  funds 
to  maintain  his  position  there  as  a  gentleman. 
While  in  that  city  he  painted  but  little,  contenting 
himself  with  storing  his  mind  vsdth  such  knowledge 
as  might  be  applied  usefully  hereafter.  In  drawing 
or  painting  he  never  took  a  lesson  ;  he  was  entirely 
self-taught.  Barker  was  an  occasional  exhibitor  at 
the  Royal  Academy  and  the  British  Institution  for 
nearly  half  a  century,  during  which  period  he  sent 
nearly  one  hundred  pictures.  His  numerous  pro- 
ductions embraced  almost  the  entire  range  of  pic- 
torial subjects,  and  have  the  marks  of  true  genius 
stamped  upon  them.  Few  pictures  of  the  English 
school  are  more  generally  known  and  appreciated 
than  'The  Woodman,'  of  which  it  appears  two 
were  painted,  both  of  them  from  nature,  and  of 
life  size  :  the  first  was  sold  to  Mr.  Macklin  for  500 
guineas  ;  the  second,  which  realized  the  same  sum, 
became  the  property  of  Lord  W.  Paulett.  In  1821 
he  painted  the  '  Trial  of  Queen  Caroline,'  in  which 
he  introduced  portraits  of  many  celebrated  men ; 
but  perhaps  the  noblest  effort  of  Barker's  pencil 
was  the  magnificent  fresco,  30  feet  in  length,  and 
12  feet  in  height,  representing  'The  Inroad  of 
the  Turks  upon  Scio,  in  April,  1822,'  painted  on 
the  wall  of  his  residence,  Sion  Hill,  Bath,  and 
possessing  merits  of  the  highest  order,  in  compo- 


Barlow 


PAINTERS  AND  ENGRAVERS. 


Barocci 


sition,  colour,  and  effect.  While  Barker's  talents 
were  in  full  vigour,  no  artist  of  his  time  had  a 
greater  hold  on  popular  favour;  his  pictures  of 
'  The  Woodman,'  '  Old  Tom  '  (painted  before  he 
was  seventeen  years  of  age),  and  gipsy  groups 
and  rustic  figures,  were  copied  upon  almost  every 
available  material  which  would  admit  of  decor- 
ation :  Staffordshire  pottery,  Worcester  china, 
Manchester  cottons,  and  Glasgow  linens.  At  one 
time  he  amassed  considerable  property  by  the 
sale  of  his  works,  and  expended  a  large  sum  in 
erecting  a  mansion  for  his  residence,  enriching  it 
with  sculpture  and  other  choice  productions  of 
art.  He  died  at  Bath  in  1847.  There  are  two 
pictures  by  Barker  in  the  National  Gallery :  '  A 
Woodman  and  his  Dog  in  a  Storm,'  and  a  Land- 
scape, perhaps  on  the  Somerset  Downs. 

BAKLOW,  Fkancis,  an  English  painter  and 
engraver,  born  in  Lincolnshire  in  1626,  was  the 
pupil  of  William  Shephard,  a  portrait  -painter. 
He  excelled  in  representing  animals,  birds,  fish, 
&c.,  which  he  drew  with  great  accuracy ;  and 
if  his  colour  and  touch  had  been  equal  to  his 
drawing,  he  would  have  ranked  amongst  the  most 
eminent  painters  of  those  subjects.  The  land- 
scapes he  introduced  into  his  pictures  are  very 
pleasing.  Hollar  engraved  in  1671  a  set  of  thir- 
teen plates,  after  his  own  designs,  entitled  '  Several 
ways  of  Hunting,  Hawking,  and  Fishing,  in- 
vented by  Francis  Barlow.'  Some  of  the  plates 
for  Edward  Benlowe's  divine  poems,  called  'Theo- 
phila,'  published  in  1652,  were  engraved  by  Bar- 
low. He  published  a  translation  of  'JEsop's 
Fables,'  in  1665,  with  110  plates,  etched  from 
his  own  designs.  He  also  painted  ceilings,  and 
designed  monuments  for  Westminster  Abbey. 
He  frequently  signed  his  plates  F.  B.,  sometimes 
enclosed  in  a  circle.     He  died  in  1702. 

BARLOW,  J.,  practised  as  an  engraver  in 
London  at  the  end  of  the  18th  century.  He  en- 
graved some  of  the  illustrations  to  Ireland's 
'  Hogarth,'  published  in  1791,  and  for  '  Rees's 
Cyclopaedia.' 

BARNA  (or  Beena),  of  Siena,  flourished  in  the 
latter  half  of  the  14th  century.  He  painted  at 
^Siena,  Cortona,  Arezzo,  and  at  San  Gimignano, 
where  a  much  damaged  series  of  frescoes  still 
exists.  These  frescoes,  which  are  almost  all  that 
remain  to  testify  to  Barna's  art,  represent  the 
'  Passion  of  our  Lord,'  and  are  executed  somewhat 
after  the  manner  of  Simone  Martini.  Vasari  tells 
us  that  Barna  died  in  1381,  from  injuries  received 
by  a  fall  from  a  scaffold,  while  painting  in  the 
church  of  San  Gimignano. 

BARNABA  da  MODENA.    See  Modbna. 

BARNABEI,  Tommaso,  known  as  Maso  Papa- 
cello,  was  a  pupil  of  Luca  Signorelli,  and  aided 
Giulio  Romano  at  Rome.  At  about  1523-4  he 
assisted  Giambattista  Carporali  at  the  villa  of 
Cardinal  Passerini,  near  Cortona.  He  painted 
three  pictures,  representing  the  '  Annunciation,'  the 
'Conception,'  and  the  'Adoration  of  the  Magi,' in 
the  church  of  Santa  Maria  del  Caloinaio,  near 
Cortina,  and  finally  settled  at  Perugia,  where  he 
died  in  1559. 

BARNARD,  William,  who  was  bom  in  1774, 
was  a  mezzotint  engraver.  Among  his  most  suc- 
cessful plates  were  '  Summer '  and  '  Winter,'  both 
after  Morland,  and  a  portrait  of  Nelson.  He  died 
in  1849,  having  held  for  some  years  the  post  of 
Keeper  of  the  British  Institution. 

BARNEY,    JosBPH.      There    are    engravings 
g2 


executed  in  stipple  by  this  artist,  after  the  paint- 
ings of  Bassano,  W.  Hamilton,  and  others,  which 
were  published  at  the  end  of  the  18th  century. 

BARNEY,  Joseph,  a  fruit  and  flower  painter, 
was  born  at  Wolverhampton  in  1751.  He  came 
to  London  in  early  life,  and  studied  under  Zucchi 
and  Angelica  Kauffmann,  and  in  1774  received  a 
premium  from  the  Society  of  Arts.  ,He  exhibited 
liistorical  or  poetical  subjects,  or  flower  pieces,  at 
the  Royal  Academy  from  1786  until  1827,  and,  in 
1815,  received  an  appointment  as  flower  painter 
to  the  Prince  Regent.  Barney  left  two  sons 
who  followed  in  his  fdotsteps — Joseph  Barney,  a 
flower  painter,  who  lived  chiefly  at  Southampton, 
and  exhibited  occasionally  at  the  Water-Colour 
Society  (1815  — 1818);  and  William  Whiston 
Barney. 

BARNEY,  William  Whiston,  a  mezzotint  en- 
graver, was  a  pupil  of  Samuel  William  Reynolds. 
He  is  best  known  by  his  portraits  of  Sir  Airt^hur 
Wellesley,  after  Hoppner,  and  the  Marquis  of 
Blandford,  after  Cosway,  and  by  various  repro- 
ductions of  Reinagle's  sporting  subjects.  About 
1805  he  bought  a  commission  in  the  army,  and 
served  with  credit  during  the  Peninsular  war. 

BARNUEVO,  Sebastiano  de  HERRERA.  See 
Hebheea  Baenubvo. 

BAROCCI,  Ambrogio,  the  father  of  Federigo, 
was  a  sculptor  of  some  note  in  the  15th  century. 
His  portrait,  painted  by  himself,  is  in  the  UflSzi  at 
Florence. 

BAROCCI,  Fbdeeigo,  (or  Baeoccio) — sometimes 
called  FiORE — was  born  at  Urbino  in  1528.  He 
was  the  son  (?)  of  Ambrogio  Barocci,  a  sculptor  of 
some  eminence,  and  was  placed  —  after  he  had 
received  instruction  in  design  from  his  father  — 
under  Battista  Franco,  with  whom  he  studied  until 
that  painter  left  Urbino.  Barocci  then  went  with 
his  uncle,  Bartolommeo  Genga,  the  architect,  to 
Pesaro,  where  he  copied  some  works  by  Titian.  In 
1548  h?  went  to  Rome,  and  studied  the  works  of 
Raphael.  He  was  favoured  with  the  protection  of 
the  Cardinal  della  Rovere,  who  received  him  into 
his  palace,  where  he  painted  some  pictures  in  fresco, 
and  the  portrait  of  his  patron.  After  passing 
four  years  at  Rome,  he  returned  to  his  native 
city,  where  his  first  work  was  a  picture  of  '  St. 
Margaret,'  executed  for  the  Confraternity  of  the 
Holy  Sacrament.  This  work  gained  him  great 
celebrity ;  and  he  was  invited  by  Pope  Pius  IV.  to 
assist  in  the  decoration  of  the  Belvedere  Palace 
at  Rome,  where  he  painted  the  '  Virgin  Mary  and 
Infant  Sa"^iour,  with  several  Saints,'  and  a  ceiling 
in  fresco,  representing  the  '  Annunciation.'  While 
working  in  the  Vatican  he  was  nearly  killed  by 
poison,  and  though  he  did  not  actually  lose  his  life, 
he  was  unable  to  work  for  four  years,  and  even 
after  that  time  he  could  paint  no  longer  than  about 
two  hours  each  day.  Having  finished  these  and 
other  works,  he  returned  to  Urbino,  where  he 
painted  a  fine  picture  for  the  cathedral  of  San 
Lorenzo,  at  Perugia,  of  the  '  Descent  from  the 
Cross.'  He  again  visited  Rome  during  the  pon- 
tificate of  Gregory  XIII.,  when  he  painted  two 
admirable  pictures  for  the  Chiesa  Nuova,  represent- 
ing the '  Visitation  of  the  Virgin  Mary  to  Elisabeth,' 
and  the  '  Presentation  in  the  Temple,'  which  are 
considered  his  best  productions,  and  for  the  Chiesa 
della  Minerva,  a  fine  picture  of  the  '  Last  Supper.' 
Barocci  spent  nearly  all  the  remaining  years  of  his 
life  at  his  native  Urbino,  where  he  died  in  1612, 
aged  84  years.    He  was  buried  in  the  church  of  San 

83 


Baron 


A  BIOGRAPHICAL  DICTIONARY  OF 


E&roid 


Francesco,  with  much  honour.  In  the  works  of 
Barooci  we  admire  an  elegant  taste,  and  tliere  is 
great  amenity  and  harmony  in  his  colouring.  _  He 
seems  to  have  adopted  the  manner  of  Correggio  as 
the  model  for  his  imitation  ;  and  although  he  has 
succeeded  in  giving  a  graceful  air  to  his  figures,  his 
style  must  he  allowed  to  partake  of  something 
,  approaching  to  afEectation,  and  can  never  be  put  m 
competition  with  the  beautiful  and  touching  sim- 
plicity of  that  inimitable  painter.  He  was  a  better 
draughtsman  than  many  of  his  contemporaries,  but 
his  colouring  was  not  good.  Mengs  remarks  that 
his  pictures  lacked  yellow  tints  ;  and  Bellori  says 
that  he  used  too  much  vermilion  and  ultramarine. 
Among  his  pictures  in  public  galleries  are : 

Dresden.  Gallery.  Hagar  in  the  Desert. 

„  „  Madonna  and  two  Saints. 

Florence.  XJJizi.  Virgin  pleading  for  the  poor. 

„  „  Noli  me  tangere. 

„  Portrait  of  the  Duke  of  TIrhino. 

London.  Nat.  Gallery.  Holy  Family,  del  Gatto. 
Milan.      Brera.  Martyrdom  of  St.  Vitale  (dated 

1583). 
Munich.  Pinakotliek.     Saviour   appearing   to    the  Mag- 
dalene (dated  1690). 
Paris.       Louvre.  The  Circumcision  (signed  aiid  dated 

1580). 
„  „  Madonna  in  glory,  with  Saints. 

Petersburg,  Ilertnitage.  Holy  Family. 

„  „  Portrait  of  a  Man. 

Rome.  Borghese  Fal.  Burning  of  Troy. 
„  Corsini  Pal.  Noli  me  tangere. 
„  Vatican.  The  Annunciation. 

„  „  The  Ecstasy  of  St.  Miehelina. 

„  „  Madonna. 

„  „  Male  portrait. 

Windsor.    Castle.  Nativity. 

We  are  indebted  to  Barocci  for  some  engravings, 
which,  although  not  very  commendable  for  the 
delicacy  of  their  execution,  possess  the  higher 
qualifications  of  correctness  of  design  and  beauty 
of  expression.  He  has  left  us  the  following 
plates: 

The  Virgin  and  our  Saviour  appearing  to  St.  Francis ; 
a  large  plate,  arched.    His  principal  plate. 

The  Virgin  holding  the  Infant  Saviour ;  a  small  plate, 
of  which  the  lower  part  is  left  unfinished. 

The  Virgin  in  the  Clouds,  with  the  Infant  Jesus; 
marked  F.  B.  V.  F. 

The  Annunciation ;  on  the  left  of  the  print  a  Cat  sleep- 
ing ;  fine. 

St.  Francis  receiving  the  Stigmata. 

BARON,  Bbenaed,  an  eminent  French  engraver, 
was  born  in  Paris  about  the  year  1700.  He  was 
instructed  in  engraving  by  Nicolas-Henri  Tardieu, 
whose  style  he  followed.  He  engraved  several 
plates  for  the  Crozat  Collection,  and  afterwards 
came  to  England,  where  he  resided  the  remainder 
of  his  life,  and  died  in  London  in  1766.  Many 
of  his  engravings  are  in  the  Boydell  Collection: 
they  are  executed  in  a  coarse  manner,  but  are  not 
without  considerable  merit.  The  following  are  his 
principal  works : 

POETEAITS. 

King  Charles  I.  on  Horseback,  with  the  Duke  d'Eper- 
non ;  after  Van  Dyck. 

Charles  I.  and  Queen,  with  their  two  Sons ;  after  the 
saine. 

The  Nassau  Family ;  from  Earl  Cowper's  picture ;  after 
the  same. 

The  Pembroke  Family;  from  the  picture  at  'Wilton; 
after  the  same. 

Henry  VIII.  granting  the  Charter  to  the  Barber- 
Surgeons'  Company ;  after  Holbein. 

The  Family  of  Van  Dyck ;  after  Van  Dyck;  in  the  Earl 

of  Pembroke's  picture. 
84 


Robert,  Earl  of  Carnarvon ;  after  Van  Dyclc  ;  in  the  same 

collection. 
Anna,  Sophia,  Countess  of  Carnavon;  after  tlw  smne; 

in  the  same  collection. 
George,  Prince  of  Wales,  on  Horseback  ;  after  Adolph. 
Cornells  van  Tromp,  Vice- Admiral  of  Holland;  after 

J.  Vanderbank. 
Dr.  Mead ;  after  A.  Samsay. 
The  liOrd  Chancellor  Hardwick ;  after  the  same. 
The  Lord  Chief  Justice  Eeve ;  after  J.  Amiconi. 
The  Cornaro  Family;  after  Titian;  the  picture  is  in 

the  possession  of  the  Duke  of  Northumberland. 
Benjamin  Hoadly,  Bishop  of  "Winchester;  after  Hogarth. 

SUBJECTS   AFTER   VAKIOUS   MASTEES. 

Nine  plates  of  the  Life  of  Achilles,  with  the  titles ;  afler 

Mubens. 
Belisarius ;  incorrectly  called  aper  Van  Dyck. 
Charles   I    escaping  from   Hampton   Court;    after  J, 


Jupiter  and  Antiope ;  after  Titian  ;  for  the  Crozat  Col- 
lection.   This  is  considered  his  chef-d'teuvre. 
Pan  and  Syrinx ;  after  Nic.  Berlin. 
The  Card-players ;  after  D.  Teniers. 
The  Temptation  of  St.  Anthony ;  after  the  same. 
The  Italian  Comedians ;  after  fVatteau. 
The  Companion ;  after  the  same. 
The  Two  Cousins ;  after  the  same. 
Soldiers  plundering  a  Village ;  after  the  same. 
The  Peasants  revenged ;  after  the  same. 
St.  Cecilia;  after  Carlo  Dolei. 
Moses  exposed  on  the  Nile ;  after  Be  Sueur. 
Marriage-a-la--mode ;  after  Hogarth  (two  of  the  plates). 

BARON,  Jean,  (or  Baeonius,)  a  French  en- 
graver, who  is  sometimes  called  '  Tolosano,'  from 
his  birthplace,  was  born  at  Toulouse  in  1631. 
He  resided  the  greater  part  of  his  life  at  Rome, 
where  he  worked  in  union  with  C.  Bloemaert, 
and  engraved  several  plates  of  historical  subjects 
and  portraits.  They  are  executed  entirely  with 
the  graver  in  a  neat  but  dry  manner,  and  are 
not  very  well  drawn.  The  following  are  his  best 
works : 

POETEAITS. 

Jean  Plantavit,  Sieur  de  la  Pause,  Bishop  of  Lodeve. 

Cardinal  Aquaviva. 

Leonardo  Alberti,  architect. 

Vito  de  Bramante,  architect. 

Giovanni  Francesco  Rustici,  sculptor. 

Marc  Antonio  Raimondi,  engraver. 

Raphael  d'TJrbino. 

Leonardo  da  Vinci. 

SUBJECTS   AFTBB   VAEIOUS   MASTEES. 
Judith  with  the  head  of  Holofemes ;  after  Donienichino. 
The  Stoning  of  St.  Stephen ;  after  Niccolb  dell'  Ahhate. 
The  Martyrdom  of  St.  Andrew ;  after  the  same. 
St.  Peter  and  St.  Paul  in  the  Clouds ;  after  Ann.  Car- 

racci. 
The  Virgin  in  Adoration ;  after  Guide  Heni. 
The  Virgin ;  a  small  plate ;  after  Bernini. 
St.  Romualdus,  and  Monks ;  after  Andrea  Saechi. 
The  Plague  at  Ashdod ;  after  iV.  JPoussin. 

BARONI,  Giuseppe,  was  an  Italian  engraver, 
who  resided  at  Venice  about  the  year  1720.  He  en- 
graved some  large  plates  from  the  paintings  of  the 
Venetian  masters ;  among  which  is  a  print  repre- 
senting the  '  Crucifixion,  with  Angels  in  the  air,  and 
St.  John  and  St.  Mary  Magdalene  at  the  foot_  of 
the  Cross.'  It  is  executed  in  a  coarse,  unpleasing 
style,  and  the  drawing  is  very  incorrect. 

BARONLCAVALCABO,  Kaspae  Anton  von,  a 
Tyrolese  historical  painter,  was  born  at  Sacco  in 
1682.  He  was  instructed  in  the  art  by  Giovanni 
Baroni,  a  kinsman,  and  by  Antonio  Balestra  at 
Verona.  He  then  went  to  Venice  and  Rome, 
where  he  studied  in  the  school  of  Carlo  Maratti. 
He  devoted  his  talents  chiefly  to  biblical  and  re- 


Barozzi 


PAINTERS  AND  ENGRAVERS. 


Barret 


ligious  subjects,  and  he  presented  many  of  his  pic- 
tures to  the  churches  of  Sacco,  Trent,  and  Roveredo. 
During  the  greater  part  of  his  life  he  lived  in 
Sacco,  where  he  died  in  1759.  Many  of  his  draw- 
ings are  in  the  Library  at  Innsbruck. 
BAROZZI.  See  Barocci. 
BARRA,  JoHAN.  See  Baea. 
BARRABAND,  Pieeee  Paul,  a  French  painter 
of  flowers,  birds,  and  other  subjects  in  natural 
history,  was  born  at  Aubusson  in  1767.  He  studied 
under  Malaine,  the  designer  of  the  tapestry  manu- 
factory of  the  Gobelins.  Le  Vaillant,  the  cele- 
brated traveller,  employed  him  to  paint  the  birds 
of  Africa,  parrots,  and  birds  of  paradise  for  his 
works.  He  also  supplied  the  illustrations  for  the 
edition  of  Buffon  published  by  Sonnini ;  for  the 
'  History  of  Insects,'  by  Latreille,  and  for  the  great 
work  of  the  Institute  on  Egypt.  He  was  professor 
at  the  School  of  Design  at  Lyons  ;  and  he  executed 
numerous  designs  for  Sevres  porcelain,  and  decor- 
ated the  dining-room  at  St.  Cloud.  He  died  at 
Lyons  in  1809. 

BARRALET,  John  James,  of  French  extraction, 
was  born  in  Ireland  ;  he  was  in  early  life  a  draw- 
ing-master in  Dublin,  but  came  to  London  and 
practised  water-colour  painting.  He  exhibited  three 
landscapes  at  the  Royal  Academy  in  1770,  and 
occasionally  exhibited  in  succeeding  years.  He  was 
employed  in  illustrating  books  on  Irish  Antiquities. 
In  1795  he  emigrated  to  America,  where  he  died 
in  1812.  His  brother,  J.  Melchioh  Baeealet,  was 
a  teacher  in  the  Royal  Academy  School,  and  occa- 
sionally, between  the  years  1775  and  1789,  sent 
tinted  drawings  to  the  Academy  Exhibitions. 

BARRANGO,  Bbenaedo  MARTINEZ  del.  See 
Martinez  del  Baeeanco. 

BARRAS,  Sebastien,  a  painter  and  engraver, 
was  born  at  Aix,  in  Provence,  in  1653.  He 
was  a  pupil  of  Boyer  d'Aguilles,  and  studied  for 
some  time  in  Rome.  He  died  at  Aix  in  1703.  The 
first  edition  of  the  Boyer  d'Aguilles  Collection,  pub- 
lished in  1709,  contained  twenty-seven  plates  in 
mezzotint,  scraped  by  this  master ;  they  were  re- 
placed in  the  second  edition  by  plates  engraved  by 
Coelemans.  The  former  have  become  very  scarce. 
He  also  engraved  a  portrait  of  Lazarus  Maharky- 
Bus,  a  physician  of  Antwerp,  after  Van  Dyck. 

BARRAUD,  Heney,  a  younger  brother  of 
William  Barraud,  was  born  in  1812.  He  ex- 
celled as  an  animal  painter,  and  in  his  later  life 
exhibited  pictures  which  were  engraved  and  be- 
came very  popular.  The  most  important  of  these 
were,  '  We  praise  thee,  0  God '  (three  choir  boys 
in  their  surplices),  'The  London  Season'  (a  scene 
in  Hyde  Park),  and  '  Lord's  Cricket  Ground.'  He 
died  in  1874. 

BARRAUD,  Williaw,  an  animal  painter,  was 
born  in  1810.  The  family  of  this  artist  came  over 
to  England  from  Prance  at  the  time  of  the  Revo- 
cation of  the  Edict  of  Nantes ;  his  father  held  an 
appointment  in  the  Custom-house,  and  his  grand- 
father was  a  well-known  chronometer-maker  in 
Comhill.  His  taste  for  painting  was  most  probably 
inherited  from  his  maternal  grandfather,  an  excel- 
lent miniature  painter ;  but  it  was  not  fostered  very 
early  in  life,  for,  on  leaving  school,  he  took  a  situa- 
tion in  the  Customs,  where  he  remained  but  a  short 
time ;_  he  quitted  it  to  follow  the  profession  most 
in  unison  with  his  feelings,  under  the  guidance 
of  Abraham  Cooper,  R.A.,  with  whom  he  studied 
for  a  considerable  time.  Without  attaining  to  the 
highest  rank  in  his  peculiar  department,  that  of  a 


painter  of  horses  and  dogs,  for  to  these  he  chiefly 
confined  his  practice,  he  was  always  correct  in  his 
style  of  work;  while  the  subject  pictures  which 
he  painted,  in  conjunction  with  his  brother  Henry, 
were  far  above  mediocrity,  both  in  conception  and 
treatment.  The  two  brothers  were  for  many  years 
joint  exhibitors  at  the  Royal  Academy  and  the 
British  Institution.   William  Barraud  died  in  1850. 

BARKE,  De  la.    See  Baea. 

BARRERA,  Francisco,  a  Spanish  fresco-painter, 
is  best  known  by  his  eloquent  and  successful 
appeal  on  behalf  of  his  fellow-artists,  upon  whom 
in  1640  the  Government  wished  to  impose  the 
taxes  levied  upon  trade  corporations.  No  details 
of  his  life  are  known. 

BARKERA,  Jacobo  de,  was  a  Spanish  historical 
painter,  many  of  whose  works,  dated  1522,  are  in 
the  cathedral  of  Seville.  He  was  a  friend  and 
fellow-worker  of  Covarrubias,  and  died  insane, 
but  in  wbat  year  is  not  known. 

BARRET,  George,  an  eminent  painter  of  land- 
scapes, was  born  in  Dublin  in  1728  (or  1732),  and 
received  his  first  education  in  art  in  the  Drawing 
Academy  of  Mr.  West,  in  that  city.  Having  been 
introduced  by  his  patron,  Mr.  Burke,  to  the  Earl  of 
Powersoourt,  he  passed  a  great  part  of  his  youth 
in  studying  and  drawing  the  charming  scenery 
around  Powerscourt  Park ;  and  he  soon  after  gained 
the  premium  offered  by  the  Dublin  Society  for  the 
best  landscape.  Barret  came  to  England  in  1762, 
and  two  years  afterwards  gained  the  fifty  pounds 
premium  given  by  the  Society  of  Arts.  He  had 
the  honour  of  contributing  to  the  establishment  of 
the  Royal  Academy,  of  which  he  was  one  of  the 
earliest  members.  He  was  a  chaste  and  faithful 
delineator  of  English  landscape,  which  he  viewed 
with  the  eye  of  an  artist,  and  selected  with  the 
feeling  of  a  man  of  taste.  His  colouring  is  excel- 
lent, and  there  is  a  freshness  and  dewy  brightness 
in  his  verdure  which  is  only  to  be  met  with  in 
English  scenery,  and  which  he  has  perfectly 
represented.  The  landscapes  of  this  artist  are  to 
be  found  in  several  of  the  collections  of  the  nobil- 
ity ;  but  his  principal  works  are  in  the  possession 
of  the  Dukes  of  Portland  and  Buccleuch.  His 
decoration  of  the  great  room  at  Norbury  Park, 
near  Leatherhead,  will  ever  rank  among  his  most 
celebrated  productions.  He  died  at  Paddington  in 
1784. 

There  are  a  few  spirited  and  picturesque  etch- 
ings by  him  as  follow : 

A  View  of  the  Dargles,  near  Dublin. 

A  set  of  six  Views  of  Cottages  near  London, 

A  large  landscape,  with  Cottages. 

A  View  of  Hawarden  Castle ;  dated  1773. 

BARRET,  George,  '  the  younger,'  a  son  of  the 
artist  of  the  same  name,  was  born  about  1774,  and 
was  one  of  the  first  members  of  the  Water-Colour 
Society,  on  its  foundation  in  1804,  and  an  exhibitor 
in  its  Gallery  for  many  years.  In  1840  he  published 
a  series  of  Letters  on  the  '  Theory  and  Practice  of 
Water-Colour  Painting.'  He  died  in  1842,  after  a 
long  illness.  There  are  several  drawings  by  him 
in  the  South  Kensington  Museum.  His  brother, 
J.  Barret,  and  his  sister,  M.  Barret,  were  also 
painters  in  water-colours,  and  occasionally  ex- 
hibited their  works.     Miss  Barret  died  in  1836. 

BARRET,  Ranelagh.  This  artist  is  mentioned 
by  Lord  Orford  as  a  noted  copyist,  who  made 
duplicates  of  several  pictures  in  Sir  Robert  Wal- 
pole's  collection,  and  of  others  in  the  galleries 
of  the  Duke  of  Devonshire  and  Dr.  Meade.     Ha 

85 


A  BIOGRAPHICAL  DICTIONARY  OF 


Barri 

succeeded  especially  in  reproducing  the  works  of 
Eubens.     He  died  in  1768. 

BARRI,  GlACOMO,  a  Venetian  painter  and  en- 
graver, flourished  about  the  year  1670._  He  etched 
some  plates  from  his  own  designs,  and  in  1671  pub- 
lished a  book  of  some  reputation,  entitled  '  Viaggio 
pittoresco  d'ltalia.'  He  died  about  1690.  There 
is  a  slight  free  etching  by  him  of  the  '  Nativity, 
after  Paolo  Veronese. 

BARRIERE,  Dominiqttb,  a  French  painter  and 
engraver,  was  born  at  Marseilles  about  the  year 
1622.  He  chiefly  resided  at  Rome,  where  he  en- 
graved a  considerable  number  of  plates,  in  a  very 
agreeable  style,  after  Claude  and  other  landscape 
painters,  as  well  as  other  subjects.  They  are 
neatly  etched  in  the  manner  of  Stef  ano  della  Bella. 
He  died  in  Rome  in  1678.  He  sometimes  signed 
his  plates  with  his  name,  Dominictis  Barriere 
Massiliends,  and  sometimes  with  the  cipher  which 
is  the  mark  used  by  Domenico  del  Barbiere, 
and  thus  mistakes  frequently  arise,  although 
their  styles  are  extremely  difEerent.  Among 
others  we  have  the  following  by  him : 

Portrait  of  Jean  de  la  Valette ;  marked  D.  B.;  scarce. 

A  set  of  six  Landscapes. 

A  set  of  twelve  Landscapes ;  dedicated  to  Lelio  Orsini. 

1651. 
Seven  Views  of  the  ViUa  Aldobrandini.    1649. 
A  Landscape,  with  the  Zodiac ;  inscribed  Vim  profert 

A  View  of  !Frascati. 

Fontana  maggiore  nel  Giardino  di  Tivoli,  with  his 
cipher. 

Eighty-four  Views  and  Statues  of  the  Villa  Pamphili. 

Four ;  entitled  Catafalco  e  apparato  nella  ehiesa,  S^c, 

Sepulchral  Monument  of  N.  L.  Plumbini;  Dominieus 
jBarriere  Gatlus,  in.  ex.  del.  et  scul. 

Hercules,  after  a  basso-rilievo  in  the  Medicean  Garden. 

A  large  Plate ;  entitled  Circttm  Urbis  Agonalibus,  $c. 
with  many  Figures.     1650. 

Several  plates  of  the  History  of  Apollo ;  after  the  pic- 
tures by  Someniehino  and  Viola. 

BARRON,  Hugh,  the  son  of  an  apothecary  in 
Soho,  was  born  about  1746,  and  became  a  pupil  of 
Sir  Joshua  Reynolds.  From  the  year  1766  to  1786 
he  exhibited  many  portraits,  which  were  but  poor 
in  comparison  with  the  works  of  his  celebrated 
instructor.     He  died  in  1791. 

BARRON,  William  Augustus,  a  younger 
brother  of  Hugh  Barron,  was  a  pupil  of  William 
Tomkins,  A.R.A.  He  gained  a  Society  of  Arts 
premium  in  1766,  and  started  in  life  as  a  teacher 
of  drawing.  From  1774  to  1777  he  exhibited 
landscape  views  at  the  Academy,  some  of  which 
were  engraved  and  published.  On  receiving  a 
Government  appointment  he  relinquished  his  art. 

BARROSO,  MiGUBL,  a  Spanish  painter,  bom  at 
Consuegra  in  1538.  According  to  Palomino,  he 
was  a  scholar  of  Gaspare  Beoerra,  and  distinguished 
himself  as  an  architect,  as  well  as  a  painter.  He 
was  employed  by  Philip  II.  in  the  Escorial,  where 
he  painted,  in  the  pripcipal  cloister,  the  '  Resur- 
rection,' 'Christ  appearing  to  the  Apostles,'  the 
'  Descent  of  the  Holy  Ghost,'  and '  St.  Paul  preach- 
ing.' In  1589  he  was  made  painter  to  the  king. 
His  compositions  are  copious,  and  his  design  cor- 
rect. Cean  Bermudez  and  Quilliet  say  that  he  failed 
sometimes  in  vigour  and  knowledge  of  chiaroscuro ; 
but  that  his  colour  was  that  of  Barocci,  and  his 
forms  those  of  Correggio.  He  died  at  the  Escorial 
in  1590. 

BARRY,  Hbndbie.    See  Bart. 
BARRY,  J.,  was  a  miniature  painter,  who  exhi- 
86 


Barry 


bited  at  the  Royal  Academy  at  intervals  from  1784 
to  1819— amongst  others  the  'Four  Seasons,' and 
various  fancy  portraits. 

BARRY,  James.     This  eminent  artist  was  bom 
at  Cork  in  1741.     He  was  the  son  of  a  ship-master 
who  traded  from  Cork  to  England,  and  was  intended 
by  his  father  to  succeed  him  in  that  calling;  but 
his  decided  inclination  for   drawing  induced  liis 
parents  to  permit  him  to  follow  the  bent  of  his 
genius  ;  and  he  was  educated  at  the  Academy  of 
Mr.  West  at  Dublin,  where,  at  the  age  of  twenty- 
two,  he  gained  the  premium  for  the  best  historical 
work,  by  his  picture  of  '  St.  Patrick  baptizing  the 
King   of   Cashel.'     His  merit  procured  him  the 
patronage  of  Mr.  Burke,  by  whose  kindness  he  was 
enabled  to  travel,  and  to  visit  Italy,  where  he 
remained  four  years.     During  his  residence  abroad 
he  was  made  a  member  of  the  Clementine  Academy 
at  Bologna,  on  which  occasion  he  painted  for  his 
diploma  picture  '  Philoctetes  in  the  Isle  of  Lem- 
nos.'     He  returned  to  England  in  1770,  and  the 
year  afterwards  exhibited  at  the  Royal  Academy 
his  picture  of  'Adam  and  Eve '  (now  in  the  posses- 
sion of  the  Society  of  Arts),  and  the  following  year 
produced  his '  Venus  Anadyomene,'  a  picture  which 
gained  his  election  as  Associate  of  the  Royal  Aca- 
demy.     In  1773  he  became  a  Royal  Academician. 
In   1775   Barry  published   a  reply  to  the  Abb6 
Winckelmann,  who  had  asserted  that  the  English 
are  incapable  of  attaining  any  great  excellence  in 
art,  on  account  of  their  natural  deficiency  of  genius, 
and  the  unfavourable  temperature  of  their  climate ; 
it  was  considered  a  triumphant  answer.     He  soon 
afterwards  made  his  proposal  to  the  Society  for 
the  Encouragement  of  Arts  to  paint  gratuitously 
a   series   of    six  pictures,   allegorically  illustrat- 
ing the  '  Culture  and  Progress  of  Human  Know- 
ledge,' which  now  decorate  the  great  room  of  the 
Society.      This  immense  work  he  accomplished, 
without  assistance,  in  the   short  space  of  three 
years,  and  it  is  sufficient  to  prove  the  capacious 
stretch  of  his  mind   and  the   abundance  of  his 
invention.     The  most  important  of  the  series  is 
a   view   of   Elysium  (42    feet  long),  in  which 
the  artist  painted  the  portraits  of  the  great  and 
good  of  all  nations.    A  young  lady,  after  look- 
ing at  it  earnestly,  said  to  Barry,  "  The  ladies,  I 
see,  have  not  yet  arrived  in  this  Paradise  of  yours." 
"  Oh,  but  they  have,  madam,"  replied  the  painter ; 
"  they  reached  Elysium  some  time  ago ;  they  are 
beyond  that  very  luminous  cloud,  and  very  happy 
they  are,  I  assure  you."     On  the  resignation  of 
Edward  Penny,  in  1783,  he  was  elected  Professor 
of  Painting  to  the  Royal  Academy.    It  is  to  be 
regretted  that  this  artist's  undoubted  genius  and 
loftiness  of  mind  were  accompanied  by  a  fiery  and 
turbulent  nature,  which  frequently  hurried  him 
into  the  most  imprudent  and  outrageous  intemper- 
ance  of  conduct.    This  unfortunate  disposition 
produced  many  unpleasant  dissensions  with  hia 
brother  Academicians,  and  finally  occasioned  his 
expulsion  from  the  Academy  in  1799.    He  died  in 
London  in  1806  ;  his  body  lay  in  state  in  the  great 
room  of  the  Society  of  Arts,  and  was  buried  in  the 
crypt  of  St.  Paul's  Cathedral. 

The  principal  works  of  Barry  are  his  pictures  at 
the  Society  of  Arts,  in  the  Adelphi,  hia  '  Venus 
Anadyomene,'  'Birth  of  Pandora,'  and 'King  Lear,' 
for  Boydell's  '  Shakespeare  Gallery.'  His  engrav- 
ings of  many  of  his  works  may  be  regarded  as  the 
productions  of  a  painter  inattentive  to  that  beauty 
and  delicacy  of  execution  which  are  looked  for  in  the 


Baith 


PAINTEES  AND  ENGRAVERS. 


Bartoli 


productions  of  a  profesflional  engraver.  "  Barry,'' 
Bays  Allan  Cunningham,  "  was  the  greatest  enthu- 
siast in  art  -which  this  country  ever  produced ;  his 
passion  aJiiounted  to  madness."  He  was  a  bigoted 
Roman  Catholic,  cared  little  for  the  society  of  his 
fellow-men,  and  lived  alone  in  a  wretched  house 
in  Castle  Street,  Oxford  Market,  where  Burke  once 
helped  to  cook  a  steak  for  their  dinner,  while 
Barry  went  out  to  fetch  a  pint  of  porter  1  Barry's 
'Lectures  on  Painting'  have  been  frequently 
reprinted. 

BAETH,  Carl,  who  was  born  at  Eisfeld  in  1782, 
studied  the  art  of  engraving  under  J.  E.  von 
Miiller  at  Stuttgart,  and  thence  went  to  Munich  in 
1814,  and  three  years  later  to  Rome,  for  the  im- 
provement of  his  art.  On  his  return  to  Germany 
he  was  made  director  of  the  Herder  Art  Institution 
at  Frtiburg ;  thence  he  went  to  Frankfort.  He 
subsequently  visited  Hildburghausen  and  Darm- 
stadt, where  first  appeared  evidences  of  the  de- 
rangement of  mind  which  caused  his  death.  He 
died  at  Guntershausen  near  Cassel  in  1853. 
Besides  his  engravings,  Barth  left  a  number  of 
portraits,  both  drawings  and  paintings.  The 
following  are  his  chief  plates : 

Charity ;  after  Vo^el. 

Christ  and  the  Virgin ;  after  Holbein. 

The  Seven  Years  of  Famine ;  after  Overleck, 

BARTHELEMY,  Antoine,  (or  BsKTHiiLMY,)  a 
historical  and  portrait  painter,  was  bom  at  Fon- 
tainebleau  about  the  year  1 633.  He  was  received 
into  the  Academy  in  1663,  and  died  at  Paris 
in  1669.  Another  Antoine  Barthelemt,  likewise 
a  painter,  died  at  Paris  in  1649.  There  was  also 
JosiAS  Barthelemt,  living  in  1631,  and  Jean 
Barthelemt,  mentioned  by  the  Abbe  de  MaroUes, 
either  of  whom  might  have  been  the  instructor 
of  S^bastien  Bourdon. 

BARTHOLOMEW,  Anne  Charlotte,  miniature 
and  ilower  painter,  whose  parental  name  was 
Fayermann,  was  bom  at  Loddon,  in  Norfolk,  in 
1800.  In  1827  she  married  Mr.  Turnbull,  the 
composer  of  several  popular  melodies,  who  died 
in  1838 ;  and  in  1840  she  married  Valentine  Bar- 
tholomew, who  had  acquired  considerable  reput- 
ation as  a  flower  painter.  She  died  in  1862. 
Her  works  were  chiefly  miniature  portraits,  and 
occasionally  friut  and  flowers. 

BARTHOLOMEW,  Valenhne,  who  was  born 
in  1799,  was  an  early  member  of  the  Society  of 
Painters  in  Water  Colours,  which  he  joined  in  1835. 
He  had  a  special  talent  for  flower  painting,  a 
branch  of  art  which  he  pursued  with  much  success, 
his  works  being  chiefly  remarkable  for  the  great 
care  and  the  large  scale  on  which  they  were  car- 
ried out.  '  Azaleas '  and  '  Camellias '  are  in  the 
South  Kensington  Museum.  Bartholomew  held  for 
many  years  the  post  of  Flower  Painter  in  Ordinary 
to  the  Queen.     He  died  in  1879. 

BARTLETT,  William  Henrt,  a  topographical 
landscape  painter,  was  born  at  Kentish  Town  in 
1809.  In  1823  he  was  articled  to  John  Britton,  the 
architect,  and  the  author  of  several  well-known 
illustrated  works  on  topography.  Here  —  as  the 
latter  in  a  biographical  sketch  informs  us — Bartlett 
in  the  course  of  the  year  surpassed  his  associates 
in  accuracy,  style,  and  rapidity.  Appreciating  his 
pupil's  talent,  Britton  sent  him  successively  into 
Essex,  Kent,  Bedfordshire,  Wiltshire,  and  other 
parts  of  England,  to  sketch  and  study  from  nature. 
He  went  next,  in  a  similar  way,  to  Bristol,  Glouces- 


ter, and  Hereford,  and  executed  a  series  of  elaborate 
drawings  of  the  sacred  edifices  there  for  Britten's 
'  Cathedral  Antiquities  of  England.'  He  afterwards 
made  similar  sketches  for  the  work  entitled  ^Pictur- 
esque Antiquities  of  English  Cities.'  But  Bartlett's 
artistic  tours  were  not  confined  to  the  British 
Empire  alone;  they  extended  to  all  the  four 
quarters  of  the  globe.  Previous  to  going  abroad, 
he  travelled  over  many  parts  of  England,  Wales, 
Scotland,  and  Ireland,  and  next  visited  France, 
Spain,  Germany,  Switzerland,  Holland,  and  Bel- 
gium ;  the  United  States  and  Canada ;  Constan- 
tinople, Asia  Minor,  Syria,  Italy,  Greece,  and  the 
Grecian  Archipelago;  Palestine,  Egypt,  Sinai, 
Petra,  and  the  Arabian  deserts.  He  thrice  ex- 
plored the  East,  first  in  the  years  1834  and  1835, 
again  in  1842 — 1845,  and  a  third  time  in  1853. 
He  made  four  voyages  to  America,  between  the 
years  1836  and  1852.  No  less  than  nineteen  large 
volumes  in  quarto,  containing  more  than  lOOC 
engravings  from  his  drawings,  are  devoted  to 
those  countries  and  districts,  nearly  the  whole  of 
which  contain  copious  and  interesting  letter-press 
from  the  pen  of  Dr.  Beattie,  who  accompanied  the 
artist  in  some  of  his  voyages  and  travels.  In 
addition  to  these  works,  Bartlett  showed,  in  the 
following  publications,  that  he  could  exercise  a 
skilful  pen,  as  well  as  a  rapid  pencil : 

■Walks  about  Jerusalem.    1845. 

Forty  Days  in  the  Desert.    1848. 

The  Nile -Boat,  or  Glimpses  of  Egypt.    1849. 

The  Overland  Route.    1850. 

Footsteps  of   Our  Lord  and  nia  Apostles  in  Syria, 

Greece,  and  Italy.  1851. 
Pictures  from  Sicily.  1852. 
The  Pilgrim  Fathers.    1853. 

A  new  volume,  on  'Scripture  Sites  and  Scenes,' 
was  in  the  press,  when  the  artist  died,  on  board 
the  steamer  '  Egyptus '  on  its  passage  homeward 
between  Malta  and  Marseilles,  in  1864. 

BARTOLI,  DoMENico.     See  Ghezzi. 

BARTOLI,  PiBTRO  Santi.     See  Santi. 

BARTOLI,  Taddeo  (or Taddeo  di  Bartolo),  was 
bom  at  Siena  about  1363.  The  earliest  specimen 
of  his  art  is  an  altar-piece,  representing  '  St.  Peter,' 
painted  for  San  Paolo  of  Pisa,  and  dated  1390 :  it 
is  now  in  the  Louvre.  In  1395  he  finished  an 
altar-piece  of  the  '  Virgin  and  Child  with  Saints,' 
for  a  chapel  in  San  Francesco,  Pisa,  which  is  now 
in  Vienna;  he  afterwards  adorned  the  entire  chapel 
with  frescoes  of  the  figures  of  Saints,  and  the  '  Life 
of  the  Virgin.'  In  1400—1401  Taddeo  painted  in 
the  Palazzo  Pubblico  and  other  buildings  in  Siena ; 
but  of  the  works  he  executed  then  only  nine  small 
panels,  representing  nine  sentences  of  the  Creed, 
exist.  They  are  in  the  cathedral.  Soon  afterwards 
he  decorated  the  cathedral  with  frescoes  represent- 
ing Paradise  and  Hell.  There  are  preserved  in  the 
hall  of  the  Palazzo  Pubblico,  of  the  same  city,  two 
paintings  that  were  formerly  in  the  cathedral ;  the 
first  is  an  altar-piece  representing  St.  Gimignano, 
with  a  model  of  the  town  in  his  hand,  giving  the 
benediction ;  its  side  panels  contain  four  subjects 
drawn  from  that  Saint's  life  ;  the  second  is  a  panel 
with  a  'Madonna  and  Child  and  four  Saints.'  In 
1403  he  painted,  at  Perugia,  an  altar-piece  repre- 
senting the  'Virgin  and  Child,  with  St.  Bernard 
and  two  Angels,'  which  is  now  in  the.Academy  of 
that  city.  A  'Descent  of  the  Holy  Ghost,'  also 
painted  in  1403,  in  the  church  of  Sant'  Agostino  at 
Perugia,  where  it  may  still  be  seen,  is  especially  to 
be  admired.     In  1404  Taddeo  had  again  returned 

87 


Bartolini 


A  BIOGRAPHICAL  DICTIONARY  OF 


Bartolommeo 


to  Siena,  and  recommenced  his  works  at  the 
cathedral,  at  his  former  salary  of  twelve  and  a  half 
florins  a  month.  These  frescoes  have  all  likewise 
disappeared.  In  that  same  year  he  was  appointed 
an  '  Executors  di  Gabella,'  and  executed  the 
'  Nativity,'  still  kept  in  the  church  of  the  Servi  at 
Siena.  In  1405  Bm-toli  executed  four  frescoes 
behind  the  high  altar,  painted  the  organ-doors,  and 
filled  a  window  in  the  choir  of  the  cathedral  with  the 
'  Ascensionof  the  Virgin.'  In  the  years  1406  and 
1407  he  was  occupied  at  the  renewal  of  the  decora- 
tions in  the  chapel  of  the  Palazzo  Pubblico,  Siena, 
as  also  in  the  passage  leading  from  the  Hall  of 
Peace  to  the  Hall  of  Council,  in  the  same  building  ; 
and  he  adorned  the  Gallery  with  figures  of  Ancient 
Romans  whose  characters  symbolized  best  the  vir- 
tues of  Magnanimity  and  Justice ;  beneath  these 
effigies  ran  a  sentence  exhorting  the  beholders  to 
imitate  these  virtues.  In  1409  Taddeo  painted 
the  'Annunciation,'  between  SS.  Cosmo  and  Damian, 
now  in  the  Academy  of  Siena.  In  1410  he  went 
to  Volterra,  where  he  worked  for  the  church,  and 
for  the  Company  of  San  Francesco.  Of  these 
labours,  all  that  now  remains  is  an  altar-piece,  with 
the  '  Virgin,  Child,  and  four  Saints,'  in  the  Cap- 
pella  San  Carlo  of  the  cathedral  of  Volterra.  In 
the  years  1412,  1416,  and  1420  he  was  again  pro- 
moted to  the  Supreme  Council  of  Siena,  and  he 
died  in  1436(?).  Taddeo  Bartoli upheld  the  Sienese 
school  by  the  excellence  of  his  painting,  but  he 
did  not  raise  it  above  the  style  of  his  predecessors. 
The  chief  merit  of  his  work  lies  in  the  dignity  and 
originality  of  the  invention.  Some  of  his  small 
pictures  do  him  still  greater  honour  than  his  larger 
works,  and  show  an  imitation  of  Ambrogio  Loren- 
zetti,  his  great  prototype,  and  also  the  subdued  and 
agreeable  style  of  the  Sienese  school. 

BARTOLINI,  GiosEFFO  Maeia,  was  bom  at 
Imola  in  1657,  and  studied  at  Bologna  mider 
Lorenzo  Pasinelli.  There  are  several  of  his  works 
in  the  public  edifices  at  Imola,  which  are  highly 
esteemed,  particularly  a  picture  representing  a 
'  Miracle  wrought  by  St.  Biagio,'  in  the  church  of 
San  Domenioo.     He  died  in  1725. 

BARTOLO  DI  FREDI  was  born  at  Siena  about 
1330,  and  was  registered  in  the  Guild  of  that  city 
in  1355 ;  he  had  several  children,  who  all  died 
before  him,  with  the  exception  of  Andrea  Bartoli. 
He  was  the  companion  of  Andrea  Vanni  from 
1353,  and  was  employed  in  the  decorations  of  the 
Hall  of  Council,  at  Siena,  in  1361.  In  1362  he 
went  to  San  Gimignano,  where,  according  to  Vasari, 
he  bad  already  in  1356  painted  the  entire  side  of 
the  left  aisle  of  the  Pieve  with  scenes  drawn  from 
the  Old  Testament.  In  1366  the  Council  of  the 
city  of  Gimignano  ordered  of  him  a  painting, 
representing  '  Two  Monks  of  the  Augustine  Order,' 
to  be  placed  in  the  Palazzo  Pubblico,  in  order  to 
commemorate  the  settlement  of  some  disputes 
which  had  long  existed  between  that  order  and 
the  city.  In  the  early  part  of  1367  he  returned  to 
Siena,  and  was  employed  with  Jacomo  di  Mino  in 
the  decorations  of  the  cathedral.  In  1372  he  rose  to 
a  position  in  the  government  of  the  city,  and  was 
sent  to  welcome  the  new  Podestk,  on  his  approach 
to  Siena.  In  1381  he  was  himself  made  a  member 
of  the  Council,  and  in  1382  he  executed  the '  Descent 
from  the  Cross,'  now  in  the  Sacristy  of  San  Fran- 
cesco, Montaloino.  The  same  church  also  possesses 
panels  paioted  by  him  containing  the  '  Baptism  of 
Christ,'  figures  of  SS.  Peter,  Paul,  and  Francis,  and 
five  scenes  from  the  life  of  St.  Philip  of  Montalcino. 

88 


In  1388  he  completed  an  immense  altar-piece  for 
the  same  church,  which  was  originally  in  the 
resemblance  of  the  front  of  a  cathedral,  with  a 
central  and  two  side  gables,  flanked  by  two  towers. 
The  centre  gable  is  still  in  the  church,  and  repre- 
sents the '  Coronation  of  the  Virgin  ; '  the  remaining 
portions,  with  scenes  from  her  life,  are  all  in  the 
Academy  of  Siena.  The  same  gallery  also  pos- 
sesses an  '  Adoration  of  the  Magi,'  by  this  artist. 
In  1389  Bartolo,  assisted  by  Luca  Thom6,  painted 
the  altar-piece  for  the  Shoemakers'  Company,  in 
the  cathedral,  and  continued  from  that  year  until 
his  death  to  furnish  altar-pieces  for  the  cathedral 
and  other  churches  of  Siena,  which  have  now  all 
disappeared.     His  death  occurred  in  1409. 

In  the  Louvre  at  Paris  there  is  a  '  Presentation 
in  the  Temple,'  by  him. 

BARTOLOM:^.     See  Bkeenbeegh. 

BARTOLOMMEO  dblla  GATTA.  See  Della 
Gatta. 

BARTOLOMMEO  di  PAGHOLO  del  Fat- 
toeing — commonly  known  as  Fea  Baetolommeo, 
or  Baocio  (the  shortened  form  of  Bartolommeo) — 
was  also  called  della  Poeta,  because  he  resided 
near  the  gate  of  San  Pier  Gattolini  (now  the  Porta 
Romana),  in  Florence.  He  was  born  at  the  village 
of  SofSgnano,  near  Prato,  in  1475 ;  and  in  1484 
entered  the  studio  of  Cosimo  Rosselli,  at  Florence, 
where  he  had  for  a  fellow-pupil  Albertinelli,  with 
whom  he  commenced  a  friendship  which  lasted 
until  the  bonds  were  broken,  in  1515,  by  the  death 
of  Albertinelli.  After  passing  some  years  under 
Rosselli,  Baccio  applied  himself  to  an  assiduous 
study  of  the  works  of  Leonardo  da  Vinci,  whose 
grandeur  of  relief,  and  admirable  chiaroscuro,  were 
the  particular  objects  of  his  admiration.  In  com- 
pany with  his  friend,  Mariotto  Albertinelli,  he 
modelled  and  copied  from  the  ancient  bassi-rilievi, 
by  which  he  acquired  a  breadth  of  light  and  shade, 
which  is  one  of  the  most  striking  characteristics  of 
his  style.  His  first  works  were  of  a  small  size,  and 
very  highly  finished,  gracefully  composed  and  de- 
signed. A  romantic  event  in  his  youth  induced  him 
to  adopt  the  monastic  life.  WMlst  still  a  pupil  of 
Cosimo  Rosselli^  he  listened  eagerly  to  the  preach- 
ing of  the  fiery  Dominican,  Fra  Girplamo  Savona- 
rola, and  became  one  of  his  most  ardent  disciples. 
He  even  burnt  his  studies  in  the  kind  of  auto-da-fe 
made  by  the  people  on  the  Shrove  Tuesday  of  the 
year  1489,  in  the  s(}uare  before  the  convent  of  St. 
Mark.  When,  after  a  reign  of  three  years  over 
Florence,  the  Italian  Luther  was  obliged  to  shut 
himself  up  in  the  convent  of  which  he  was  the 
prior,  and  to  undergo  a  siege,  Bartolommeo  was  at 
his  side,  and,  in  the  heat  of  the  combat,  made  a 
vow  to  adopt  the  monastic  life  if  he  escaped  the 
danger,  and  he  took  the  vows  in  that  same  con- 
vent of  the  Dominicans  of  San  Marco,  in  1500. 
Hence  his  name  of  '  II  Frate.'  He  remained  four 
whole  years  without  touching  a  pencil,  and  when 
he  yielded  at  length  to  the  solicitations  of  his 
friends,  his  fellow-monks  and  his  superiors,  it  was 
on  condition  that  the  convent  should  receive  all 
the  produce  of  his  labours. 

In  1498  and  1499  Fra  Bartolommeo  had  painted 
the  celebrated  fresco  of  the  '  Last  Judgment,'  in 
Santa  Maria  Novella,  the  lower  part  of  which  was 
finished  by  his  friend  Albertinelli ;  and  in  1509  he 
entered  into  a  partnership  with  that  painter.  When 
Raphael  visited  Florence,  about  1506,  he  formed 
a  friendship  with  Fra  Bartolommeo,  from  whom 
he  received  some  instruction  in  the  principles  of 


Bartolommeo 


PAINTERS  AND  ENGEAVERS. 


Bartolozzi 


colouring  and  the  folding  of  draperies,  and  in 
return  taught  the  Frate  the  rules  of  perspective. 
About  1514  Fra  Bartolommeo  went  to  Rome,  where 
he  painted  the  figure  of  St.  Paul  and  part  of  that 
of  St.  Peter,  which  he  was  obliged  to  leave  to  his 
friend  Raphael  to  finish — it  is  supposed,  on  account 
of  ill-health.  These  two  figures  are  now  in  the 
Quirinal.  On  his  return  to  Florence,  Fra  Bar- 
tolommeo executed  a  few  works  of  great  merit, 
and  died  there  in  1517. 

His  design  approached  to  that  of  Raphael  in 
grace  and  grandeur,  and  he  surpassed  him  in  the 
boldness  of  his  relief,  and  the  rich  impasto  of  his 
colouring.  His  compositions,  like  those  of  his 
contemporaries,  usually  represented  the  subjects 
then  mostly  in  demand  for  churches  and  convents, 
as  the  'Virgin  with  the  Infant,  surrounded  with 
Saints  ; '  but  he  diversified  the  formality  of  these 
objects  by  embellishing  them  with  magnificent 
architecture  and  groups  of  angels,  or  celestial 
choristers,  composed  and  designed  with  elegance 
and  taste.  Some  of  his  rivals  had  accused  him  of 
being  incapable  of  designing  the  figure  on  a  large 
scale,  and  he  refuted  the  calumny  by  painting  his 
masterpiece,  the  celebrated  figure  of  '  St.  Mark,'  in 
the  Florentine  Gallery,  regarded  as  a  prodigy  of 
art,  and  which  occasioned  a  learned  traveller  to 
remark,  that  it  appeared  to  him  a  large  Grecian 
statue  metamorphosed  into  a  painting.  The 
jealousy  of  his  opponents  charged  him  with  being 
ignorant  of  the  anatomy  of  the  human  body,  until 
he  painted  a  picture  of  St.  Sebastian,  so  correctly 
designed,  and  of  so  perfect  a  form,  that  it  excited 
universal  admiration,  and  was  judged  by  the 
monks  to  be  too  beautiful  a  figure  to  be  publicly 
exposed  in  their  church. 

The  following  is  a  list  of  some  of  Fra  Barto- 
lommeo's  principal  works : 
Berlin.        Museum.      The  Assumption  (part  ly  Alberti- 


Florence.  Fiiti  Falace.  M.a.iria.ge  of  St.  Catharine,  1512 
{part  In)  Albertinelli). 

„  „  Entombment. 

„  „  Pieta. 

„  „  St.  Mark. 

„  TJffid.  Patron  Saints  of  Florence  (pari  hy 

Albertinelli). 

„  n  Virgin  enthroned  with  Saints  l)ds 

last  work). 

Lucca.         fS.  Romano.  God,  the  Father,  adored  by  St. 

Catharine   of  -  Siena,  and  Mary 

Magdalene  (painted  in  1509  for 

San  Pietro  Martire,  Murano). 

,,  „  Madonna  della  Misericordia.  1515. 

Nottingh.  S,  Mary's  \  Madonna  (formerly  in  the  Ceritani 

Church.  I     Gallery,  Florence') 
Panshanger.(^^^^^j3„jyp^.jy     1509. 

Paris.  Lcmvre.        The  Virgin  and  Saints,  presiding 

at  the  Marriage-of  St.  Catharine. 

1511   (originally  in  San  Marco, 

Florence). 
„  „  The    Annunciation    (signed    and 

dated  1515). 
Petersburg.  Hermitage.  Madonna  with  Angels. 
Rome.         CdrsiniFal.  Holy  Family  (dated  1516). 
Vienna.        £elvedere.  Presentation  in  the  Temple. 

BARTOLOMMEO  di  TOMMASO  was  a  painter 
who  flourished  in  the  early  part  of  the  15th  cen- 
tury, and  was  of  Umbro-Sienese  education.  He 
painted  a  'Virgin  and  Saints,'  in  1430,  for  the 
church  of  San  Salvadore,  at  Foligno.  There  also 
exist  other  paintings  by  him  in  the  churches  of  that 
city. 


BARTOLOMMEO,  Neeeoccio  di.   See  De'  Landi. 

BARTOLOMMEO  VENBZIANO.  See  Venbzi- 
ANO,  Bartolommeo. 

BARTOLOZZI,  FeXncesco,  a  celebrated  en- 
graver, was  the  son  of  a  goldsmith  of  Florence, 
where  he  was  born  in  .1725.  He  was  instructed  in 
drawing  by  Ferretti  at  Florence,  and  learned 
the  art  of  engraving  from  Joseph  Wagner  at 
Venice.  His  first  productions  were  some  plates 
after  Marco  Rioci,  Zuccarelli,  and  others,  engraved 
whilst  he  was  in  the  employment  of  Wagner.  But 
the  theatre  destined  for  the  display  of  liis  talents 
was  England,  where  he  arrived  in  1764.  Soon 
after,  he  was  appointed  engraver  to  the  king  with 
a  salary  of  £300  a  year,  and  in  1768  he  was 
made  a  Royal  Academician.  Few  artists  have 
reached  so  distinguished  a  rank  in  their  profession 
as  Bartolozzi,  and  that  in  every  species  of  engrav- 
ing. His  etchings,  in  imitation  of  the  drawings  of 
the  most  eminent  painters,  admirably  represent 
the  spirit  of  the  originals,  and  he  was  not  less 
successful  in  the  exquisitely  finished  plates  he 
produced  in  the  various  styles  he  practised.  In 
1802  Bartolozzi  accepted  the  post  of  director  of 
the  National  Academy  of  Lisbon,  where  he  died  in 
1815.  Indefatigable  in  the  exercise  of  his  art, 
Bartolozzi  has  left  us  a  prodigious  number  of 
plates,  and  the  only  embarrassment  we  experience 
is  in  selecting  as  copious  a  list  of  his  works  as 
our  limits  will  permit,  without  omitting  many 
others  quite  worthy  of  notice. 

PLATES   WITHOUT   THE   NAME   OF   THE   PAINTER, 

SOME   FKOM    HIS   OWN   DESIGNS. 
Abraham  and  the  Angels ;  an  etching. 
The  Miracle  of  the  Manna ;  an  etching. 
Job  abandoned  by  his  Friends. 
Charity,  an  oval;  inscribed  Ipse  fecit. 
The  Origin  of  Painting.    1787. 
The  Virgin  and  Infant ;  circular. 

PLATES   AFTEB    VAEIOUS   MASTERS. 
St.  Francis  of  Sales  triumphing   over  Heresy;  after 

Amiconi. 
St.  Luke  painting  the  Portrait  of  the  Virgin;  after 

Cantarini. 
The  Adulteress  before  Christ ;  after  Agostino  Carracci. 
Boland  and  Olympia ;  after  Anmbale  Carracci. 
Clytie ;  circular ;  after  the  same. 
A  set  of  six  plates ;   after  original  drawings  by  the 

Carracci ;  in  the  Eoyal  Collection,  in  imitation  of  the 

drawings. 
A  set  of  eight  subjects;  after  Castiglione. 
The  Parting  of  Achilles  and  Briseis ;  after  Cipriani. 
Hector  taking  leave  of  Andromache ;  after  the  same, 
Chryseis  restored  to  her  Father ;  after  the  same. 
The  Death  of  Dido ;  after  the  same. 
Jupiter  and  Juno  on  Mount  Ida ;  after  the  same. 
Venus  presenting  the  Cestus  to  Juno ;  after  the  same. 
Venus  attired  by  the  Graces ;  after  the  same. 
Tancred  and  Herminia ;  after  the  saine. 
Tancred  and  Clorinda ;  after  the  same. 
Shakespeare  crowned  by  Immortahty ;  after  the  same. 
•    Rachel  hiding  the  Idols  of  her  Father ;  after  Pietro  da 

Cortona. 
Laocoon  attacked  by  the  Serpents ;  after  the  same. 
The  Death  of  Lord  Chatham ;  after  Copley. 
The  Virgin  and  Infant ;  after  C  trio  Mold. 
A  set  of  thirteen  plates  from  the  paintings  by  Domcn  - 

chino  ;  in  the  cloister  of  Grotta  Ferrata. 
Twenty-three  plates,  making  a  part  of  eighty-one,  from 

drawings  by  Guercino  ;  in  the  Eoyal  Collection. 
A  set  of  Portraits  of  Illustrious  Persons  of  the  time  of 

Henry  VIII.;   after  drawings  hy  Holbein;  in  the 

Royal  Collection. 
Two  Portraits  of  Henry  and  Charles  Brandon,  sons  of 

the  Dukes  of  Suffolk ;  after  two  miniatures  by  Hol- 
bein, executed  in  colours ;  very  fine, 
Socrates  in  Prison ;  after  Angelica  Kanffynann. 

89 


Bartolozzi 


A  BIOGEAPHICAL  DICTIONARY  OP 


Bas 


Penelope  lamenting  tJlysses ;  after  Angelica  Zaufmann. 
Telemaohus  and  Mentor  in  the  Isle  of  Calypso ;  y'ier  the 


Paulus  Emilius  educating  his  Children ;  after  the  same. 

Coriolanus  appeased  by  his  Family ;  after  the  same. 

The  Interview  of  Edgar  and  Elfrida  after  her  Marriage 
with  Athelwold;  after  the  same.  This  plate  was 
begun  by  the  imfortunate  Ryland,  and  was  finished 
by  Bartolozzi  for  the  benefit  of  his  widow. 

The  Portrait  of  Carlo  Cignani ;  after  G.  Maratti. 

The  Portrait  of  Pietro  da  Cortona ;  after  the  same. 

Prometheus  devoured  by  the  Vulture ;  after  Michel- 
angelo. 

The  Bust  of  Michelangelo. 

King  Joim  ratifying  Magna  Charta;  after  Mortimer; 
the  companion  engraved  under  the  same  circum- 
stances, 

Cornelia,  Mother  of  the  Gracchi ;  after  West. 

Mary,  Queen  of  Scots,  and  her  Son;  after  Zuechero. 

A  Collection  of  Gems,  designed  by  various  artists, 
engraved  by  Bartolozzi, 

BAETOLOZZI,  Gabtano  Stefano,  a  eon  of 
Francesco  Bartolozzi,  wae  born  in  1757,  and  was 
also  an  engraver,  but  of  no  great  celebrity.  He 
was  the  father  of  the  celebrated  Madame  Vestris. 
He  died  in  1821. 

BARTSCH,  Adam,  Ritter  von,  a  modern  German 
engraver,  was  born  at  Vienna  in  1767.  He  attended 
the  school  of  engravers  in  that  city,  and  studied 
there  under  Schmiitzer.  In  1775  he  published 
designs  of  medals  during  the  reign  of  Maria 
Theresa,  and  subsequently  engraved  numerous 
plates,  some  from  the  works  of  great  masters,  and 
some  from  his  own  compositions.  He  died  at 
Hietzing  in  1821.  He  was  principal  keeper  of  the 
Imperial  and  Royal  Gallery  at  Vienna,  and  author 
of  that  very  elaborate,  correct,  and  useful  work, 
'  Le  Peintre  Graveur,'  which  may  be  safely  pro- 
nounced the  best  account  of  prints  ever  published. 
For  this  work  he  etched  a  series  of  facsimiles  of 
unique  or  extremely  rare  etchings  by  Dutch  and 
Flemish  artists,  in  which  the  touch  and  spirit  of 
the  originals  are  admirably  copied.  He  also  pub- 
lished Catalogues  of  the  Etchings  by  Rembrandt 
and  his  scholars,  of  the  works  of  Guido  Reni,  and 
of  those  of  Lucas  van  Leyden,  and  other  artists. 

POETEAITS. 
Adam  Bartsch. 

Johann  Christian  Brand,  painter. 
A  Toung  Lady  in  a  Nightcap.     1785. 
Michael  "Wohlgemuth,  painter. 
Antonio  AUegri  da  Correggio  j  after  Carlo  Maratti. 
Madame  Tscida. 

A  Girl  reading  by  Candlelight,  said  to  be  after  Quido. 
The  Marriage  of  Alexander  and  Boxana ;  after  Parmi- 

giano. 
A  set  of  thirty-nine  plates,  in  imitation  of  the  drawings 

of  several  masters,  in  the  Imperial  Collection. 
Twelve  studies  of  Animals ;  after  J.  S.  Eoos  ;  four  on 

each  plate. 
A  Traveller  passing  a  Forest,  with  a  Boy  holding  a 

Lantern ;  engraved  in  the  manner  of  Rembrandt. 
The  Obsequies  of  Publius  Decius  Mus,  large  plate ;  after . 

Rubens. 
Horses ;  after  Rugendas. 
Cattle ;  after  Rubens. 
Boar-hunt ;  after  Snijders. 

His  son,  Fbibdeich  von  Baetsch,  published,  in 
1818  a  catalogue  raisonn^  of  all  the  prints  by  his 
father ;  they  amount  to  605  pieces. 

BARTSCH,  Gottfried,  a  German  engraver,  was 
a  native  of  Schweidnitz  in  Silesia.  He  settled  at 
Berlin,  and  was  engraver  to  the  '  Great  Elector ' 
from  1674  to  1684.  By  him  we  have  a  small  collec- 
tion of  prints  from  the  pictures  in  the  Gallery  at 
Berlin.     He  also  engraved  the  following  plates : 

90 


The  Holy  Family;  after  Van  Dyck. 
Meleager  presenting  the  Head  of  the  Boar  to  Atalanta; 
after  Rubens, 

BARUFPALDI,  Antonio,  was  born  at  Perrara 
in  1793,  studied  at  Venice,  and  died  in  1819.  The 
gallery  of  his  native  city  possesses  a  '  Virgin  read- 
ing,' and  a  'Tancred  and  Armida,'  by  him. 

BARVBZ.     See  Beevic. 

BARY,  Hbndeik,  (or  Baeey,)  an  eminent  Dutch 
engraver,  was  bom  about  the  year  1626.  He 
appears  from  his  style  to  have  been  either  a  scholar 
of  Cornells  Visscher,  or  to  have  formed  himself 
from  his  mariner.  We  have  several  plates  by  him 
of  portraits  and  various  subjects,  executed  very 
neatly  with  the  graver,  which  have  great  merit, 
although  they  are  by  no  means  equal  to  the  works 
of  Visscher.  He  generally  marked  his  plates  with 
his  name,  H.  Bary,  and  sometimes  H.  B.  By  him 
we  have  the  following : 

POETEAITS. 

Dirk  and  "W"alther  Crabeth,  glass-painters. 

Adriaan  Heerebord.     1659. 

Hieronimus  van  Bivemink. 

Desiderius  Erasmus,  of  Rotterdam. 

Willem  Joseph  Baron  of  Ghent,  admiral  of  Holland. 

Bombout  Hagerbeets. 

Annius  Manlius  Torquatus  Severinus  Boethius. 

Jacobus  Taorinus. 

Count  Johann  Waldstein. 

La  Duchesse  de  la  Valliere. 

Hugo  Grotius ;  after  Mirevelt, 

Comehs  Ketel,  painter ;  se  ipse  pinx.    1659. 

Jacob  Backer,  painter ;  G.  Terborehjnnx. ;  oval. 

John  Schellhammer,  pastor ;  Escopius  del, 

John  Zas,  pastor ;  Ohr.  Pierson  pinx, 

Jacob  BatiUere,  predicant ;   Westerbaem  pinx, 

Arnold  Gesteramus,  predicant ;   Westerbaem  pinx. 

Michael  Euyter,  admiral ;  after  F.  Bol. 

Admiral  Tlugh ;  after  B.  van  der  Heist, 

Leo  Ajtzema,  historian ;  after  Jan  de  Baan, 

George  de  Mey,  theologian ;  after  G,  van  Siemsn, 

SUBJECTS   AFTER   VAEIOUS   MASTEES,   AND  AFTEB 

HIS   DESIGNS. 
Neptune,  emblematical. 

Allegorical  title  for  the  work  of  Leo  van  Aitzema. 
A  Mother  suckling  her  Child. 
Two  Drolleries ;  after  Brouwer;  S,  Bary  fee.,  without 

the  name  of  the  painter, 
A  Peasant  Family ;  after  Pieter  A.ertsen. 
Summer  and  Autumn,  in  one  plate,  represented  by  two 

Children,  one  holding  a  handful  of  Corn ;  after  Van 

Dyck. 
A  young  Woman  leaning  on  a  Table  sleeping,  and  a 

young  Man  laughing ;  after  the  same. 
A  young  Lady  sitting  at   a  Table,  with  a  Hat  and 

Feathers;  after  Terloreh, 

BARYB,  Antoine  Louis,  born  in  Paris  in  1795, 
was  a  successful  sculptor  who  also  painted  in  water- 
colours  and  etched  several  plates  ;  he  was  a  pupil 
of  Gros.  He  received  the  decoration  of  an  officer 
of  the  Legion  of  Honour  in  1855,  and  was  elected 
a  member  of  the  Academy  in  1868.  He  died  in 
Paris  in  1875. 

BAS,  Jacques  Philippe  lb.    See  Le  Bas. 

BAS,  Maetin,  (or  Basse,)  a  Dutch  engraver,  who 
flourished  about  the  year  1600,  Prom  the  style 
of  his  plates,  it  is  very  probable  that  he  was 
brought  up  in  the  school  of  Wierix;  his  engrav- 
ings are  evidently  in  imitation  of  the  manner  of 
that  inaster.  He  was  chiefly  employed  in  portraits. 
We  have  by  him  the  portrait  of  Edmund  Genungs, 
Jesuit,  prefixed  to  his  '  Memoirs,'  published  1591; 
the  portrait  of  Philip  Bosquexi,  marked  MaH. 
Basse  ;  and  a  small  frontispiece  of  '  St.  Peter  and 
St,  Paul;  dated  1622. 


Basaiti 


PAINTERS  AND  ENGEAVERS. 


Basseporte 


BASAITI,  Maeco,  a  native  of  Friuli,  was  bom, 
according  to  some  authorities,  of  Greek  parents, 
and  flourislied  from  about  1503 — the  date  of  his 
earliest  known  work — ^to  1520.  He  was  a  rival 
of  Giovanni  Bellini,  and  if  he  did  not  equal  that 
master  in  every  respect,  there  are  some  points  in 
which  he  surpassed  him.  He  was  happier  in  his 
composition,  and  understood  better  how  to  unite  his 
grounds  with  his  figures.  His  pictures  are  signed 
M.  Baxit,  Marcus  Baxaiti,  or  Marcus  Basaiti. 
The  following  are  his  best  works : 

Berlin.     Museum.         Pieta. 

„  „  St.  Sebastian. 

London.   iVai.  Gall.       St.  Jerome  reading. 

„  „  Infant  Christ  asleep  on  the  lap  of 

the  Virgin  {doubtful). 
Eovigo.    Museum.         Christ  carrying  the  Cross  (jrroiabh/ 

painted  in  1517). 
Venice.    Academy/.       OSrist  praying  in  tne  Garden  ((ZafetJ 
1510). 
„  „  Calling  of  St.  James  and  St.  John 

(painted  in  1510). 
„  „  A  Dead  Christ  with  Two  Angels. 

And  others. 
„  Mcmfrini  G.  A  Madonna  and  Child. 

S.  Fietro  d.  \  St.  George  and  the  Dragon  (dated 
"  Castello.    J      1520). 

Vienna.    Belvedere.       Calling  of  St.  James  and  St.  John 
(dated  1515). 

BASAN,  PiEEBE  FEANgois,  a  French  engraver, 
born  in  Paris  in  1723.  He  was  a  pupil  of  Btienne 
Fessard  and  Jean  DauU^.  He  was  principally 
occupied  as  a  printseller,  and  published  a '  Diction- 
liaire  des  Graveurs'  in  1767.  He  died  in  1797. 
He  engraved  the  following  plates : 

The  Gothic  Songster ;  after  A.  Both. 
An  Bcce  Homo ;  after  Carcmaggio. 
Christ  breaking  the  Bread ;  after  Carlo  Dolei, 
St.  Maurice ;  a/ifer  Luea  Giordano. 
Bacchus  and  Ariadne ;  ^ter  Jordaens. 
Christophe  Lemenu  de  St.  PhiUbert ;  after  Ze  Fevre. 
Iiouis  XV.,  with  Diogenes ;  after  Le  Maine. 
The  Female  Gardener ;  after  JFrans  Mieris, 
The  Card-players ;  after  Teniers. 
An  Incantation ;  after  the  same. 
Carle  Vanloo. 

Armand    Gaston  de  Eohan,  called  the  Cardinal  de 
Soubise. 

He  also  executed  several  copies  after  the  scarce 
etchings  of  Rembrandt. 

BASCHENIS,  BvARlSTO,  a  native  of  Bergamo, 
born  in  1607,  or  1617  (for  authorities  differ),  was  a 
painter  of  the  Venetian  school.  He  was  among  the 
first  to  introduce  in  Italy  what  is  now  termed  paint- 
ing of  still-life.  He  painted  musical  instruments 
with  much  effect,  arranging  them  on  tables  covered 
with  the  most  beautiful  tapestries,  and  mingled 
with  various  other  objects.  From  these  materials 
he  produced  pictures  with  so  much  skill  as  quite 
to  deceive  the  spectator.     He  died  in  1677. 

BASILETTI,  Ltjigi,  who  was  bom  at  Brescia  in 
1780,  and  died  in  1860,  is  the  author  of  a  '  Cascade 
at  Tivoli,'  in  the  Brera  at  Milan. 

BASILI,  PiBTEO  Angiolo,  was  born  at  Gubbio 
about  1550.  He  was  first  a  scholar  of  Felice 
Damiani,  but  afterwards  studied  under  Cristofano 
Boncalli,  whose  manner  he  followed,  though  in  a 
more  delicate  style.  His  fresco  paintings  in  the 
cloister  of  Sant'  Ubaldo  in  Gubbio  are  much 
esteemed ;  and  in  the  church  of  San  Marziale  is  a 
picture  in  oil  of  '  Our  Saviour  preaching,'  with  a 
great  number  of  figures.     Basili  died  in  1604. 

BASILICATA,  Pieteo  della.    See  Afbsa. 


BASIRE,  James,  a  son  of  Isaac  Basire,  an 
engraver  of  maps,  was  bom  in  London  in  1730. 
Early  in  life  he  went  with  a  patron  to  Rome  and 
copied  the  works  of  Raphael.  In  1760  he  became 
engraver  to  the  Society  of  Antiquaries,  and  ten 
years  afterwards  to  the  Royal  Society.  He  assisted 
in  the  production  of  Stuart's  'Athens,'  and  engraved 
several  good  portraits  of  eminent  men.  He  died 
in  London  in  1802.    Among  his  other  works  were: 

Captain  Cook ;  after  Modges. 

Lady  Stanhope,  as  the  Fair  Penitent ;  after  B.  Wilson. 

Lord  Camden ;  aftei'  Reynolds. 

Orestes  and  Py lades  before  Iphigenia;  after  West. 

The  Field  of  the  Cloth  of  Gold :  the  Interview  between 

Henry  VIII.  and   Francis  I.;  after  the  picture  at 

Hampton  Court. 

BASIRE,  James,  a  son  of  the  elder  painter  of 
the  same  name,  was  born  in  1769,  and  followed 
his  father's  profession.  He  engraved  many  of  the 
architectural  plates  in  John  Carter's  works  on 
'The  English  Cathedrals.'  He  was  engraver  to 
the  Royal  Society  and  the  Society  of  Antiquaries. 
He  died  at  Chigwell  Wells  in  1822.  His  son, 
Jambs  Basibb,  born  in  1796,  was  likewise  engraver 
to  the  Society  of  Antiquaries,  and  assisted  in  many 
of  Richard  Gough's  architectural  works.  He  died 
in  London  in  1869. 

BASSANO.     See  Pontb. 

BASSANO,  Cbsaee,  a  painter  and  engraver,  was 
born  at  Milan  about  the  year  1584.  We  have  no 
account  of  his  works  as  a  painter,  but  he  engraved 
the  following  plates : 

Portrait  of  Gaspar  Asselline. 

A  Funeral  Frontispiece  of  Francesco  Piccolomini. 

The  Nativity. 

BASSE,  Maetin.    See  Bas. 

BASSBLLI,  Danibllo,  is  mentioned  by  Strutt 
as  the  engraver  of  a  print  representing  '  Daniel  in 
the  Lions'  Den,'  after  P.  Caton.  It  is  etched  and 
retouched  with  the  graver  in  a  very  slight  style. 

BASSEN,  Bartelmebs  van,  painter  and  archi- 
tect, flourished  from  1613  to  1650.  He  painted  at 
Delft,  at  the  Hague,  and  in  England.  Neither  the 
date  of  his  birth  nor  that  of  his  death  is  recorded. 
He  was  a  Flemish  painter  of  the  interiors  of 
churches  and  other  public  buildings,  which  he 
executed  in  a  very  skilful  manner,  both  with  re- 
gard to  perspective  and  lively  colouring.  The 
figures  in  his  pictures  were  frequently  executed 
by  eminent  painters  of  his  day,  to  whom  he  re- 
turned the  compliment  by  supplying  their  archi- 
tectural wants.    Among  his  works  are : 

Berlin.  Museum.  Interior  of  a  Church ;  signed  B. 

VAN  Bassen,   1624,  and  under- 
neath F.  FrANCK  riGUEATIT. 

„  „  Interior  of  a  room — toith  figures. 

Copenhagen.   Gallery.  View  of  a  Church,  B.  tan  BASSEif, 
162,S. 
„  „         An  Interior. 

Darmstadt.      Gallery.  Interior  of  a  Room  with  figures,  B. 

T.  Bassen. 
Hague,  Museum.  Interior  of   a  Ohiirch ;  signed  B. 

TAN  Bassen,  1626. 

BASSEPORTE,  Madeleine  FEANgoiSE,  the 
daughter  of  a  wine-merchant,  was  bom  in  Paris 
in  1701.  She  was  a  pupil  of  Paul  Ponce  Antoine 
Robert,  and  afterwards  of  Charles  Aubriet,  whom 
she  succeeded  in  1741  as  miniature  painter  to  the 
king.  She  taught  the  daughters  of  Louis  XV., 
and  executed  a  large  number  of  water-colour 
drawings  of  animals,  plants,  and  flowers,  many 
of  which  are  in  the  library  of  the  Jardin  des 

91 


Bassetti 


A  BIOGEAPHICAL  DICTIONAEY  OP 


Baton! 


Plantes.    She  engraved  some  plates  for  the  Crozat 
Collection  and  others.    We  have  by  her : 

The  Martyrdom  of  St.  Fidelio  de   Sigmaxinga;   after 

P.  P.  Robert  de  Seri. 
Diana  and  Endymiou;    after  a  design  of  Setastiano 

Conca. 

There  are  also  three  books  of  flowers,  drawn 
from  nature,  by  her,  and  engraved  by  Ayril.  Mile. 
Basseporte  died  at  the  Jardin  du  Eoi  in  Paris  in 
1780. 

BASSETTI,  Maboo  Antonio,  was  bom  at 
Verona  in  1588,  and  was  a  scholar  of  Felice  Eicci. 
He  afterwards  visited  Venice,  and  studied  the 
works  of  the  excellent  oolourists  of  that  school, 
particularly  Tintoretto,  whose  style  he  preferred. 
On  leaving  Venice  he  went  to  Eome,  where  he 
remained  for  a  considerable  time.  On  his  return 
to  Verona  he  was  employed  in  painting  some  pic- 
tures for  the  public  edifices  in  that  city.  For  the 
church  of  San  Tommaso  he  painted  a  picture  of 
'  St.  Peter  and  other  Saints,'  and  for  Sant'  Anastasia, 
the  '  Coronation  of  the  Virgin.'  By  these  and  other 
works,  particularly  specified  by  Bidolfi,  he  acquired 
reputation  as  an  eminent  historical  painter,  but  he 
was  cut  o£E  in  the  prime  of  life  by  the  plague 
which  visited  Verona  in  1630.  His  works  were 
highly  prized,  but  he  left  very  few,  as  his  maxim 
was,  that  painting  ought  not  to  be  pursued  by 
journeymen  as  a  mechanic  art,  but  with  the  leisure 
that  is  bestowed  on  literature  for  the  sake  of  the 
pleasure  it  affords.  In  the  Munich  Gallery  there 
is  a  '  Martyrdom  of  St.  Vitus,'  by  him. 

BASSI,  Antonio.  Several  of  the  works  of  this 
painter  are  mentioned  in  descriptions  of  the  pic- 
tures and  sculpture  of  Ferrara,  of  which  city  he 
was  a  native.  In  the  church  of  San  Giovanni 
Battista  were  two  pictures  by  him,  one  represent- 
ing the  '  Holy  Family  reposing  in  Egypt,'  the 
other,  'Our  Saviour  and  the  Samaritan  Woman;' 
and  in  the  church  of  San  Clemente  was  the  'Virgin 
Mary,  St.  Anne,  and  St.  Joachim.'    He  died  in  1782. 

BASSI,  Feanoesoo,  was  born  at  Bologna  in 
1662  (?),  and  was,  it  is  said,  a  scholar  of  Lorenzo 
Pasinelli.  According  to  other  authorities  he  was 
a  scholar  of  Cesare  Gennari  and  of  Guercino.  He 
painted  numerous  pictures  in  the  public  edifices  at 
Bologna,  and  also  worked  at  Florence.  He  died 
in  1732  (?).  He  was  distinguished  as  a  copyist 
and  imitator  of  Guercino. 

BASSI,  Feanoesoo  Maria,  'the  elder,'  was  bom 
at  Cremona  in  1642.  He  acquired  the  name  of  '  II 
Cremonese  dei  Paesi,'  from  his  eminence  in  paint- 
ing landscapes,  which  he  touched  with  great  spirit, 
and  at  the  same  time  sufBciently  finished.  He 
decorated  them  with  figures  and  animals,  tolerably 
drawn,  and  neatly  painted.  The  private  collec- 
tions at  Venice  possess  many  of  his  pictures.  He 
died  about  the  year  1700.  His  nephew,  Feanoesoo 
Maeia,  'the  younger,' who  studied  under  him,  was 
a  painter  of  no  great  note.     He  worked  till  1760. 

BAST,  Dominique  db,  bom  at  Ghent  in 
1782,  was  an  amateur  painter  of  landscapes  and 
cattle,  and  also  of  marine  subjects,  in  which  he 
was_  considered  to  excel,  in  consequence  of  his 
having  made  many  voyages  by  sea  as  a  merchant. 
His  pictures  are  chiefly  to  be  seen  in  Ghent  in 
private  collections. 

BASTAED,  a  painter,  executed  about  the  end 
of  the  17th  century  a  large  picture,  not  without 
merit,  of  'Our  Lord  served  by  Angels  in  the 
Desert/  for  the  Jesuits'  College  of  Palma,  the 


capital  of  the  island  of  Majorca.    No  other  record 
of  his  work  or  life  has  been  preserved. 
BASTAEO,  Giuseppe  del.     See  Puglia. 
BASTAEUOLO,  II.     See  Mazzuoli,  Giuseppe. 
BASTIANI,  Lazzaeo,  a  Venetian  artist,  lived  in 
the   latter  half   of  the  15th   century.     His  early 
pictures  show  his  Paduan  education.     He  was  an 
imitator  of  Vivarini.    In  1470,  he  was  an  honoured 
member  of  the  College  of  San  Girolamo,  Venice; 
and  in   1508   was    chosen    by   Bellini    to    value 
Giorgione's  frescoes ;    he  also  received  the  com- 
mission to  paint  the  Portraits  of  the  Doges,  in  the 
Hall    of  the   Twenty.     The   dates   of    Bastiani's 
birth  and  death  are  unknown.     He  did  not  paint 
much  after  1490.     The  following  are  some  of  his 
best  works : 
Bergamo.  Lochis  Gar-  1  Coronation  of  the  Virgin  {ptniited 

rara  Gal.  j      in  1490). 
Venice.      Academy.      The  Nativity  (painted  in  1490). 
„  „  St.  Cenofrio  on  his  tree  (painted  in 

1490). 
„  „  Gift  of  the  Eelic  (painted  for  ike 

scuola  of  San  Giovanni  Mvangel- 
ista). 
„         Correr  Mus.   The  Annunciation. 
„        Sani^  Antonio. The     Entombment     (his    earliest 
known  work). 
Vienna,  Belvedere.      The  Glorification  of  St.  Venaranda 
(muck  damaged). 

BASTIANINO.     See  Filippi. 

BASTIBR  DE  BEZ,  Jean  Joseph,  French  land- 
scape painter,  was  born  at  Le  Vigan  (Gard)  in 
1780.  He  commenced  life  as  a  money-changer, 
but  afterwards  became  a  pupil  of  Watelet,  and 
painted  a,  large  number  of  views  in  Italy  and 
France.     He  died  about  1845. 

BASTON,  Thomas,  an  English  painter  of  sea- 
pieces  and  shipping,  flourished  about  the  year 
1721.  Several  of  his  pictures  were  engraved  by 
Kirkall,  Harris,  and  others.  He  etched  a  few 
plates  from  his  own  designs ;  among  them  is  a 
print  representing  the  '  Eoyal  Anne,'  with  other 
ships. 

BATEMAN,  James,  was  bom  in  London  in  1814, 
and  at  first  starting  in  life  was  placed  with  a 
painter  on  glass.  Though  very  fond  of  art,  this 
branch  was  not  to  his  taste.  He  soon  gave  it  up, 
and  accepted  a  situation  as  clerk,  which  he  held 
till  1837,  in  which  year  he  received  an  ofEerfrom 
two  gentlemen,  who  agreed  to  take  all  the  pioturts 
he  produced  in  the  first  year,  at  the  same  time 
allowing  him  £100.  He  usually  painted  animals 
and  domestic  subjects,  with  much  humour.  He 
first  exhibited  at  the  British  Institution  in  1840, 
and  at  the  Eoyal  Academy  in  the  following  year, 
continuing  to  do  so  until  his  death,  in  March  1849. 

BATHEM.     See  Battem. 

BATLEY,  an  English  engraver  in  mezzotint, 
flourished  about  the  year  1770.  He  was  chiefly 
employed  in  engraving  portraits. 

BATONI,  Pompeo  Gieolamo,  (or  Battoni,)  who 
was  born  at  Lucca  in  1708,  at  first  followed  the 
profession  of  his  father,  who  was  a  goldsmith ;  he 
was  afterwards  sent  to  Eome  to  study  painting 
under  Conca  and  Masuoci,  but  his  chief  lessons 
in  art  were  derived  from  study  of  the  works  of 
Eaphael.  A  peculiar  grace"  and  agreeableness,  par- 
ticularly about  his  heads,  rendered  his  pictures 
exceedingly  popular,  and  his  works  were  held  m 
considerable  estimation  all  over  Europe.  It  was 
fortunate  for  the  reputation  and  success  of  Ba- 
toni,  that  he  lived  at  a  period  when  the  arts  had 
fallen  to  a  very  low  ebb  in  Italy.    Mengs,  his  only 


Battaglle 


PAINTERS  AND  ENGRAVERS. 


Bauer 


rival,  and  hia  superior,  was  chiefly  employed  in 
Spain ;  Batoni  was  thus  the  only  painter  of  his  time 
at  Rome  that  possessed  the  least  pretension  to  merit, 
and  he  consequently  met  with  great  employment. 
He  was  more  occupied  in  painting  portraits  than 
historical  works,  although  there  are  several  of  his 
pictures  in  the  public  edifices  at  Rome.  He  painted 
the  portraits  of  no  less  than  twenty-two  sovereigns. 
Batoni  died  at  Rome  in  1787.  The  following  are 
among  his  best  works : 

Berlin.       Museum.    Cupid  and  Psyche  (signed  and  dated 

1756). 
Dresden.    Gallery.     Penitent  Magdalene  (copied,  in  1757, 
hy  Dietrich  for  Frederick  II.,  King 
of  Prussia). 
„  „  And  others. 

Florence.    Uffizi.         Education  of  AchiUes. 

„  „  Achilles  at  the  Court  of  Lycomedes. 

„        .    „  His  own  Portrait. 

Frankfort.  Stddel.       The  five  Arts  (signed  and  dated  1740). 
Milan.         Brera.        Madonna  and  Saints. 
Paris.         Louvre.       The  Virgin. 
Borne.      Corsini  Pal.  Nativity. 
„     S.  Maria  Mag.  Annunciation. 

"       ^'  ^^^eli.   }  ^^  °*  S™°"  ^^^'• 
Vienna.    Belvedere.    Eetum  of  the  Prodigal  Son. 
„  „  Portrait  of  Joseph  II. 

A  Life  of  Batoni,  by  Boni,  was  published  at 
Rome  in  1787. 

BATTAGLIB,  Michelangelo  delle.  See 
Cerquozzi. 

BATTEM,  Gbkhakd  van,  (or  Bathem,)  a  Dutch 
landscape  painter,  who  flourished  about  the  year 
1650,  and  died  at  Amsterdam  in  1690.  It  is  sup- 
posed that  he  was  a  pupil  of  Rembrandt,  as  some 
of  his  pictures  bear  a  resemblance  to  that  master's 
manner.  His  subjects  are  mountainous  landscapes 
with  banditti,  travellers,  and  stag-hunts. 

BATTISTELLO.     See  Caeacciolo. 

BATTY,  Lieutenant-Colonel  Robekt,  the  son 
of  Dr.  Batty  of  Hastings,  was  bom  about  1789. 
He  was  at  one  time  in  the  Grenadier  Guards,  with 
which  regiment  he  served  in  the  campaign  of  the 
Western  Pyrenees,  and  at  Waterloo.  He  was  an 
amateur  artist  of  considerable  merit.  He  published 
in  1822  'French  Scenery;'  in  1823  'German 
Scenery  '  and  '  Welsh  Scenery  ; '  in  1826  '  Scenery 
of  the  Rhine,  Belgium,  and  Holland,'  all  of  which 
have  been  much  esteemed ;  in  1828  '  Hanoverian, 
Saxon,  and  Danish  Scenery  ; '  and  in  1832  '  Select 
Views  of  the  principal  Cities  of  Europe.'  He  died 
in  London  in  1848. 

BADDESSON,  Nicolas,  a  French  flower  painter, 
was  bom  about  1611,  and  received  into  the 
Academy  in  1671.  He  died  at  Paris  in  1680,  leav- 
ing a  son,  Jean  FEANgois  Baudesson,  born  in 
Paris  in  1640,  who  was  also  a  painter  of  flowers 
and  fruit.  He  became  a  member  of  the  Academy 
in  1689,  and  died  in  Paris  in  1713. 

BAUDET,  Etienne,  an  eminent  French  en- 
graver, was  born  at  Vineuil,  in  the  department  of 
Loir-et-Cher,  about  1636.  He  was  a  pupil  of 
Sebastien  Bourdon  and  Comelis  Bloemaert,  and 
afterwards  went  to  Rome,  and  appears  to  have 
adopted  the  manner  of  Cornells  Bloemaert  in  his 
earliest  plates,  which  are  executed  entirely  with 
the  graver.  He  afterwards  on  his  return  to  Paris 
altered  his  manner,  and  calling  iu  the  assistance 
of  the  point,  he  executed  his  best  prints,  which 
bear  a  strong  resemblance  to  the  manner  of  Jean 
Baptiste  Poilly.  He  made  an  excellent  choice  in 
the  subjects  of  his  plates,  which  are  from  the  works 


of  some  of  the  most  distinguished  masters  of  Italy 
and  France.  He  was  a  member  of  the  Royal 
Academy  of  Paris,  in  which  city  he  died  in  1711. 
The  following  are  his  principal  works : 

pobtkaits. 

Pope  Clement  IX. 

Charles  Perrault ;  after  C.  Le  Brun. 

Louisa,  Duchess  of  Portsmouth,  as  Venus,  caressing  a 

Dove ;  after  H.  Oascar. 
Bust  of  the  Emperor  Adrian,  from  the  antique. 
Bust  of  a  Roman  Lady. 

SUBJECTS  AFTER  VARIOUS  MASTERS. 

The  Virgin  teaching  the  Infant  Jesus  to  read ;  after 

Aliani. 
The  "Woman  of  Samaria ;  after  the  same. 
Four  plates  of  the  Loves  of  Venus  and  Adonis;  after 

the  same  ;  engraved  at  Home  in  1672. 
Four  circular  prints  of  the  Four  Elements ;  after  the 

swme  ;  dated  1695. 
The  Nativity ;  after  J.  Blanchard. 
The  Holy  FamOy ;  after  S.  Bourdon  ;  round. 
Six  Landscapes ;  after  the  same. 
The  dead  Christ  on  the  Knees  of  the  Virgin  Mary ;  after 

Annibale  Carracci. 
The  Stoning  of  Stephen ;  after  the  same.    1677. 
Adam  and  Eve ;  after  Domenichino  ;  very  fine. 
Six — Of  the  great  Staircase  at  Versailles;  after  Le 

Brun  ;  that  of  the  ceiling  is  engraved  by  C.  Sim- 

moneau. 
The  Communion  of  the  Primitive  Christians ;  after  C 


Moses  treading  on  the  Crown  of  Pharaoh;  after  JT. 


Moses  striking  the  Bock ;  after  the  same. 

The  "Worshipping  of  the  Grolden  Calf ;  after  the  same. 

The  Holy  Family ;  after  the  same. 

Venus  reposing ;  after  the  same  ;  dated  1666. 

Four  Grand  Landscapes ;  after  the  same ;  dedicated  to 
the  Priuce  of  Coud6.    Dated  1684. 

Four  other  Grand  Landscapes;  after  the  same;  dedi- 
cated to  the  King  of  France. 

The  Tribute  Money ;  after  Valentin. 

BAUDITZ  (or  Baudies).     See  Pauditz. 

BAUDOUIN,  Pierre  Antoine,  the  son  of  Michel 
Baudouin,  an  engraver  of  little  note  (who  died  in 
1754),  was  born  in  Paris  in  1723.  He  was  a  pupil 
and  imitator  of  Boucher,  whose  younger  daughter 
he  married  in  1758,  and  through  whose  influence 
he  was  elected  an  Academician  in  1763,  as  a 
miniature  painter,  on  which  occasion  he  presented 
his  drawing  of  '  Hyperides  pleading  the  cause  of 
Phryne  before  the  Areopagus,'  now  in  the  Louvre. 
Baudouin  executed  idyllic  and  erotic  subjects  in 
water-colours  and  crayons,  but  painted  but  seldom 
in  oil.     He  died  in  Paris  in  1769. 

BAUDOUIN,  Simon  Ren^.  This  amateur  en- 
graver, who  was  born  in  1723,  was  an  officer  in 
the  French  Guards,  and  amused  himself  with  the 
point.  He  etched  a  set  of  plates  from  his  own 
designs,  representing  the  military  exercise  of  the 
French  infantry.  He  also  engraved  some  prints  of 
battles,  after  the  pictures  of  Charles  Parrocel,  and 
a  set  of  small  landscapes,  after  Michau  and  others. 

BAUDUIN,  Anton   Feans.    See  Boudewyns. 

BAUER,  Ferdinand  Lucas,  who  was  bom  at 
Feldsburg,  in  Austria,  in  1760,  came  to  England 
in  1800,  and  obtained  celebrity  as  a  draughtsman 
for  the  Royal  Botanical  Society,  and  for  various 
botanical  publications.  On  a  journey  round  the 
world  he  stayed  some  time  at  Botany  Bay,  and 
made  many  valuable  drawings.  He  returned  to 
Austria  in  1812,  and  died  at  Hietzing,  near  Vienna, 
in  1826.  A  large  collection  of  his  drawings  may 
be  consulted  in  the  British  Museum. 

BAUER,  JoH.*WiLH.    See  Baub. 

93 


Baugin 


A  BIOGRAPHICAL  DICTIONAEY  OF 


Baxter 


BAUGIN,  J.,  a  Frencli  engraver,  who  flourislied 
about  the  year  1660.  He  engraved  several  por- 
traits, among  -which  is  that  of  H.  de  la  Mothe. 

BAUGIN,  LUBIN,  was  born  at  Pithiviers  (Loiret) 
about  1610,  He  was  a  member  of  the  Corporation 
of  Master-Painters,  and  was  admitted  into  the  Eoyal 
Academy  of  Painting  in  1651.  He  executed  many 
designs  for  tapestry.  He  studied  and  imitated 
Parmigiano  and  Guido.  His  contemporaries  called 
him  '  Le  petit  Guide.'  The  '  Holy  Family,'  by  him, 
in  the  Louvre,  has  been  engraved  by  F.  de  Poilly. 
He  died  in  Paris  in  1663. 

BAUMANN,  Adolph,  who  was  born  in  1829, 
painted  historical  pictures  in  oil  and  fresco  at 
Munich,  where  he  died  in  1865.  A  '  Madonna  and 
Child,'  by  him,  is  in  the  Pinakothek. 

BAUMGAETNEB,  Johann,  known  by  the  name 
of  Pater  Nokbbet,  was  bom  about  the  year  1717. 
He  executed  a  number  of  pen-and-ink  drawings,  as 
well  as  historical  paintings.  He  was  a  member  of 
the  Academy  of  Vienna,  in  which  city  he  died  in 
1773.  P.  Campana  engraved  his  picture  at  Eome 
of  '  St.  Dominic  kissing  the  hand  of  the  Child 
Jesus.'     There  also  exist  by  him : 

Bologna.    Capuchin  Man.    The  Magdalene. 
Presburg.  Academy.  Holy  Family. 

Vienna.      Capuchin  Man.    Mary  when  a  Child  before  the 
High  Priest. 
„  „  Death  of  St.  Joseph. 

BAUE,  Johann  Wilhelm,  (or  Bauee,)  a  painter 
and  engraver,  was  born  at  Strasburg  in  1600.  He 
studied  painting  under  Friedrich  Brentel,  and  it 
was  not  long  before  he  surpassed  his  instructor. 
On  leaving  that  master  he  went  to  Italy,  and  spent 
some  years  at  Eome,  where  he  painted  views  of 
that  city  and  environs,  with  small  figures,  neatly 
touched,  which  were  greatly  admired.  The  Prince 
Giustiniani  favoured  him  with  his  protection  ;  and 
he  was  also  patronized  by  the  Duke  of  Bracciano, 
who  allotted  him  apartments  in  his  palace. 
In  1637  Baur  left  Eome,  and  went  to  Venice, 
where  his  works  were  equally  admired.  He  after- 
wards visited  Vienna,  and  was  taken  into  the 
employment  of  the  Emperor  Ferdinand  III.,  in 
whose  service  he  died,  at  Vienna,  in  1642.  His 
pencil  is  very  neat  and  spirited,  and  his  colouring 
warm  and  glowing.  It  is  to  be  regretted  that  he 
was  not  more  correct  in  his  design.  As  an  en- 
graver, he  acquired  considerable  celebrity,  and 
executed  a  great  number  of  plates  from  his  own 
designs,  the  best  of  which  are  those  taken  from 
the  '  Metamorphoses '  of  Ovid.  They  are  slightly 
etched,  and  finished  with  the  graver.  They  are 
very  spirited,  and  resemble  the  manner  of  Callot. 
He  marked  his  plates  sometimes  with  his  'YYZJ 
name,  and  sometimes  with  the  cipher  an-  VtCj. 
nexed.     The  following  are  his  principal  works : 

Portrait  of  Don  Paolo  Giordano  II.,  Orsino,  Duca  di 
Bracciano ;  oval ;  dated  1636 ;  scarce. 

A  set  of  Habiliments  of  different  Nations,  with  his 
Portrait ;  eighteen  prints. 

A  set  of  Battles;  entitled  Caprici  di  varie  battaglie ; 
fifteen  prints. 

Another  set  of  Battles ;  fourteen  prints,  with  the  title. 

A  set  of  Landscapes,  among  which  are  the  Four  Ele- 
ments ;  twelve  prints. 

Twenty  of  Battles,  for  Strada's  History  of  the  Beleic 
"War.  ^ 

The  Metamorphoses  of  Ovid ;  one  hundred  and  fifty 
prints,  published  at  Vienna,  in  1641. 

BAUE,  Nicolaas,  who  was  born  at  Harlingen 
in  1767,  was  the  son  of  Hendrious  Antonius  Baue, 
8  portrait  painter  (born  1736,  died  1817).     He 

if4 


painted  landscapes  and  views  of  cities,  and  many 
houses  in  Holland  are  embellished  by  his  works. 
He  also  painted  moonlight  and  winter  scenes  ;  and 
was  particularly  successful  in  marine  subjects.  He 
is  considered  one  of  the  best  of  the  later  Dutch 
marine  painters.     He  died  at  Harlingen  in  1820. 

BAUSA,  Gebqoeino,  a  Spanish  painter,  bom  at 
Mallorca,  a  town  in  the  vicinity  of  Valencia,  in 
1596.  He  was  a  scholar  of  Francisco  Eibalta,  and 
was  a  reputable  painter  of  history.  The  principal 
altar-piece  in  the  church  of  St.  Philip  of  the 
Carmelites  at  Valencia,  representing  the  Martyr- 
dom of  that  Saint,  is  by  Bausa.  There  are  also 
several  pictures  by  him  in  the  monastery  of  Los 
Trinitarios  Calzados  in  that  city.   He  died  in  1656. 

BADSE,  Johann  Feiedrich,  a  German  engraver, 
was  born  at  Halle,  in  Saxony,  in  1738.  He  is 
stated  to  have  learned  the  art  of  engraving  without 
the  instruction  of  a  master,  and  to  have  formed  his 
manner  by  an  imitation  of  the  admirable  prints  of 
J.  G.  Wille.  He  died  at  Weimar  in  1814.  His 
works,  which  are  very  numerous,  are  chiefly  exe- 
cuted with  the  graver,  which  he  handled  with 
great  purity  and  firmness.  The  following  are  his 
principal  plates,  except  his  portraits,  which  are 
chiefly  of  German  characters  of  little  celebrity: 

Damon  and  Musidora,  subject  from  Thomson;  after 

JBach. 
A  Moonlight  Scene ;  after  the  same. 
The  Magdalene ;  from  a  drawing  by  Bach,  after  Batoni. 
Three  Apostles ;  after  Caravaggio  ;  etching. 
Venus  and  Oupid ;  after  Carlo  Cignani. 
Michael  Ehrlich ;  after  B.  Denner ;  a  mezzotint. 
The  Repentance  of  St.  Peter ;  after  Dietrich. 
The  Good  Housewife  ;  after  G.  Dou. 
Bust  of  a  Girl ;  after  Greuze. 
Artemisia ;  after  Guido. 
The  Head  of  Christ ;  after  the  same. 
The  Old  Confidante ;  after  Kupetsky. 
Cupid  feeling  the  Point  of  an  Arrow ;  after  Mems. 
Bust  of  a  Girl,  with  a  Basket  of  Boses ;  after  Netscher. 
The  Sacrifice  of  Abraham  ;  after  Oeser. 
La  petite  Rusee ;  after  Meynolds. 

A  list  of  his  works  may  be  found  in  Nagler  and 
Heineken.  See  also  Dr.  G.  Keil's  'Katalog  des 
Kupferstichwerkes  von  Johann  Friedrich  Bause,' 
Leipzig,  1849.  His  daughter,  Julians  Wilhel- 
MiNE  Bause,  etched,  with  talent,  a  number  of 
landscapes  after  Kobell,  Both,  and  other  artists. 
She  was  born  in  1768,  and  died  in  1837. 

BAVAEESE.     See  Oefele. 

BAXAITL     See  Basaiti. 

BAXTEE,  Charles,  an  English  portrait  and 
subject  painter,  was  born  in  London  in  1809.  He 
commenced  life  as  a  bookbinder,  but  afterwards 
studied  under  Clint.  He  exhibited  at  the  Eoyal 
Academy,  where  his  first  picture  appeared  in  1834, 
and  at  the  Society  of  British  Artists,  of  which  he 
became  a  member  in  1842.  His  first  works  were 
miniatures  and  portraits  in  oil,  but  his  greatest 
success  was  in  fancy  portraits.  He  died  at  Lew- 
isham  in  1879.    Amongst  his  works  are : 

The  Dream  of  Love. 

Olivia  and  Sophia  (London  Exhibition,  1862). 

Peasant  Girl  of  CMoggia.     1869. 

Rich  and  rare  were  the  gems  she  wore.    1872. 

BAXTEE,  George,  a  wood-engraver,  who  was 
born  at  Lewes  in  1806,  went  in  1825  to  London, 
where  he  became  celebrated  for  a  method  of  print- 
ing in  oil-colours  which  he  invented.  His  best 
works  were  a  copy  of  'The  Descent  from  the 
Cross,'  by  Eubens  ;  '  The  Opening  of  the  First 
Parliament  of  Queen  Victoria,'  for  which  he  was 
awarded  the  Austrian  gold  medal;  the  'Queen's 


Baxter 


PAINTERS  AND  ENGEAVEES. 


Bazzl 


Coronation,'  and  a  miniature  of  '  The  Baptism  of 
the  Prince  of  Wales.'  He  was  for  many  years  a 
frequent  contributor  to  the  Eoyal  Academy  Exhi- 
bitions.    He  died  at  Sydenham  in  1867. 

BAXTBE,  Thomas,  a  native  of  Worcester,  bom 
in  1782,  excelled  in  fruit  and  flower  pieces,  which 
He  painted  in  water-colours.  He  also  assisted  John 
Britton  in  his  work  on  Salisbury  Cathedral.  He 
died  in  London  in  1821. 

BAY.     See  Debay. 

BAYEE,  A*GUST  von,  who  was  born  at  Eor- 
sohach  in  1804,  first  studied  architecture  under 
Weinbrenner,  at  Carlsruhe.  He  visited  Munich 
and  PariSj  and  subsequently  devoted  himself  to 
painting  interiors  of  churches,  chapels,  cloisters, 
halls,  &c.,  in  which  he  produced  very  happy 
efEects.  In  1853  he  was  appointed  conservator  of 
the  monuments  and  antiquities  in  the  Grand  Duchy 
of  Baden,  and  died  at  Carlsruhe  in  1873  (or  1875). 
Among  his  best  works  are  : 

The  interior  of  the  Frauenkirche  at  Munich. 

A  portion  of  the  Cathedral  at  Chur. 

The  Convent  of  Maulbronn. 

The  Organ  Player  (lithographed  hy  Fr.  Soke). 

An  interior  of  a  Cloister  (lithographed  by  Ft.  Hohe) . 

There  are  four  works  by  him  in  the  Pinakothek 
at  Munich. 

BAYEE,  HiEEONTMUS  VON,  bom  at  Bauris,  Salz- 
burg, in  1792,  was  an  excellent  etcher,  a  master 
of  the  University  at  Landshut'in  1809,  and  subse- 
quently a  professor,  and  a  member  of  Council  at 
the  University  of  Munich.  He  etched  a  large 
number  of  landscapes  of  great  finish. 

BAYEE,  Josef,  who  was  bom  at  Vienna  in  1804, 
became  a  painter  of  merit,  but  died  there  when  still 
young,  in  1831.  In  the  Belvedere  there  are  two 
works  by  him — a  'Portrait  of  a  Boy,'  signed  and 
dated  1829,  and  '  The  Flight  into  Egypt,'  signed 
and  dated  1830. 

BAYEU  T  SUBIAS,  Feancisco,  was  born  at 
Saragossa  in  1734.  He  was  first  instructed  by 
Luzan,  in  Tarragona,  and  having  gained  the  pre- 
mium at  the  Academy,  he  was  allowed  a  pension, 
to  enable  him  to  visit  Madrid,  where  he  entered 
the  school  of  Gonzales  Velazquez.  His  merit 
attracted  the  notice  of  Eaphael  Mengs,  who  recom- 
mended him  to  the  protection  of  Charles  III., 
and  that  monarch  employed  him  in  the  Pardo,  and 
in  the  palaces  at  Aranjuez  and  Madrid,  where  he 
also  painted  several  pictures  for  the  churches.  In 
1765  he  was  received  into  the  Academy  at  Madrid, 
and  in  1788  was  made  painter  to  the  king.  He 
died  at  Madrid  in  1795.  He  etched  a  few  plates. 
The  following  are  a  few  of  his  best  paintings  : 

Madrid.  New  Palace.  The  Conquest  of  Granada. 

„  „  Apotheosis  of  Hercules. 

„  „  The  FaU  of  the  Giants. 

„  „  And  others. 

„  Museum.  Sacred  and  Genre  pictures  (28). 

Works  by  him  are  to  be  seen  in  the  Carthusians 
Madrid, — the  '  Life  of  St.  Bruno,' — and  frescoes  in 
the  churches  of  Toledo  and  Saragossa. 

BAYEU  T  SUBIAS,  Eamon,  was  born  at  Sara- 
gossa in  1746,  and  was  instructed  in  art  by  his 
brother  Francisco.  He  is  principally  to  be  noticed 
as  an  assistant  to  his  brother  in  his  fresco  works. 
He  died  at  Aranjuez  in  1793. 

BAYNES,  James,  a  water-colour  painter,  was 
bom  at  Kirkby  Lonsdale  in  1766,  and  early  in  life 
became  a  student  of  the  Eoyal  Academy.  In  after 
years  he  exhibited  views  in  North  Wales,  and  in 


Norfolk  and  other  English  counties,  frequently 
introducing  cattle.     He  died  in  1837. 

BAYUCO,  J0AN  Batjtista,  was  a  painter  of  some 
repute  at  Valencia,  where  he  was  bom  in  1664. 
His  best  works  were  his  pictures  in  the  cloister  of 
the  convent  of  St.  Sebastian,  illustrative  of  the 
'Life  of  San  Francisco  de  Paula.' 

BAZAN,  Mariana  SILVA.    See  Silva  Bazan. 

BAZICALUVB,  Ekcolb,  (or  Bazzical0ve,)  an 
eminent  engraver  of  Pisa,  and  pupil  of  G.  Parigi, 
flourished  about  the  year  1640,  and  became  cas- 
tellan of  the  castle  of  Leghorn.  Bartsoh  describes 
seven  of  his  prints,  and  Brulliot  others  which  had 
escaped  the  notice  of  that  writer.  Of  his  works 
may  be  mentioned  a  '  Triumphal  Procession,'  and 
twelve  landscapes. 

BAZIN,  Chaeles  Lottis,  a  French  painter, 
sculptor,  engraver,  and  lithographer,  was  born  in 
Paris  in  1802,  where  he  died  in  1859.  He  was  a 
pupil  of  Girodet-Trioson  and  of  Gerard,  after  the 
latter  of  whom  he  engraved  a  portrait  of  Albertine 
de  Stael,  Duchesse  de  Broglie. 

BAZIIST,  Nicolas,  a  French  engraver,  was  born  at 
Troyes,  in  Champagne,  in  1633,  where  he  died  in 
1710.  He  was  a  pupil  of  Claude  Mellan,  and  estab- 
lished himself  in  Paris  as  an  engraver  and  print- 
seller.  He  worked  principally  with  the  graver,  in 
rather  a  stifE,  dry  manner,  and  published  several 
plates,  executed  by  himself  and  others,  chiefly 
engraved  by  the  young  artists  he  employed.  His 
plates  are  portraits  and  historical  subjects,  of  which 
the  following  are  the  principal : 

poeteaits. 

Madame  Helyot,  an  abbess ;  after  his  own  design. 

Madame  Guyon,  a  celebrated  visionary. 

Jean  du  Houssay  de  Chaillot,  a  hermit. 

Father  Emanuel  Magnan. 

Father  Anthony  Verjus,  a  Jesuit ;  after  J.  P.  de  Cany. 

Jean  Crasset,  a  Jesuit ;  after  Du  Mee. 

St.  Francis  Xavier. 

St.  Ignatius  de  Loyola,  founder  of  the  Jesuits. 

Louis  XIV.,  on  horseback.    1682. 

Maria  Theresa  of  Austria,  wife  of  Louis  XIT. ;  after 

Le  Febiire.    1681. 
Louis,  Dauphin  of  France ;  after  Martin.    1686. 
Frauijois  Barreme,  arithmetician. 

VAEIOUS  SUBJECTS. 

St.  Francis  receiving  the  Stigmata ;  after  Baroeci. 

St.  Isabella,  foundress  of  the  Abbey  of  Longchamps; 

after  Philippe  de  Champagne. 
The  Virgin  Mary  suckling  the  Infant  Saviour;  after 

Correggio. 
Two  Ladies,  one"goiug  into  a  Bath ;  after  J.  Dieu. 
St.  Anne  teaching  St.  Elisabeth  to  read ;  ajFter  Le  Brun, 
St.  Maxy,  of  Egypt,  and  St.  Zozima ;  after  the  same. 
St.  Jerome  and  St.  Peter,  two  plates ;  after  Liehery, 
The  Holy  Virgin. 
The  Annunciation. 
Christ  crowned  with  Thorns. 
The  Crucifixion. 

BAZZANI,  Giuseppe,  was  born  at  Eeggio  in 
1701  (or  1690),  and  was  a  scholar  of  Giovanni 
Canti.  According  to  Lanzi,  he  studied  the  works 
and  imitated-  the  style  in  which  Eubens  had 
painted  in  Italy ;  at  Mantua  and  in  the  neigh- 
bouring convents  he  executed  many  frescoes  with 
great  spirit  and  freedom.  He  was  director  of  the 
Academy  at  Mantua,  in  which  city  he  died  in  1769. 

BAZZI,  Giovanni  Antonio,  or  Di  Bazzi  (mis- 
called Eazzi),  called  '  II  Sodoma,'  was  born  at 
Vercelli,  in  the  Piedmontese,  in  1473  (or  1477). 
He  was  the  son  of  a  cobbler,  and  when  13  years  of 
age  he  entered  the  studio  of  Martino  de  Spanzotis, 

95 


Bazzi 


A  BIOGRAPHICAL  DICTIONARY  OlP* 


B6atrizet 


an  unknown  artist,  with  whom  he  remained  for 
many  years.  He  also  seems  to  have  studied  the 
works  of  Leonardo's  school,  his  later  pictures  show- 
ing that  decided  Leonardesque  style  peculiar  to 
Bernardino  Luini,  Andrea  Solario,  and  Cesare  da 
Sesto.  A  '  Madonna,'  in  the  Morelli  Collection  at 
Milan,  is  the  only  one  of  his  early  works  that  still 
exists.  We  find  him  at  Siena  in  1501,  where  he 
painted,  probably  soon  after  his  arrival,  a  '  Depo- 
sition from  the  Cross.'  This  picture  is  now  at  the 
Academy  in  Siena,  and  is  decidedly  the  finest 
altar-piece  ever  painted  in  that  town.  In  the  year 
1503  he  was  commissioned  to  adorn  the  refectory 
of  the  convent  of  St.  Anna  in  Creta,  near  Eienza, 
with  frescoes  representing  the  miracle  of  the 
loaves  and  fishes.  In  1505  he  began  at  the 
monastery  of  Mont  Oliveto,  near  Buonconvento, 
the  24  fresco-paintings  representing  the  History  of 
St.  Benedict.  These  are  very  unequal  in  execution. 
Some  are  painted  with  the  greatest  care,  and  are  full 
of  life  and  grace  ;  others,  however,  are  more  hastily 
done  ;  and  it  was  for  this  reason  that  the  artist  was 
called  by  the  monks  '  Mattaccio '  (scatter-brained). 
Between  the  years  1507  and  1508  he  visited  Rome, 
where  he  was  employed  in  the  Vatican  by  Pope 
Julius  II.  But  very  little  remains  of  these  fres- 
coes, which  were  eventually  destroyed  to  make 
room  for  the  works  undertaken  by  Raphael.  In  1510 
Bazzi  returned  to  Siena  for  three  years,  but  was 
again  at  Rome  from  1513  to  1516,  when  he  was 
engaged  by  Agostino  Chigi  to  paint  in  the  Villa 
Farnesina  two  large  fresco-paintings,  'The  Marriage 
of  Alexander  and  Roxana,'  and  '  The  Family  of 
Darius. '  The  former  is  generally  considered  to  be 
one  of  the  most  enchanting  pictures  of  the  whole 
Renaissance.  Bazzi  here  rivals  Raphael.  In  the 
Oratorio  of  San  Bernardino,  at  Siena,  he  began  to 
paint,  al  fresco,  Four  Saints,  and  other  historical 
subjects,  in  1515 ;  but  they  were  not  completed  until 
1532.  His  picture  on  canvas,  representing  San 
Sebastian,  probably  the  finest  of  all  Sebastians 
that  exist,  was  executed  in  1516.  It  is  now  in  the 
UflBzi  G-allery.  Another  superior  specimen  of  his 
art  is  the  decoration  of  the  Chapel  of  St  Catherine 
of  Siena,  in  the  Church  of  San  Dominico,  at  Siena, 
painted  in  1527.  Amongst  the  scenes  from  the 
life  of  the  Saint  he  there  represents  the  ecstasy  of 
the  Saint  with  best  success.  Between  the  years 
1629  and  1534  he  painted,  in  the  town-hall  in  the 
Sala  delle  Calestre,  some  isolated  figures  of  Saints 
(SS.  Vittorio,  Ansano,  and  Bernardo  Tolomei),  and 
a  beautiful  '  Holy  Family '  in  the  Chapel.  '  The 
Adoration  of  the  Magi,'  in  the  Church  of  St. 
Agostino,  was  painted  in  1536.  From  1515  to  this 
year  he  resided  permanently  at  Siena,  with  the 
exception  of  a  period  of  seven  years  (1518 — 1526), 
during  which  his  whereabouts  is  not  known.  He 
betook  himself  to  the  court  of  Giacomo  V.,  Prince 
of  Piombino,  in  1536  ;  worked  at  Volterra  in  1540  ; 
and  proceeded  thence  to  Pisa,  where  he  was  com- 
missioned to  execute  two  pictures  for-the  duomo, 
and  a  'Madonna  with  Saints,'  for  the  church  of 
Santa  Maria  dolla  Spina.  After  having  also  visited 
Lucca  he  returned  to  Siena,  where  he  died  in 
1649. 

Bazzi  was  the  founder  of  a  new  school  of  painters 
at  Siena,  where  before  him  every  artist  had  painted 
in  the  antiquated  manner  of  Duccio's  Gothic  or 
Byzantine  conceptions.  His  chief  imitators  are 
Pacchiarotto,  Becoaf  umi,  and  Girolamo  del  Pacchia. 
His  figures  are  distinguished  by  vague  forms  and 
tender  expressions,  but  his  compositions  are  often 

96 


crowded  and  too  compact.  He  became  influenced 
by  Raphael  in  his  later  works,  which  are  dull  and 
flimsy  in  style.  Most  of  them  are  at  Vienna.  Vasari 
does  not  do  full  justice  to  the  artist,  whose  rakish 
life,  which  gave  him  the  nick-name  'II  Sodoma,' 
he  describes  minutely,  while  he  depreciates  inten- 
tionally nearly  all  his  works.  Besides  the  works 
mentioned  in  the  text,  the  following  are  worthy  of 
mention : 


Berlin. 

Museum. 

Holy  Fami^ 
Ecoe  Horn* 

Florence. 

Pitti  Palace. 

Hanover. 

Mausman  Coll. 

Lucrezia. 

London. 

Grosvenor  Ho. 

"Virgin  and  Child. 

Richmond. 

Cook  Coll. 

St.  George  on  Horseback. 

Borne. 

Borghese  Palace 

.  Virgin  and  Child. 

»» 

Chigi  Palace. 
Gallery. 

Marriage  of  St.  Catharine 

Turin. 

Two  Madonnas. 

» 

n 

Lucrezia. 

J.  PR. 

BEACH,  Thomas,  was  bom  at  Milton  Abbas,  in 
Dorsetshire,  in  1738.  He  was  a  pupil  of  Reynolds, 
and  became  distinguished  as  a  portrait  painter. 
He  lived  for  many  years  at  Bath,  and  sent  his 
pictures  to  the  exhibitions  of  the  Incorporated 
Society  of  Artists,  and  afterwards  to  the  Royal 
Academy.  Three  of  his  works  were  included  in 
the  Exhibition  of  National  Portraits,  1867.  His 
picture  of  '  John  Kemble  and  Mrs.  Siddons,  in 
"  Macbeth," '  is  his  most  celebrated  production. 
He  died  at  Dorchester  in  1806. 

BEALE,  Maet,  an  eminent  portrait  painter,  was 
born  in  Suffolk  in  1632.  She  was  the  daughter 
of  the  Rev.  J.  Cradook  of  Walton-on-Thames,  and 
having  shown  a  great  inclination  for  art,  she  was 
placed  under  Sir  Peter  Lely,  and  soon  became 
proficient.  By  copying  several  paintings  by  Van 
Dyck,  she  acquired  a  purity  and  sweetness  of 
colouring  for  which  her  portraits  are  distin- 
guished. Of  an  estimable  character,  and  very 
amiable  manners,  she  was  patronized  and  em- 
ployed by  many  of  the  most  distinguished  persons 
of  her  time.  Her  husband  was  also  a  painter,  but 
of  no  celebrity.  Mrs.  Beale  died  in  London  in 
1697.  In  the  National  Portrait  Gallery,  London, 
there  are  by  her  two  portraits — one  of  Charles  II., 
and  the  other  of  Abraham  Cowley.  (See  Walpole's 
'  Anecdotes.' ) 

BEARD,  Thomas.  This  engraver  was  a  native 
of  Ireland,  and  flourished  about  the  year  1728.  He 
worked  in  mezzotint,  and  engraved  principally 
portraits  ;  among  which  are  the  following : 

The  Archbishop  of  Armagh ;  after  P.  Ashton. 
The  Countess  of  Clarendon;  after  Kneller. 
Jolm  Sterne,  Bishop  of  Clogher ;  after  Carlton. 

BBATEIZET,  Nicolas,  (Bbauteizet,  or  Bea- 
TRICETTO,)  a  French  engraver,  was  bom  at  Lune- 
ville  in  or  before  1520.  From  his  style  it  has  been 
conjectured  that  he  was  a  scholar  of  Ghisi,  and  of 
Agostino  Veneziano  de  Musis.  From  1640  to  1560 
he  engraved  under  the  direction  of  Michelangelo. 
He  died  at  Rome  after  1560.  His  works  are  more 
indebted,  for  the  estimation  in  which  they  are  held, 
to  the  subjects  he  has  selected,  than  to  the  merit 
of  their  execution.  He  usually  marked  his  plates 
\vith  the  letters  i\r.  £.  L.  F.  Their  number  is  con- 
siderable, but  most  of  them  are  "XT-)  "KTIT 
comprised  in  the  following  list:    _[\3    J\JJ.^ 

POBTKAITS. 
Bust  of  Kns  m. 
Pope  Paul  III.,  an  oval. 
Pope  Paul  IT. ;  dated  1558. 
Henry  II.,  King  of  France ;  N.  B.  F.  Lot.f.  1558. 


Beatrizet 


PAINTERS  AND  ENGRAVERS. 


Beaumont 


Another  Portrait  of  Henry  II. ;  dated  1556. 

Hippolita  Gonzaga. 

Juan  Valverdus,  Spaniard. 

Antoine  Salamanca,  engraver  and  dealer  in  prints. 

Don  Juan  of  Austria,  an  oval,  on  a  monument  j  inscribed 
Generate  della  Legha. 

The  Genealogy  of  the  first  twelve  Emperors  and  Em- 
presses, with  their  Portraits,  from  medals ;  two  sheets. 

The  Kings  of  Poland,  in  medallions ;  inscribed  Reges 
I'ohnia. 

SUBJECTS  OF   SACRED  HISTORY. 

Cain  killing  Abel ;  inscribed  Fratricida  Abelis,  A.  S- 

ex.    1540. 
Joseph  explaining  the  Dream ;  after  Raphael;  marked 

N.  B.  F.,  and  his  name ;  one  of  his  best  plates. 
The  Nativity  of  the  Yirgin ;  after  Baccio  Bandinelli ; 

inscribed  Nieolaus  Beatricius  restUuit  et  formis  suis 

exc. 
The  Annunciation ;  with  the  names  of  Michelangelo  and 

Beatrici. 
The  Adoration  of  the  Magi ;  after  Barmigiano,  K.B.L.F. 
The  Holy  Family,  with  St.  John ;  Jerom.  Mutian,pinx., 

Nicolaus  Beatricius  Lotaringus^  incidit,  Sjc. 
The  Good  Samaritan  ;  Michelangelo,  inv. 
Christ  on  the  Mount  of  Olives:  after  Titian;  marJced 

N.  B.  F. 
The  Crucifixion,  with  the  Virgin,  Magdalene,  and  St. 

John ;  with  the  Sun  and  Moon  on  each  side ;  Muei- 

anus  Brixianus,  itw.,  Nicolaus  Beatricius,  S^e.  exe. 
The  Mater  Dolorosa ;  after  Michelangelo ;  If.  B.  Bomce. 

1547. 
The  taking  down  from  the  Cross;  after  Circignani ; 

marked  B.  Bonus. 
Christ  delivering  the  Souls  from  Purgatory ;  with  the 

names  of  Raphael  and  Beatrici. 
The  Ascension;  after  Raphael,  with  his  cipher.    1541. 
The  Conversion  of  St.  Paul ;  Michelangelo,  pinx.,  S^c. ; 

marked  iV.  B, 
St.  Michael  overcoming  the  Evil  Spirit ;  after  Raphael; 

marked  N.  B.  L. 
The  Virgin  seated  on  a  Throne,  distributing  Kosaries ; 

inscribed  Kicolaus  Beatricius,  S;c.  exe.,  oval. 
The  Cross  worshipped  all  over  the  world ;  arched  plate, 

marked  N.  B.  F.,  and  inscribed  Crux  illustris,  SfC. 

MDLVII. 

The  prophet  Jeremiah ;  after  Michelangelo. 

St.  Jerome  kneeling  before  a  Crucifix;  after  Titian; 
marked  N.  B.  L.  F. 

St.  Elizabeth,  Queen  of  Hungary,  relieving  the  dis- 
tressed ;  after  Mutiano. 

The  Last  .Judgment;  aper  Michelangelo.  Dated  1562. 
In  nine  sheets. 

SUBJECTS   OP  PROFANE  HISTORY. 

The  Sacrifice  of  Iphigenia;  on  the  altar  is  inscribed 

Iphigenia  ;  it  is  marked  N.  B.  L.  F. 
Ganymede ;  after  Michelangelo ;   inscribed  Ganimedes 

jwoenis,  §c. 
The  Fall  of  Phaeton ;  after  Michelangelo  ;  retouched  by 

Beatrici. 
Tityus  devoured  by  a  Vulture;  after  the  same;  Ant. 

Salamancha,  ex. 
Silenus  carried  by  Children;  after  the  same;  N.  Bea- 
trice, fee. 
The  Dream  of  Human  Life,  emblematical  subject ;  after 

the  same. 
Shooting  at  a  Target ;  after  the  same. 
Vertumnus  and  Pomona ;  after  Pontormo. 
Beason  combating  Love ;  after  B.  Bandinelli ;  with  his 

cipher. 
A  Combat  between  five  Men  and  five  Vild  Beasts ;  after 

Giulio  Romano.    1532. 
The  Battle  of  the  Amazons ;  after  a  hasso-rilievo  ;   in- 
scribed Amazonum  pugna,  S;c.    1559. 
The  Battle  of  the  Dacii;  after  the  basso-rilievo  of  the 

Arch  of  Constantine;  marked  N.  B.  and  inscribed 

Tabula  Marmora,  Igc. 
The  Emperor  Trajan  triumphant ;  after  a  basso-rilievo. 

1560. 
The  Pantheon  of  M.  Agrippa;  marked  N.  B.  F. 
The  Temple  of  Fortune;  after  a  drawing  ii/  Raphael; 

marked  JY.  B.  F. 


The  great  Circus;  marked  iV.  Beatrizet  Lotaringice ; 

two  sheets. 
The  Front  of  the  Farnese  Palace ;  after  the  design  of 

Michelangelo.    1548. 
Statue  of  Moses ;    after  Michelangelo  ;  inscribed  Moysis 

ingens,  ^e. 
Statue  of  Jesus  Christ;  after  Michelangelo ;  with  his 

name. 
Equestrian  Statue  of  M.  Aurelius.    1558. 
Statue  of  a  Philosopher  reading ;  inscribed  Anaximenes, 

^c. :  the  plate  was  afterwards  retouched,  and  the 

Philosopher  changed  into  St.  Paul. 
The  Castle  of  St.  Angelo. 
The  Siege  and  Taking  of  LuneviUe ;  Mc.  Beatrizet  Lo- 

taringas,  ineidet.    1553, 

BEAU,  Pierre  Adribn  le.     See  Le  Beau. 

BEAUBRUN,  Henri,  a  French  portrait  painter 
to  the  king,  and  a  member  of  the  Royal  Academy 
of  Painting  in  1648,  was  born  at  Amboise  about 
1603 ;  he  died  in  1677.  Charles  Beaubrun,  his 
cousin  and  fellovr-worker,  also  -i  portrait  painter, 
was  bom  at  Amboise  in  1604,  received  into  the 
Academy  in  1651,  and  died  in  Paris  in  1692.  Works 
by  them  are  in  the  Madrid  Gallery.  Mathieu 
Beaubrun,  the  father  of  Charles  and  brother  of 
Louis,  was  likewise  a  painter.  He  died  in  Paris  in 
1642.  Louis  Beaubrun,  a  portrait  painter  of  the 
16th  century,  an  imitator  of  the  Pourbus,  was  uncle 
of  Charles  and  Henri,  and  died  in  Paris  in  1627. 
In  1616,  on  the  occasion  of  the  entry  of  Louis 
XIII.  and  Anne  of  Austria  into  Paris  after  their 
marriage,  Louis  Beaubrun  executed  a  large  alle- 
gorical painting  for  the  decoration  of  the  Porte  St. 
Jacques,  which  he  himself  engraved. 

BEAUCLERK,  Lady  Diana,  a  daughter  of 
Charles  Snencer,  second  Duke  of  Marlborough, 
was  born  in  1734,  and  became  an  amateur  artist 
of  some  celebrity.  She  married,  in  1757,  Frederick, 
second  Viscount  Bolingbroke,  from  whom  she  was 
divorced  in  1768.  Two  days  after  she  married  the 
celebrated  wit,  Topham  Beauclerk,  by  whom  she 
was  left  a  widow  in  1780.  Her  illustrations  of 
Burger's  '  Leonora  '  (1796),  and  Dryden's  '  Fables  ' 
(1797),  are  well  known  to  book  collectors.  She 
also  designed  groups  of  young  Bacchanals,  and 
other  bas-reliefs  for  Wedgwood.  She  died  in 
1808. 

BEAUMBZ,  Jean  de,  is  recorded  to  have  been 
"painter  and  valet"  to  Philip  the  Hardy,  for  whom 
he  painted  numerous  works,  and  decorated,  among 
other  chapels,  that  of  the  Castle  of  Argilli,  in  Bur- 
gundy. Jean  de  Beaumez  was  employed  by  hia 
patron  from  about  1375  to  1395. 

BEAUMONT,  Cavaliere  Claudio,  was  born  at 
Turin  in  1694.  After  studying  some  time  in  his 
native  city,  he  went  to  Rome,  and  appli-ed  himself 
to  copying  the  works  of  Raphael,  the  Carracci,  and 
Guido.  He  appears  to  have  had  little  respect  for  the 
Roman  painters  of  his  time,  except  Trevisani,  whose 
manner  he  imitated  in  the  vigour  of  his  tints.  On 
his  return  to  Turin,  he  was  employed  in  decorating 
the  royal  palace,  where  he  also  painted  in  fresco,  in 
the  library,  various  symbolical  subjects,  relative  to 
the  Royal  Family  of  Sardinia  ;  and  in  the  other 
apartments  he  represented  the  '  Rape  of  Helen,' 
and  the  '  Judgment  of  Paris.'  In  the  Chiesa  della 
Oroce  is  a  fine  picture  of  the  'Descent  from  the 
Cross.'  The  King  of  Sardinia  conferred  on  him 
the  order  of  knighthood  in  1766. 

BEAUMONT,  Sir  George  Howland,  Baronet, 
an  amateur  painter,  was  born  at  Dunmow,  in  Essex, 
in  1753.  He  was  a  liberal  patron  of  artists,  and 
very  fond   of  their    society.      He  was   a  great 

97 


A  BIOGRAPHICAL  DICTIONARY  OF 


Beaumont 

admirer  of  Claude  and  of  Wilson;  and  painted 
in  a  respectable  manner  scenes  at  Coleorton  and 
the  groves  at  Charnwood.  In  1826  he  presented 
sixteen  pictures  to  the  National  Gallery,  which 
collection  he  greatly  helped  to  establish.  The 
Gallery  also  possesses  two  landscapes  by  him, 
presented  after  his  death  by  his  widow.  He  died 
at  Coleorton,  Leicestershire,  in  1827. 

BEAUMONT,  Jean  FnANgois  ALBANIS  db. 
See  Albanis  db  Beaumont. 

BEAUMONT,  John  Thomas  BARBER,  who  was 
born  in  London  in  1774,  was  in  early  life  a, 
miniature  painter;  and  from  1794  to  1806  exhi- 
bited his  works  under  his  original  name.  Barber, 
at  the  Royal  Academy.  He  subsequently  adopted 
the  name  Beaumont  in  addition  to  Barber.  He 
is  best  known  as  the  originator  and  manager  of 
the  County  Fire  Office  and  of  the  Provident  Life 
Office.     He  died  in  London  in  1841. 

BEAUMONT,  Piekbe  Feanqois,  a  French  en- 
graver, was  born  in  Paris  about  the  year  1720.  He 
executed  some  plates,  chiefly  after  Jan  Brueghel 
and  Ph.  Wouwerman. 

Three  Views  in  Flanders ;  after  Srmghel. 
Four  Hunting  Pieces ;  after  N.  N.  Coypel. 
The  Angel  appearing  to  the  Shepherds;  after  Wouwer- 
man. 
The  Thirsty  Traveller ;  after  the  same. 
Eunning  at  the  Ring ;  after  the  same 
The  Swimmers ;  after  the  same. 
Cavalry  defiling ;  after  the  same. 
Halt  of  Cavalry ;  after  the  same. 
The  Blacksmith ;  after  the  same, 

BEAUNEVEU,  Ande^,  a  painter  of  miniatures, 
was  employed  in  the  early  part  of  the  15th  cen- 
tury in  illustrating  for  the  Duke  Jean  de  Berry 
a  Psalter,  now  in  the  National  Library  at  Paris ; 
which  for  its  beauty  of  conception  and  careful  exe- 
cution will  bear  favourable  comparison  with  the 
works  of  Meister  VVilhelm.  The  miniatures  in  a 
Prayer  Book  of  this  duke,  now  in  the  Royal  Library 
at  Brussels,  are  also  attributed  to  Beauneveu. 

BEAUTRIZET.     See  B^ateizet. 

BEAUVAIS,  DAUPHIN  db.  See  Dauphin  de 
Beauvais. 

BEAUVARLET,  Jacques  Fiemin,  a  celebrated 
engraver,  was  born  at  Abbeville  in  1731.  He  went 
to  Paris  when  young,  and  was  instructed  in  the  art 
by  Charles  Dupuis  and  Laurent  Cars.  His  first 
manner  was  bold  and  free,  and  his  plales  in  that 
style  are  preferred  by  some  to  the  more  finished 
and  highly-wrought  prints  that  he  afterwards  pro- 
duced, although  it  must  be  confessed  that  the 
latter  are  executed  with  great  neatness  and  delicacy. 
Beauvarlet  married,  in  1761,  Catherine  Jeanne 
Franjoise  Desohamps,  a  young  lady  who  possessed 
some  skill  in  engraving,  but  who  died  in  1769  at 
the  age  of  thirty-one.  He  married  again  in  1770, 
but  became  for  a  second  time  a  widower  in  1779. 
Eight  years  later,  in  1787,  he  married  Marie 
Catherine  Riollet,  who,  like  his  first  wife,  was  an 
engraver.  She  was  born  in  Paris  in  1755,  and  is 
said  to  have  died  in  1788.  Beauvarlet  himself 
died  in  Paris  in  1797.  The  following  are  his 
principal  works : 

POKTEAITS. 

Marie  Adelaide,  daughter  of  Louis  XV. ;  after  Nattier. 
Louis  Joseph  Savier,  Duke  of  Burgundy;  after  Fredou. 
Mile.  Clairon,  actress ;  after  Van  Loo  ;  by  Laurent  Cars 

and  Beauvarlet. 
The  Abbe  Nollet ;  after  la  Tour. 
Edme  Bouchardon,  sculptor ;  after  Brouais.    1776. 


Beccafumi 


Jean  Baptiste-Poqnelin  de  Moliere ;  after  8.  Sowdon. 
The  Marquis  de  Bomballes ;  after  Moslin  and  Vernet. 
Catharine,  Princess  Galizin ;  medallion. 
Ferdinand,  Duke  of  Brunswick. 
Madame  du  Barry  ;  after  Drouais. 

SUBJECTS   AFTER   VAEIOUS   MASTERS. 

Lot  and  his  Daughters ;  after  Xuca  Giordano. 

Susannah  and  the  Elders  ;  after  the  same. 

Perseus,  combating  Phineus,  shows  the  Head  of  Medusa ; 
after  the  same. 

Acis  and  Galatea ;  after  the  same. 

The  Judgment  of  Paris ;  after  the  same. 

The  Eape  of  Europa ;  after  the  same. 

The  Rape  of  the  Sabines ;  after  the  same. 

Susannah  and  the  Elders  ;  after  (xuido  Canlassi. 

The  Sewers  ;  after  Guide  Beni  ;  very  highly  finished. 

The  Incredulity  of  Thomas  ;  after  Calabrese. 

Venus  lamenting  the  Death  of  Adonis ;  afler  A, 
Turchi. 

La  Rus^e  ;  after  0.  Vega. 

The  Double  Surprise ;  after  Ger.  Dou 

The  Fisherman  ;  after  M.  Carre. 

The  Tric-trac  Players  :  after  Teniers. 

The  Bagpiper  ;  after  the'saine. 

The  Burgomaster  ;  after  Ostade. 

Diana  and  Actaeon ;  after  Rottenhammer. 

The  Bathers ;  after  Boucher. 

The  Trap ;  after  the  same. 

Cupid  chained  by  the  Graces  ;  after  the  same. 

The  Children  of  the  Count  de  Bethime ;  after  Drouatt, 

Le  Cohn  Maillard ;  after  Fragonard. 

The  Chastity  of  Joseph ;  after  Nattier. 

Susannah  and  the  Elders  ;  after  Vien. 

The  Offering  to  Venus ;  after  the  same. 

The  Offering  to  Ceres  ;  after  the  same. 

Cupid  holding  his  Bow  ;  after  C.  van  Loo, 

La  Confidence ;  after  the  same. 

The  Sultana ;  after  the  same. 

Lecture  Espagnole ;  after  the  same. 

Conversation  Espagnole  ;  after  the  same. 

Telemachus  in  the  Island  of  Calypso ;  after  Eaoux. 

The  Toilet,  and  the  Return  from  the  Ball ;  two  com- 
panions ;  after  De  Troy. 

Seven  prints  of  the  History  of  Esther ;  after  J.  J.  de 
Troy. 

A  Subject  from  an  Antique  Painting  at  Hercnlanenm, 

A  catalogue  of  his  works  was  published  at  Abbe- 
ville in  1860  by  I'Abbe  Dairaine. 

BECCAFUMI,  DoMBNico,  called  II  Meoarino, 
distinguished  himself  as  a  painter,  a  sculptor,  a 
mosaicist,  and  an  engraver.  His  father's  name 
was  Giacomo  di  Pace.  He  was  born  at  Cortine, 
near  Siena,  in  1486,  and  when  a  boy  was  employed 
in  watching  sheep.  Having  discovered  some  dis- 
position for  the  art,  he  was  taken  by  his  patron, 
Lorenzo  Beccafumi,  whose  name  he  adopted,  from 
that  humble  situation,  and  placed  under  the  tuition 
of  an  indifferent  painter,  Tozzo,  called  Capanna. 
He  then  studied  under  Giovanni  Antonio  Vercelli, 
after  which  he  went  to  Rome,  where  he  applied 
himself  with  great  assiduity  to  the  study  of  the 
works  of  Michelangelo  and  Raphael.  On  his  re- 
turn to  Siena,  he  produced  several  works,  both  in 
sculpture  and  painting,  which  gained  him  great 
reputation ;  and  commenced  his  celebrated  work 
executed  in  'graffito  in  marble,  the  pavement  of" 
the  cathedral  at  Siena,  which  has  been  engraved 
by  Andrea  Andreani.  He  also  painted  several 
pictures  for  the  decoration  of  houses  and  churches, 
both  in  oil  and  distemper.  Amongst  the  works 
by  him  may  be  mentioned : 

Berlin.      Museum.  Madonna  and  Child. 

Florence.  Fitti  Pal.  Holy  Family. 

Munich.  FinakothekS.rA3  Family. 

Rome.       Doria  P.  Marriage  of  St.  Catharine. 

Siena.         Academy.  Madonna  and  Saints. 

„  „       St.  Catharine  receiving  the  Stigmata. 

„  Pal.  Pub.  I'resooes  (on  cdlin  ' 


Beccaruzzi 


PAINTERS  AND  ENGRAVERS. 


Becker 


As  an  engraver,  we  have  by  him  some  excellent 
woodcuts ;  and  he  engraved  some  plates,  both 
etched  and  with  the  graver  only,  which  show  the 
hand  of  a  great  master,  although  they  may  not 
be  60  pleasing  to  those  who  are  accustomed  to  look 
for  neatness  of  handling.  He  sometimes  marked 
his  prints  with  his  name,  Micarino  fe.,  and  some- 
times with  a  B,  divided  in  the  middle,  thus  T) 
He  died  at  Siena  in  1551.  We  have  the  f  ol-  *  \i' 
lowing  prints  by  him : 

Paulus  III.  Pontif  ex  Maximus ;  without  a  name.    1515. 

An  Old  Man  standing,  and  a  Young  Man  lying  down ; 
Micarino,  fee. 

Three  Academy  Figures ;  without  a  name. 

The  Nativity ;  after  Titian  ;  a  woodcut,  fine. 

The  Virgin  embracing  the  Infant  Jesus ;   a  woodcut, ! 
three  tints. 

St.  Peter  holding  a  Book  and  the  Keys ;  a  woodcut,  in  ; 
chiaroscuro. 

St.  Philip  holding  a  Book  and  a  Cross ;  the  same, 

St.  Andrew,  with  his  Cross  ;  the  same. 

A  Philosopher,  with  a  Cloak,  sitting ;  the  same. 

St.  Jerome  kneeling  before  a  Crucifix  ;  a  woodcut. 

Ten  subjects  of  Alchemy,  on  the  first  is  inscribed  Meca- 
rinus  de  tSinis  inventor. 

BECCARUZZI,  Feancesoo,  was  bom  at  Cone- 
gliano,  in  the  Friuli,  and  was  a  disciple  of  Porde- 
none,  whose  manner  he  followed  :  he  painted  with 
considerable  reputation,  both  in  oil  and  in  fresco. 
Many  of  his  works,  in  the  churches  and  convents 
at  Trevigi,  are  described  by  Ridolfi.  One  of  his  best 
performances,  according  to  that  author,  was  the 
picture  he  painted  for  the  church  of  the  Francis- 
cans, at  Gonegliano,  representing  St.  Francis  re- 
ceiving the  Stigmata,  with  several  Saints.  Becca- 
ruzzi flourished  in  the  16th  century. 

BEOERRA,  GrASPAEO,  a  Spanish  artist  of  great 
celebrity,  was  bom  at  Baeza,  in  Andalusia,  in  1520. 
He  excelled  as  a  painter,  a  sculptor,  and  an  architect. 
The  patronage  bestowed  on  the  arts  by  Charles  V. 
induced  Becerra  to  visit  Rome  for  improvement; 
he  went  at  a  time  when  Michelangelo  was  in  the 
zenith  of  his  fame  ;  and  it  is  said  by  Palomino,  that 
he  had  the  advantage  of  studying  under  that  great 
master.  He  was  much  influenced  by  the  works  of 
Raphael  and  of  Daniele  da  Volterra.  On  his  return, 
in  1556,  he  was  taken  under  the  protection  of  PhiHp 
II.,  and  executed  some  works  in  fresco,  in  the  palace 
at  Madrid,  which  attracted  general  admiration.  In 
1563  he  was  appointed  painter  to  the  Court.  He 
was  one  of  the  first  reformers  of  the  Spanish 
school,  by  introducing  a  superior  style,  founded  on 
that  OT  Buonarroti.  Many  of  his  works  are  in  the 
public  edifices  at  Madrid,  Valladolid,  Astorga,  and 
Zamora.  He  died  at  Madrid  in  1570.  The  designs 
of  Becerra  are  very  rare,  and  are  much  esteemed 
for  the  great  care  he  bestowed  on  them  ;  for  he 
justly  considered  design  as  the  foundation  of 
painting.  [For  a  full  account  of  his  works  in 
the  public  buildings,  see  Bermudez's  '  Diccionario 
historico.'] 

BECHON,  J.,  a  native  of  France,  who  flourished 
about  the  year  1670,  engraved  several  plates  of 
landscapes,  executed  in  a  clear,  neat  style. 

BECK,  August,  a  designer  and  painter,  born  at 
Basle,  in  Switzerland,  in  1823,  studied  art  at  Duasel- 
dorf ;  his  works  chiefly  represent  horses  and  battle 
scenes.  From  1859  up  to  1871  he  drew  for  the 
illustrated  paper  of  Leipsic.  He  died  at  Thun  in 
1872. 

BECK,  David,  was  bom  at  Arnheim  (or  Delft)  in 
1621.    He  had  the  advantage  of  being  a  scholar  of 
Van  Dyck,  and  became  one  of  his  ablest  disciples. 
He  was  at  least  the  most  successful.    King  Charles  i 
H  2  ' 


I.  favoured  him  with  his  patronage,  and  he  was 
appointed  to  instruct  the  Prince  of  Wales  and 
Duke  of  York  in  drawing.  Beck  is  said  to  have 
painted  with  unusual  promptitude  and  facility, 
which,  being  remarked  by  the  king  when  sitting  to 
him,  occasioned  that  monarch  to  tell  him  pleasantly 
that  he  believed  he  could  paint  if  he  were  riding 
post.  After  passing  some  years  in  England,  he 
visited  Sweden,  where  he  was  received  with  dis- 
tinction by  Queen  Christina,  who  appointed  him 
her  principal  painter  and  chamberlain.  Notwith- 
standing the  flattering  protection  he  received  from 
the  queen,  his  desiret to  revisit  his  native  country 
prompted  him  to  solicit  permission  to  return  to 
Holland,  which  he  with  diflSculty  obtained,  under 
a  promise  to  return.  His  attachment  to  his  country 
prevented  his  fulfilling  his  engagement,  and  he 
died  at  the  Hague  in  1656. 

BECKENKAMP,  Caspab  Benedict,  who  was 
born,  in  1747,  in  the  valley  of  Ehrenbreitstein,  near 
Coblence,  studied  under  his  father  and  Jan  Zick,  at 
Coblence.  At  first  he  devoted  himself  to  painting 
landscapes,  after  C.  G.  Schutz;  but  afterwards 
changed  to  portraiture.  He  settled  at  Cologne, 
and  imitated  with  success  the  style  of  painting  of 
the  old  German  masters.  He  died  in  that  town  in 
1828.  Several  portraits  by  him  are  in  the  Wallraf 
Museum,  Cologne.  For  the  church  of  Santa  Maria 
in  Littore,  Cologne,  he  painted  a  copy  of  a  Pieti— 
once  in  that  church,  and  now  in  the  Stadel  Gallery 
— formerly  ascribed  to  Schoreel,  but  now  given  to 
Mabuse. 

BECKER,  Ferdinand,  was  bom  at  Gousenheim 
in  1846.  He  entered  the  studio  of  Steinle,  at 
Frankfort,  in  1868,  and  afterwards  removed  to 
Mayence,  where  he  painted  his  most  celebrated 
work,  '  Juden  im  Dom.'  He  also  illustrated  the 
German  '  Mahrchen.'     He  died  in  1877. 

BECKER,  Jakob,  born  at  Dittelsheim,  near 
Worms,  in  1810,  learned  the  rudiments  of  painting 
in  his  native  town.  He  went  to  Dusseldorf  in 
1833,  and  painted  under  Schirmer -first  landscapes, 
afterwards  romantic  pieces,  and  finally  genre,  in 
which  latter  branch  he  especially  excelled.  In 
1840  he  became  Professor  at  the  Stadel  Institute 
at  Frankfort,  and  was  subsequently  elected  a 
member  of  the  Academies  of  Berlin  and  Brussels. 
He  died  at  Frankfort  in  1872.  Amongst  his 'best 
works  may  be  mentioned : 

A  Farmer's  family  praying  for  the  sick  mother. 

Evening  at  the  Well  in  the  'Westerwald. 

The  Warrior  returning  home. 

The  Wounded    Poacher   {in  possession  of   the   Count 

Maczynski,  Berlin). 
A  Shepherd  killed  by  lightning  {painted  in  1844.    Stadel 

Institute). 
The  returning  home  from  the  harvest-field  {engraved  by 

Steifensand). 

BECKER,  Louis  Hugo,  a  painter  and  etcher,  born 
at  Wesel  in  1834,  studied  landscape  painting  under 
Schirmer  and  Gude,  at  Dusseldorf,  about  1852.  He 
afterwards  visited  Westphalia,  the  Upper  Rhine,  the 
Moselle,  Switzerland,iTormandy,  and  the  neighbour- 
hood of  the  Baltic.  In  1861  he  obtained  a  medal 
at  Metz.  He  died  at  Dusseldorf  in  1868.  Among 
his  landscapes  the  most  important  are  : 

The  Sacrifice  of  the  Old  Germans  {in  possession  of  Gl. 

V.  Grobeti). 
The  Passing  Storm. 
Sunday  Morning. 
The  Shepherd  on  the  Pasture. 
Christmas  Eve. 
The  Vine-crop  on  the  Moselle. 

99 


Becker 


A  BIOGRAPHICAL  l^IGTIONARY  OF 


Beeck 


BECKER,  Pi-iiLiPP  Jakob,  a  German  painter, 
■was  born  at  Pforzheim  in  1763.  At  seventeen 
years  of  age  he  went  to  Rome,  where  he  studied 
and  formed  his  style  under  Raphael  Mengs  and 
Maron.  In  1785  he  returned  to  Carlsruhe,  having 
acquired  in  Italy  a  high  degree  of  skill  in  every 
technical  requirement  of  his  art.  ■  But  he  was  want- 
ing in  poetic  fancy,  and  did  not  succeed  in  any 
remarkable  manner  in  oil-painting.  He  died  at 
Erlenbad  in  1829.  He  left  a  large  number  of 
drawings  in  crayons  and  sepia,  many  of  them 
copies,  but  all  admirable  for  the  taste  and  finish 
displayed  in  their  executionf  He  was  for  many 
years  Director  of  all  the  collections  of  paintings 
and  engravings  of  the  Grand  Duke  of  Baden. 

BECKET,  Isaac.  This  artist  was  one  of  the 
earliest  mezzotint  engravers  in  England.  He  was 
born  in  Kent  in  1663,  and  was  bred  to  the  busi- 
ness of  a  calico-printer ;  but  becoming  acquainted 
with  Lutterel,  who  had  made  some  progress  in  the 
art  of  mezzotint  engraving,  he  learned  from  him 
the  process,  and  executed  in  that  way  several 
plates,  of  which  some  are  portraits.  We  have  the 
following  by  him : 

rOETBAITS. 
Sir  Godfrey  KneUer  ;  from  a  picture  hy  Kneller, 
Charles  II. ;  after  Kneller. 
James,  Duke  of  York  ;  after  the  same. 
Henry,  Duke  of  Grafton ;  after  T.  Haivher, 
The  Duchess  of  Grafton  ;  after  Wissing. 
Charles  Melford ;  after  the  same. 
Sir  Peter  Lely ;  Seipse,  pinx. 
George,  Prince  of  Denmark ;  after  Riley. 
Henry  Compton,  Bishop  of  London ;  after  the  same. 
Christopher,  Earl  of  Albemarle ;  after  Murray. 
George,  Duke  of  Buckingham  ;  after  Verhelst. 
John  Maitland,  Duke  of  Lauderdale ;  after  Riley. 
Henry,  Duke  of  Norfolk. 

Thomas  Oartwright,  Bishop  of  Chester  j  very  scarce. 
Lady  Williams ;  full  length. 
Adrian  Beverland,  drawn  from  a  statue. 

SUBJECTS   AFTER   VARIOUS   MASTERS. 

The  Tirgin  Mary  and  St.  Joseph,  with  the  Infant  Jesus 

asleep,  "with  two  Angels ;  iiyithtmt  name  of  painter. 
Time  cutting  the  Wings  of  Love. 
A  Landscape,  with  a  Shepherd  and  Shepherdess. 
The  Dutch  Schoolmaster ;  after  Seemskerk. 
The  Village  Barber  Surgeon ;  after  J.  Lingelbach. 

BECKMANN,  Karl,  landscape  and  architectural 
painter,  was  born  in  1799,  at  Berlin.  He  received 
his  art  education  chiefly  in  the  studio  of  Wach. 
During  1824  he  spent  a  short  time  in  Paris  ;  and 
passed  the  period  between  the  summer  of  1828  and 
the  spring  of  1833  in  Italy.  He  was  afterwards 
appointed  Professor  of  Architecture  and  Perspec- 
tive to  the  Royal  Academy  of  Berlin.  For  his 
pure  art-tendency,  although  he  was  engaged  in 
other  departments,  he  was  indebted  to  Wach,  and 
his  residence  in  Italy  increased  his  powerful  com- 
bination of  form  and  colour,  which  give  to  those 
pictures  of  his,  which  treat  chiefly  of  architectural 
subjects,  such  a  solid  vigorous  stamp.  He  died 
at  Berlin,  in  1859.  A  '  View  of  the  cloister  of  San 
Benedetto,  near  Subiaco,  by  him,  is  in  the  National 
Gallery  at  Berlin. 

BECKWITH,  Thomas,  a  native  of  Yorkshire, 
was  first  apprenticed  to  a  house-painter  at  Wake- 
field, but  soon  displayed  talents  as  a  portrait 
painter;  he  also  made  many  drawings  of  the 
churches  in  the  neighbourhood.  He  latterly  re- 
sided at  York,  where  he  died  in  1786.  He  pub- 
lished '  A  Walk  in  and  about  the  City  of  York.' 

BEDAFF,  Antonie  Aloisxus  Emanuel  van,  an 
100 


historical  and  portrait  painter,  was  bom  at  Ant- 
werp in  1787.  Three  of  his  works,  'The  first 
Meeting  of  the  Estates  at  Dordrecht,'  'The  Last 
Interview  between  the  Prince  of  Orange  and  Count 
Egmont,'  and  '  The  Confederation  of  the  Nobles,' 
are  in  the  Gallery  at  Haarlem.  He  died  at  Brussels 
in  1829. 

BEDUSCHI,  Antonio,  a  native  of  Cremona, 
born  in  1576,  was  a  scholar  of  Campi,  whose 
manner  he  imitated.  He  is  mentioned  by  P. 
Carasi,  and  two  pictures,  painted  by  him  in  his 
26th  year,  are  commended  for  the  promise  they 
give  of  future  excellence :  one  is  the  '  Martyrdom 
of  St.  Stephen,'  and  the  other  a  '  Pieta,'  for  San 
Sepoloro  in  Piacenza.  The  time  of  his  death  is  not 
stated,  but  he  was  living  in  1607. 

BEECHEY,  George  D.,  a  son  of  Sir  William 
Beechey,  followed  his  father's  profession.  From 
the  year  1817,  he  was  a  faequent  exhibitor  at  the 
Royal  Academy.  About  1830,  he  went  to  India, 
where  he  attained  great  celebrity,  and  was  made 
portrait  painter  and  Controller  of  the  Household  to 
the  King  of  Oude.  A  portrait  of  Hinda,  an  Indian 
lady  whom  he  married,  was  exhibited  in  the  Eoyal 
Academy,  London,  and  created  a  great  sensation 
at  the  time ;  but  he  died  early,  in  India,  about 
1866. 

BEECHEY,  Sir  William,  an  English  portrait 
painter,  bom  in  1753,  was  a  native  of  Burford  in 
Oxfordshire.  In  early  life  he  was  placed  with  a 
solicitor  at  Stow,  but  becoming  acquainted  wi,h 
some  of  the  painters  of  the  day,  he  took  a  fancy  to 
art,  and  began  the  practice  of  portrait  painting. 
In  this  he  distinguished  himself  so  much  that  he 
was  patronized  by  George  the  Third,  and  was 
made  portrait  painter  to  Queen  Charlotte,  and  lived 
much  at  Windsor  as  instructor  to  the  princesses, 
who  entertained  the  strongest  regard  for  him  to 
the  end  of  his  life.  He  was  elected  an  Associate 
of  the  Royal  Academy  in  1793,  and  an  Academician 
in  1798.  He  painted,  in  1798,  a  '  Review  of  the 
Horse  Guards,'  in  which  the  portraits  of  George 
the  Third,  the  Prince  of  Wales,  and  the  Duke  of 
York,  were  introduced,  and  for  which  he  was 
knighted.  This  picture  is  now  at  Hampton  Court. 
He  at  one  time  attempted  fancy  subjects,  and 
'  The  Morning  Star '  and  '  The  Evening  Star,'  the 
portraits  of  his  daughter  Lady  Grantley  as  Hebe, 
of  Lady  Georgina  Bathurst  as  Adoration,  are 
beautiful  examples  of  liis  skill  in  this  direction; 
but  finding  the  painting  of  good  likenesses  was 
more  profitable,  he  confined  himself  latterly  to 
that  style.  He  died  at  Hampstead,  in  1839.  In 
sixty-four  years  he  sent  no  less  than  362  portraits 
to  the  exhibitions  of  the  Royal  Academy. 

Dulwich.  Gallery.      Portrait  of  Charles  Small  Pybus,  M.P. 
„  „  Portrait  of  John  Philip  Kemble. 

„  „  Portrait  of  Sir  P.  F.  Bourgeois,  EA. 

Palace     \  ^  Review  of  the  Horse  Guards 
London.    Nat.  Gall.  Portrait  of  .Joseph  NoUekens,  E.A., 
the  sculptor. 

The  portraits  of  Sir  William  Beechey,  which  still 
adorn  the  public  halls  and  family  residences  of  the 
country,  are  celebrated  for  their  truth  to  nature, 
and  for  the  freshness  of  colour  which  they  still 
retain. 

BEECK,  Jan,  was  born  at  Looz,  and  was  amonk 
of  the  convent  of  St.  Lawrence,  near  Liege,  of 
which  he  became  the  abbot  in  1509.  He  is  con- 
sidered, after  the  brothers  Van  Eyok,  to  be  tlie 
most  distinguished  among  the  ancient  painters  of 


Beecq 


PAINTERS  AND  ENGRAVERS. 


Begarelli 


Liege.     He  painted  the  greater  number  of  the  pic- 
tures in  the  church  of  his  convent,  and  died  in  1516. 

BEECQ,  Jean  Charles  Dominique,  a  Dutch 
marine  painter,  who  was  born  at  Amsterdam  about 
1640,  established  himself  in  Paris  about  1680,  and 
became  a  member  of  the  Academy  in  1681.  He 
died,  probably  in  Holland,  in  1722.  Some  of  his 
sea-pieces  have  been  engraved  by  Fouard. 

BEEKE,  A.  VAN,  who  lived  in  the  middle  of  the 
17th  century  at  Bodegraven,  in  Holland,  was  an 
excellent  painter  of  fruit-pieces,  dead  birds,  &c.  In 
the  Royal  Gallery  at  Vienna  is  a  still-life  subject. 

BEELDEMAKER,  Frans,  the  son  of  Jan  Beelde- 
maker,  was  born  at  the  Hague,  in  1669,  and  was 
first  instructed  by  his  father  ;  he  then  studied  under 
Willem  Doudyns,  an  historical  painter  of  some 
celebrity.  After  passing  some  years  in  Italy,  he 
returned  to  Holland,  where  he  was  employed  in 
painting  historical  subjects  and  portraits.  He  was 
admitted  a  member  of  the  Academy  at  the  Hague. 
In  1717  he  left  the  Hague  and  went  to  live  near 
Rotterdam,  where  he  died  at  a  very  advanced  age. 

BEELDEMAKER,  Jan,  a  Dutch  painter,  was 
bom  at  the  Hague  in  1630,  and  died  in  1680.  It 
is  not  said  by  whom  he  was  instructed,  but  he 
excelled  in  painting  boar  and  stag  hunts.  They 
are  chiefly  of  small  dimensions,  and  are  frequently 
seen  in  England. 

BEERINGS,  Gregorius,  was  bom  at  Malines 
about  1500,  and  died  in  1570.  He  studied  in  Italy, 
and  produced  some  good  pictures  of  landscapes 
with  architectural  ruins ;  but  being  of  dissipated 
habits,  his  talents  were  never  fully  developed. 

BEERSKI,  Count  de,  miniature  painter,  was  a 
Russian  nobleman,  the  owner  of  an  estate  near 
Moscow,  who,  on  the  accession  of  the  Emperor 
Nicholas,  was  obliged  to  leave  Russia  on  account 
■  of  his  liberal  views.  Being  entirely  ruined  by  his 
enforced  exile,  and  having  a  taste  for  drawing,  he 
took  to  miniature  painting,  residing  in  Paris,  Ham- 
burg, and  London.  At  the  Great  Exhibition  in 
1851,  some  of  his  paintings  were  exhibited  and  ob- 
tained first-class  honours.  He  emigrated  to  America 
in  1859,  and  died  at  Rochester,  U.S.,  in  1869. 

BEERESTRAATEN,  Alexander,  is  the  name 
given  to  the  author  of  three  paintings,  signed  A. 
Beerestraaten,  in  the  Galleries  of  Berlin,  St.  Peters- 
burg, and  Copenhagen.  M.  Havard  denies  his 
existence,  and  considers  the  Berlin  and  St.  Peters- 
burg pictures  to  be  by  the  hand  of  Jan  Beere- 
straaten, of  whom  Alexander  is  supposed  to  have 
been  a  brother. 

BEERESTRAATEN,  Jan,  was  born  at  Amster- 
dam in  1622,  and  was  christened  on  the  31st  of 
May  in  the  old  parish  church.  His  father,  Abraham 
Jans,  a  cooper,  assumed  the  name  of  Beerestraaten, 
probably  because  he  resided  in  the  Beeren-straat. 
In  1642  Jan  married  Magdalena  van  Bronckhorst, 
who  bore  him  five  children.  He  finally  died  at 
Amsterdam,  it  is  supposed,  in  1687.  Jan  Beere- 
straaten is  essentially  an  Amsterdam  painter.  He 
was  born,  painted,  and  died  in  that  city ;  and  it  is 
in  Amsterdam  that  his  best  works  must  be  sought 
to  this  day.  His  pictures  consist  of  coast-scenes 
and  views  in  towns,  with  figures. 
Amsterdam.  Gallery,    The  Boatmen's  House,    i  beeee- 

BTEATEN. 

„  „  Euins  of  the  Old  Town-Hall  at 

Amsterdam.,   i  bebeestbaaten. 

„  „  Sea   fight    between    English    and 

Dutch.      I  BEEE-STEAATEN. 

„         Town  Hall.  View   of   the   Dam,  Amsterdam. 

J.  BEBEESTBATEN  FT. 


Amsterdam .TowmBa?Z.  View  of  Amsterdam  taken  from. 

the  T.      JOAN^  BEEESTEAATEN. 

„  Six  Coll.    The  Chapel  of  St.  Olof  at  Amster- 

dam.     BEEESTRAET. 

„    V.d.SoopColl.'WvcA&r:  View.     J.   beeesteaten. 
1659. 
Berlin.         Museum.     Winter     Landscape.       j.    beee- 

STHAATEK.      1S64. 

Paris.  Louvre.       The  Old  Port  of  Genoa,    .tobannes 

beeesteaaten  fecit. 

Eotterdam.  Museum^  The  Old  Town-Hall  of  Amster- 
dam {with  figures,  proiaily  by 
Lingelbach). 

(For  further  information,  see  'L'Art  et  les  Artistes 
Hollandais,'  by  Henry  Havard,  part  iii.,  1880.) 

BEESTEN,  A.  H.  van,  a  Dutch  painter  of  por- 
traits and  bassi-rilievi,  in  which  it  is  said  that  he 
excelled ;  but  being  a  man  of  great  modesty,  he 
suffered  others  to  turn  his  talents  to  their  profit. 
He  lived  in  the  middle  of  the  18th  century. 

BEGA,  Abr.  Corn.     See  Beqeijn. 

BEGA,  Coknblis  Pietersz,  who  was  born  at 
Haarlem  in  1620,  was  the  son  of  a  sculptor  called 
Peter  Begijn  (or  Beggijn),  and  Houbraken  tells  us 
that  he  changed  his  family  name  to  Bega,  on 
account  of  some  irregularities  of  conduct,  which 
had  occasioned  his  father  to  disown  him.  This  is 
doubted  by  recent  writers,  who  think  that  perhaps 
Bega  is  only  another  form  of  Begijn.  Bega  was 
a  scholar  of  Adrian  van  Ostade ;  and  though  his 
pictures  are  not  equal  to  the  admirable  productions 
of  that  master,  they  have  sufficient  merit  to  rank 
him  amongst  the  most  interesting  artists  of  his 
country.  His  pictures,  like  those  of  Van  Ostade, 
represent  Dutch  peasants  regaling  and  amusing 
themselves,  and  the  interiors  of  Dutch  cottages. 
He  treated  those  subjects  with  a  most  humorous 
delineation  of  character ;  and  his  pictures  are  de- 
servedly placed  in  the  choicest  collections.  He 
became  a  member  of  the  Guild  of  St.  Luke  in 
1654 ;  and  died  at  Haarlem  in  1664,  of  the  plague, 
caught  while  attending  a  lady  suffering  from  that 
disease,  to  whom  he  was  to  have  been  married. 
The  following  are  some  of  his  best  works : 

The  Philosopher. 

Peasants'  concert. 

An  Interior. 

Lady  playing  the  lute. 

Peasant  FamUy. 

Alehouse. 

Interior. 

The  Chemist  [signed  and  datedlQQl). 

Peasants  dancing  {signed). 

Groups  of  players. 

A  man  playing  the  lute. 
„  „  A  woman  playing  the  lute. 

Frankfort.     Stadel.       Interiors  {three). 
Munich.        Pinakoik.  Interior. 

Paris.  Louvre.      Interior  {signed  and  dated  1652). 

Petersburg.  Hermitage.  Interiors. 

He  left  about  thirty-seven  etchings,  among  which 
are  the  following : 
An  interior  of  an  Alehouse,  with  three  Feasants,  one 

with  a  Goblet  in  his  Hand. 
A  Sketch  of  two  Peasants  and  a  Boy. 
The  interior  of  a  Dutch  Cottage,  a  Man  with  a  Pitcher, 

another  Peasant  with  a  woman  and  a  Child. 
A  Man  leaning  on  a  Table,  and  his  Wife  sucHing  a 

Child. 
A  Company  of  five  Men  and  Women  regaling. 
Company  regaling,  a  Woman  pouring  out  Wine. 
Bight  Peasants,  two  are  playing  Cards ;  very  scarce^ 

BEGARELLI,  Antonio  (called  by  Vasari,  Bega- 
HINO).  This  artist  is  not  introduced  here  as  a 
painter,  but  rather  as   a  designer  and  modeller, 

101 


Amsterdam.  Museum. 


Berlin. 

V.HoopC. 
Gallery. 

Cassel. 

Gallery. 

Dresden. 
Florence. 

Gallery 
Uffizi. 

Begas 


A  BIOGRAPHICAL  DICTIONARY  OF 


Beham 


■whose  works  may  rank  with  those  of  contemporary 
painters,  with  whom  he  seems  to  have  been  in  close 
connection.  He  was  born  at  Modena,  about  the  year 
1498,  and  is  said  to  have  been  instructed  by  Gio- 
vanni dell'  Abbate,  the  father  of  the  painter  Niccol6. 
Begarelli  worked  chiefly  at  Modena,  where  many 
churches  are  decorated  with  his  plastic  compositions 
in  terra-cotta  ;  and  in  his  later  years  also  at  Parma. 
These  are  free  standing  figures,  nearly  life-size, 
grouped  together  above  altars  in  the  chapels,  and 
apparently  intended  to  replace  pictures.  This 
peculiar  adaptation  of  plastic  works  was  first  used 
at  Modena  by  Guido  Mazzoni  (died  1618),  called 
II  Modanino,  a  highly- gifted  artist  of  realistic 
tendencies.  They  form  a  specialty  of  Modenese 
art.  The  assertion  that  Begarelli  was  associated 
with  Correggio  seems  to  be  incorrect.  It  has  been 
supposed  (by  Vidriani,  1652),  that  Begarelli  made 
the  models  from  which  Correggio  painted  many  of 
his  floating  figures,  and  even  instructed  his  friend 
in  the  art  of  modelling.  Begarelli's  figures  have 
a  far  closer  resemblance  to  those  of  the  Perrarese 
painter  Garofalo  than  to  those  of  Correggio.  They 
have  the  same  types  as  the  former  used,  and  his 
draperies  are  similarly  arranged.  Whilst  Maz- 
zoni's  terra-cotta  figures  are  painted  in  variegated 
colours,  Begarelli  painted  them  entirely  in  white. 
Vasari  relates  that  "  Michelangelo,  when  passing 
through  Modena,  saw  many  beautiful  figures  which 
the  Modenese  sculptor,  Maestro  Antonio  Begarino, 
had  made  of  terra-cotta,  coloured  to  look  like 
marble,  which  appeared  to  him  to  be  most  excel- 
lent productions ;  and,  as  that  sculptor  did  not 
know  how  to  work  in  marble,  he  said,  '  If  this 
earth  were  to  become  marble,  woe  to  the  antiques.'  " 
Begarelli  died  in  1565.  J.  P.  E. 

BEGAS,  Karl,  a  German  painter  of  historical 
subjects,  genre,  and  portraits,  was  bom  atHeinsberg, 
near  Aix-la-Chapelle,  in  1794.  Whilst  yet  a  boy  he 
evinced  a  talent  for  painting,  in  which  he  received 
some  instruction  from  Philippart,  whilst  pursuing 
the  usual  course  of  study  at  the  University  of 
Bonn.  In  1812  he  went  to  Paris,  where  he  passed 
eight  months  in  the  atelier  of  Gros.  The  King  of 
Prussia,  when  in  Paris  in  1814  and  1816,  appre- 
ciated the  talents  of  Begas,  and  made  him  an 
allowance,  which  enabled  him  to  visit  Italy  to 
study  the  works  of  the  great  masters.  In  1825  he 
went  to  Berlin,  where  he  fixed  his  residence,  and 
became  a  member  and  professor  of  the  Academy 
ofArts.  He  died  there  in  1864.  His  principal 
paintings  are : 

Job  and  his  Friends.     1816. 

Christ  on  the  Mount  of  Olives.  1818.  In  the  Garrison 
Church  at  Berlin,  * 

The  Descent  of  the  Holy  Ghost.  1820.  In  the  Cathe- 
dral, Berlin. 

Tobias  and  the  Angel.    1826  {engraved  hy  Berger). 

The  Eesurrection.     1827  {engraved  hy  Fischer). 

Tobias  and  the  Angel.  1827.  In  the  National  Gallery, 
Berlin, 

Lorelei.    1835  {engraved  hy  Mandel). 

The  Sermon  on  the  Mount.  18^.  In  the  church  of 
La-ndsherq, 

The  Transfiguration. 

Christ  carrying  his  Cross. 

Henry  IV.  at  the  Castle  of  Canossa. 

Young  Girl  under  an  Oak  Tree. 

PORTRAITS. 

Himself,  in  the  Wallraf  Museum,  Cologne. 
His  Parents.  „  „  „ 

Thorwaldsen,  in  the  Berlin  Gallery. 
Queen  of  Bavaria.  Meyerbeer. 

102 


Cornelius. 
Bitter. 
Sebadow. 
Humboldt. 


Schelling. 
Buch. 

Eauoh. 
Eadowitz. 


BEGEIJN,  Abraham  Coenelisz,  (or  Bega,)  a 
native  of  Holland,  bom  in  1660,  painted  landscapes 
and  cattle,  in  the  style  of  Berchem,  and  his  pictures 
of  those  subjects  are  very  justly  admired.  His 
pencil  is  light  and  free,  and  his  colouring  is  very 
agreeable.  His  principal  residence  was  at  Berlin, 
where  his  works  were  highly  esteemed,  and,  accord- 
ing to  Houbraken,  he  was  principal  painter  to  the 
Elector  of  Brandenburg,  afterwards  King  of  Prus- 
sia. He  also  worked  at  the  Hague  In  several 
of  the  collections  in  Holland,  the  pictures  of  this 
master  are  placed  among  the  most  admired  painters, 
and  they  are  held  in  considerable  estimation  in  this 
country.  Many  Continental  galleries  contain  ex- 
amples of  his  art;  there  are  three  in  the  Copen- 
hagen Gallery;  two  in  the  Hermitage,  St.  Peters- 
burg ;  the  Dresden  Gallery  and  the  Louvre  have 
each  a  '  Landscape  with  goats,'  and  the  Berlin 
Gallery  an  '  Italian  Landscape  with  cattle.'  Unfor- 
tunately for  Begeijn's  reputation  in  England,  his 
best  works  are  here  ascribed  to  Berchem,  and  are 
frequently  altered  to  give  a  nearer  approximation 
to  that  painter's  manner.  Begeijn  died  suddenly 
with  the  palette  in  his  hand  in  1697,  at  Berlin. 
Various  forms  of  spelling  his  name  occur. 

BBGER,  Laubentius.  According  to  Professor 
Christ,  this  artist  was  the  nephew  of  Laurentius 
Beger,  the  celebrated  German  antiquary,  who  was 
librarian  to  Frederick  William,  Elector  of  Branden- 
burg. He  engraved  a  set  of  twelve  anatomical 
plates,  taken  from  the  designs  in  the  book  on 
Anatomy  by  Vesalius.  He  is  also  believed  to 
have  executed  the  greater  part  of  the  plates  of 
antiquities,  published  by  his  uncle,  entitled  The- 
saurus Brandenhurgicus.  He  flourished  towards 
the  close  of  the  17th  century. 

BEHAM,  Baethel,  (Behaim,  or  Behem,)  a  Ger- 
man painter,  and  very  eminent  engraver,  bom  at 
Nuremberg  in  1502.  He  was  the  younger  brother 
of  the  celebrated  Hans  Sebald  Beham,  and,  accord- 
ing to  Sandrart,  resided  chiefly  in  Italy,  whither 
he  had  been  sent  by  Duke  William  of  Bavaria,  to 
whom  he  had  gone  on  being  expelled  from  Nurem- 
berg for  his  heretical  opinions.  He  died  in  Italy, 
about  1540.  The  following  are  the  pictures  attri- 
buted to  him  by  Rosenberg : 

Adoration  of  the  Magi;  an  altar-piece  with  wings, 
painted  with  different  subjects. 

Christ  on  the  Cross,  with  Mary  and  John,  and  the 
Magdalene  kneeling. 

The  Virgin  with  the  holy  Child,  standing  on  the  Half- 
Moon,  two  angels  crowning  her;  formerly  an  altar- 
piece  with  wings,  paiuted  with  different  subjects. 

Virgin  with  the  holy  Child  at  her  breast,  and  St.  Anna 
with  two  wings,  painted  with  saints. 

Four  small  pictures,  formerly  wings  of  an  altar-piece, 
SS.  Afra,  Pan!  the  hermit,  Antony  of  Padua,  and 
Jacobus  the  elder. 

[All  these  are  at  Donaueschingen,  in  the  Royal  Gallery.] 

Berlin.  Christ  on  the  Mount  of  Olives. 

„  SS.  Catharine,  Paul,  and  Agnes,  on  a  gold 

ground. 
„  SS.  Crispin  and  Orispianus,  also  on  a  gold 

ground. 
Carlsruhe.         The  Flagellation,  with  wings ;  painted  with 

saints. 
Nuremberg.       Christ  bearing  His  cross. 
Stuttgart.  The  Entombment. 

„  St.  Bruno. 

Cologne.  St.  Jerome  in  Cardinal's  babit. 


Beliam. 


PAINTERS  AND  ENGRAVERS. 


Behaxa. 


Prague.  Portrait  of  the  Duke  of  Bavaria  and  his 

wife. 
Augsburg.         Portrait  of  Duke  Otto  Henry. 
Sigmariugen.    Wings  of  an  altar  -  piece  ;   painted  with 

whole-length  figures  of  saints. 
TiVurtsburg.       SS.  Christopher  and  Andrew. 

Waagen  mentions  two  more,  the  principal  being 
a  Trinity  witli  Mary,  Andrew,  and  angels,  and  at 
Schleissheim  are  the  portraits  of  all  the  princes 
and  princesses  of  the  reigning  family ;  fifteen  in 
number.  We  believe  some  of  these  works  men- 
tioned above  are  doubtful. 

He  is,  however,  more  a  designer  in  engraving 
than  a  painter,  and  may  be  considered  as  having 
been  one  of  the  most  excellent  draughtsmen  and 
skilful  engravers  of  the  German  school.  Many 
of  the  plates  by  this  master  being  without  any 
designating  mark,  has  led  occasionally  to  some 
difficulty  and  mistake.  The  prints  that  bear  his 
signature  are  marked  ££.  sometimes,  and  are  dated 
from  1620  to  1633.  The  following  list  gives  his 
engravings  on  the  best  authority,  that  of  Herr 
Rosenberg  already  quoted : 

POETKAITS. 

Louis,  Duke  of  Eavaria. 

Bust  of  Erasmus  Balderman.    1536. 

Bust  of  Leonard  van  Eck. 

The  Emperor  Charles  V. ;  marked  BS, 

Ferdinand  I. ;  same  mark. 

VARIODS   SUBJECTS. 

1.  Adam  and  Eve.    Adam  holds  a  flaming  sword  in 

his  right  band,  and  takes  the  apple  from  Eve  with 
his  left. 

2,  3, 4.  Three  small  prints. 

5.  Mary  with  the  holy  Child.    A  skull  at  the  right. 

6.  „        ,,  „  „    at  a  window    A  vase  with 

flowers. 

7.  ),        „  ,)  „    a  parrot   in    the  Child's 

hand. 

8.  »        suckling  the  Child  at  an  open  window.    This 

and  some  others  of  the  above  not  certainly 
meant  for  the  Madonna. 

9.  Mary  with  the  Child  sitting  on  a  rock. 

10.  Head  of  Christ  with  the  crown  of  thorns. 

11.  St.  Christopher. 

12.  St.  Chrysostom's  penance :  the  Mother  and  Child 

in  the  background. 

13.  St.  Severinus,  vrith  crosier. 

14.  Apollo  and  Daphne. 

15.  Hercules. 

16.  A  naked  man,  possibly  Neptune. 

17.  „  ,,        with  a  sword. 

18.  Triumph  car,  of  Mars  and  Venus  (?),  with  other 

figures. 

19.  Cupid  partially  clothed,  riding  on  a  dolphin. 

20.  „  „  „  „  a  globe,  over  a 

landscape. 

21.  Flora. 

22.  A  Nereid  riding  on"a  Triton,  towards  the  left. 

23.  „  „  „  „     towards  the  right. 

24.  Fight  of  water-gods. 

25.  A  Sibyl  with  book ;  before  her  a  child  with  a  torch ; 

after  Raphael. 

26.  The  Judgment  of  Paris. 

27.  The  Eape  of  Helen ;  a  compo.  of  thirteen  figures. 

28.  Lucretia. 

29.  30.  Also  Lucretia. 

31.  Oimon  nourished  by  his  daughter. 

32.  Cleopatra  with  the  snake  at  her  breast. 

33.  Fight  of  naked  men ;  thirty-four  figures ;  on  a  label 

"  Titus  Uraechus." 

34.  „  „  „     eighteen  figures. 

35.  „  „  „  twenty -two  figures.  These 
three  prints  are  in  the  form  of  frieses.  They  are 
the  master-work  of  Barthel  Beham,  and  may 
be  considered  the  most  excellent  works  in  point 
of  drawing  of  the  early  German  school. 


ALLEGOBIES,  &a 

36.  A  naked  woman  sitting  on  a  shirt  of  mail.  (Valour?) 

37.  A  sitting  female  figure ;  insciihed, '  Cognitio  Dei.' 
38, 39, 40.    A  child  sleeping,  with  one,  three,  and  four 

death's  heads.    '  Mors  Omnia  JSquat '  ou 
the  last. 

41.  A  naked  woman  sitting  on  the  ground,  looking  at 

a  dead  child.  A  naked  man  standing  on  the 
left;  very  curious,  A  long  inscription  from 
Eccles. 

42.  Woman  with  hands  and  feet  tied,  with  a  child; 

inscribed  '  Der  Welt  Lauf .' 

43.  Death  surprising  a  woman  on  a  bed. 

Thirteen  other  allegoric  miniatures,  or  of  subjects  taken 
from  actual  life,  peasants  or  soldiers.  Also  thirty-one 
representing  genii,  ornaments,  and  heraldic  matters.  Al- 
together, with  the  portraits,  ninety-two  copper  engravir  gs. 
No  woodcuts.  W.  B.  S- 

BEHAM,  Hans  Sebald,  a  distinguished  German 
engraver,  was  born  at  Nuremberg  in  1600.  He 
was  the  elder  brother  of  Barthel  Beham,  and  is 
also  classed  by  the  collectors  among  what  they 
denominate  the  Little  Masters  on  account  of  their 
prints  being  generally  small.  Hans  Sebald  Beham 
engraved  on  copper,  drew  on  wood,  and  some  few 
etchings  have  been  attributed  to  him.  He  pos- 
sessed considerable  genius,  and  a  ready  invention. 
His  drawing  of  the  figure  is  generally  correct,  and 
the  airs  of  his  heads  and  turn  of  his  figures, 
though  rather  clumsy,  have  great  style.  His  cop- 
per-plates are  executed  entirely  with  the  graver, 
in  a  wonderfully  neat  and  delicate  manner;  and 
his  woodcuts  are  remarkably  free  and  spirited. 
In  the  early  part  of  his  life,  he  lived  at  Nurem- 
berg, during  which  time  he  marked  his  plates  with 
a  cipher,  composed  of  the  three  letters,  H.  S-  P-, 
and  dated  from  1519  to  1530.  He  was  expelled 
for  heresy,  and  afterwards  resided  at  Frankfort, 


m 


when  he  changed  his  mark  to  a  cipher 
composed  of  H.  S-  B.,  and  dated  from 
1631  to  1649.  He  died  in  1650,  at  Frank- 
fort. Examples  of  his  works  as  a  painter  are  very 
scarce.  In  the  Louvre,  Paris,  there  is  a  table  with 
four  scenes  from  the  Life  of  David,  and  there  are 
five  miniatures  by  him  in  the  prayer-book  of  the 
Cardinal  Albrecht  of  Brandenburg,  in  the  Library 
of  AschafEenburg.  His  works  on  copper  are  very 
numerous ;  the  following  list  is  as  detailed  as  the 
necessary  limit  of  this  work  will  permit : 

plates  withodt  the  ciphee, 

Engraved  at  Nuremberg ^  arid  datecifrom  1510  to  1530. 

Adam  and  Eve  in  several  designs ;  five  small  plates. 

1519. 
St.  Jerome,  with  a  Cardinal's  Hat  and  the  Lion,    1519. 
The  Virgin  suckling  the  Infant  Jesus.    1520. 
The  Virgin,  with  a  Glory,  standing,  holding  the  Infant 

Jesus.    1520.    Six  of  the  Virgin  in  all. 
The  Death  of  Dido ;  Eegina  Didonis  imago.    1520. 
St.  Anthony,  Hermit,  vrriting.     1521. 
St.  Sebald  seated  between  two  trunks  of  trees,  and 

holding  in  his  light  hand  the  model  of  a  church. 

1521. 
Two  Peasants  playing  on  the  flute  and  bagpipe  ;  very 

small. 
Two  Peasants,  Man  and  Woman,  dancing.    1522 ;  very 

small. 
A  Triton  carrying  a  Nereid  on  his  shoulders.    1523; 

very  small. 
A  Woman  sitting  on  a  Lion.    1524. 
A  Yoimg  Man  and  Woman  embracing.    1526. 
The  Death  of  Cleopatra.    1529. 

Combat  of  the  Greeks  and  Trojans ;  very  small,  friese. 
Combat  of  Achilles  and  Hector ;  same. 
Judith  with  the  head  of  Holof ernes ;  her  maid  beside 

her. 

103 


Beich 


A  BIOGRAPHICAL  DICTIONARY  OF 


Eeljam'be 


PLATES    WITH   THE    OIPHEE. 


Engraved  at  Frankfort,  and  dated  from  1531  to  1549. 

Adam  and  Eve,  behind  them  a  stag.     1536. 

Adam  and  Eve  in  Paradise,  with  the  Serpent  presenting 

the  apple.     1543  ;  very  fine. 
The  Emperor  Trajan,  with  his  army,  listening  to  the 

complaint  of  a  woman  against  his  son.     1537. 
Melancholy  ;  inscribed  Meleneolia.     1539 ;  in  emulation 

of  Alhreckt  Diirer. 
Patience ;  inscribed  Patientia  ;  on  a  tablet  is  written, 

Selaldus  Beham  Noricus  fadehat.     1540. 
Fortuna  ;  a  woman  holding  a  palm  and  a  wheel.     1541. 
Infortunium;    a  woman   stopped   by  an   evil   genius 

with  a  lobster.     1541. 
A  Young  'Woman,  with  a  buffoon,  presenting  fruit ;  an 

etching.     1540. 
Four  very  small  plates  of  the  Four  Evangelists,  with 

wings.     1541. 
Twelve  small  plates  of  the  Labours  of  Hercules ;  in- 
scribed Mrumna  Herculis  ;  dated  from  1542  to  1548. 
An  Ensign  and  a  Drummer.     1544. 
The  Eomaa  Charity,  with  a  German  inscription.   1544 ; 

fine. 
The  Arms  of  Beham.     1544. 
Bust  of  Domitia  CalviUa,  with  the  Emperor  Trajan  ; 

after  Antique  Medals.     1546. 
The  Twelve  Months  of  the  Year,  each  represented  by  a 
Man  and  "Woman  dancing  ;  two  Months  on  one  plate  ; 
six  small  plates.     1545.     Added   to  these   are  four 
Village  Merry-makings,  and  many  peasant  subjects ; 
very  small. 
The  twelve  Apostles.    Very  small  set  of  twelve. 
Days  of  the  week  with  their  planets.    Eight  pieces. 
The  Liberal  Arts.    Set  of  seven  allegorical  figures. 
Two  couples  making  love  and  a  buffoon.    Very  small, 
little  more  than  two  inches  long.    This  is  said  by 
Bartsch,  No.  212,  to  be  one  of  his  most  beautiful 
miniature  engravings.    The  two  shields  of  arms,  one 
with  a  cock,  the  other  an  eagle,  are  also  among  his 
finest  in  execution. 
The  Judgment  of  Paris ;  Judicium  Paridis.   1546 ;  fine. 
■  Death  walking  with  a  lady ;  inscribed  Omnem  in  hotnine, 

4-c.    1547  ;  fine. 
A  Man  trying  to  pull  up  a  tree ;  inscribed  Jmpossibile, 

1549. 
The  Virgin  holding  the  Infant  Jesus  in  her  arms,  with 
a  parrot  and  an  apple  ;  S.  Maria.    1549.    This  and  a 
good  many  others  he  copied  from  his  brother  Barthel, 
the  sale  for  whose  works  must  have  been  enormous. 

■WOODCUTS, 
Which  are  sometimes  marked  with  the  one  and  sometimes 
with  the  other  of  his  two  ciphers.     These  are  of  all  sizes, 
from  two  inches  to  four  feet  long,  four  or  more  sheets 
being  put  together. 

Public  controversy  between  Luther  and  a  Homan  theo- 
logian: many  people  listening. 

The  Fountain  of  Youth ;  a  superb  composition  of  great 
length ;  one  of  his  finest  inventions. 

The  Cavalier  and  nine  wives. 

The  Bath :  many  women  and  children  bathing  (round). 

Military  f^te  in  honour  of  Charles  V.  at  Munich.  Very 
large. 

The  Patriarchs  with  their  wives  and  children ;  ten  prints. 

Fourteen  Csesars,  busts,  on  three  sheets. 

An  immense  series  of  the  costumes  of  monks. 

A  Village  Fair,  with  a  steeple  and  a  clock ;  large  friese ; 
very  scarce. 

A  Maich  of  Soldiers ;  large  friese,  in  four  sheets  ;  very 
scarce.    ' 

Another,  same  size ;  full  of  figures. 

Bibliese  Historise — Comprising  three  hundred  and  forty- 
eight  prints,  of  which  the  greater  part  have  figures 
on  both  sides. 

For  a  full  account  of  liis  works  see  Bartsch,  torn. 
VIII.  Also  Adolf  Rosenberg.  Sebald  and  Barthel 
Beham,  Leipsic,  1875.  tjit^  3_  g^ 

BEICH,  Joachim  Fbanz,  was  born  at  Eavens- 
hurg,  Wurtemberg,  in  1666.  He  was  the  son  of 
Wilhelm  Beich,  a  painter  of  little  celebrity, 
IVom  whom  he  received  his  instruction  in  the  art. 

104 


He  excelled  in  painting  landscapes  and  battles. 
His  beet  works  are  in  the  palaces  of  the  Elector  of 
Bavaria,  in  whose  employment  he  was  for  several 
years ;  among  these  are  several  large  pictures  of 
the  battles  fought  in  Hungary  by  the  Elector 
Maximilian  Emmanuel.  With  the  permission  of 
his  patron,  he  visited  Italy,  and  made  many  draw- 
ings from  the  beautiful  views  in  that  country. 
His  landscapes  exhibit  very  pleasing  scenery,  and 
he  appears  to  have  imitated,  in  the  arrangement  of 
his  pictures,  the  tasteful  style  of  Gaspar  Poussin. 
He  died  at  Munich,  in  1748.  The  Vienna  Gallery 
has  two  landscapes  by  him,  and  the  Munich  Gallery 
has  four.  The  latter  gallery  also  possesses  his 
portrait  by  Des  Maries — "  painted  in  1744,  when 
he  was  78  years  old."  As  an  engraver,  he  has 
contributed  several  charming  etchings  to  the  port- 
folios of  collectors.  We  have  by  him  four  sets  of 
landscapes,  with  figures  and  buildings  (amounting 
together  to  twenty-six  plates),  etched  with  great 
spirit  and  facility. 

BEIJER,  J.  DE.  See  De  Beijer. 
BEIJEEBN,  Abraham  van,  a  painter  of  still-life, 
flourished  at  the  Hague  from  about  1650  to  1670. 
His  favourite  subjects  are  fish,  but  he  also  adorns 
his  pictures  with  flowers  and  fruit,  and  gold  and 
silver  vessels.  The  Galleries  of  Berlin,  Dresden, 
the  Hague,  Rotterdam,  and  Amsterdam  have  each 
a  work  of  this  nature,  each  signed  A.  V.  B.  -  He  is 
by  some  called  Albert  van  Beijeren;  but  this  is 
asserted  by  Kramm  to  be  an  error. 

BEIN,  Jean,  a,  French  engraver,  bom  at  Stras- 
burg  in  1789,  was  a  pupil  of  David  and  of  Reg- 
nault,  and  entered  the  Ecole  des  Beaux-Arts  in 
1812.  He  engraved  the  Niccolini  Madonna  after 
Raphael,  the  originall  of  which  is  in  the  collection 
of  Earl  Cowper  at  Panshanger,  '  The  Marriage  of 
the  Virgin,'  after  Vanloo,  for  the  Musfee  Royal, 
and  plates  for  the  Coronation  of  Charles  X.,  and 
Gavard's  Galeries  de  Versailles.  Bein  died  in  Paris 
in  1857. 

BEINASCHI.     See  Benaschi. 
BBISSON,  FEANgois  Joseph  Etienne,  a  French 
engraver,  born  at  Aix,  was  a  scholar  of  Wille.    He 
engraved  several  subjects  after  the  Italian  masters 
for  the  Galerie  du  Mus6e,  and  'Susannah  at  the 
Bath,'  after  Santerre.     He  died  in  Paris  in  1820. 
BEITLER,  Matthias.     See  Bettleb. 
BELBEULE,  T.,  a  French  engraver  on  wood, 
flourished  about  the  year  1580.    Papillon  mentions 
some  cuts  of  ornamental  flowers  very  delicately 
executed  by  him. 

BELIN  DE  FONTENAY,  Jean  Baptiste  (mis- 
called Blain  de  Fontbnat),  a  French  artist,  bom 
at  Caen  in  1654,  was  the  son  of  a  painter  named 
Louis  Belin,  and  a  pupil  of  Monnoyer,  better  known 
as  Baptiste,  whose  daughter  he  married  in  1687,  in 
which  year  he  was  received  into  the  Academy. 
He  painted  flowers  and  fruit  in  the  manner  of  his 
master.  He  had  a  delicate  pencil  and  a  good  eye 
for  colour ;  he  painted  insects  with  great  exact- 
ness, and  finished  all  his  pictures  carefully.  He 
was  employed  by  Louis  XIV. — who  gave  him  lodg- 
ings in  the  Louvre  and  a  pension  of  400  livrep — 
at  Fontainebleau,  Versailles,  and  at  the  Gobelins. 
Belin  de  Fontenay  died  in  Paris  in  1715.  _  Two 
flower-pieces  by  him  are  in  the  Louvre.  His  son, 
Jean  Baptiste  Belin  de  Fontenay,  who  was  bom 
in  Paris  in  1688,  and  died  there  in  1730,  also 
painted  flowers  with  much  success. 

BELJAMBE,  Pierre  Guillaume  Alexandbb,  a 
French  engraver,  was  bom  at  Rouen  in  1759,  and 


Belkamp 


PAINTEES  AND  ENGRAVERS. 


Belle 


died  about  1820.  He  engraved  some  plates  of 
fancy  subjects,  from  the  contemporary  painters 
of  his  country,  and  a  few  prints  for  the  collection 
of  the  Palais  Royal ;  among  others  the  following : 
Portrait  of  Pilatre  de  Rosier. 
Portrait  of  Jean  Sylvain  Bailly,  Mayor  of  Paris;  after 

C.  Monet. 
Cupid  repoBing  on  the  breast  of  Psyche ;  after  J.  B. 

Eegnault. 
La  petite  Jeamnette ;  after  J.  B.  Greuze. 
The  Circumcision;  after  Gio.  Bellini;  for  the  Orleans 

CoUeotion. 
The  Adoration  of  the  Magi ;  after  Carlo  Cayliari ;  for 

the  same. 
The  Holy  Family ;  after  Michelangelo  ;  for  the  same. 

BELKAMP,  Jan  van,  a  Dutch  artist,  who  passed 
the  greater  part  of  his  artistic  life  in  England, 
where  he  was  much  employed  in  copying  the  pic- 
tures in  the  Royal  Collection,  and  died  in  1663. 
Some  are  still  in  the  Royal  Collection ;  and  at 
Drayton  there  were  formerly  portraits  of  Henry 
VII.  and  Henry  VIII.,  copied  from  a  large  picture 
by  Holbein,  which  was  burnt  at  Whitehall. 

BELL,  Lady,  the  sister  of  William  Hamilton, 
R.A.,  received  instruction  from  her  brother  and 
from  Sir  Joshua  Reynolds.  She  delighted  in  copy- 
ing the  pictures  of  the  latter,  and  was  happy  in  her 
transcripts.  She  also  copied  pictures  by  Rubens  in 
Carlton  House,  among  which  was  a  '  Holy  Family ' 
which  was  much  praised.  She  married  Sir  Thomas 
Bell,  Sheriff  of  London,  whose  portrait  she  painted, 
and  died  in  1825. 

BELL,  Robert  Charles,  an  engraver,  was 
born  at  Edinburgh  in  1806.  He  was  a  pupil  of 
John  Bengho,  and  at  the  same  time  attended  the 
classes  at  the  Trustees'  Academy,  Edinburgh,  then 
under  Sir  William  Allan,  R.A.,  P.R.S.A.  Among 
several  pictures  for  the  Royal  Scottish  Association, 
he  engraved  '  The  Widow,'  after  Sir  W.  Allan,  and 
'  The  Expected  Penny,'  after  A.  Eraser ;  he  also 
executed  a  number  of  engravings  after  Mulready, 
Wilkie,  Leslie,  Eaed,  and  other  well-known  artists, 
for  the  '  Art  Journal.'  His  last  work  was  a  large 
plate  after  Sir  W.  Allan's  picture, '  The  Battle  of 
Preston  Pans,'  which  he  completed  only  a  short 
time  before  his  death.  In  his  earlier  days  he 
executed  a  considerable  number  of  vignette  por- 
traits, of  which  those  of  Professor  Wilson  and  Dr. 
L.  Brunton  were  among  the  best.  He  died  in  his 
native  city  in  1872. 

BELL,  William,  who  was  born  at  Newcastle- 
upon-Tyne,  about  1740,  came  to  London  about  the 
year  1768,  and  was  among  the  first  who  entered 
as  students  in  the  Royal  Academy.  In  1771  he 
obtained  the  gold  medal,  for  a  picture  represent- 
ing 'Venus  soliciting  Vulcan  to  forge  arms  for 
iEneas.'  He  was  much  patronized  by  Lord  Dela- 
val,  for  whom  he  painted  two  'Views  of  Seaton 
Delaval,'  and  several  portraits  of  the  family.  He 
died  at  Newcastle,  about  1804. 
BELLA,  Stepano  della.  See  Della  Bella. 
BELLANGrE,  Jacques,  a  French  painter  and 
engraver,  was  born  at  Nancy,  in  1594.  He  first 
studied  under  Claude  Henriet,  and  afterwards  went 
to  Paris,  where  he  became  a  scholar  of  Simon 
Vouet.  He  painted,  amongst  other  works,  a  '  Con- 
ception '  for  Notre-Dame  at  Nancy,  where  he  died 
in  1638.  As  an  engraver,  he  has  certainly  been 
treated  with  unmerited  severity  by  Basan,  who 
says  "  that  he  was  a  bad  painter,  and  a  worse  en- 
graver." Although  he  cannot  be  classed  among  the 
ablest  artists  of  his  country,  yet  his  plates,  though 
executed  in  rather  a  singular  style,  possess  con- 


siderable merit,  particularly  for  their  general  effect. 
His  point  is  free  and  masterly,  and  he  arranged 
his  masses  of  light  and  shadow  with  more  than 
usual  intelligence.  His  drawing  is  not  very  correct, 
and  there  is  an  appearance  of  affectation  in  the 
turn  of  his  figures,  which  is  not  unfrequently  dis- 
cernible in  the  works  of  his  countrymen.  The 
following  are  his  principal  plates : 

The  Annunciation. 

The  Holy  Family,  with  St.  Catharine  and  St.  John. 

The  Adoration  of  the  Magi. 

The  Eesurrection  of  Lazarus. 

Christ  bearing  his  Cross. 

The  dead  Saviour  lying  on  the  knees  of  the  Virgin  Mary. 

The  Three  Marys  going  to  the  sepulchre. 

The  Magdalene,  half-length. 

St.  John  the  Baptist  in  the  wilderness. 

The  Martyrdom  of  St.  Lucia. 

The  Death  of  Virginia. 

Adonis  carrying  Diana  on  bis  Shoulders. 

BELLANGE,  Joseph  Louis  Hippolttb,  a  French 
battle  painter,  was  born  in  Paris  in  1800.  His 
art  was  influenced  by  the  wars  of  the  first  Napo- 
leon, and  while  a  youth,  he  produced  several  mili- 
tary drawings  in  lithography.  He  afterwards 
pursued  his  systematic  studies  under  Gros,  and 
with  the  exception  of  some  portraits,  devoted 
himself  exclusively  to  battle-pieces.  In  1824,  he 
received  a  second  class  medal  for  an  historical 
picture,  and  in  1834  the  decoration  of  the  Legion 
of  Honour,  of  which  Order  he  was  made  an  officer 
in  1861.  He  also  gained  a  prize  at  the  Paris 
Universal  Exhibition  of  1865.  He  died  in  Paris 
in  1866.     Amongst  his  works  are  : 

The  Entry  of  the  French  into  Mons. 

The  Day  after  the  Battle  of  Jemappes. 

The  Passage  of  the  Mineio. 

The  Battle  of  Fleurus  {at  Versailles). 

A  Duel  in  the  Time  of  Eichelieu. 

The  Battle  of  Wagram  {at  Versailles). 

The  Taking  of  Teniah  de  Muzaia  {in  Salon  of  1841,  and 

noto  at  Versailles). 
Taking  Russian  Ambuscades  (1857). 
Episode  of  the  Taking  of  the  Malakoff  (1859). 
The  Two  Friends — Sebastopol,  1855  {exhibited  in  Salon 

of  1861,  at  London  in  1862,  and  at.  Paris  in  1867). 
The  Soldier's  Farewell  {in  Leipsic  Museum). 
The  Soldier's  Return  {in  Leipsic  Museum). 
The  Return  of  Napoleon  from  Elba  {in  Salon  of  1864, 

and  Paris  Exhibition,  1867). 
The  Cuirassiers  at  Waterloo  {in  Salon  of  1865,  and  Paris 

Exhibition,  1867). 
The  Guard  dies  {in  Salon  of  1866,  and  Paris  Exhibition, 

1867 — his  last  work). 

BELLANGER,  J.  A.  Basan  mentions  this  ama- 
teur engraver  as  having  etched  some  plates  from 
his  own  designs  with  considerable  taste,  intelli- 
gence, and  correctness,  and  a  few  plates  after 
Raphael,  among  which  are  the  '  Miracle  of  the 
Loaves  and  Fishes,'  and  the  '  School  of  Athena.' 

BELLAVIA,  Marc  Antonio,  was  a  painter  and 
engraver.  About  1600,  he  executed  several  plates 
after  the  manner  of  Annibale  Carracci,  which  have 
been  attributed  to  that  artist.  The  most  important 
are: 

The  Adoration  of  the  Magi. 

A  Rest  in  Egypt. 

Romulus  and  Remus. 

BELLE,  Alexis  Simon,  a  French  portrait  painter, 
was  born  in  Paris  in  1674,  and  was  a  pupil  of 
Francois  de  Troy.     He  died  in  Paris  in  1734. 

BELLE,  Clement  Louis  Marie  Anne,  a  French 
historical  painter,  and  son  of  Alexis  Simon  Belle, 
was  born  in  Paris  in  1722.  He  studied  under 
Marie  Nicole  Hortemels,  his  step-mother,  and  Fran- 

105 


Belle 


A  BIOGEAPHICAL  DICTIONABY  OF 


Bellini 


9ois  Lemoine,  and  in  1761  was  received  into  the 
Academy,  of  which  he  became  professor  in  1765 
and  rector  in  1790.  He  was  likewise  inspector  at 
the  tapestry  manufactory  of  the  Gobelins,  where 
he  died  in  1806. 

BELLE,  La.     See  La  Belle. 

BELLECHOSE,  Henei,  '  de  Brabant,'  is  recorded 
to  have  been  '  painter  and  valet,'  to  Jean '  sans  peur,' 
in  1415,  and  in  the  same  year  he  was  employed  by 
the  Chartreuse  of  Dijon  to  paint  two  pictures — the 
'  Life  of  St.  Denis,'  and  the  '  Death  of  the  Virgin.' 

BELLEG-AMBB,  Jehan,  is  a  painter  who  has 
remained,  until  recently,  in  obscurity.  What  we 
now  know  concerning  him  is  due  to  the  research 
of  M.  Wauters,  Dr.  Escallier,  and  others.  Belle- 
gambe  was  born,  apparently  at  Douai,  about  the 
year  1470.  He  studied  art,  it  is  supposed,  under 
one  Jean  Gossuin.  He  is  recorded  to  have  resided 
in  Douai  from  the  year  1604  to  1531,  and  further- 
more to  have  executed  works  for  the  churches 
of  St.  Am^  and  of  the  Dominicans,  as  well  as  for 
the  town.  The  only  authentic  work  by  him  is  a 
polyptych  in  the  church  of  Notre  Dame  at  Douai. 
It  was  formerly  in  the  abbey  church  of  Anchin, 
and  subsequently  came,  in  parts,  into  the  possession 
of  Dr.  Escallier,  who  presented  it,  as  a  whole,  to 
the  church  of  Notre  Dame.  This  work,  which  is 
a  very  interesting  example  of  Flemish  art  of  that 
period,  was  formerly  ascribed  to  Memling.  It 
represents  the  Trinity,  the  Virgin,  St.  John  the 
Baptist,  and  numerous  saints  ;  and  on  the  exterior, 
the  abbot,  the  prior,  and  several  monks,  together 
with  SS.  Charlemagne  and  Benedict.  Bellegambe 
is  mentioned  by  Vasari  in  a  list  of  important 
painters  of  the  Low  Countries. 

BELLERS,  William,  an  English  landscape 
painter,  was  a  frequent  contributor  of  '  Sunsets,' 
&c.,  to  the  exhibitions  at  the  Society  of  Arts  ;  and 
in  1774  published  with  Boydell  a  series  of  views 
of  the  '  Cumberland  Lakes.'  Some  of  his  land- 
scapes were  etched  by  Canot  and  other  French 
engravers. 

BELLEVOIS,  H.,  (orBELLVos,)  was  a  painter  of 
marine  subjects,  seaports,  and  storms  at  sea.  It 
is  not  mentioned  by  whom  he  was  instructed,  but 
his  style  of  painting  indicates  that  W.  van  de 
Velde  and  Backhuisen  were  his  models.  He  re- 
sided at  Hamburg,  where  he  died  in  1684. 

BELLI,  Jacques.    See  Bellt. 

BELLI,  Makoo,  a  follower  of  the  Bellini,  lived 
in  the  early  part  of  the  16th  century  :  of  his  life 
or  death  nothing  certain  is  known,  excepting  that 
he  is  the  painter  of  a  '  Circumcision'  in  the  Rovigo 
Gallery. 

BELLIER,  Jean  FEANgois  Maeie,  portrait 
painter  to  Marie  Antoinette,  Queen  of  France,  was 
born  in  Paris  in  1745.  He  painted  the  panels  of 
the  carriage  for  the  coronation  of  Louis  XVI.,  and 
worked  with  Barthelemy  upon  the  ceilings  of  the 
Louvre.     He  died  in  Paris  in  1836. 

BELLINI,  Bellini.    See  Belliniano. 

BELLINI,  PiLlPPO,  was  a  native  of  Urbino, 
and  flourished  about  the  year  1594.  Almost  un- 
noticed in  the  history  of  art,  he  is  stated  by  Lanzi 
to  have  possessed  uncommon  capacity.  He  was  a 
follower  of  the  style  of  Federigo  Baroccio,  and  one 
of  the  most  successful  of  his  imitators,  as  appears 
in  his  picture  of  the  '  Circumcision,'  in  the  Basilica 
of  Loretto,  and  in  the  '  Marriage  of  the  Virgin,'  in 
the  cathedral  at  Ancona.  Amongst  his  most  im- 
portant works  are  fourteen  pictures  of  the  works 
of  '  Charity,'  in  the  Chiesa  della  Carita  at  Fabriano, 

106 


and  the   'Martyrdom   of  St.  Gaudenzio,'  in  the 
Conventuali  di  M.  Alboddo. 

BELLINI,  Gentile,  the  eldest  son  of  Jacopo 
Bellini,  was  probably  bom  at  Venice  about  1427, 
but  no  register  of  his  birth  has  been  found.  He 
learned  his  art  from  his  father,  and  is  supposed 
to  have  settled  in  Venice  as  early  as  1460.  His 
first  known  picture  painted  there  is  of  1464,  when 
be  received  the  commission  to  paint  the  doors 
of  the  great  organ  at  San  Marco,  still  to  be 
seen  in  a  gallery  leading  from  San  Marco  to  the 
Ducal  Palace.  Of  a  similar  date  are  the  four 
gigantic  figures  of  SS.  Mark,  Theodore,  Jerome, 
and  Francis  d'Assisi,  painted  in  tempera  in  San 
Marco.  In  1466,  Gentile  finished  the  '  Apotheosis  of 
Lorenzo  Giustiniani,  first  Patriarch  of  Venice,'  for 
Santa  Maria  dell'  Orto,  and  now  in  the  Academy  of 
that  city.  In  1474,  he  was  appointed  to  decorate 
the  Great  Hall  of  Council,  but  all  his  paintings 
there,  as  well  as  these  of  his  brother  Giovanni, 
perished  in  the  fire  of  1577.  Some  pictures  by 
Gentile  Bellini,  having  been  carried  to  Constanti- 
nople by  some"  Turkish  merchants,  were  shown 
to  the  Sultan  Mahomet  II.,  who  applied  to  the 
senate  of  Venice  to  permit  the  painter  to  visit 
his  court,  where,  in  1479,  he  was  received  with 
particular  favour,  and  painted  the  portraits  of 
the  Sultan  and  Sultana,  which  were  regarded  as 
prodigies  by  the  Turks.  He  was  honoured  with 
the  order  of  knighthood,  and  presented  with  a 
gold  chain  and  medal.  On  his  departure  to  return 
to  Venice,  the  Sultan  gave  him  letters  to  the 
Republic  expressive  of  his  satisfaction,  and  the 
senate  bestowed  on  him  an  honorary  stipend  for 
life.  At  some  period  of  his  career  he  visited  Rome, 
and  brought  back  with  him  volumes  of  various 
designs,  which  he  afterwards  bequeathed  to  his 
pupils  Ventura  and  Girolamo.  He  died  in  1507. 
Of  his  works  the  following  may  be  noticed : 

Milan.  •  Brera.         The    Sermon    of    St.    Mark   (1507) 
{jmished  after  Genfile^s  death  by  his 
brother  Giovanni). 
Paris.      Ijmvre,        Portraits  of  two  men  (in  one  frame), 
formerly  supposed  to  he  those  of  Gio* 
vanni  and  Gentile  Bellini. 
Venice.  Academy,    The  Procession  in  the  Square  of  St. 
Mark  (1496) 
„  „  The  Miracle  of  the  Holy  Cross  (1500). 

Correr  MuslPoitTait  of  the  Doge  Fosoari  (early 
work). 
„       Sir  A.  fl^.  1  Portrait  of  the  Sultan  Mahomet  II, 
Layard.  ]       (1480). 

BELLINI,  Cavaliere  Giacinto,  born  at  Bologna, 
in  the  early  part  of  the  17th  century,  was  a  scholar 
of  Francesco  Albani.  On  leaving  the  school  of 
that  master,  he  was  taken  under  the  protection 
of  the  Count  Odoardo  Pepoli,  by  whom  he  was 
sent  to  Rome  with  Francesco  Carraoci,  for  the 
advantage  of  study.  He  was  not  long  at  Rome 
before  he  discovered  an  ability  that  recommended 
him  to  the  patronage  of  Cardinal  Tonti,  who  was 
so  satisfied  with  bis  performances,  that  he  pro- 
cured him  the  knighthood  of  the  order  of  Loretto. 
He  painted  in  the  manner  of  Albani,  and  his  pic- 
tures possess  much  of  the  graceful  style  of  that 
esteemed  master.     He  was  living  in  1660. 

BELLINI,  Giovanni,  was  the  younger  son  of 
Jacopo  and  the  younger  brother  of  Gentile  Bellini. 
"  Nothing  is  known  of  the  birth-place  or  birth-day 
of  this  great  painter.'" — J.  A.  Crowe.  The  Berlin 
Gallery  Catalogue  says,  he  was  born  "  at  Rome  or 
Venice,  in  1426-27."  He  first  learned  his  art  from 
his  father,  and  up  to  1472  continued  to  paint  in 


Bellini 


PAINTERS  AND  ENGRAVERS. 


Bellini 


tempera :  his  early  works  show  his  father's  influ- 
ence, but  his  later  productions  evince  a  Mante- 
gnesque  feeling.  His  earliest  known  picture  was 
executed,  it  is  said,  in  1464.  Soon  after  1472 
Giovanni  painted  in  tempera  the  ehef-d^oeuvre  of 
the  •  Virgin  and  Child,  with  SS.  Thomas  Aquinas, 
Gregory,  Jerome,  Catharine  of  Siena,  Mary  Mag- 
dalene, and  other  Saints,  with  three  figures  of  boys 
singing  from  a  hook,'  for  the  church  of  SS.  Gio- 
vanni e  Paolo,  Venice,  said  by  Vasari  "  to  be  one  of 
thebest  creations  up  to  this  time  in  Venice."  This 
painting  was  formerly  in  the  Cappella  del  Sacra- 
mento, by  the  side  of  Titian's  'Peter  Martyr,' 
but  both  these  masterpieces  most  unfortimately 
perished  by  fire  in  1867.  Soon  afterwards  he 
executed  the  immense  altar-piece  of  the  church  of 
San  Domenico,  Pesaro,  of  which  the  centre  panel 
represents  the  '  Coronation  of  the  Virgin,'  with 
life-sized  figures  of  '  Christ  crowning  His  Mother, 
who  is  accompanied  by  SS.  Peter,  Paul,  Jerome, 
and  Francis.'  In  pilaster  niches  on  each  side  of 
the  above,  are  eight  figures  of  saints,  each  two  feet 
in  height,  and  these  rest  on  a  predella  with  seven 
subjects,  viz.,  the  '  Conversion  of  St.  Paul ; '  the 
'Martyrdom  of  St.  Peter;'  the  'Nativity;'  'St. 
Jerome  penitent ; '  'St.  Francis  receiving  the  Stig- 
mata ; '  and  two  subjects  taken  from  the  life  of  St. 
George.  Giovanni  had  laboured  for  many  years 
to  perfect  himself  in  the  use  of  the  new  medium 
of  oil,  before  he  produced,  about  1476,  for  a 
chapel  in  San  Giobbe,  the  splendid  '  Virgin  and 
Child,  with  SS.  John  the  Baptist,  Francis,  Job, 
Louis,  Sebastian,  and  Domenick;'  which  is  said  by 
Sansovino  to  have  been  the  first  masterpiece  in  oil 
Giovanni  publicly  exhibited  in  Venice,  and  which 
is  now  in  the  Academy  of  that  city.  In  1479 
Giovanni  was  named  by  the  State  to  take  the  place 
of  his  brother  Gentile  in  the  decoration  of  the 
Great  Hall  of  Council,  at  Venice ;  and  in  1483  he 
was  appointed  Painter  to  the  Government,  and  in 
this  capacity  painted  the  portrait  of  the  Doge 
Giovanni  Mocenigo,  which  is  now  in  the  Correr 
Collection,  Venice.  Although  in  the  service  of  the 
State,  he  yet  found  time  to  execute  the  '  Resurrec- 
tion of  Christ,'  for  the  cathedral  of  Vicenza,  in  1483 ; 
and  other  works.  Giovanni  Bellini  was  now  at  the 
height  of  his  fame,  and  laboured  most  energetic- 
ally both  at  his  public  and  private  commissions.  In 
the  year  1488  hecommenced  tjheseven  designs  which 
^e  furnished  for  the  Hall  of  Council,  and  which  re- 
presented different  episodes  in  the  history  of  Venice 
and  of  her  Doges.  In  that  same  year  he  finished 
the  great  altar-piece  given  by  the  Doge  Agostino 
Barbarigo  to  the  nuns  of  Santa  Maria  degli  Angeli, 
at  Murano,  and  now  in  the  church  of  San  Pietro 
Martire,  representing  the  kneeling  Doge,  in  full 
ducal  robes,  being  presented  to  the  Madonna  and 
Child,  by  SS.  Mark  and  Augustine.  In  1483  the 
Counil  of  Ten  had  conferred  upon  Giovanni  the  title 
of  'Pittore  del  Domino,'  and  had  granted  him  an 
exemption  from  the  dues  of  his  guild,  hoping  thus 
to  increase  his  zeal  for  the  completion  of  his 
frescoes  in  the  Hall  of  Council ;  but  finding  that 
he  did  not  advance  as  quickly  as  had  been  hoped, 
in  1488  they  gave  him  Luigi  Vivarini  as  a  rival ; 
this  not  proving  sufficient  incentive,  he  was 
threatened  by  the  Council  in  1494  with  the  com- 
petition of  Perugino.  In  1490  Giovanni  painted 
the  frescoes  for  the  tomb  of  the  Senator  Onigo,  in 
San  Niccolo,  Treviso,  which  were  assigned  to  Anto- 
nello,  by  Ridolfi ;  and  in  about  1501  he  produced 
the  'Baptism  of  Christ,'  in  the  church  of  Santa 


Corona,  Vicenza.  The  life-size  'Virgin  and  Child, 
with  Saints,'  in  Santa  Zaccaria,  Venice,  where  the 
artist  left  the  traditional  treatment  of  this  subject, 
and  produced  something  more  allied  to  the  modern 
school,  was  painted  in  1505.  It  was  about  this 
date  that  Albrecht  Diirer  came  to  Venice,  and  met 
with  a  cordial  welcome  from  Bellini,  who  even 
asked  for  some  picture  from  his  hand,  and  in  his 
letters  to  Pirkheimer,  Diirer  cannot  sufEciently 
praise  the  kindness  and  attentiors  he  received  from 
the  famous  Venetian  painter,  who  was  then  so  uni- 
versally praised  and  sought  after  by  the  greatest 
personages  of  the  period.  Amongst  many  others, 
Isabella  of  Mantua  had  begged  him  for  a  picture, 
which  he  consented  to  furnish,  though  it  is  now 
doubtful   what  was  its  subject,  and  where  it  at 

E resent  exists.  As  a  portrait  painter  Giovanni 
as  gained  great  fame,  and  produced  many  speci- 
mens of  his  skill.  The  Uffizi  Gallery  possesses  a 
portrait  which  is  said  to  be  his  own,  although  it 
differs  from  that  in  the  gallery  of  the  Capitol,  at 
Rome,  which  most  resembles  the  medal  of  the 
artist  engraved  by  Camelio.  In  1507  he  finished 
his  dead  brother  Gentile's  picture  of  the  '  Sermon 
of  St.  Mark,'  in  the  school  of  the  same  name, 
which  had  been  expressly  bequeathed  to  his  care 
by  Gentile.  From  this  last-named  year  until  the 
close  of  his  career,  Giovanni  continued  to  produce 
the  numerous  pictures  now  met  with  in  nearly 
all  the  larger  English  and  Continental  Galleries: 
they  were  executed  either  by  himself  or  with  the 
aid  of  his  numerous  pupils,  amongst  whom  can 
be  named  Titian,  Giorgione,  Carpaocio,  Cima, 
Basaiti,  Luigi  Vivarini,  Previtale,  Sebastiano  del 
Piombo,  and  Antonello  da  Messina.  In  November, 
1516,  Giovanni  Bellini  died,  and  was  buried  by 
the  side  of  his  brother  Gentile,  in  the  church  of  SS. 
Giovanni  e  Paolo,  Venice.  The  following  is  a  list 
of  his  most  important  works : 

Feast  of  the  gods,  painted  in  1514. 
Madonna. 


Alnwick.    Castle. 
Bergamo.  Carrara.    ) 
Academy,  j 

n  »> 

Berlin.       Gallery. 


Ca«tle  Howard. 
Dresden.   Gallery. 

Florence.  Uffisi, 

»>  n 

»  n 

London.    Nat.  Gall. 


Pieta 

Pieta  (No.  4). 

Pieta  (formerly  astn'ibed  to  Man- 
ter/na),  (No.  28). 

Madonna  and  Child  (No.  10). 

Madonna  and  OMld  (signed  Jo- 
annes Beixiitus),  (No.  11). 

Circumcision. 

Portrait  of  the  Doge  Loredano 
(Crowe  and  Cavalcaselle  ascribe 
this  to  Catena). 

Portrait  of  an  old  man. 

Portrait  of  himself. 

Dead  Christ. 

The     Doge    Leonardo    Loredano 


„      Eastlake  Coll. 
Madrid.     Mus^m. 

Milan.        Brera. 

Naples.      Museum. 

Paris.        Zouvre. 
Bome.      Sarlerini  P. 

„  Sorghese  P. 

„  Camtol, 

Teteishuig.Hermitage. 


Madonna  and  Child  (signed). 

The  Agony  in  the  Garden  (early 

work). 
St.  Peter  Martyr  (signed). 
Landscape  with  the  death  of  St. 

Peter  Martyr  (signed). 
Madonna  and  Child. 
Madonna  and  Child  with  St.  Ursula 
,    and  the  Magdalene. 
Madonna  (dated  1510). 
Pieta. 
Transfiguration  (painted  after  1472, 

one  (^his  earliest  oil-paintings). 
Holy  Family  (signed). 
Madonna  ('  probally  hy  Pasmalivo  ' 

— Crowe  and  Cavalcaselle). 
Madonna. 
Portrait  of  himself. 
.  Madonna  and  Saints. 

107 


Bellini 

Vienna.      Belvedere.    A  young  woman  -with  a  looking- 
glass,  called  a  Venus  {painted  in 
1515). 
,j  „  Presentation     of    Christ    in    the 

Temple. 
Venice.        Academy.  Madonna  with  Sue  Saints  (a5. 1476). 
Madonna  {dated  1487). 
,;  „  Madonna  — '  of     the     Admiralty- 

Magistrate  '  {retouched). 
„  Allegories. 

Madonna  and  the  Sleeping  Chnst. 

''  „  Madonna  and  SS.  Paul  and  George. 

"  „  Madonna  with  the  Magdalene  and 

St.  Catharine. 

Con-«r3fMS.  Portrait  of  Doge  Giovanni  Moce- 

nigo. 

BELLINI,  Jacopo,  or  Giacomo,  who  was  born  at 
Venice  about  1400,  was  a  pupil  of  Gentile  da  Fabri- 
ano,  whom  he  accompanied  to  Florence  in  1422 ; 
and  who  stood  godfather  to  his  first  child.  Whilst 
in  that  city,  in  1423,  he  had  an  altercation  and  fight 
with  one  Bernardo  di  Ser  Silvestri,  son  of  a  notary, 
and  to  avoid  any  private  revenge  being  taken  on 
him,  he  left  Florence  for  about  a  year;  of  this 
absence,  however,  his  adversary  took  a  cowardly 
advantage,  and  procured  a  judgment  against  him, 
so  that  on  Bellini's  return  he  had  to  purge  himself 
of  contempt  of  court  by  a  fine  and  public  penance, 
which  he  performed  in  1425.  Soon  after  this  he 
returned  to  Venice.  He  resided  in  Verona  from 
1430  to  1436  :  but  the  frescoes  he,  with  the  assist- 
ance of  his  two  sons,  Gentile  and  Giovanni,  exe- 
cuted there  for  the  Brotherhood  of  St.  John  the 
Evangelist,  representing  the  '  Life  of  Christ  and 
the  Virgin,'  have  perished.  After  again  returning 
to  Venice,  he  left  for  Padua,  where  he  and  his  sons 
opened  a  workshop,  and  all  painted  together. 
From  that  city  he  married  his  daughter  Nicholosia 
to  Andrea  Mantegna,  and  he  seems  to  have  lived 
there  from  1444  to  1460,  but  the  exact  date  of 
his  death  is  uncertain.  Only  two — much  injured — ■ 
panel-pictures  by  Jacopo  remain  to  us.  They 
both  represent  the  '  Madonna  and  Child ;  '  one 
is  in  the  collection  of  Count  Tadini  at  Lovere,  near 
Bergamo,  the  other  is  in  the  Academy  at  Venice. 
There  are  frescoes  by  him  still  extant  in  Verona ; 
a  '  Crucifixion '  is  in  the  Archiepiscopal  Palace. 
He  excelled  in  portrait  painting,  and  among  those 
who  sat  to  him  were  Lusignano,king  of  Cyprus,  and 
the  Doge  Cornaro.  Jaoopo's  fame  as  an  artist  rests 
chiefly  on  his  sketch-book,  which  is  now  in  the 
British  Museum.  It  is  signed  and  dated  '  Venice 
1430.'  In  this  sketch-book  are  many  subjects 
from  the  Old  and  New  Testament,  intermingled 
with  studies  of  mythology  and  scenes  from 
country-life :  they  are  executed  with  the  pencil 
and  tinted  with  terra  verde,  but,  unfortunately, 
are  not  well  preserved.  Though  an  excellent 
painter,  he  is  chiefly  known  as  the  father  of  the 
renowned  Gentile  and  Giovanni  Bellini,  and  as 
the  father-in-law  of  the  celebrated  Mantegna. 

BELLINIANO,  Vittorb,  who  is  considered  to 
be  identical  with  Bellini  Bellini  and  Vittore  di 
Matteo,  was  a  native  of  Venice,  and,  according  to 
Eidolfi,  flourished  about  the  year  1526.  He  painted 
historical  subjects,  and  several  of  his  pictures  are 
in  the  Confraternity  of  St.  Mark  at  Venice,  and  in 
the  churches  of  the  neighbouring  towns. 

BELLIVERT.     See  Bilivert. 

BELLOC,  Jean  Hilaire,  who  was  born  at 
Nantes  in  1786,  studied  under  Regnault  and  Gros, 
in  Paris,  and  at  first  painted  historical  subjects ; 
but  he  abandoned  these  for  portraiture,  in  which 
branch  of  art  he  admirably  succeeded.     His  por- 

108 


A  BIOGRAPHICAL  DICTIONARY  OP 


Belmonte 


traits  include  those  of  the  Duchess  of  Berri  and 
other  noted  persons.  He  became  Director  of  the 
Free  School  of  Design  in  Paris,  where  he  died  in 
1866. 

BELLOTTI,  PiBTRO,  was  bom  at  Bolzano,  in 
1625.  He  was  a  scholar  of  Girolamo  Perrabosco, 
under  whom  he  became  an  excellent  colourist.  He 
painted  some  historical  subjects ;  but  was  more 
employed  in  portraits,  in  which  he  was  very  suc- 
cessful. He  was  a  good  copyist  of  other  painters. 
He  died  at  Venice,  in  1700. 

BBLLOTTO,  Bernardo,  who  was  bom  at  Venice, 
in  1724  or  1720,  was  the  nephew  of  Antonio  Canal, 
called  Canaletto,  the  celebrated  painter  of  the  views 
in  Venice,  whose  name  he  adopted,  and  by  whom 
he  was  instructed  in  art.  In  imitation  of  his  uncle, 
he  also  painted  architectural  and  perspective  views, 
in  a  very  picturesque  and  spirited  manner.  He 
resided  in  Italy,  in  Germany — especially  in  Dresden 
— and  in  Poland.  He  died  at  Warsaw  in  1780. 
The  following  are  some  of  his  best  works : 

Berlin.        Gallery.  View  of  Doge's  Palace,  Venice 

{from  the  Suermondt  Coll.), 
Cassel.        Gallery.  Views  in  Venice. 

jyaxmBtit. Gallery .  Venetian  scene;  and, others, 

Dresden.    Gallery.  Views  of  Dresden. 

„  „  Views  of  Pima. 

„  „  Views  in  Poland. 

„  „  Views  iu  Italy. 

{In  all  thirty-eight  works.) 
Ijondon.     Nat.  Gallery.  View  in  Venice. 
Milan.        Brera.  Landscapes. 

Munich.     Pinakothek.      View  of  Munich. 
Petrsbrg.  Hermitage.       View  of  the  Kialto,  Venice. 
Turin.        Finacoteca.       Views  of  Turin. 
Vienna.  Liechtenstein  G.  View  iu  Pima. 

He  has  etched,  from  his  own  designs,  several 
views  in  Dresden,  Warsaw,  and  Vienna,  and  other 
subjects,  as  follow : 

A  set  of  six  Landscapes  and  Views. 

A  set  of  twelve  architectural  Ituins, 

Fifteen  Views  iu  Dresden. 

Eight  Views  in  the  environs  of  Dresden, 

Three  Views  iu  Warsaw. 

BELLUCCI,  Antonio.    See  Belucci. 

BELLUNBLLO.     See  Bertholotti,  Andrea  di. 

BELLY,  Jacques,  a  French  painter  and  en- 
graver, was  a  native  of  Chartres  ;  he  was  horn  in 
1609,  and  died  at  Chartres  in  1674.  He  was  a 
pupil  of  Simon  Vouet,  and  resided  for  many  years 
in  Rome,  where  he  executed  his  best  known  work, 
'  La  Galleiie  du  Palais  Fomaise  de  la  ville  de 
Rome,'  a  series  of  engravings  after  the  frescoes 
of  Annibale  and  Agostino  Carracci,  published  in 
1641. 

BELLY,  L^ON  AuGUSTK  Adolphe,  a  French  land- 
scape painter,  was  born  at  St.  Omer,  in  1827.  He 
studied  under  Troyon  and  Rousseau.  He  spent 
much  of  the  latter  part  of  his  life  in  the  Bast, 
which  furnished  him  with  many  subjects.  He 
died  in  1877.     His  best  works  are : 

Twilight  in  November. 

Fishers  at  Bquilles. 

The  Desert  of  Nassoub.    1857. 

The  Plain  of  Djyseh. 

Pilgrims  going  to  Mecca.  1861.  {In  the  Luxemlmrg 
Gallen/.) 

The  Banks  of  the  Nile. 

Approach  to  an  Egyptian  Village. 

The  Dead  Sea.     1866. 

The  Nile — ^near  Bosetta. 

Montauban  in  Sologne.  1877.  .  (/«  the  LuxevUmrg 
Gallery^ 

BELMONTE  T  VACAS,  Mariano.  This  land- 
scape painter  was  a  native  of  Cordova,  and  a  pro- 


Belsky 


PAINTERS  AND  ENGRAVERS. 


Beiumel 


fessor  of  Fine  Arts  at  Cadiz  and  at  Valencia.  He 
exhibited  his  works  in  the  Spanish  Exhibitions 
in  1858,  1860,  and  1862,  and  obtained  several 
prizes.  He  died  at  Valencia  in  1864.  Among  his 
best  paintings  are : 

A  view  of  the  Casa  de  Campo  at  Madrid. 
The  Cavern  of  Palomas  at  Valencia. 

BELSKY,  Alexei,  a  pupil  of  Girolamo  Bon, 
worked  in  the  second  half  of  the  18th  century.  In 
the  Hermitage  at  St.  Petersburg  there  is  an  archi- 
tectural piece  by  him,  sig-ned  and  dated  1789. 

BELTEAFFIO,  Giovanni  Antonio,  (or  Bol- 
TEAFFio,)  a  nobleman  who  was  born  at  Milan  in 
1467,  and  studied  art  under  Leonardo  da  Vinci ; 
but  he  painted  only  as  an  amateur.  He  died  at 
Milan  in  1516.  Of  his  works,  which  are  rather 
scarce,  the  following  may  be  mentioned : 

Bellag;gio.     Frizzoni  C.   Madonna  and  Child. 
Berlin.  Gallery.        St.  Barbara. 

„  „  Madonna  and  Child. 

„  „  Portrait  of  a  man  {perhaps  of 

Antonio  Bentivoylio). 
London.       Ifat.  Gall.     Madonna  and  Child. 
Milan.  Poldi  Coll.   Madonna  and  Child. 

Naples.         Museum.       Infant  Christ  and  St.  John  {after 

Leonardo  da  Vinci). 
Paris.  Lomire.         A  Virgin  and  Child,  adored   by 

the  Casio  Pamily  {once  in  the 
church  of  the  Misericordia,  at 
Bologna). 

BELTRANO,  Agostino,  and  his  wife,  Aniella 
fcalled  Aniella  Bbltrano-Eosa  and  Anna  di  Rosa), 
were  Neapolitan  painters  and  scholars  of  Massimo 
Stanzione,  of  whom  Aniella  was  the  niece.  They 
are  mentioned  together,  as  they  painted  alike,  and 
jointly  prepared  many  pictures  which  their  master 
afterwards  finished.  They  were  both  painters  of 
no  common  merit,  as  is  shown  by  many  altar- 
pieces  and  cabinet  pictures  in  oil.  Some,  however, 
belong  to  Aniella  alone,  and  are  highly  extolled  ; 
her  uncle  is  suspected  of  having  had  a  consider- 
able share  in  them,  as  Guide  had  in  those  of 
Gentileschi.  She  was  murdered  by  her  husband 
in  a  fit  of  jealousy,  in  the  year  1649,  at  the  age 
of  36  :  he  survived  until  the  year  1666. 

BBLUCCI,  Antonio,  (or  Bbllitcci,)  who  was 
bom  at  Soligo,  near  Venice,  in  1654,  was  a  scholar 
of  Domenioo  Difinico,  and  according  to  Orlandi 
painted  several  altar-pieces  for  the  churches  at 
Venice  and  Verona.  He  painted  in  Vienna,  for 
Oharles  VI.  ;  at  the  court  of  the  Elector  Palatine ; 
and  in  London,  at  Buckingham  House  and  else- 
"where.  He  returned  to  his  native  country,  and 
died  at  Soligo  in  1726.  In  the  church  of  the 
Ascension  at  Venice,  is  a  fine  picture  by  him  of  the 
'  Nativity.'  In  the  Munich  Gallery  are  a  '  Psyche 
and  the  sleeping  Cupid,'  and  a  '  Venus  and  Cupid, 
riding  on  the  waves ; '  and  in  the  Dresden  Gallery 
are  a  '  Venus,  attended  by  Cupid,  feeding  a  dove,' 
and  a  '  Madonna  and  Child.'  Several  of  the  land- 
scapes of  Tempesta  are  enriched  with  figures  by 
Belucci. 

BELVEDERE,  Abate  Andkea,  bom  at  Naples  in 
1646,  was,  it  is  said,  a  scholar  of  Ruoppoli,  and  ex- 
celled in  painting  fruit  and  flowers.  He  was  one  of 
the  artists  employed  by  Charles  II.  of  Spain ;  and  in 
conjunction  with  Luca  Giordano  (who  painted  the 
figures),  he  executed  several  of  the  ornaments  of 
the  Escorial.  His  touch  was  firm  and  free,  and 
was  peculiarly  adapted  to  the  imitation  of  the  still- 
life  he  represented,  whilst  his  knowledge  of  chiar- 
oscuro enabled  him  to  give  his  works  a  natural  and 
pleasing  effect.     He  quitted  painting  for  the  study 


of  literature,  and  died  in  1732 — according  to  some 
authors  at  Venice,  to  others  at  Florence. 

BEMBO,  BoNiFAZio,  of  Cremona,  flourished  from 
about  1456  to  1478;  He  was  employed  by  Fran- 
cesco Sforza  at  Milan  and  Padua,  but  after  his 
patron's  death  he  removed  to  Cremona.  He  painted 
there,  in  Sant'  Agostino,  full-length  portraits,  in 
fresco,  of  Francesco  Sforza  and  his  wife,  Bianca, 
which  have  been  much  damaged  by  restoration. 
Pictures  by  him  also  remain  in  the  cloister  of  La 
Colomba,  at  Cremona.  Bembo  was  an  able  art- 
ist, spirited  in  his  attitudes,  magnificent  in  his 
draperies,  and  glowing  in  his  colours. 

BEMBO,  GiANFRANCESCO,  who  was  either  younger 
brother  or  son  of  Bonifazio,  flourished  at  Cremona 
till  1524.  He  is  supposed  to  have  visited  Rome, 
and  is  thought  to  be  identical  with  a  painter  who 
was  there  known  as  Vetbiaeio.  His  works  are  seen 
in  Cremona,  in  the  cathedral  of  which  city  are  an 
'  Adoration  of  the  Kings,'  and  a  '  Presentation  in 
the  Temple ; '  in  San  Niccolo  is  a  '  St.  Nicholas 
with  the  Virgin ; '  and  in  San  Pietro  is  a  '  Madonna,' 
dated  1524,  his  last  known  work.  Bembo's  pic- 
tures contain  very  slight  traces  of  the  antique : 
he  resembles  Fra  Bartolonuneo  in  point  of  colour- 
ing, but  is  inferior  to  him  in  the  dignity  of  his 
figures  and  in  his  drapery.  Rosini  has  given  a 
print  of  a  votive  picture  by  him,  the  design  of 
which  has  much  of  the  grace  and  dignity  of- 
Raphael. 

BEMMEL,  Van.  A  family  of  landscape  painters 
of  tills  name  flourished,  during  the  17th  and  18th 
centuries,  at  Nuremberg  and  elsewhere.  Those 
whose  biographies  are  given  were  the  most  note- 
worthy members  of  this  numerous  but  somewhat 
unimportant  family.  The  accompanying  genea- 
logical table  is  appended,  in  order  to  illustrate,  in 
as  short  a  space  as  possible,  the  relationships  of 
these  artists. 

WILLEM  VAN  BEMMEL  (1630-W08). 

, i , 


Joliaun  Georg 
(1669—1723). 


Peter 
(1685—1754). 


iToel  Paul  Johana  Noah  Christoph.       johauu  Chi'istDph. 

(1713—    ).  (1716-1768).  | 

Georg  Christoph  Gottlieh  I 

(1738—1794).  ' 


Earl  Sebastian    Simon  Joseph 
(1743—1796).  (1747—1791). 

BEMMEL,  Petes  von,  the  second  son  and  pupil 
of  Willem  van  Bemmel,  was  born  at  Nuremberg 
in  1686.  He  painted  landscapes  ;  and  was  especi- 
ally successful  in  representing  thunder-storms  and 
winter-scenes.  His  works  are  seen  in  the  galleries 
of  Brunswick  and  his  native  city.  He  etched  six 
plates  of  landscapes,  and  died  at  Eatisbon  in  1754. 
His  sons,  Chkistoph  and  Johann  Christoph  von 
Bemmel,  followed  the  art  of  their  father. 

BEMMEL,  Willbm  van,  a  Dutch  landscape 
painter,  was  born  at  Utrecht  in  1630.  He  was  the 
scholar  of  Herman  Saf  tleven,  and,  like  his  instructor, 
excelled  in  painting  landscapes.  Not  satisfied  with 
the  scenery  of  his  native  country,  he  went  to  Italy, 
and  passed  some  years  in  making  drawings  of  the 
most  picturesque  views  in  the  environs  of  Rome. 
On  leaving  Italy  he  travelled  through  Germany, 
and  settled  at  Nuremberg  in  1662,  where  he  met 
with  great  encouragement,  and  became  the  founder 
of  a  numerous  family  of  artists.  The  studies  he 
had  brought  with  him  from  Italy  were  an  excellent 
resource  to  him  in  the  composition  of  his  pictures, 
which  were  frequently  enriched  with  figures  by 

109 


Benaglio 


A  BIOGRAPHICAL  DICTIONARY  OF 


Benedicto 


Roos  and  others.  His  landscapes  have  rarely 
found  their  way  to  England,  but  may  be  seen 
in  the  galleries  of  Vienna,  Dresden,  Augsburg, 
Frankfort,  and  Nuremberg.  He  etched  six  plates 
of  landscapes  which  are  dated  1654,  and  show  the 
hand  of  a  master.  He  died  at  Wohrd,  near  Nurem- 
berg, in  1708. 

BENAGLIO,  Peanobsco,  was  a  follower  of  Gi- 
rolamo  BenagKo,  and  is  said  to  have  painted  a 
fresco  at  Santa  Maria  della  Soala  in  1476.  There 
are  still  existing  several  frescoes  by  him  in  dif- 
ferent churches  in  Verona.  The  dates  of  his  birth 
and  death  are  unknown. 

BENAGLIO,  GiEOLAMO,  a  painter  of  Verona, 
flourished  in  the  16th  century.  An  altar-piece, 
of  the  'Madonna  and  Saints,'  dated  1487,  and 
several  panels  by  him,  are  in  the  Verona  Gallery. 

BBNARD,  J.  F.,  a  French  engraver,  who 
resided  at  Paris  about  the  year  1672,  engraved 
several  architectural  and  ornamental  subjects  for 
the  work  published  at  Paris  by  Jean  Berain. 

BENASCHI,  Giovanni  Battista,  Cavaliere,  (or 
Beinaschi,)  a  Piedmontese  painter,  was  born  at 
Turin,  in  1636.  He  was  instructed  in  the  rudi- 
ments of  art  by  Spirito,  and  then  went  to  Rome, 
where  he  became  the  scholar  of  Pietro  del  Po  ;  but 
afterwards  formed  his  style  from  an  imitation  of 
the  pictures  of  Lanfranco.  The  principal  works  of 
•  this  artist  are  at  Naples,  where  he  painted  several 
ceilings,  and  other  works  in  fresco.  He  possessed 
an  inventive  genius,  and  was  an  able  designer. 
He  died  in  1688.  There  is  an  etching  by  this 
painter  of  a  '  Holy  Family,'  after  Giovanni  Do- 
menico  Cerrini,  who  was  his  intimate  friend. 

BENAVIDES,  Vinoente  de,  a  Spanish  painter, 
born  at  Oran  in  1637.  He  was  a  scholar  of  Fran- 
cisco Rizi,  at  Madrid  ;  he  afterwards  became  a 
good  painter  in  fresco,  and  was  much  employed  in 
theatrical  decorations.  He  was  appointed  painter 
to  Charles  II.  in  1691,  and  died  in  1703^ 

BENAZECH,  Charles,  a  son  of  Peter  Paul 
Benazech,  was  born  in  London  in  1767.  He 
studied  under  Greuze,  and  in  Rome ;  he  was  in 
Paris  during  the  Revolution,  and  is  best  known  by 
his  four  pictures  of  '  Events  in  the  Life  of  Louis 
XVI.,'  which  were  engraved  by  Luigi  Schiavonetti. 
He  usually  painted  portraits,  some  of  which  he 
himself  engraved.     He  died  in  1794,  in  London. 

BENAZECH,  Petbe  Paul,  an  engraver,  who  is 
said  to  have  been  born  in  London  about  the  year 
1744.  He  was  a  pupil  of  Vivares,  and,  according 
to  Basan,  worked  some  time  at  Paris,  but  returned 
to  England.  We  have  several  plates  by  him  of 
landscapes  and  other  subjects,  of  which  the  follow- 
ing are  the  principal : 

Peasants  playing  at  Bowls ;  after  A.  van  Ostade. 
Fishermen ;  after  Vernet. 
Eeturn  from  fishing ;  after  the  same, 
A  Calm  at  Sea ;  after  the  same. 
Morning ;  after  the  same. 

Four  large  landscapes ;    after  Dietrich ;  engraved  in 
1770  and  1771.    These  are  his  finest  prints. 

BBNCOVICH,  Fedeeigo,  called  'H  Federi- 
ghetto  di  Dalmatia,'  was  a  native  of  Dalmatia,  but 
was  educated  at  Bologna ;  he  flourished  about  the 
year  1753.  He  appears  to  have  studied  the  style 
of  Carlo  Cignani,  to  whose  firmness  of  design  he 
approached  more  nearly  than  he  did  to  the  amenity 
of  his  colouring.  He  produced  several  estimable 
works  at  Bologna,  Milan,  and  Venice,  and  in  the 
church  of  the  Madonna  del  Piombo  at  Bologna 
is  an  altar-piece  by  him  of  the  '  Crucifixion  of  St. 

110 


Andrew.'  He  was  more  employed  in  painting 
easel  pictures  than  large  works  ;  many  of  the 
former  are  in  Germany,  where  he  resided  some 
years. 

BENDEL,  Hans  Sigmund,  of  SchafEhausen,  in 
Switzerland,  was  an  historical  painter  and  lithe-, 
grapher,  and  attended  the  Academy  of  Munich, 
under  Kaulbach.  He  commenced  to  paint  a  series 
of  cartoons  with  scenes  from  Swiss  history,  but 
unfortunately  died,  in  1853,  before  they  were  com- 
pleted. Among  his  other  works  are  the  illustra- 
tions for  Goethe,  for  Pestalozzi's  '  Lienhard  und 
Gertrud,'  for  Hebel's  '  Poems,'  and  for  the  '  Niiny 
Glockly '  (the  Nine  o'clock  Bell)  at  SchafEhausen. 

BENDZ,  WiLHELM  Feedinand,  who  was  bom  at 
Odense,  in  the  island  of  Funen,  in  1804,  studied 
under  Eckersberg  in  Copenhagen,  and  became  a 
good  painter  of  portraits  and  genre  pieces.  In 
1831  he  went  by  way  of  Munich  to  Italy,  and  died 
at  Vicenza,  in  1832.    Of  his  works  we  may  mention : 

Portrait  of  the  Pastor  Hornsyld.     1825. 

A  Painter  in  his  Studio.    1826.    {In  tlie  Copenhagen 

Gallery.) 
Interior  of  an  Art  Academy.     1826.     {In  the  Copenhagen 

Gallery.) 
A  Sculptor  in  his  Studio.    1827.    {In  tlie  Copenhagen 

Gallery^ 
Christian  IV.  at  the  Battle  of  Femem.     1828. 

BENEDETTI,  Mattia,  was  a  native  of  Keggio, 
and  a  scholar  of  Orazio  Talami.  According  to 
Averoldi,  he  flourished  about  the  year  1700,  and 
was  esteemed  as  a  fresco  painter.  One  of  his 
best  works  was  the  ceiling  of  the  church  of  Sant' 
Antonio  at  Brescia. 

BENEDETTI,  Tommaso,  who  was  born  in  Lon- 
don in  1797,  went  early  to  Vienna,  where  he  spent 
the  greater  part  of  his  life,  and  died  in  1868. 
Amongst  his  best  engravings  are  the  following : 

Portrait  of  the  Emperor  Francis  I. ;  after  Ammerling. 
Portrait  of  the  Emperor  Francis  I. ;  after  JSupelwieser. 
Portrait  of  the  Duke  of  Eeiohstadt ;  after  Daffinger. 
Portrait  of  the  Archduke  Charles  of  Austria;  after 

Kriehuber. 
The  Entomhmeut ;  after  Titian. 
Madonna  with  the  Cherries ;  after  Titian. 

BENEDETTIS,  Domenico  db.  This  artist  was 
bom  in  Piedimonte  d'Alise  about  the  year  1610. 
He  was  sent  when  young  to  Naples,  where  he 
was  placed  under  the  tuition  of  Fabrizio  Santa- 
fede,  and  after  studying  some  time  under  that 
master,  he  went  to  Borne,  where  he  had  the  ad- 
vantage of  becoming  a  scholar  of  Guide,  whose 
graceful  and  elegant  manner  he  imitated  with  suc- 
cess. On  his  return  to  Naples,  he  was  favoured 
with  the  protection  of  the  king,  whose  palace  he 
ornamented  with  several  pictures ;  he  also  painted 
some  works  for  the  churches.  Dominici  mentions, 
as  his  best  work,  the  ceiling  of  the  church  of 
Santa  Maria  Donna  Regina,  where  he  has  repre- 
sented, in  the  different  compartments,  subjects 
from  the  life  of  the  Virgin  Mary,  entirely  in  the 
manner  of  Guido.     He  died  in  1678. 

BENEDETTO,  II.     See  Castiglione. 

BENEDETTO,  Fra.  See  Fiesole,  Benedetto 
da. 

BENEDICTO,  Roqub,  an  historical  painter  of 
Valencia,  and  scholar  of  Gaspar  de  la  Huerta,  for 
whose  works  the  pictures  of  Benedicto  are  often 
mistaken.  He  was  a  better  colourist  than  designer. 
His  most  distinguished  picture  is  the  '  Miracle  of 
St.  Francis  de  Paul  feeding  3000  persons  with  a 
small  quantity  of  bread.'  He  died  at  Valencia  in 
1735. 


Benefial 


PAINTERS  AND  ENGRAVERS. 


Benouvilie 


BENEFIAL,  Cavaliere  Maeco,  was  bom  at 
Rome  in  1684.  Several  of  his  works  in  that  city 
prove  him  to  have  possessed  very  considerable 
ability.  In  the  Academy  of  St.  Luke  is  a  fine 
picture  of  '  Christ  and  the  Samaritan  Woman  ; ' 
and  in  the  church  of  the  'Stimmate,'  the  '  Flagel- 
lation.' In  the  Palazzo  Spada  there  is  a  saloon 
entirely  painted  by  him,  which  is  considered  one 
of  the  finest  productions  of  his  time:  and  there 
are  also  preserved  the  cartoons  for  his  great  fresco 
work  of  the  dome  of  the  cathedral  at  Viterbo. 
He  died  in  1764. 

BENET,  Geeonimo,  painted  portraits,  figures 
of  the  Virgin  and  Christ,  to  which  he  gave  con- 
siderable expression.  He  died  at  Valladolid  in 
1700. 

BENEVIDES.    See  Ramirez. 

BENFATTO,  LuiGl,  who  was  born  at  Verona 
in  1551,  was  the  nephew  and  scholar  of  Paolo 
Veronese,  under  whom  he  acquired  a  bold  and 
vigorous  style  of  painting.  According  to  Eidolfi, 
he  maintained  for  some  time  after  the  death  of 
Paolo  the  celebrity  of  the  school,  and  the  splendid 
system  of  colouring  established  by  that  great 
master.  He  distinguished  himself  by  many  admir- 
able works  in  public  buildings  at  Venice.  In  the 
church  of  St.  Nicholas  is  a  grand  composition  by 
him,  representing  the  Ascension  of  that  saint  to 
heaven,  attended  by  a  choir  of  angels,  and  figures 
emblematical  of  the  virtues  of  Faith,  Hope,  and 
Charity,  and  in  the  Chiesa  di  Santa  Marta  are 
several  pictures  of  the  life  of  that  saint.  Many 
other  works  of  Benfatto  are  mentioned  by  Ridolfi. 
He  died  in  1611. 

BENING,  Levina,  was  the  eldest  daughter  of 
Simon  Bening,  a  miniature  painter  of  Bruges,  and 
was  instructed  in  miniature  painting  by  her  father. 
She  married  Georg  Teerling  of  Blankenberghe, 
who  came  with  her  to  England,  where  her  remark- 
able talents  recommended  her  to  the  notice  of 
Henry  VIII.,  Edward  VI.,  and  the  queens  Mary 
and  Elizabeth ;  with  the  last  of  whom  she  was  in 
great  favour  as  late  as  1570,  but  the  time  of  her 
death  is  not  recorded.  She  was  also  known  in 
England  as  '  Levina  of  Bruges.' 

BENING,  Simon,  a  Flemish  illuminator  and 
miniature  painter,  was  probably  a  native  of  Ghent, 
where  his  father,  Alexander  Bening,  exercised  the 
calling  of  a  draughtsman  and  illuminator.  Simon 
worked  in  Ghent,  Antwerp,  Brussels,  and  London, 
and  died  at  Bruges  in  1501.  There  is  in  the  Manu- 
script Department  of  the  British  Museum  a  splen- 
did example  of  his  work,  '  Arbre  g§nealogique  de 
la  Maison  souveraine  de  Portugal,'  executed  be- 
tween the  years  1630  and  1534. 

BENINI,  SlUisMONDO,  was  bom  at  Cremona, 
about  the  year  1675,  and  studied  under  Angelo 
Massarotti.  He  excelled  in  painting  landscapes, 
in  which  the  gradation  in  the  distances  was  well 
observed,  and  the  efEects  of  light  managed  with 
great  skill.  His  pictures  are  highly  finished  and 
Very  agreeably  coloured.  His  talent  was,  however, 
confined  to  landscape,  and  when  he  attempted  to 
introduce  figures  of  his  own,  it  always  diminished 
the  value  of  his  works. 

BENNETT,  Chaelbs  H.,  was  a  designer  on 
wood,  whose  first  sketches  appeared  in  '  Diogenes.' 
He  also  produced  many  illustrated  children's 
books,  as  well  as  illustrations  to  the  'Pilgrim's 
Progress,'  and  sketches  in  'Punch.'  He  died  iu 
1867,  aged  37. 

BENNETT,  William,  a  water-colour  painter, 


was  born  in  1811.  It  is  believed  that  he  re- 
ceived his  first  lessons  in  art  from  David  Cox. 
In  1848  he  was  made  a  member  of  the  New 
Water-Colour  Society,  and  contributed  landscapes, 
chiefly  of  English  scenery,  to  their  exhibitions, 
until  his  death  in  1871. 

BENNETT,  William  James,  a  water-colour 
painter,  was  one  of  the  'Associated  Artists'  in 
1808,  and  twelve  years  afterwards  was  elected  an 
Associate  of  the  Water-Colour  Society.  He  painted 
views  near  Naples,  and  on  the  coast  of  Barbary. 
His  last  exhibited  drawings  were  published  in  1825. 

BENNETT,  William  Mineard,  born  at  Exe- 
ter in  1778,  was  a  pupil  of  Sir  Thomas  Lawrence, 
and  obtained  some  celebrity  as  a  painter  of  por- 
traits and  miniatures — exhibiting  at  various  times 
at  the  Academy.  About  1835  he  went  to  Paris, 
where  he  was  patronized  and  decorated  by  Louis 
Philippe.  In  his  later  years  he  returned  to  Exeter, 
where  he  died  in  1868. 

BENOIST,  Antoinb,  (called  Dn  Ceecle,)  a 
French  portrait  painter,  was  born  at  Joigny  (Yonne) 
in  1632.  He  became  painter  in  ordinary  and  first 
sculptor  in  wax  to  Louis  XIV.,  and  was  received 
into  the  Academy  in  1681.  There  is  at  Versailles 
a  remarkable  medallion  of  Louis  XIV.  executed  by 
him  in  coloured  wax.     He  died  in  Paris  in  1717. 

BENOIST,  Antoine,  a  French  engraver,  was 
born  at  Soissons  in  1721,  and  died  in  London  in 
1770.  He  engraved,  after  Blackey,  a  portrait  of 
Louis  XV.,  King  of  France. 

BENOIST,  Guillaume  Philippe,  a  French  line- 
engraver,  was  born  near  Coutances,  in  Nqrmandy, 
in  1725.  He  engraved,  in  a  neat  style,  some 
portraits,  and  a  few  other  subjects.  He  resided 
during  the  latter  part  of  his  life  in  London, 
where  he  died  in  1770.  The  following  plates  are 
by  him : 

PORTRAITS. 

Galileo  Galilei ;  after  F.  Villainena, 

The  President  de  Montesquieu 

Alexander  Pope. 

Bosen  de  Eoseastein,  physician. 

Sir  Isaac  Newton. 

Blaise  Pascal. 

Albert  Haller. 

Mile.  Olairon,  actress. 

Jacques  Andre  Joseph  Aved,  painter ;  after  Aved. 

SUBJECTS. 

Jupiter  and  Juno ;  after  Giuliano  di  Farma, 
Bathsheba  bathing ;  after  Bonnieu. 

BENOITS,  Madame  Maeie  Guilhelmine,  whose 
maiden  name  was  Laville-Leroux,  and  to  whom 
Demoustier  addressed  his  '  Lettres  a  Bmilie  sur  la 
Mythologie,'  was  born  in  Paris  in  1768.  She  painted 
many  familiar  subjects,  and  the  portraits  of  several 
distinguished  persons,  among  which  are  those  of 
the  Emperor  Napoleon,  and  his  wife,  Maria  Louisa. 
A  portrait  of  a  negress  by  her  is  in  the  Louvre. 
She  died  in  1826,  in  Paris. 

BENOUVILLE,  FRANgois  LioN,  an  historical 
painter,  who  was  born  in  Paris  in  1821,  and 
studied  under  Picot.  His  earliest  exhibited  works 
were,  'Mercury  and  Argus  '  (1839)  ;  'The  Hermit 
and  the  Slothful  Knights'  (1841),  taken  from  an 
incident  in  Sir  Walter  Scott's  '  Ivanhoe  ; '  '  Judith ' 
(1844);  'Esther'  (1845).  In  1845  he  obtained 
the  great  prize  of  Rome,  in  history,  with  his  pic- 
ture of  '  Jesus  in  the  Judgment  Hall.'  In  1853 
he  exhibited  a  large  picture  of  '  St.  Francis  of 
Assisi  dying,  blessing  his  native  city,'  which  was 

la 


Bensheimer 


A  BIOGRAPHICAL  DICTIONARY  OF 


Benzono 


purchased  for  the  Luxembourg  G-allery,  and  at 
once  placed  him  in  a  distinguished  rank  in  his  art ; 
it  is  now  in  the  Louvre.  To  the  Universal  Exhi- 
bition of  1855  Biinouville  sent  '  Christian  Martyrs 
entering  the  Amphitheatre,'  and  '  A  Prophet  of  the 
Tribe  of  Judah  killed  by  a  Lion ;  '  works  more 
remarkable  for  their  composition  than  their  exe- 
cution. In  1857  he  exhibited  '  The  Two  Pigeons,' 
'  Raphael  seeing  theFornarina  for  the  first  time,' 
and  '  Poussin  on  the  banks  of  the  Tiber.'  _  About 
this  time  he  painted  the  decoration  of  the  interior 
of  the  H6tel  de  Ville.  Early  in  1859  he  completed 
two  pictures,  '  St.  Clair  receivng  the  body  of  St. 
Francis  of  Assisi,'  and  '  Joan  of  Arc,'  which  were 
exhibited  in  the  Salon  of  that  year.  He  also 
painted  portraits.  He  received  two  second  class 
medals  in  1852  and  1865  respectively;  a  first  class 
medal  in  1853  ;  and  the  decoration  of  the  Legion 
of  Honour  in  1855.  He  died  suddenly,  in  Paris,  in 
1859. 

BENSHEIMER,  Johann,  a  German  engraver, 
medallist,  and  designer,  by  whom  we  have  a  set  of 
portraits  of  the  Electors  of  Saxony.  He  worked  at 
Dantzic,  Berlin,  and  Dresden,  where  he  lived  from 
1670  to  1700.  He  marked  his  plates  with  the 
initials  of  his  name,  J.  B. 

BENSON,  GiULio,  who  was  born  at  Genoa, 
about  the  year  1601,  was  a  scholar  of  Giovanni 
Battista  Paggi.  Soprano  says  that  he  was  also  an 
eminent  architect.  He  painted  history  and  per- 
spective, was  patronized  by  the  Doria  family,  and 
executed  some  ornamental  works  in  their  palace. 
His  most  esteemed  work  is  the  'Coronation  of 
the  Virgin,'  painted  in  fresco  in  the  church  of  the 
Nunziata.  There  are  several  of  his  oil  paintings 
in  the  churches  at  Genoa ;  that  of  St.  Domenico  is 
much  admired.     He  died  in  1668. 

BENT,  Johannes  van  deb.    See  Van  dee  Bent. 

BBNTLBY,  Charles,  a  painter  of  coast  and 
river  scenery,  in  water-colours,  was  born  in  1806. 
He  was  elected  an  associate  of  the  Water-Colour 
Society  in  1834,  and  a  full  member  in  1844,  and 
constantly  contributed  to  their  annual  exhibitions. 
His  subjects  are  views  in  France,  Holland,  and 
Italy,  as  well  as  on  the  shores  of  his  native  country. 
He  died  of  cholera  in  1854. 

BENTLEY,  Joseph  Clayton,  a  line-engraver, 
was  born  at  Bradford  in  1809.  His  first  attempt 
in  art  was  landscape  painting ;  but  coming  to 
London  in  1832,  he  commenced  to  study  engraving 
under  R.  Brandard.  Some  of  his  best  plates  were 
engraved  for  the  Vernon  Gallery,  after  Gains- 
borough, Callcott,  and  Linnell.  Always  of  a  weak 
constitution,  his  health  entirely  gave  way  under 
too  persistent  exertion,  and  he  died  in  1851. 

BENTLEY,  Richard,  the  only  son  of  the 
eminent  classical  scholar  Dr.  Bentley,  master  of 
Trinity  College,  Cambridge,  was  an  amateur  artist 
of  some  celebrity  towards  the  end  of  the  last 
century.  He  is  best  known  by  his  illustrations 
of  the  edition  of  Gray's  works  which  Horace 
Walpole  printed  at  Strawberry  Hill.  He  died  in 
1782. 

BENTUM,  Justus  van,  a  pupil  of  Godefried 
Schalken,  was  born  at  Leyden  in  1670,  and  died 
in  1727.  He  painted  in  the  manner  of  his  master. 
A  picture  by  him  of  a  'Cake-seller'  is  in  the 
Belvedere  at  Vienna. 

BENVENDTI,  De'.    See  Bologna,  Simone  da. 

BENVENDTO,  Giovanni  Bati-ista,  called  Dell' 
Oktolano,  because  his  father,  Francesco  di  Benve- 
nuto,  was  a  gardener,  was  born  at  Ferrara  about 

112 


the  year  1490.  By  some  writers  his  birth  is  placed 
as  early  as  1467.  After  studying  some  time  in  his 
native  city,  he  went  to  Bologna,  where,  in  1512-13 
he  was  influenced  in  his  painting  by  the  works 
of  Raphael  and  Bagnacavallo.  He  painted  in  the 
style  of  Dosso  Dossi.  Barotti  mentions  several 
of  the  works  of  Benvenuto  in  his  description 
of  Ferrara,  where  they  are  highly  esteemed.  In 
the  church  of  San  Niccol6  he  painted,  in  1520 
the  '  Virgin  Mary  and  Infant  Jesus,'  with  several 
Saints;  in  Santa  Maria  de'  Servi  the  'Nativity-' 
and  in  San  Lorenzo  the  '  Adoration  of  the  Magi.' 
From  1612  to  1624  he  worked  at  Ferrara.  He 
is  supposed  to  have  died,  while  still  young  in 
1625.     His  best  work  is  a  '  St.  Sebastian,  St.  Roch 

and   St.   Demetrius,'   in  the  National    Gallery 

formerly  in  the  parochial  church  of  Bondeno  near 
Ferrara.  In  the  Ferrara  Gallery  there  are  a  '  Na- 
tivity '  and  a  '  Christ  in  the  Garden '  by  him. 

BENVENUTO,  Pieteo,  who  was  born  at  Arezzo 
in  1769,  studied  the  works  of  Andrea  del  Sarto  at 
Florence,  and  those  of  Raphael  at  Rome.  He  was 
also  much  influenced  by  the  style  of  J.  L.  David, 
and  was  considered  one  of  the  leading  painters  of 
the  modern  Tuscan  school.  His  style  is  noble  and 
elevated,  although  somewhat  chargeable  with  cold- 
ness, his  design  pure  and  correct,  and  his  colour 
often  brilliant.  He  painted  '  The  Saloon  of  Her- 
cules,' in  the  Pitti  Palace,  and  the  cupola  of  the 
chapel  of  the  Medici.  The  last-named  is  one  of 
the  most  important  of  his  works ;  in  it  are  repre- 
sented -eight  grand  subjects,  taken  from  the  Old  and 
the  New  Testament,  the  four  Prophets  and  the  four 
Evangelists.  It  was  under  the  superintendence  of 
this  artist  that  Carlo  Lassinio  engraved  the  sub- 
jects in  the  famous  Riccardi  Gallery,  painted  by 
Luca  Giordano.  He  died  at  Florence  in  1844,  whUe 
holding  the  post  of  Director  of  the  Academy. 
Amongst  his  best  works  may  be  mentioned  the  fol- 
lowing : 

Arezzo.  Cathedral.  Judith  displaying  the  head  of 
Holoferaes  to  the  assembled 
people  (engraved  hy  Eicciani). 

Florence.  Pal.  Corsini.  Pyrrhus  kUling  Priam,  after  the 
taking  of  Troy  {engraved  hy 
the  same'). 
„  S.  Lorenzo.  Scenes  from  the  Old  and  New 
Testament  —  on  the  ceiling  of 
the  CJhoir  chapel  (fresco). 
„         TTffizi.  His  own  Portrait. 

Kavenna.  Cathedral.      The  death  of  St.  Chrysologus. 

BENVENUTO  da  GAROFALO.     See  Tisi. 

BENVENUTO  (di  Giovanni)  del  GUASTA. 
See  Del  Gdasta,  Benvenuto. 

BENWELL,  John  Hodges,  born  at  Blenheim  in 
1764,  studied  in  the  Royal  Academy  Schools,  and 
in  1782  gained  a  silver  medal.  Some  of  his  works, 
such  as  his  '  Auld  Robin  Gray,'  '  Children  in  the 
Wood,'  &c.,  were  engraved.  He  used  water-colours 
and  crayons  in  an  effective  manner.  He  died  in 
1786,  and  was  buried  in  Old  St.  Pancras  church- 
yard. 

BENWELL,  Mart,  a  painter  of  portraits  in 
crayons  and  in  miniatures,  exhibited  her  works  at 
the  Incorporated  Artists'  Society  and  the  Royal 
Academy  between  1760  and  1782.  Her  portrait 
of  'Queen  Charlotte'  was  engraved  by  Richard 
Houston.  Late  in  life  she  married  a  Mr.  Code, 
and  resided  at  Paddington,  where  it  is  believed 
she  died  soon  aftei;  1800. 

BENZONO,  Antonio,  was  a  Veronese  painter  of 
the   16th   century,  and  a  disciple  of  Francesco 


Ber 


PAINTERS  AND  ENGEAVEES. 


Berchem 


Carota.  The  Gallery  at  Verona  possesses  a  '  Virgin 
and  Child,  between  St.  Jerome  and  St.  George,' 
signed  and  dated  by  him  in  1531.  No  dates  are 
given  of  his  birth  or  death. 

BER,  Jacob,  (commonly  called  Jaoobbee,)  was 
born  at  Bliescastel,  in  Bavaria,  about  1806,  and 
studied  under  Gerard  van  Spaendonck.  He  held 
for  a  long  time  the  post  of  flower  and  fruit  painter 
at  the  porcelain  factory  at  Sevres.  Ber  received 
numerous  medals  for  his  fruit  and  flower  paint- 
ings, and  the  cross  of  the  Legion  of  Honour.  He 
died  ,in  1864. 

BBRAIL,  Feanqois,  a  French  painter  and 
geographer,  was  born  in  1665  at  Chateaudun,  where 
he  died  in  1732.  There  is  a  view  of  the  Royal 
Abbey  of  the  Magdalen  at  Chateaudun,  engraved 
after  him  by  J.  B.  Scotin. 

BEEAIN,  Jean,  'the  elder,'  a  French  painter,  was 
born  in  Paris  about  the  year  1638.  He  was  ap- 
pointed in  1674  "dessinateur  de  la  Chambre  et  du 
Cabinet  du  Roi,"  in  which  capacity  it  was  his  duty 
to  design  the  scenery  and  costume  for  the  court 
f§tes  and  ballets.     He  died  in  Paris  in  1711. 

BERAIN,  Jean,  'the  younger,'  who  was  born  in 
1674,  and  died  in  1726,  succeeded  his  father,  Jean 
Berain  the  elder,  as  draughtsman  to  the  king, 
and  etched  several  plates,  mostly  from  his  own 
designs,  in  very  neat  manner,  though  rather  stiff 
and  formal  ;  among  others  are  the  following : 

Twelve  plates  —  Of  the  ornaments  of  painting  and 
sculpture,  which  are  in  the  gallery  of  ApoUo  in  the 
Louvre. 

The  Mausoleum  for  the  Funeral  of  Maria  Anna  Chris- 
tina Victoria  of  Bavaria. 

Devices  for  a  Funeral  Ceremony, 

BBEANGEE,  Charles,  a  French  painter  of 
animals  and  fruit,  was  born  at  Sevres  in  1816.  He 
was  a  pupil  of  Paul  Delaroche,  and  died  in  Paris 
in  1863. 

BEBARDI,  Fabio,  an  Italian  engraver,  horn  at 
Siena  in  1728.  He  went  to  Venice  when  young 
and  learned  the  art  of  engraving  under  Joseph 
Wagner.  He  has  engraved  several  plates  of  his- 
torical and  other  subjects,  chiefly  after  later  Vene- 
tian painters : 

St. .  Seraphiuus  worshipping  the   Cross,  half  length ; 

frontispiece.    1767. 
A  'Woman  sleeping,  surprised  by  a  Sportsman ;  after 

Fiazetta, 
Four  Pastoral  Subjects ;  after  the  same. 
Isaac  blessing  Jacob  ;  after  J.  B.  Fiitoni, 
The  Sacrifice  of  Gideon ;  after  the  same. 
Jacob  and  Bachel ;  after  J.  Varotti. 
Hagar  and  Ishmael  in  the  Desert ;  after  J.  Varana. 
Six  Views  in  Venice ;,  after  Canaletto ;   engraved  by 

Berardi  and  Wagner,     1742. 

BERCH,  Van  PLATTEN.    See  Platten-Bebch. 

BERCHEM.  NicoLAAS  (or  Claas,  the  shortened 
form)  PlETEESZ  is  commonly  known  as  Berchem 
or  Beeghem.  By  several  writers  this  has  been  as- 
sumed to  be  a  mere  nickname,  and  various  reasons 
have  been  given  for  its  origin.  But  inasmuch  as 
he  is  entered  in  the  town-records  as  Berchem,  and 
that  he  adopted  it  for  the  signature  on  his  works, 
it  may  to  all  intents  and  purposes  be  considered  a 
surname.  He  was  born  at  Haarlem  in  1620.  His 
father,  whose  name  was  Pieter  Claasz,  was  known 
as  Pieter  Claasz  van  Haarlem,  and  it  was  from 
him  that  Nicolaas  received  his  first  instruction  in 
art.  He  afterwards  studied  under  Jan  van  Goijen, 
N.  Moeijaert,  De  Grebber,  with  Jan  Wils,  whose 
daughter  he  married,  and  with  Weeninx.  The  pic- 
lures  he  painted  in  tie  early  part  of  his  life  have 
I 


some  resemblance  to  the  works  of  Weeninx,  al- 
though touched  with  more  delicacy  ;  and,  like  the 
pictures  of  that  master,  they  represent  seaports  and 
embarcations.  He  afterwards  formed  for  himself 
a  different  and  a  more  interesting  manner,  repre- 
senting landscapes  of  most  delightful  scenery, 
enriched  with  architectural  ruins,  and  decorated 
with  charming  groups  of  figures  and  cattle.  His 
pictures  of  those  subjects  are  superior  to  any 
painter  of  his  country,  except  his  contemporary 
Jan  Both,  and  there  appears  to  have  been  some 
degree  of  rivalry  between  these  celebrated  artists. 
It  is  related  that  a  great  enoourager  of  art,  a 
burgomaster  of  Dordrecht  —  Van  der  Hulk  by 
name — engaged  Berchem  and  Both  to  paint  each 
a  picture,  for  which  they  were  to  receive  re- 
muneration, and  the  one  whose  work  should  be 
thought  the  better  was  to  have  a  certain  sum,  in 
addition,  as  premium.  The  two  painters  did  their 
best,  and  on  showing  their  work  to  their  patron  he 
assured  them  that  their  admirable  performances 
had  deprived  him  of  the  capability  of  preference, 
and  that,  as  they  had  both  reached  the  perfection 
of  the  art,  they  were  both  entitled  to  the  premium, 
the  prize  of  fame.  Berchem's  painting  is  No. 
1076  in  the  Hermitage,  St.  Petersburg.  Descamps 
considered  it  his  masterpiece.  From  the  sub- 
jects and  the  manner  of  many  of  his  paintings  it 
has  been  concluded  that  Berchem  made  a  journey 
to  Italy,  though  no  precise  information  on  the 
subject  is  to  be  obtained.  He  died  at  Amsterdam 
in  1683.  The  following  is  a  list  of  his  best  paint- 
ings, in  the  public  collections  of  Europe  :  they  are 
not  uncommonly  seen  in  the  private  galleries  of 
England : 

Amsterdam.  .Miseum.  Winter  Landscape  {dated  1647 
„  „  The  three  flacks  of  Sheep. 

„  „  Cattle  crossing  a  Ford  {dated  1656). 

„  „  The  Ferry-boat. 

„  „  Landscape  and  Figures  {executed  in 

conjunction  with  Van  der  Sagen). 
„  V.  d.  Hoop.  Italian  Landscape. 

„  Six  Coll.      Several  examples. 

Berlin.       Museum.      Winter  landscape  (Bebchem  f). 
„  „  Mythological  scene  in  a  Landscape 

(Beechem  p). 
The  Halt  at  the  Inn  (Beechem  f). 
V- 


Brunswick.  Gallery. 
Brussels.     Museum,. 


Cassel, 

Darmstadt, 

Dresden. 


Gallery. 
Gallery. 
Gallery. 


Dulwich.       Gallery. 


Hague.        Museum. 


London. 


Munich. 
Paris. 


The  Halt  at  the  Forge  (Bebchem) 
Female  Head  (a  study). 
Pomona  and  Vertumnus, 
Landscape  with  Euins. 
Kepose  in  the  Meadow, 
A  Forge  (Berchem). 
Herdsmen  and  Cattle. 
Angels  appearing  to  the  Shepherds 

{signed  BeeiGhem,  1649), 
A  Sunset  (Berchem). 
Landscapes  {eleven). 
Landscape  with  Figures, 
Wood  Scene. 

Landscape  (called  '  Le  Soir '). 
LandjScape  {called  '  Le  Midi '), 
Landscape  (Beeeighem,  164S). 
The  Boar  Hunt  (Beeohem,  1659). 
„  Italian  Ford  (Beeghem,  1661). 

„  Attack  on  a  Convoy  in  the  Moun- 

tains (Beeohbm). 
JVat.  Gall.  Crossing  the  Ford  (Bbbchempinxt) 
„        „    Landscape  with  Euin  (Beeghem). 
„        „    Italian  Landscape  (Berchem). 
„        „    Ploughing  (Beeghem). 
„        „    Landscape  (Beechem,  165 — ). 
Pinakothek.  Landscapes. 

„  And  others  ;  in  all,  eight  works. 

View  near  Nice  (G.  Berghem). 
Landscapes  with  Animals  (C.  Ber- 
ghem p.  1653). 
The  Ford  (Bebchem  p.  1650). 

113 


Louvre. 


Berchera 


A  BIOGRAPHICAL  DICTIONARY  OF 


Berck-Heijde 


Paris.  Lotivre.      Eiyht  oth^r  Landscapes  with  Animals, 

Teteishuvg.Hermitacfe  Angels  appearing  to  tlie  Shepherds 
(Beechbm). 
„  „         The  Eepose  in  Egypt  (Beechem). 

„  „         The    Eape    of    Europa    (Bekchem, 

1649). 
„  „         Autumn  (N.  Berchem). 

„  „         Halt  of  Huntsmen  (Beechem.     No. 

1076  ;  on£  of  his  best  works). 
„  „         Italian  Scenes. 

„  „         And  others ;  in  all,  sixteen  works. 

Vienna.      Belvedere.  Landscapes  with  Figures  and  Herds 
(Jive-). 
„         Czernin  Ga^.  Landscape. 
„  LiechtensteinGal.  Death  of  Dido. 
„  „  Judgment  of  Paris. 

„  „  Landscape  (and  others). 

Berchem  sometimes  signed  his  name  0.  Berchem, 
the  C  standing  for  Claas,  and  also,  in  early  life, 
Berighem,  or  Berrighem.  He  occasionally  painted 
animals  in  the  works  of  other  masters,  as  Euis- 
dael,  Hobbema,  Jan  Wils,  and  others.  The  style 
of  Berchem  is  excellent ;  he  painted  with  surpris- 
ing facility,  yet  his  pictures  have  all  the  finish  that 
could  be  wished.  Extremely  happy  in  the  choice 
and  arrangement  of  his  compositions,  he  has  given 
a  singular  grace  and  beauty  to  his  figures,  without 
departing  from  the  propriety  of  costume.  The 
distribution  of  his  masses,  and  his  arrangement  of 
light  and  shade,  are  masterly  and  intelligent ;  and 
the  delicate  gradation  of  his  aerial  perspective,  the 
light  floating  of  his  skies,  and  the  transparency 
of  the  water,  have  never  been  surpassed  by  any 
painter  of  his  country. 

This  celebrated  artist  has  also  amply  contributed 
to  the  portfolios  of  the  collector,  by  the  numerous 
exquisite  drawings  and  etchings  he  has  left  us, 
of  which  the  latter  are  executed  in  a  much  more 
finished  manner  than  we  are  led  to  expect  from 
the  point  of  a  painter.  There  is  a  descriptive 
catalogue  of  the  etchings  of  Berchem,  ^ 
by  Hendrik  de  Winter,  published  at  Jf 
Amsterdam  in  1767.  The  following  /?  1\/Q 
list  comprises  his  principal  plates :       ^0/  «-/  lO- 

SETS    OF   PHINTS    ETCHEB    ET    BERCHEM. 

Six  plates  of  Cows,  with  the  title,  called  the  Milkmaid 

C.  Berc/hem,  fee.  et  exc.     1634  to  1644. 
Six  of  Sheep ;  in  the  title  print,  a  woman  sitting  on  a 

stone. 
Six  of  Goats  ;  in  the  title  print,  a  man  sitting  with  a  dog. 
Eight  of  Sheep ;  in  the  title  print,  a  woman  standing 

near  a  rock. 
Eight  of  Sheep  and  Goats ;  in  the  title  print,  a  man. 
Pive  larger  plates  upright,  one  dated  1652 ;  all  marked 

BercfheTfiy  fee. 
Pour  smaller  plates  of  different  animals,  lengthways; 

marked  iV.S. 
Six  of  the  Heads  of  Sheep,  Goats,  &c. ;  small ;  scarce. 

SINGLE  SEINTS  ETCHED  ET  BERCHEM. 

A  Cow  drinking;  ^ej-cAemj/ec.     1680. 

A  Cow  watering;  C.  P.  Berc/hem,  inv.  et  fee.;  fine  and 

rare. 
A  Landscape,  with  two  Cows  lying,  and  one  standing- 

Beryhem,fec.  ^' 

A  Landscape,  with  Cows,  and  a  man  riding  on  an  Ass  ■ 

Jy.  Berghem,,fec. 
A  Landscape,  with   a  Woman  hathing  her  feet  in  a 

Brook,  and  a  Man  behind  leaning  on  a  Stick,  with 
A  ^.l  ^^  Figures,  and  a  Euin  in  the  distance. 
•A  Boy  ridmg  on  an  Ass,  speaking  to  another  Boy,  who 

i^^playmg  on  the  Bagpipes.    Called  '  The  Bagpiper ; ' 

A  Landscape  with  a  Man  playing  on  the  Flute,  and  a 
Voman  sittmg ;  without  a  mark  ;  scarce. 

A  Landscape,  with  a  Man  standing,  and  a  Woman  seated 
suckling  a  child ;  without  a  mark :  very  scarce. 

114 


BERCHET,  PnsRBE,  a  French  painter,  born  in 
1669.  He  was  a  scholar  of  Charles  de  la  Posse 
under  whom  he  studied  till  he  was  found  capable 
of  undertaking  some  works  in  the  palaces  in 
France.  He  came  to  England  in  1681,  and  met 
with  employment  in  ornamenting  the  houses  of 
some  of  the  nobility.  His  best  work  is  the  ceiling 
of  the  chapel  of  Trinity  College,  Oxford,  where  he 
has  represented  the  '  Ascension.'  He  died  in  Lon- 
don in  1720. 

BERCK  -  HEI.JDE,  Gbrrit,  (BBRKHSYDEif,  or 
Berkeydon,)  the  younger  brother  of  Job  Berck- 
Heijde,  was  bom  at  Haarlem  in  1638.  The  success 
of  his  brother  encouraged  him  to  become  a  painter 
and  he  was  assisted  by  his  instruction.  He  entered' 
the  guild  of  St.  Luke  in  1660.  These  artists  ap- 
pear to  have  been  bound  to  each  other  by  the 
most  affectionate  attachment ;  their  pursuit  of  the 
same  profession,  instead  of  producing  jealousy  or 
ill-will,  seems  only  to  have  inspired  them  with  a 
laudable  emulation,  and  a  desire  of  contributing  to 
each  other's  celebrity.  It  is  said  that  they  resided 
together  with  their  sister  Aechje.  Gerrit  painted 
at  Cologne,  Heidelberg,  Haarlem,  and  Amsterdam. 
He  died  at  Haarlem  in  1698.  The  pictures  of 
Gerrit  Berck-Heijde  are  faithful  representations 
of  the  principal  towns  in  Holland  and  Germany, 
painted  with  great  neatness,  and  well  coloured! 
They  are  sometimes  ornamented  with  figures  by 
Job,  who  surpassed  his  brother  in  that  branch  of 
art. 

Amsterdam.  Museum. '' 


„  V.  d.  Hoop. 

Antwerp.  Museum. 


Berlin. 
Dresden.  „ 

Frankfort.  StUel. 


Paris.  Louvre. 

Rotterdam.  Museum 


View  of  Dam  at  Amsterdam  {signed 
and  dated  1677). 

Street  Views. 

View  of  Amsterdam  (signed  Geeett 
Beeck  Heijde,  Haeelem,  1668). 

View    of  the    Hague   {signed   G. 
Beeck-Hetde). 

A  pubhc  place,  with  antique  build- 
ings and  figures  {signed). 

A  Hawking  Party  (signed). 

The  Stadhuis,  Amsterdam  (signed). 

View  of  Amsterdam,  showing  the 
two  Synagogues  (signed). 

View  of  the  Trajan  Column. 

View  of  Cologne  (signed  and  dated 
1673). 

Petersburg.fl'ermite^e.Houses  on  the  canal,  Haarlem. 
n  „  Hunting  party  (signed). 

BERCK-HEIJDE,  Job,  (Berkhbyden,  or  Ber- 
keydon,) was  born  at  Haarlem  in  1630.  He 
studied  under  a  painter,  Jacob  Willemsz  de  Wet, 
but  by  a  natural  inclination  for  art,  he  employed 
himself,  when  young,  in  making  sketches  of  the 
environs  of  Haarlem,  and  the  commendation 
bestowed  on  his  first  essays  encouraged  him  to 
adopt  art  as  a  profession,  and  he  entered  the 
guild  of  St.  Luke  in  1654.  His  genius  led  him  to 
paint  landscapes  and  views  of  die  Rhine,  which 
he  represented  in  a  very  pleasing  manner,  and  his 
attentive  observance  of  nature  enabled  him  to  give 
an  appearance  of  air  and  sunshine  to  his  pictures, 
which  produces  a  very  agreeable  effect.  He 
decorated  his  landscapes  with  small  figures,  toler- 
ably correctly  drawn,  and  very  neatly  touched. 
He  sometimes  painted  village  feasts  and  merry- 
makings, which  are  not  without  considerable 
merit.  In  company  with  his  brother  Gerrit,  he 
travelled  through  Germany,  and  was  for  some  time 
in  the  employment  of  the  Elector  Palatine,  for 
whom  he  painted  several  pictures,  and  by  whom 
he  was  presented  witn  a  gold  chain  and  medal. 
He  returned  with  his  brother  to  Holland,  where 


Berdelle 


PAINTERS  AND  ENGRAVERS. 


Bergunzoni 


he  met  with  great  encouragement.  He  died  at 
Haarlem  in  1693.  The  following  are  some  of  his 
hest  works : 

Amsterdam.  Museum.  View  of  Haarlem  {signed). 
„        V.  d.  Hoop.  Church  interior. 

Berlin.       Museum.      Winter  Landscape  (sjjm«d  J.  Bbeck- 
Heyde). 

Brussels.^remSer^  CoZ. View  of  the  Old  Bank  at  Amster- 
dam.   1678. 

Dresden.    Gallery.      View  of  the  Town-hall  at  Amster- 
dam (signed  J.  Beeck  Hetde). 
„  „  Interior  of  the  Cathedral  of  Haar- 

lem (signed  and  dated  1665). 

Rotterdam.  Museum.   The  old  Exchange  at  Amsterdam 


Petersburg.fl'er»fc?Ya^e.  Views  in  Amsterdam  (sigified). 

BERDELLE,  Johann  Baptist,  born  at  Mentz 
in  1814,  studied  first  at  Diisseldorf,  under  Sohadow, 
and  showed  a  great  talent  for  portrait  painting. 
When  visiting  Munich,  in  1840,  he  was  persuaded 
by  Genelli  to  devote  himself  entirely  to  historical 
painting.  He  became  a  follower  of  G.  Rahl,  and 
painted  in  the  manner  of  the  Venetian  artists  of 
the  16th  century.  He  executed  some  frescoes  in 
the  Polytechnikum  at  Munich,  where  he  died  by 
Buicide  in  1876. 

BERENGUEE,  Fra  Ramon,  Prior  of  the  Char- 
treuse of  Scala  Dei,  in  Catalonia,  painted,  about 
the  middle  of  the  17th  century,  a  series  of  small 
pictures  for  the  cloister,  from  the  History  of  St. 
Bruno  and  the  Order,  for  which  he  is  said  to  have 
made  copies  at  Parma  from  the  celebrated  works  of 
Carducho,  whose  style  he  imitated  with  tolerable 
success. 

BERETTINL     See  Bekeettini. 

BERG,  Magnus,  who  was  born  in  Norway  in 
1666,  was  a  painter  and  sculptor.  He  was  in- 
structed by  Andersen,  court  painter  in  Denmark. 

BERG,  Nicolaas  van  dee.    See  Van  dee  Beeq. 

BEEG,  Van  den.     See  Van  den  Bbeg. 

BBRGAMASCO,  II.  See  Castelli,  Giovanni 
Battista. 

BERGAMO,  Andeba  da.     See  Coedelle  Agi. 

BERGE,  Augusts  ChAeles  de  la.  See  De  la 
Bekge. 

BERGE,  P.  VAN  dee.    See  Van  dee  Beege. 

BERGEN,  DiEK  van  den,  (or  Beeghbn).  See 
Van  den  Beegen. 

BERGEN,  Nicolaas  van,  who  was  born  at 
Breda  in  1670,  imitated  the  manner  of  Rembrandt ; 
he  painted  subjects  of  history,  interiors,  and  con- 
versation-pieces. He  died  at  Breda  at  the  age 
of  29. 

BERGER,  Daniel,  an  engraver,  was  bom  at 
Berlin  in  1744.  He  was  instructed  in  the  art  by 
his  father,  who  did  not  attain  great  celebrity :  he 
also  studied  under  G.  P.  Schmidt.  He  engraved 
several  portraits  of  the  Royal  Family  of  Prussia 
and  other  distinguished  personages,  and  many  his- 
torical and  other  subjects,  principally  after  the 
painters  of  his  country.  In  1787  he  was  appointed 
rector  and  professor  of  engraving  of  the  Academy 
at  Berlin.  He  died  in  1824.  Among  others  we 
have  by  him  the  following  plates : 

The  Death  of  Major  de  Kleist ;  after  D.  Chodomecky. 

The  Virgin  and  Child ;  after  Correggio. 

A  Bust  of  a  Man  with  a  gold  chain ;  after  G.  van  den 

Eckkout. 
The  Death  of  General  Schwerin ;  after  J.  C.  Frisch. 
The  Virgin  Mary  ;  after  Baphael. 
Servius  Tullius ;  after  Angelica  Kauffmann. 

BERGERET,  Pieerb  Nolasqub,  a  French  his- 
torical, landscape,  and  portrait  painter,  who  was 
I  2 


bOm  at  Bordeaux  in  1780,  was  a  pupil  of  the 
elder  Laoour,  of  Vincent,  and  of  David.  His  sub- 
jects are  of  the  most  interesting  kind,  whether 
taken  from  national  histories  or  particular  facts 
relating  to  individuals.  Many  of  his  pictures  have 
been  placed  in  the  Luxembourg  and  other  royal 
palaces.  The  bas-reliefs  on  the  column  of  the 
Place  Vendfime  were  designed  by  him  ;  he  painted 
four  of  the  portraits  for  the  hall  of  the  chancellors, 
and  made  designs  for  the  medals  struck  at  the 
Mint.  Many  of  his  pictures  have  been  engraved  ; 
and  some  serve  as  illustrations  to  editions  of 
Boileau,  La  Fontaine,  and  other  French  classics. 
Bergeret  died  at  Paris  in  1863. 

BEHGHE,  Van  den.    See  Van  den  Berghb. 

BERGHEM.     See  Beechem. 

BERGLER,  Joseph,  was  born  in  1753,  at  Salz- 
burg. He  was  Director  of  the  Prague  Academy, 
and  author  of  numerous  etchings  ;  during  his 
sojourn  in  Rome  he  made  a  particular  study  of  the 
works  of  Raphael.  He  was  patronized  by  Cardinal 
Auersperg  and  Count  Thun.  His  paintings  had 
little  transparency,  and  were  wanting  in  reality  of 
colour,  but  he  made  some  good  portraits.  He 
died  at  Prague  in  1829. 

BERGMANN,  Gboeg,  who  was  born  at  Celle, 
near  Hanover,  in  1821,  studied  at  the  Diisseldorf 
Academy  from  -1843  to  1847;  and  became  a 
painter  of  historical  and  biblical  subjects.  He 
died  in  1870.     He  executed  amongst  others : 

Madonna  and  Child.     1847. 
Madonna  and  Child.     1850. 

The  Death  of  Charles  V.    1851.    (Purchased  by  the 
King  of  Hanover.) 

BERGMANN,  Iqnaz,  born  at  Munich  in  1797, 
studied  painting  under  Langer  at  the  Academy 
of  that  city.  He  painted  portraits  in  oil,  but  is 
better  known  as  a  lithographer. 

BEEGMtJLLER,  Johann  Georg,  was  born  at 
Tiirkheim,  near  Augsburg,  in  1688,  and  studied 
under  Andreas  Wolf.  He  painted  history  and  por- 
traits after  the  manner  of  Carlo  Maratti.  Some  of 
his  works  are  to  be  seen  in  the  churches  and  houses 
of  Augsburg,  where  he  resided,  and  where  he  died 
in  1765.  He  is  chiefly  known  by  the  engravings 
which  he  made  from  his  own  designs.  Among 
others  we  have  the  following : 

Four — the  Baptism  of  Christ,  the  Transfiguration,  the 

Resurrection,  and  the  Ascension. 
The  Conception. 

The  Virgin  Mary  caressing  the  Infant  Christ. 
The  Death  of  St.  Joseph ;  inscribed  S.  Joseph  moriens. 
Christ  on  the  Mount  of  Ohves. 
Sancta  Catherina  Victrix. 
St.  Sebastian,  Martyr. 
The  Virgin  and  Infant  Jesus  presenting  the  Eosary  to 

St.  Dominick. 
St.  Francis  kissing  the  Foot  of  the  Infant  Jesus. 
An  emblematical  subject  on  the  Misfortunes  of  the 

Times :  inscribed  Tumultum  adduxit  tempus. 
Justice  and  Peace  ;  Jusfitia  et  Pax,  ^c. 
The  Foiir  Seasons.    1730. 
Four  of  the  Signs  of  the  Zodiac ;  7.  G.  B.  1730. 
Five  figures  of  Women,  emblematical  of  the  Virtues. 

BERGUNZONI,  Loeenzo,  who  was  born  at 
Bologna  in  1646,  was  first  a  scholar  of  Giovanni 
Battista  Bolognini,  but  afterwards  studied  under 
Guercino.  His  first  attempts  were  in  historical 
subjects,  in  which  he  had  some  success ;  but 
having  painted  the  portraits  of  some  persons  of 
distinction  at  Bologna,  he  met  with  such  encourage- 
ment, that  he  devoted  himself  entirely  to  that 
department  of  the  art  in  which  he  excelled. 

115 


Berjot 


A  BIOGRAPHICAL  DICTIONARY  OS 


Bernasconi 


BERJOT,  Antoine,  a  French  flower  and  minia- 
ture painter,  was  born  at  Lyons  in  1763,  and  died 
there  in  1843.  The  Masee  of  that  city  possesses 
many  of  his  works. 

BERKHEYDEN.     See  Bebok-Heijde. 

BERKMANS,  Hendeik,  a  Dutch  painter,  born 
at  Klundert,  near  Willemstad,  in  1629.  His  first 
master  was  Thomas  Willebort,  under  whom  he 
studied  some  time.  He  afterwards  became  a 
scholar  of  J.  Jordaens.  On  leaving  that  master, 
he  painted  some  historical  pictures  which  gained 
him  reputation,  but  the  encouragement  he  met  with 
in  painting  portraits  induced  him  to  forsake  a  path 
which  promised  to  lead  him  to  celebrity.  Such 
was  the  desire  of  possessing  his  portraits,  that  it 
was  with  diflSculty  he  could  fulfil  his  engagements. 
He  painted  the  Count  of  Nassau,  the  Admiral  de 
Ruyter,  and  many  of  the  most  distinguished  per- 
sonages of  his  country.  His  best  work  is  a  large 
picture  of  the '  Company  of  Archers,'  in  the  town- 
hall  at  Middelburg,  where  he  died  in  1690. 

BERLINGHIERI,  Bakone,  was  the  son  of  Ber- 
lingherus,  a  Milanese,  who  was  still  living  in  1250. 
He  executed  several  painted  crucifixes  ;  amongst 
others  one  for  the  Pieve  of  Casabasciano,  in  1254 ; 
and  another  in  1284  for  Sant'  Alessandro  Maggiore, 
at  Lucca.  He  had  two  brothers.  Bonaventdea 
Beelingeieei  is  known  to  have  painted  several 
panels  and  wall-paintings,  at  Lucca,  in  1235  and 
1244,  as  well  as  a  '  St.  Francis  of  Assisi,'  painted 
in  1235  for  the  church  of  San  Francesco,  of  Pescia. 
Maeco  Beelinghieei,  known  as  a  miniature  painter, 
executed  an  Illuminated  Bible,  finished  in  1250. 

BERLINGHIERI,  Camillo,  was  born  at  Fer- 
rara  in  1596.  He  was  the  scholar  of  Carlo  Bononi, 
and  proved  himself  a  very  reputable  painter  of 
history.  His  works  are  chiefly  at  Ferrara  and  at 
Venice,  where  he  was  called  '  II  Ferraresino.'  In 
the  church  of  San  Niccol6,  at  Ferrara,  is  a  fine 
picture,  by  him,  of  the  '  Miracle  of  the  Manna,'  and 
in  Sant'  Antonio  Abate,  the  'Annunciation.'  He 
died  at  Ferrara  in  1635. 

BERNA.     See  Baena. 

BERNABEI,  Piee  Antoni.o,  called  Dblla  Casa, 
a  native  of  Parma,  flourished  about  the  year  1550. 
He  was  not  a  scholar  of  Parmigiano,  as  has  been 
asserted,  but  was  rather  a  follower  of  the  style  of 
Correggio.  Although  Orlandi  contents  himself 
with  styling  this  excellent  artist  Pittor  non  igno- 
bile,  his  great  work  of  the  cupola  of  La  Madonna 
del  Quartiere  proves  him  to  have  been  one  of  the 
ablest  fresco  painters  of  his  time  in  Lombardy.  It 
represents  a  '  Multitude  of  the  Blessed,'  a  grand 
coniposition,  copious  without  confusion  ;  the  figures 
designed  in  a  Correggiesque  style,  with  great 
relief,  and  a  vigour  of  colouring  which  has  still 
preserved  its  original  freshness.  There  are  other 
considerable  works  by  this  master  at  the  Carmel- 
ites, and  in  other  public  places  at  Parma. 

BERNAERD,  Nicaise,  a  Flemish  painter  of 
animals  and  flowers,  was  born  at  Antwerp  in 
1608,  and  was  a  scholar  of  Frans  Snyders.  The 
subjects  of  his  pictures  bear  a  great  resemblance 
to  those  of  his  master,  and  it  is  certain  that  they 
have  been  sold  as  the  genuine  productions  of 
Snyders.  He  went  to  Italy,  and  on  his  return 
settled  in  Paris,  where  his  works  were  much  ap- 
preciated. He  was  admitted  into  the  Academy  in 
1663,  and  died  in  1678.  There  are  two  paintings 
by  him  in  the  I^ouvre,  where  he  is  called  NiCASlus. 
Zani  places  his  birth  in  1593,  and  his  death  in  1663. 
BEENAEETS,  Balthazae,  (or  Beenard).  The 
116 


name  of  this  engraver  is  affixed  to  several  plates 
of  biblical  subjects,  engraved  from  the  designs  of 
Bernard  Picart,  published  at  Amsterdam  in  1720 
They  are  executed  in  a  very  indifferent  style. 

BERNARD,  — ,  a  Neapolitan  painter,  born  in 
1680,  was  a  scholar  of  Solimena,  whose  manner  he 
studiously  followed.     He  died  in  1734. 

BERNARD,  Jan,  a  copyist  of  Paul  Potter  and 
Berchem,  born  in  1765,  died  in  1833.  He  was  a 
member  of  the  Institute,  and  of  the  Academy  of 
Fine  Arts  at  Amsterdam. 

BERNARD,  L.,  a  French  engraver  who  flour- 
ished towards  the  close  of  the  17th  century  has 
left  us  amongst  others  the  following  plates : 

Portrait  of  Louis  XIV. ;  c^ter  Poerson. 

Portrait  of  Sebastieu  le  Prestre  de  Vauban ;  after  De 
Troy. 

Shepherd  with  his  flock ;  after  J.  Forest. 

BERNARD,  Samuel,  a  miniature  painter  and 
engraver,  the  son  of  Noel  Bernard,  a  painter,  was 
born  in  Paris  in  1615.  He  was  a  scholar  of  Simon 
Vouet  and  of  Louis  du  Guernier,  and  made  some 
attempts  at  fresco  painting,  but  not  succeeding  to 
his  expectation,  he  for  some  time  painted  minia- 
tures, but  finally  devoted  himself  entirely  to  en- 
graving. He  became  Professor  of  the  Academy, 
and  died  in  Paris  in  1687.  He  engraved  several 
plates,  both  in  line  and  in  mezzotint,  of  which  the 
following  are  the  principal : 

Charles  Louis,  Duke  of  Bavaria ;  after  Van  Dyck. 

Louis  du  Guernier,  miniature  painter. 

Philip,  Count  of  Bethuue. 

Anne  Tristan  de  la  Beaume  de  Luze,  Archbishop  of 

Paris ;  after  De  Troy. 
The  Apparition  of  St.  Peter  and  St.  Paul  to  Attila; 

after  Raphael.     His  best  work. 
The  Young  Astyanax  discovered  by  Ulysses  in  the 

Tomb  of  Hector ;  after  Bourdon. 
The  Crucifixion  ;  after  Ph.  de  Champagne. 
The  Virgin  Mary,  with  the  dead  Christ ;  after  tite 

same. 
The  Ascension ;  after  the  same. 
An  allegorical  subject  of  Concord. 
The  Flight  into  Egypt ;  after  Guido. 

MEZZOTINTS. 
The  Portrait  of  Louis  XIV. ;  oval. 
Sebastian,  le  Prestre  de  Vauban ;  after  F.  de  Troy. 
The  Nativity ;  after  Rembrandt. 
A  Herdsman  driving  Cattle. 
An  Ox  Market ;  after  B.  Castiglione. 
The  Kepose  ;  called  La  Zingara  ;  after  Correggio. 

BERNARD,  The  Little.    See  Salomon. 

BERNARD  of  BRUSSELS.     See  Oeley. 

BERNARDI,  Francesco,  called  Bigolaro,  was 
a  native  of  Verona,  and  a  disciple  of  Domenico 
Feti.  He  painted  historical  subjects  in  the  first 
half  of  the  17th  century. 

BERNARDINO  da  T'EEVIGLIO.    See  Zenale. 

BERNARDINO  di  BETTO.     See  Biagio. 

BERNARDINO  Di  GIROLAMO  was  a  Friulan, 
who  lived  at  Udine  in  the  16th  century,  and 
decorated  the  churches  at  Lestizza  and  Cormons 
with  frescoes  in  1511  and  1518.  At  the  Town- 
hall  of  Udine,  is  a  '  Coronation  of  the  Virgin,'  by 
him.  No  records  remain  to  show  the  dates  of  his 
birth  or  death. 

BERNAEDUS  de  FLOEENTIA.    See  Floeen- 

TIA,  BeRNARDUS  de. 

BERNASCONI,  Ladea,  or  LuciA,  a  Roman 
lady,  who  was  a  scholar  and  imitator  of  Mario 
Nuzzi,  better  known  as  Mario  de'  Fieri.  Her 
works,  like  those  of  her  preceptor,  have  lost  much 
of  their  original  beauty,  owing  to  the  use  of  some 


Bematz 


PAINTERS  AND  ENGRAVERS. 


Berrettini 


seductive,  but  treacherous,  vehicle  that  gave  bril- 
liancy at  first,  but  in  the  lapse  of  years  has  changed 
to  opacity,  giving  them  a  black  and  squalid  ap- 
pearance. The  dates  of  her  birth  and  death  are 
not  exactly  stated,  but  she  was  living  in  1674. 

BERNATZ,  Martin,  who  was  born  at  Speyer  in 
1802,  commenced  to  study  art  somewhat  late  in 
life,  in  the  Academy  at  Vienna.  He  journeyed 
with  Dr.  Schubert  to  Palestine,  Abyssinia,  and 
elsewhere,  and  made  many  valuable  views  of  the 
scenery,  which  he  afterwards  published  in  litho- 
graphy. He  settled  as  a  landscape  painter  at 
Munich,  where  he  died  in  1878. 

BBKNAZZANO,  Cesaee,  a  Milanese  painter, 
who  flourished  about  the  year  1536.  He  painted 
landscapes,  animals,  and  fruit,  in  which  he  excelled, 
particularly  as  a  colourist.  The  figures  in  his 
landscapes  are  generally  painted  by  Cesare  da 
Sesto,  a  scholar  of  Leonardo  da  Vinci,  under  whom 
Bernazzano  himself  is  said  to  have  studied.  Won- 
derful things  are  related  of  this  artist,  parallel  with 
the  stories  told  of  Zeuxis,  Protogenes,  Apelles,  and 
other  painters  of  antiquity. 

BERNETZ,  Chkistian,  who  was  born  at  Ham- 
burg in  1668,  and  died  in  1722,  was  a  painter  of 
still-life  subjects.  A  picture  by  him  is  in  the 
Cassel  Gallery. 

BERNIERI,  Antonio,  who  was  born  atCorreggio 
in  1516,  was  first  instructed  by  Allegri ;  on  the 
death  of  that  master  he  went  to  Venice,  and  at- 
tended Titian's  school.  He  visited  Rome,  and 
returning  to  Venice  worked  there  until  1563.  He 
died  at  Correggio  in  1565.  Bernieri  was  an 
eminent  painter  of  miniatures.  He  is  sometimes 
called  '  Antonio  da  Correggio.' 

BERNINGEOTH,  Johann  Maetin,  the  son  and 
pupil  of  Martin  Berningroth,  was  born  at  Leipsic 
in  1713.  He  engraved  several  plates  for  the  book- 
sellers, but  he  is  best  known  as  an  engraver  of 
portraits,  neatly  executed  in  the  style  of  his  father. 
He  died  at  Leipsic  in  1767.  His  principal  works 
are: 

Frederick  Augustus  III.  King  of  Poland. 

Frederick  Christisai,  Prince  Eeg.  Pol. 

John  Adolphus,  Duke  of   Saxe-'Weissenfeld.     1745. 

This  is  considered  his  best  plate. 
Sebastian  Felix,  Baron  von  Schwannenberg, 
Ghristianus,  Prince  of  Denmark. 
John  Gottfried  Eichter,  Antiquary. 

BERNINGEOTH,  Maetin,  a  German  engraver, 
bom  at  Ramelsburg  in  the  county  of  Mansfelden, 
in  1670.  He  resided  at  Leipsic,  where  he  engraved 
a  great  number  of  portraits  in  a  tolerably  neat 
manner,  among  which  are : 

Prince  Leopold  of  Anhalt-Dessau,  on  horseback. 
Frederick  Augustus  II.  King  of  Poland. 

He  died  at  Leipsic  in  1738. 

BERNINI,  Giovanni  Loebnzo,  the  sculptor  and 
architect,  was  the  son  of  Pietro  Bernini,  a  Florentine 
painter  and  sculptor.  He  was  born  at  Naples  in 
1698 ;  and  occasionally  practised  the  art  of  paint- 
ing. His  own  portrait  painted  by  himself  is  in 
the  UfSzi  at  Florence.  He  died  at  Rome  in  1680. 
Milizia,  in  his  Vite  degli  Architetti,  gives  a  list  of 
his  works  in  sculpture  and  architecture.  In  France 
he  is  cnlled  '  Le  Cavalier  Bernin.' 

BERNUIS,  Baetolome  df.l  Rio,  a  Spanish 
painter,  was  a  scholar  of  Gaspar  Becerra.  He 
chiefly  practised  his  art  at  Toledo,  where  he  held, 
for  the  last  twenty  years  of  his  life,  1607-1627, 
the  post  of  painter  to  the  Chapter. 

BEKNYNCKEL,   Johann,  an  engraver,  whose 


works  are  little  known.  There  is  a  small  oval 
print  by  him  of  the  '  Adoration  of  the  Shepherds,' 
after  Johann  von  Aachen,  which  is'  not  without 
merit. 

BEERAIN,  Jean.    See  Berain. 

BEREE,  Jean  Baptiste,  born  at  Antwerp  in 
1777,  painted  subjects  in  the  manner  of  Weenix. 
He  afterwards  settled  in  Paris,  where  his  pictures 
are  esteemed  for  their  great  finish  and  fine  execu- 
tion.    He  died  in  Paris  in  1828. 

BEREESTYN,  C.  V.,  a  German  engraver,  who 
flourished  about  the  year  1650.  He  engraved  some 
plates  of  landscapes,  among  which  is  one  repre- 
senting a  woody  scene,  signed  with  his  name  and 
the  above  date.     It  is  very  scarce. 

BERRETTINI,  Pieteo,  (orBEEETTiNi,)  commonly 
called  PiETEO  DA  Coetona,  was  bom  at  Cortona  in 
1596.  He  was  first  instructed  by  Filippo  Berrettini, 
his  uncle,  and  afterwards  by  Andrea  Comiuodi, 
whom  he  accompanied  to  Florence,  and  there  en- 
tered the  atelier  of  Baccio  Ciarpi,  where  he  devoted 
himself  to  the  study  of  the  antique,  the  reliefs 
of  Trajan's  column,  and  the  works  of  Raphael 
and  Michelangelo.  He  resided  for  many  years  in 
Rome.  The  first  productions  of  Berrettini  that 
excited  attention,  were  two  pictures,  painted  whilst 
he  was  yet  very  young,  for  the  Cardinal  Sacchetti, 
representing  the  '  Rape  of  the  Sabines,'  and  the 
'  Battles  of  Alexander.'  They  attracted  the  notice 
of  Pope  Urban  VIIL,  who  commissioned  him  to 
paint  a  chapel  in  the  church  of  Santa  Bibiena, 
where  Ciampelli,  an  artist  of  reputation,  was  at  that 
time  employed,  and  who  regarded  with  contempt 
the  audacity  of  so  young  a  man  venturing  on  so 
important  a  public  undertaking ;  but  Berrettini 
had  no  sooner  commenced  the  work  than  Ciampelli 
was  convinced  of  his  ability.  The  success  of  that 
performance  procured  for  him  the  commission  for 
his  celebrated  work  of  the  ceiling  of  the  "grand 
saloon  in  the  Palazzo  Barberini.  It  represents  an 
'Allegory  of  the  History  of  the  Barberini  Family.' 
The  richness  of  the  composition,  the  perfection  of 
the  chiaroscuro,  the  harmony  of  the  colour,  and 
the  splendour  of  the  style,  render  it  one  of  the 
most  perfect  specimens  of  decoration.  It  has 
been  observed,  that  the  drawing  is  not  the  most 
correct,  and  that  the  draperies  have  not  the  ap- 
pearance of  nature;  but  the  acknowledged  beauties 
of  this  great  work  are  so  agreeable  and  seductive, 
that  it  is  impossible  to  contemplate  it  without 
admiration.  After  having  finished  the  cartoons 
for  some  oil  paintings  for  the  mosaics  of  the 
dome  of  St.  Peter's,  Berrettini  travelled  through 
Lombardy,  visited  Venice,  and  returned  to  Rome, 
by  way  of  Florence,  where  he  was  engaged  by 
the  Grand  Duke  Ferdinand  II.  to  paint  the  saloon 
and  four  apartments  in  the  Palazzo  Pitti ;  here  he 
represented  the  'Clemency  of  Alexander  to  the 
Family  of  Darius  ;  '  the  '  Continence  of  Cyrus  ;  ' 
the  'Firmness  of  Porsenna;'  the  'History  of  Masi- 
nissa ; '  and  other  subjects.  He  did  not  entirely 
finish  the  works  he  had  projected  for  the  Grand 
Duke.  Disgusted  by  the  intrigues  of  some  artists 
who  were  jealous  of  his  reputation,  he  left  Florence 
abruptly,  and  could  never  be  prevailed  on  to  return. 
His  frescoes  were  finished  by  Ciro  Ferri.  On  his 
arrival  at  Rome  he  continued  to  be  loaded  with 
commissions,  and  was  employed  by  Alexander  VII., 
who  conferred  on  him  the  order  of  the  Golden  Spur. 
The  works  of  Berrettini  exhibit  a  most  fertile  in- 
vention and  an  uncommon  facility  of  operation. 
His  figures  are  not  designed  with  scrupulous  cor- 

117 


Berrettoni 


A  BIOGRAPHICAL  DICTIONARY  OF 


Bertelli 


reotness,  nor  are  the  heads  of  his  females  strictly 
beautiful ;  but  they  have  always  a  grace  and  love- 
liness that  charm  in  spite  of  those  deficiencies.  If 
his  colouring  is  not  always  chaste,  it  is  agreeable, 
and  possesses  much  of  what  the  Italians  call  Vag- 
hezza.  His  powers  were  particularly  adapted  to 
the  great  works  that  require  to  be  executed  in 
fresco,  to  which  he  gave  a  brilliancy  and  force 
nearly  approaching  to  oil  painting.  Berrettini 
died  at  Rome  in  1669.  His  best  disciples  were 
Dandini,  Giro  Ferri,  Francesco  Romanelli,  Pietro 
Testa,  Luca  Giordano,  and  Jacques  Bourguignon. 
He  was  also  an  architect. 

The  following  is  a  list  of  his  principal  paint- 


Blenheim.  Gallery.  Eape  of  the  Sabines.     (Oie  of 

his  best  works,) 
Brussels.    Museum.  Marriage  of  St.  Catharine. 

Cortona.     S.  Aijostino.       Virgin  and  Saints. 
Dresden.     Gallery.  Mercury    warning     .^ueas    to 

hasten    his    departure   from 
Carthage. 
„  „  A  Eoman    General  addressing 

the  consuls. 
Dulwich.    College.  St.  Martina  triumphing  over  the 

idols. 
Florence.     Uffizi.  Portrait  of  himself. 

„  Piiti  Fal.  Frescoes  [see  text), 

Hague.        Gallery.  Holy  Family. 

liOndon.      Devonshire  H.  Landscape. 

„  Northbrook  Col.  Magdalene  with  Angels. 

Milan.         Brera.  Virgin  with  Saints. 

Munich.      Pinakotheh,       "Woman  taken  in  adultery. 
Paris.  Louvre,  Jacob  and  Laban. 

„  Birth  of  the  Virgin. 

„  J,  St.  Martina  before   Alexander 

Severus. 
„  „  Virgin  and  ChUd  &  St.  Martina. 

„  „  Eomulus  and  Remus. 

„  „  Dido  and  iEneas. 

Petersburg.fl^er»w'(a^c.        Holy  Family. 

„*  „  Christ  and  the  Magdalene. 

„  „  Martyrdom  of  St.  Stephen. 

Eome.         BarheriniFal,  Allegory — fresco. 

„  Chiesa  Nuova.   Paintings  on  nave,  dome,  and 

tribune. 

^'C^p^clni.  }  Coii^rsion  of  St.  Paul. 
Vienna.      Belvedere,  St.  Paul  and  Ananias. 

,,  „  Return  of  Hagar. 

),  „  Marriage  of  St.  Catharine. 

„  Schonhorn  Coll.  Hercules. 

BERRETTONI,  Niccol6.  This  painter  was  born 
at  Montefeltro,  near  Macerata,  in  1637.  He  was  the 
ablest  scholar  of  Carlo  Maratti,  and  painted  his- 
torical subjects  with  skill.  He  was  also  influenced 
by  Guido  Reni  and  Correggio.  One  of  his  best 
pictures  is  an  altar-piece  in  the  church  of  Santa 
Maria,  in  Monte  Santo,  in  Rome,  representing  a 
subject  from  the  life  of  St.  Francis.  He  was  re- 
ceived into  the  Academy  of  that  city  in  1675,  and 
died  in  1682. 

BERRIDGE,  John,  a  pupil  of  Sir  Joshua  Rey- 
nolds, gained  a  prize  at  the  Society  of  Arts  in 
1766,  and  exhibited  portraits  at  the  gallery  of  the 
Incorporated  Society  of  Artists  and  at  the  Royal 
Academy  between  1770  and  1785. 

BERRUGDETE,  Alonso,  an  eminent  Spanish 
painter,  was  born  at  Paredes  de  Nava,  in  Castile, 
in  1480.  When  he  had  made  some  progress  in  the 
art,  the  fame  of  Michelangelo  induced  him  to  visit 
Italy,  and  he  had  the  advantage  of  studying  under 
that  sublime  master.  He  was  the  contemporary 
and  friend  of  Andrea  del  Sarto,  and  made  such 
improvement  during  his  stay  in  Italy— both  at 
Florence  and  Rome— that  he  returned  to   Spain 

118  ^ 


eminently  proficient  both  in  painting  and  sculp, 
ture.  He  also  excelled  as  an  architect.  He  was 
the  first  artist  who  introduced  the  pure  Italian 
style  of  the  16th  century  into  Spain.  The  Emperor 
Charles  V.  took  him  under  his  immediate  protection, 
appointed  him  one  of  his  painters,  and  employed 
him  in  many  considerable  works  at  Madrid,  in  the 
palace  of  the  Prado,  and  in  the  Alhambra  of  Gra- 
nada. He  was  also  patronized  by  Philip  11.  He 
died  rich,  at  Alcala,  in  the  year  1561,  and  was 
buried  with  the  greatest  magnificence  at  the  ex- 
pense of  his  sovereign. 

BERRUGUBTB,  Pedeo,  a  native  of  Paredes  de 
Nava,  and  painter  to  Philip  I.  In  1483  he  was 
employed  with  Rincon,  by  the  Chapter  of  Toledo, 
to  paint  the  walls  of  the  old  '  Segrario '  of  the 
cathedral.  He  also  painted  the  cloister  in  1496, 
and  the  vestry  in  1497.  Cean  Bermudez  ranks 
him  as  a  painter  with  Pietro  Perugino.  His 
earliest  known  works  are  supposed  to  be  those 
which  he  painted  in  conjunction  with  one  Santos 
Cruz  for  the  high  altar  of  the  cathedral  at  Avila. 
Berruguete  died  at  Madrid  about  1500. 

BERSENEV,  Ivan,  a  Russian  engraver,  born  in 
Siberia  in  1762.  He  was  a  scholar  of  Guttenberg, 
and  afterwards  of  Bervic,  at  Paris ;  he  executed 
several  excellent  plates,  and  died  in  1790. 

St.  John  the  Evangelist ;  after  Domeniehino.    (Orleans 

Gallery.) 
The  Tempter ;  after  Titian.     (Orleans  Gallery.) 
The  portrait  of  Katharina  Nicolaevna  Orloff. 

BBRTANO,  Giovanni  Battista.     See  Ghisi. 

BERTAUD,  Maeib  Rosalie,  a  French  engraver, 
was  born  in  Paris  in  1738.  She  was  instructed 
in  the  art  by  St.  Aubin  and  ChofEard,  and  engraved 
several  plates,  the  best  of  which  are  those  after  the 
pictures  of  Joseph  Vernet,  entitled : 

Orage  imp^tneux  ;  an  oval  plate. 

La  Pficheur  a  la  ligne. 

Le  Rocher  perc6. 

La  Barque  mise  a  flot. 

La  Pfiche  au  clair  de  la  Lune. 

Les  P^cheuTS  Italiens. 

BERTAUX,  Jean  DUPLESSIS.  See  Dotlessis- 
Beetaux. 

BERTELLI,  Ceistofano,  an  Italian  engraver,  a 
native  of  Rimini,  in  the  Duchy  of  Modena,  flourished 
about  1525.  We  have  by  him  a  few  plates,  exe- 
cuted with  the  graver  in  rather  a  stiff  manner : 

The  Portrait  of  Ottavio  Famese,  Duke  of  Parma. 

The  Conversion  of  St.  Paul. 

The  Vurgin  and  Child,  with  St.  Augustine,  St.  Sebas- 
tian, and  St.  Helena,  with  St,  Joseph  sleeping. 

The  Virgin  and  Child,  with  St.  George  and  other 
Saints. 

The  different  Ages  of  Man. 

The  Virgm  and  Chhd,  with  St.  Sebastian,  St.  Francis, 
and  St.  Roch ;  after  Correggio, 

BERTELLI,  Fekeando,  an  engraver,  was  bom 
at  Venice  about  the  year  1525.  He  engraved  some 
plates  after  Venetian  and  other  painters.  By  him 
we  have : 

A  print,  entitled  Omnium  fere  gentium,  ^c.  Ven.    1569. 
Christ  curing  the  sick  ;  after  Farinati.    1566. 
The  Crucifixion ;  afteir  Giulio  Romano. 
Venus  and  Cupid  ;  after  Titian.     1566. 
Specchio  deUa  Vita  Humana.    1566. 

BERTELLI,  LucA.  This  engraver  was  pro- 
bably a  relation  of  Ferrando  Bertelli.  He  has 
engraved  several  plates  after  the  great  Italian 
painters,  and  is  said  to  have  been  a  printseUer, 
Some  of  his  engravings  are  very  scarce. 


Berterham. 


PAINTERS  AND  ENGRAVERS. 


Bertolotti 


A  Bust  of  Hippolita  Gonzaga. 

The  Israelites  tormented  by  Serpents ;  after  Michel- 
angelo. 

The  Baptism  of  Christ. 

Christ  washing  his  Disciples'  feet ;  Lucas,  so. 

The  Flagellation. 

The  Cruciiixion. 

The  Descent  from  the  Cross ;  fine. 

The  Four  Evangelists  ;  after  Coxm/en. 

The  Last  Judgment ;  after  J.  B.  Fontana. 

A  Woman  and  Children  warming  themselves  by  a 
Fire ;  after  Titian. 

BBRTERHAM,  Johan  Baptist,  is  an  engraver 
■whom  Strutt  lias  noticed  under  the  two  names  of 
Berterham  and  Bexterlaam.  He  was  a  native  of 
the  Netherlands,  and  resided  at  Brussels  at  the  end 
of  the  17th  and  beginning  of  the  18th  century. 
His  principal  works  are  after  paintings  by  J.  de 
Hoore,  N.  Cortens,  C.  Eykens,  and  others,  repre- 
senting the  history  of  the  Miraculous  Host  pre- 
served in  the  church  of  St.  Michael  and  St.  Gudule 
at  Brussels.  They  are  executed  with  much  freedom 
and  skill. 

BEBTHELEMY,  Antoine.     See  Bakth^lemy. 

BERTHELEMY,  Jean  Simon,  an  historical 
painter,  who  was  born  at  Laon  in  1743,  was  a 
scholar  of  Noel  Hall4  He  visited  Rome,  and 
painted,  in  addition  to  some  historical  and  poetical 
subjects,  which  have  been  engraved,  the  ceilings 
of  the  palace  of  Pontainehleau  and  the  Luxem- 
bourg. He  was  a  member  of  the  Academy,  and 
director  of  the  School  of  Design.  He  died  in 
Paris  in  1811. 

BERTHOLD,  Karl  Ferdinand,  born  at  Meissen 
in  1799,  was  a  designer  and  etcher.  He  attended 
the  Academy  at  Dresden  in  1811,  and  was  a  scholar 
of  Kijgelgen.  One  of  his  best  productions  is  the 
engraving  entitled,  '  The  good  and  bad  efEects  of 
Wine.'     He  died  in  1838. 

-  BERTHOLOTTI,  Andrea  di,  called  Bellunello, 
of  Cividale,  flourished  in  the  15th  century,  and 
was  a  master  in  the  Guild  of  San  Vito  in  1462. 
He  seems  to  have  contracted  for  altar-pieces  and 
mural  decorations,  at  Udine,  San  Vito,  and  the 
surrounding  towns,  up  to  1490.  At  the  Palazzo 
Communale  of  Udine  is  a  Crucifixion,  with  various 
Saints,  dated  by  him  in  1476.  The  sacristy  of 
Santa  Maria  di  Castello,  San  Vito,  possesses  by 
him  a  '  Virgin  and  Child,  between  SS.  Peter  and 
Paul,'  dated  1488  ;  and  in  Savorgnano  is  a 
'  Madonna,'  signed  and  dated  1490.  The  dates  of 
bis  birth  and  death  are  not  known. 

BERTHON,  Ren^  ThiJodore,  was  born  at  Tours 
in  1776,  and  studied  under  David.  He  painted 
scriptural  and  historical  subjects,  and  a  large 
number  of  portraits,  which,  although  of  no  great 
merit,  gained  him  a  certain  reputation  in  the  days 
of  the  first  empire  and  the  restoration.  Among 
his  portraits  are  those  of  Napoleon  I.  when  First 
Consul,  Pauline  Bonaparte,  Mile.  Duchesnois,  and 
Lady  Morgan.  Several  of  his  historical  pictures 
are  at  Versailles.  He  died  in  Paris  in  1859.  His 
daughter,  Sidonie  Berthon,  a  miniature  painter, 
was  a  pupil  of  her  father  and  of  Mme  de  Mirbel. 
She  was  horn  in  Paris  in  1817,  and  died  in  1871. 

BERTIN,  FBANgois  Edodard,  born  in  Paris  in 
1797,  studied  under  Girodet-Trioson  and  Bidauld. 
He  represented  the  details  and  general  character  of 
a  landscape  with  great  skill,  but  was  less  successful 
in  his  colouring.  He  was  inspector  of  the  Beaux 
Arts,  and  from  1854  director  of  the  'Journal  des 
D^haia.'  He  died  in  Paris  in  1871.  The  following 
are  some  of  his  best  known  vrjrks : 


Cimabue  meeting  with  Giotto. 

Christ  on  the  Mount  of  Olives.    1837. 

A  view  of  Olevano. 

The  old  Tombs  on  the  Nile. 

The  Forest  of  Fontainebleau. 

View  of  an  excavated  Monastery  near  Viterbo. 

BERTIN,  Jean  Victor,  a  painter  of  historical 
landscapes,  who  was  born  in  Paris  in  1775,  was 
a  pupil  of  the  celebrated  Valenciennes,  and  was  in 
turn  the  master  of  Michallon,  Coignet,  Boisselier, 
Corot,  Bnfantin,  and  others.  Amongst  his  prin- 
cipal works  may  be  cited  : 

The  Festival  of  Pan. 
The  Offering  to  Venus. 
Cicero's  Eeturn  from  Exile. 
The  FUght  of  Angelica. 
The  Festival  of  Bacchus. 
Arrival  of  Napoleon  at  Ettlingen. 

Many  of  his  works  will  be  found  in  the  galleries 
at  Versailles,  and  in  other  public  collections.  In 
the  Louvre  there  is  a  '  View  of  the  Island  of 
Phoenos  with  the  Temple  of  Minerva.'  This  artist 
is  distinguished  for  the  correctness  of  his  design, 
the  severity  of  his  drawing,  and  his  harmonious 
colouring ;  but  his  style  is  somewhat  mannered 
and  conventional.     He  died  in  Paris  in  1842. 

BERTIN,  Marc.     See  Duval. 

BERTIN,  Nicolas,  a  French  painter,  was  born 
in  Paris  about  1668.  His  father,  a  sculptor,  died 
when  Nicolas  was  but  four  years  of  age,  and  he 
was  placed  under  the  tuition  of  Jean  Jouvenet, 
and  afterwards  studied  under  Bon  Boulogne.  His 
progress  was  rapid,  and  at  eighteen  he  gained  the 
first  prize  at  the  Academy,  and  was  sent  to  Italy 
for  improvement,  where  he  remained  four  years. 
On  his  return  to  Paris  he  distinguished  himself 
by  some  historical  works,  and  was  made  an  Acade- 
mician in  1703,  and  became  professor  in  1716. 
He  was  employed  by  Louis  XIV.  in  the  chateau 
of  Trianon,  where  he  painted  '  Vertumnus  and 
Pomona,'  and  other  works,  but  he  excelled  in 
cabinet  pictures.  He  died  in  Paris  in  1736. 
•  The  following  are  his  best  works  : 

Amsterdam.  Museum.  Joseph  and  Potiphar's  wife  (signed). 

„  „        Susannah  at  the  bath  (signed). 

Dresden.       Gallery.   The  Acorn  and  the  Pumpkin. 

„  „         The  Bear  and  the  Amateur  Gar- 

dener. 
Paris.     St.  Germain  1  St.  PhiUp  baptizing  the  Eunuch  of 
des  Pres.  /     Queen  Candace  {the  sketch  for  this 
picture  is  in  the  Louvre). 
„  Louvre.      Hercules  delivering  Prometheus. 

BERTO  DI  GIOVANNI,  a  pupil  of  Perugino, 
painted  at  Perugia  from  1497  to  1525.  He  exe- 
cuted works  for  the  magistrates,  and  was  a 
member  of  the  guild  of  that  city.  He  painted 
with  a  predella,  in  the  convent  of  Santa  Maria  di 
Monteluoe  at  Perugia,  the  following  subjects  from 
the  Life  of  Christ :  '  The  Nativity,'  '  The  Present- 
ation,' and  'The  Marriage'  and  'Death  of  the 
Virgin.'  These  form  part  of  a  large  work  of  the 
'  Coronation  of  the  Virgin,'  which  Raphael  was 
originally  commissioned  to  paint,  but  which  was 
subsequently  executed  by  an  artist  whose  name 
has  not  been  recorded. 

BERTOJA,  Jacopo,  incorrectly  Giacinto,  (or 
Beetogia,)  a  native  of  Parma,  painted  historical 
pieces  in  the  manner  of  Parmigiano ;  and  his  cabinet- 
pictures  were,  in  his  own  time,  much  prized.  He 
flourished  in  the  later  years  of  the  16th  century. 
Zani  tells  us  that  he  died  in  1618,  at  a  great  age. 

BERTOLOTTI,  Giovanni  Lorenzo.  Accordirg 
to  Ratti,  this  painter  was  born  at  Genoa  in  1640. 

119 


Bertram 


A  BIOGRAPHICAL  DICTIONARY  OF 


Bervio 


and  was  a  scholar  of  Francesco  Castiglione.  He 
painted  historical  subjects  with  considerable  skill ; 
and  his  biographer  speaks  in  very  favourable  terms 
of  a  picture  painted  by  him  in  the  church  of  La 
Visitazione,  at  Genoa,  representing  the  '  Visitation 
of  the  "Virgin  Mary  to  St.  EHzabeth.'  He  died 
in  1721. 

BERTRAM,  — ,  a  Dutch  engraver,  who  flour- 
ished about  the  year  1690.  He  engraved  several 
plates,  representing  views  and  public  buildings, 
which  are  executed  in  a  very  neat  style. 

BERTRAND,  Noel  Fkan^ois,  a  French  en- 
graver, who  was  born  at  Soisy-sous-BtioUes  in 
1784,  was  a  pupil  of  the  younger  Moreau  and  of 
David.  He  engraved  in  the  chalk  manner  a  large 
number  of  figures  taken  from  the  works  of  Raphael, 
Titian,  Rubens,  Poiissin,  LeBrun,  David,  and  other 
great  masters,  besides  some  portraits  of  sovereigns 
and  other  distinguished  persons.  He  died  at  Saint- 
Ouen  in  1852. 

BERTRY,  N.  H.  JEAURAT  de.     See  Jeaueat. 

BERTUCCI,  Giovanni  Battista.  See  Faenza, 
G.  B.  da. 

BERTUCCI,  Jacopo,  who  is  not  to  be  confounded 
with  Giovanni  Battista  Bertucci,  flourished  at 
Faenza  about  1630,  and  painted  in  the  manner  of 
Raphael.  He  is  supposed  to  be  the  same  as 
Jacopone  da  Faenza,  who,  Vasari  tells  us,  painted 
in  San  Vitale  at  Ravenna. 

BERTDCCI-PINELLI,  Antonia,  was,  according 
to  Malvasia,  a  native  of  Bologna,  and  was  instructed 
in  art  by  Lodovico  Carracci.  She  painted  some 
pictures  for  the  churches ;  among  others,  the  'Guar- 
dian Angel,'  in  San  Tommaso  ;  and  '  St.  Philip  and 
St.  James,'  in  the  church  dedicated  to  those  saints. 
But  her  most  celebrated  performance  is  her  picture 
of  '  St.  John  the  Evangelist,'  in  the  Annunziata, 
painted  from  a  design  of  Lodovico  Carracci.  She 
died  in  1640.  Her  maiden  name  was  Pinelli,  but 
she  married  Giambattista  Bertucci  (not  Giovanni 
Battista  da  Faenza).  Zani  places  her  death,  and 
that  of  lier  husband,  in  1644. 

BERVIC,  Charles  Clement,  the  most  eminent 
of  modern  French  engravers,  was  bom  in  Paris  on 
the  23rd  of  May,  1756.  His  family  name  was 
Balvay,  but  this  he  used  only  in  legal  documents, 
preferring  to  adopt  as  his  usual  signature  that  of 
Bervic,  which  was  a  surname  of  his  father.  His 
baptismal  names  were  those  of  Charles  Cl(5ment, 
which  he  bore  in  his  youth  and  which  are  found  on 
his  earlier  works,  until,  having  need  of  his  certifi- 
cate of  baptism,  be  was  astonished  to  see  himself 
named  therein  Jean  Guillaume,  and  to  find  himself 
obliged  to  rectify  formally  all  the  documents  which 
he  had  executed  in  his  accustomed  names.  Upon 
examination,  however,  of  the  parish  registers, 
which  at  this  period  were  deposited  at  the  Hotel  de 
"Ville,  it  transpired  that  the  duplicate  copy  sent 
to  the  Palais  de  Justice  was  in  error,  and  that  the 
names  of  Jean  Guillaume  assigned  to  Bervic  in  the 
latter  were  in  reality  those  of  the  infant  baptized 
before  him.  Nevertheless,  through  obstacles  which 
arose  in  the  rectification  of  his  family  papers,  he 
never  resumed  his  baptismal  names.  At  a  very 
early  age  young  Bervio  showed  a  decided  taste 
for  drawing:  he  amused  himself  by  copj-ing  all 
the  prints  which  fell  into  his  hands,  and,  although 
entirely  without  instruction,  he  succeeded  fairly 
well._  This  led  to  his  entering  the  studio  of  Jean 
Baptiste  le  Prince,  where  his  talent  rapidly  de- 
veloped, and  he  grew  ambitious  of  becoming  a 
painter ;  but  to  this  his  father  was  averse,  fearing 


that  he  might  not  attain  to  eminence  in  the  art. 
However,  by  way  of  compromise  with  a  passion 
which  could  not  be  subdued,  he  was  allowed  in 
1769  to  become  a  pupil  of  Jean  Georges  Wille,  one 
of  the  best  line- engravers  of  the  day.  His  earliest 
work  is  unknown,  but  the  first  plate  to  which  ho 
put  his  name  was  that  of  '  Le  petit  Turc,'  aftei 
P.  A.  Wille,  which  he  completed  in  1774.  This 
engraving  bears  evidence  of  being  the  work  of  an 
inexperienced  although  not  unskilful  hand,  and 
has  the  metallic  lustre  and  other  defects  of  the 
school  of  Wille.  Marked  progress  was  shown  in 
his  engravings  of  'La  Demande  accept^e'  and 
'  Le  Repos,'  after  Lgpicii,  and  in  his  portrait  of 
S6nac  de  Meilhan,  after  Duplessis,  all  of  -which 
were  finished  in  1783.  The  portrait  of  Sdnac  de 
Meilhan  first  revealed  the  power  which  Bervic 
possessed  of  freeing  himself  from  the  influences 
of  his  early  education,  and  of  rendering  truth- 
fully and  characteristically  the  varied  details  of 
his  subject.  This  talent  soon  met  with  its  due 
reward,  for  in  1784  he  was  elected  a  member  of 
the  Academy,  and  requested  to  engrave  for  hia 
reception  a  portrait  of  Count  d'Angiviller ;  but 
commencing  soon  after  the  portrait  of  the  King, 
that  of  the  Count  was  laid  aside,  and  he  never 
became  an  academician. 

The  full-length  portrait  of  Louis  XVI.  in  his 
coronation  robes,  after  the  portrait  by  Callet  at 
Versailles,  established  the  reputation  which  Bervio 
had  obtained  by  the  wonderful  brilliancy  and  soft- 
ness with  which  he  reproduced  in  black  and  white 
the  diverse  tones  and  textures  indicated  in  paint- 
ing by  the  aid  of  colour.  Bervic  kept  pace  with 
the  revolutionary  movement,  and  at  one  of  the 
meetings  of  the  '  Soci^t^  populaire  des  Arts '  broke 
the  copper-plate  of  the  king's  portrait,  and  tore  in 
halves  all  the  proofs  of  it  which  he  possessed. 
The  plate  has  since  been  skilfully  repaired  by 
Chollet,  and  later  impressions  taken  from  it.  His 
next  works  of  importance  were  '  The  Education  of 
Achilles  by  the  centaur  Chiron,'  after  Regnault, 
and  its  pendant,  '  The  Rape  of  Deianeira  by  the 
centaur  Nessus,'  after  Guido,  the  originals  of  both 
of  which  subjects  are  in  the  Louvre.  The  latter 
gained  the  decennial  prize  awarded  by  the  French 
Institute  for  the  best  engraving  executed  between 
the  years  1800  and  1810.  But  Bervic's  master- 
piece is  undoubtedly  his  plate  of  the  renowned 
antique  group  of  the  '  Death  of  Laoooon  and  his 
two  Sons,'  engraved  for  the  Mus^e  Fran5ais,  in 
which  he  appears  to  have  endeavoured  to  rival 
the  '  sufEering  marble,'  as  it  has  been  aptly 
termed,  which  the  Rhodian  sculptors  Agesander, 
Polydorus,  and  Athenodorus  seem  to  have  'ani- 
mated with  the  breath  of  life.  Yet  such  was  his 
modesty,  that  when  his  task  was  done  he  com- 
plained of  having  been  able  but  partially  to  realize 
his  aims. 

Sovereigns  and  nations  hastened  to  do  homage 
to  Bervic's  talents.  Louis  XVI.  gave  him,  in 
1787,  the  apartments  in  the  Louvre  which  had 
been  vacant  since  the  death  of  the  painter  LcSpici^. 
The  order  of  the  Reunion  was  conferred  upon  Iiim 
in  1813,  and  the  Legion  of  Honour  in  1819.  Most 
of  the  academies  of  Europe  enrolled  him  among 
their  members,  and  in  1803  he  became  a  member 
of  the  Institute  of  France.  Failing  sight  at  length 
compelled  him  to  lay  down  his  graver,  and  the 
'  Testament  of  Eudamidas,'  a  bust  oJE  Napoleon,  and 
a  half-length  portrait  of  Louis  XVIII.,  of  which 
but  three  proofs  exist,  remained  unfinished  at  the 


Bescliey 


PAINTERS  AND  ENGRAVERS. 


Bettelini 


time  of  his  death,  which  occurred  in  Paris  on  the 
23rd  of  March,  1822.  He  was  twice  married  :  first, 
in  1788,  to  Mile.  Carreaux  de  Eozemont,  a  portrait 
painter  and  pupil  of  Madame  Guyard,  who  died 
in  the  same  year ;  secondly,  in  1791,  to  Mile. 
Bligny,  who  died  in  1793.  Bervic  established  a 
Bchool  of  engraving,  in  which  his  constant  aim 
was  to  warn  his  pupils  against  the  baneful  in- 
fluence of  servile  imitation,  and  to  guide  each  one 
according  to  the  bent  of  his  own  individual  genius. 
Toschi  and  Henri quel-Dupont  are  the  most  cele- 
brated among  his  many  scholars.  The  following 
are  his  most  important  works : 

St,  John  the  Baptist  in  the  "Wilderness  ;  after  JRaphaei. 

(Florence  Gallery.) 
The  Education  of  Achilles ;  after  RegTiauU, 
The  Rape  of  Deianeira  -.  after  Guido. 
The  Laocoon ;  after  a  drawing  In/  Pierre  Bouillon,  from 

the  antique.    (Musee  Fran(jais.) 
Innocence ;  after  Merivtee. 
La  Demande  acoeptee  ;  after  Zepicid, 
Le  Eepos ;  after  the  same. 
he  petit  Turc ;  after  P.  A.  Wille. 
The  Testament  of  Eudamidas  ;  after  JV.  Foussin.    (This 

plate  was  finished  by  Toschi.) 
liOuis  XVI.,  whole-length  ;  after  Callet. 
Napoleon  I.,  bust ;  after  a  drawing  hy  Boiert  Lefetvre. 

(Never  finished.) 
louis  XVIII. ;  after  Angustin.    (Never  finished.) 
Charles  Gravier,  Comte  de  Vergennes;  after  his  own 

drawing. 
Michel  Letellier ;  after  the  engraving  hy  Nanteuil. 
Carl  von  LinnS ;  after  A.  Boslin. 
Prince  Ignacy  Jacdb  Massalski,  Bishop  of  Wilna ;  after 

Kymli. 
Gabriel  Senao    de    Meilhan,  Intendant  of  Hainault ; 

after  J.  S.  Duplessis. 

E.  E.  G. 

BESCHEY,  Balthasar,  (or  Bbsschey,)  who  was 
born  at  Antwerp  in  1708,  studied  under  Pieter 
Strick,  an  unimportant  painter,  but  imitated  the 
styles  of  Van  Balen  and  of  De  Craeyer.  In  1753 
he  was  admitted  as  a  freeman  of  the  Guild  of 
St.  Luke,  and  two  years  later  became  one  of  the 
six  directors  of  the  Academy  in  the  above  town, 
and  in  the  year  following  that  was  elected  dean 
of  St.  Luke.  He  died  in  1776,  at  Antwerp,  while 
holding  the  post  of  professor  in  the  Academy  of 
that  city.  He  painted  landscapes  at  the  com- 
mencement of  his  artistic  career,  but  confined 
himself  in  after  life  to  sacred  history  and  por- 
traiture. In  the  two  latter  branches  of  art  he  is 
well  represented.  His  works  display  a  taste  for 
harmony,  and  are  for  the  most  part  carefully 
executed,  but  are  wanting  in  delicacy  of  colouring. 
The  following  may  be  mentioned : 

Antwerp.        Museum.    Joseph    sold    hy    his    brethren 
(signed  and  dated  1744). 

„  „  Joseph  viceroy  of  Egypt  {signed 

and  dated  1744). 

„  „  Portrait     of    himself    (signed — 

presented  ly  him  to  the  Aca- 
demy of  St.  Luke  in  1763). 

„  „  Portrait  of  Martin  Joseph  Gee- 

raerts. 
Paris.         Louvre.  A  Flemish    Family  (signed  and 

dated  1721). 
Petersburg.  Hermitage.   The  Five  Senses.    An  allegory. 
B.  BESCHEIJ,  1733. 

„  „  The  Five  Senses.     An  allegory. 

B.  BESCHEIJ. 

It  has  been  recorded  that  Besohey  had  a  son 
who  was  a  painter,  but  this  is  a  mistake.  He  had, 
however,  three  younger  brothers  who  followed  his 
profession,  under  his  ii.struction,   and   one  elder 


brother,  who  was  a  pupil  of  Goovaert's.  This  last 
mentioned  was  Caeel  Beschey,  who  was  born  at 
Antwerp  in  1706.  Then,  after  Balthasar,  came 
Jacob  Andreas  Beschey,  born  at  Antwerp  in  1710, 
and  still  living  in  1773.  He  also  was  '  doyen '  of 
St.  Luke.  Next  came  Joseph  Hendrik  Beschey, 
who  was  born  at  Antwerp  in  1714 ;  and  lastly,  Jan 
Francois  Beschey,  who  was  born  in  1717,  at 
Antwerp,  where  he  established  himself  as  a  picture 
dealer,  and  became  celebrated  for  the  copies  he 
made  of  the  works  of  Eubens,  Van  Dyck,  Teniers, 
Pijnacker,  Moucheron,  and  other  great  masters. 
He  was  dean  of  the  Guild  of  St.  Luke  in  1767. 

BESENZI,  Paolo  Emilio,  was  bom  at  Heggio 
in  1624.  He  distinguished  himself  as  a  painter,  a 
sculptor,  and  an  architect.  Although  the  friend 
and  companion  of  Lionello  Spada,  he  differed  from 
his  style,  preferring  the  graceful  manner  of  Albani. 
His  principal  pictures,  which  establish  his  reputa- 
tion as  a  painter,  are  in  the  church  of  San  Pietro. 
He  died  in  1666. 

BESOET,  Jan,  a  Dutch  engraver,  was  born 
early  in  the  18th  century,  and  died  about  1769. 
He  engraved  a  large  plate  of  the  fireworks  at  the 
Hague  in  1748,  and  many  portraits,  book-plates, 
and  title-pages. 

BESOZZI,  Ambeogio,  a  painter  and  engraver, 
born  at  Milan  in  1648.  He  was  first  a  scholar  of 
GiosefEo  Danedi,  and  afterwards  studied  under  Giro 
Ferri.  He  excelled  in  painting  architectural  views, 
friezes,  basso-relievos,  and  other  works  of  decora- 
tion. He  died  at  Milan  in  1706.  Works  by  him 
are  in  the  galleries  and  churches  of  Milan,  Turin, 
and  Parma.     He  etched  two  plates : 

The  Portrait  of  Oorreggio. 

The  Apotheosis  of  a  Princess;  in  which  the  portrait 

was  by  Bonacina,  and  the  other  part  of  the  plate  by 

Besozzi ;  after  Cesare  Fiori, 

BESSA,  Panceaoe,  a  flower  painter,  was  born 
in  Paris  in  1772.  He  was  a  pupil  of  G.  van 
Spaendonck  and  of  Eedoutfe,  and  was  flower 
painter  to  the  Duchess  de  Berri,  to  whom  he  gave 
lessons,  and  to  the  Museum  of  Natural  History  at 
the  Jardin  des  Plantes.  He  died  at  Ecouen  about 
the  year  1835. 

BESSON,  Charles  Jean  Baptistb,  a  French 
fresco  painter  and  Dominican,  was  born  near  Besan- 
9on  in  1816.  He  was  at  first  a  pupil  of  Souohon, 
but  upon  going  to  Rome  in  18.36  he  entered  the 
studio  of  Delaroolie.  In  1839  he  became  connected 
with  the  celebrated  Lacordaire,  and  in  the  follow- 
ing year  entered  the  Dominican  order,  taking  the 
name  of  Hyacinthe,  but  did  not  entirely  abandon 
the  practice  of  his  art.  He  died  at  the  convent  of 
Mar-Yacub,  near  Mosul,  in  1861. 

BEST,  Jean,  a  French  wood-engraver,  was  born 
at  Toul  in  1808.  He  contributed  largely  to  the 
success  of  the  '  Illustration,'  as  well  as  of  the 
'  Magasin  pittoresque,'  of  which  he  was  one  of  the 
proprietors.  He  was  decorated  with  the  Legion 
of  Honour,  and  died  in  1879. 

BESTARD  (or  Bastard),  a  painter  of  Majorca, 
lived  at  Palma  about  the  end  of  the  17th  century. 
He  painted  for  the  convent  of  Monte  Sion  there 
a  superb  picture,  measuring  24  palms  in  length, 
and  15  in  height,  representing  '  Christ  in  the  Desert 
attended  by  angels  ;  '  it  is  considered  as  one  of  the 
marvels  of  the  city.  He  also  ornamented  several 
other  public  buildings  at  Palma. 

BETTELINI,  Pieteo,  an  eminent  Italian  en- 
graver, was  born  at  Lugano  in  1763,  and  applied 

121 


Bettes 


A  BIOGRAPHICAL  DICTIONARY  OF 


Bewick 


at  an  early  age  to  the  study  of  the  art.  He  received 
instructions  from  Gandolfi  and  Bartolozzi ;  but  in 
his  subsequent  works  he  incKned  more  to  the  style 
of  Raphael  Morghen.  He  died  at  Rome  in  1828. 
He  is  particularly  happy  in  his  transcripts  of  light 
and  elegant  forms,  and  enters  with  much  taste  and 
spirit  into  the  subject  he  copies.  He  does  not  aim 
at  producing  brilliant  effects,  but  exercises  his 
graver  with  care  and  delicacy,  corresponding  with 
the  style  of  the  original  picture.  In  those  of  a 
sombre  or  forcible  character  he  is  not  equally  suc- 
cessful. He  was  held  in  high  estimation  by  Thor- 
waldsen,  who  employed  him  to  engrave  some  of 
his  finest  works,  both  figures  and  bassi-rilievi. 
His  engraving  of  the  '  Entombment,'  by  Andrea  del 
Sarto,  in  the  Florence  Gallery,  exhibits  all  the 
beauties  of  the  original,  and  may  be  quoted,  not 
only  as  his  masterpiece,  but  also  among  the  finest 
examples  of  art.  The  following  are  a  portion  of 
his  justly  esteemed  productions: 

Entombment ;  after  Andrea  del  Sarto, 

Madonna  col  devoto  ;  after  the  painting  Jry  Correggio,  in 

the  possession  of  the  King  of  Bavaria. 
Ecce  Homo  ;  after  Correggio. 
St.  John ;  aftei'  Domenichino. 
Sibylla  Persica ;  after  Guercin^. 
Ascension  of  the  Virgin  ;  after  Guido. 
Madonna  and  sleeping  Infant  ;■  after  Haphael. 
Judgment  of  Solomon  ;  after  the  same. 
Magdalene ;  after  A'chidone. 
Maria  div.  Sapientise ;  after  Titian. 
The  Virgin  Mary  reading  a  book  ;  after  the  same. 
Portrait  of  Galileo. 
Portrait  of  Macchiavelli. 
Portrait  of  Pohziano. 

BBTTES,  John,  an  eminent  miniature  painter  in 
the  reign  of  Queen  Elizabeth,  by  whom  he  was 
patronized.  He  was  a  pupil  of  Nicholas  Hilliard, 
and  painted  the  Queen's  portrait.  He  died  about 
the  year  1570.  His  brother,  Thomas  Bettks,  was 
also  a  miniature  painter  as  well  as  an  illuminator. 

BETTI,  BlAGio.  This  painter  was  born  at 
Carigliano  in  1535,  and  was  a  disciple  of  Daniele 
da  Volterra.  He  became,  in  1^57,  a  monk  of  the 
order  of  the  'Padri  Teatini,'  of  San  Silvestro,  and  his 
works  are  principally  confined  to  the  monastery  of 
that  order  on  the  Quirinal  at  Rome.  In  the  refectory 
he  painted  the  '  Miracle  of  the  Loaves  and  Fishes,' 
which  was  restored  by  Anesi  in  1847  ;  and  in  the 
library,  '  Christ  disputing  with  the  Doctors.'  He 
died  in  1605. 

BETTINI,  DoMBNico.  According  to  Orlandi, 
this  painter  was  born  at  Florence  in  1644.  He 
was  first  a  scholar  of  Jaoopo  Vignali,  but  after- 
wards went  to  Rome,  and  became  a  disciple  of 
Mario  Nuzzi.  His  pictures,  which  are  well  painted, 
represent,  like  those  of  his  instructor,  fruit,  flowers, 
birds,  and  fish. 

BETTINI,  PiETHO,  an  Italian  engraver  of  the 
17th  century,  who  etched  a  few  plates  in  a  slight 
manner.     By  him,  among  others,  we  have : 

Christ  appearing  to  Peter  ;  after  Dommico  Ciampelli. 
The  Martyrdom  of  St.  Sebastian  ;  after  Hommickino. 

BETTO,  Beenaedino  di  (Pintueicchio).    See 

BlAGIO. 

BETTOLI,  Cajbtano.  The  name  of  this  artist 
is  affixed  to  an  etching  representing  the  '  Death  of 
St.  Joseph,'  after  Marc  Antonio  Franoeschini.  It 
is  executed  in  a  free,  spirited  style,  and  appears  to 
be  the  production  of  a  painter. 

BBUCKLAER  (or  Bbukelaae).  See  Bueckelaer. 

BEUEELEIN,  Hans,  an  old  painter  of  Nurem- 
berg,  highly    praised    by   Neudorfer,   painted    a 

122 


Crucifixion,  on  the  wall  of  the  Prediger  Kloster  in 
Nuremberg,  now  destroyed.     He  died  about  1500. 

BEDRS,  Willem,  was  born  at  Dordrecht  in 
1666.  He  was  a  scholar  of  Willem  van  Drillen- 
burg,  and  painted  landscapes,  portraits,  and  flowers 
with  some  dexterity  and  skill.  He  also  published 
works  upon  art. 

BEUSBEOM,  Feans  van,  a  Dutch  engraver, 
flourished  from  about  1640  to  1650.  He  was 
principally  employed  by  the  booksellers  in  engrav- 
ing portraits.  Among  others,  he  engraved  that  of 
Ant.  le  Brun,-  after  a  picture  painted  by  Anselmus 
van  HuUe. 

BEUTLER,  Jakob,  a  German  engraver,  who, 
according  to  Professor  Christ,  was  a  native  of 
Ravensburg,  flourished  about  the  year  1593.  The 
prints  he  engraved  are  generally  very  small,  on 
which  account  he  is  ranked  among  the  artisis 
distinguished  by  the  name  of  the  Little  Masters. 
He  usually  marked  his  prints  with  the  initials  of 
his  name,  /.  £.  As  this  mark  was  occasionahy 
used  by  other  German  engravers,  particularly  Jacob 
Binok  and  Hans  Burckmair,  who  lived  about  the 
same  period,  it  requires  great  attention  to  distin- 
guish their  works. 

BEUTLER,  Matthias.     See  Bettleb. 

BEVEREN,  Charles  van,  born  at  Mechlin  in 
1809,  was  instructed  in  the  rudiments  of  art  in  the 
academy  of  his  native  city  and  at  Antwerp.  He 
settled  in  Amsterdam  in  1830,  subsequently  visiting 
Paris,  Rome,  and  other  cities  of  Italy,  and  dis- 
tinguished himself  as  a  painter  of  history,  genre, 
and  portraits.  He  died  at  Amsterdam  in  1850. 
The  best  known  of  his  works  are : 

The  Confession  of  a  Sick   Girl  (in  the  Finakothek  at 

Munich). 
Male  Figure.    A  study  (in  the  Rotterdam  Museum). 
The  Vision  of  St.  Ignatius. 
The  Death  of  St.  Anthony  of  Padua  (in  the  church  of 

Moses  and  Aaron  at  Amsterdam,    Sis  citef-d'wuvre). 

BEVILACQUA.     See  Salimbeni,  Ventura. 

BEWICK,  John,  a  younger  brother  of  Thomas 
Bewick,  was  born  at  Cherryburn,  in  the  parish  of 
Ovingham,  in  1760,  and  in  1777  was  apprenticed  as 
a  wood-engraver  to  his  brother  and  Ralph  Beilby, 
in  Newcastle.  He  assisted  in  the  cuts  of  '  Msop'a 
Fables,'  and  drew  and  engraved  illustrations  for 
Goldsmith's  and  Parnell's  Poems,  as  well  as  for 
'The  Looking  Glass  for  the  Mind,'  and  'Blossoms 
of  Moralitj-,'  published  in  1796.  He  also  made  the 
designs  for  '  Somerville's  Chase,'  but  did  not  live  to 
engrave  them  all.  He  died  in  1795,  at  Ovingham. 
Though  he  was  not  so  clever  an  artist  as  his  more 
celebrated  brother,  many  of  the  works  of  John 
Bewick  deserve  much  praise. 

BEWICK,  Thomas,  the  eminent  restorer  of  the 
art  of  engraving  on  wood,  was  bom  at  Cherryburn, 
in  the  parish  of  Ovingham,  about  twelve  miles 
westward  of  Newcastle,  in  1753.  At  the  age  of 
fourteen  he  was  apprenticed  to  Ralph  Beilby  of 
Newcastle,  a  copper-plate  engraver.  He  might 
have  had  a  master  of  more  eminence,  but  he 
could  not  have  had  one  more  anxious  to  en- 
courage his  talents,  and  to  point  out  to  him  his 
peculiar  line  of  excellence.  It  happened  that 
Charles  Hutton  (afterwards  the  distinguished  Dr. 
Hutton  of  Woolwich),  then  a  schoolmaster  at 
Newcastle,  was  preparing  his  great  work  on  men- 
suration, and  applied  to  Beilby  to  engrave  on 
copper  the  figures  for  the  work ;  he  judiciously 
advised  that  they  should  be  cut  on  wood,  that  each 
figure  might   accompany  the   proposition  it  was 


Bewick 


PAINTERS  AND  ENGEAVEES. 


Biagio 


intended  to  illustrate.    The  young  apprentice  was 
employed  to  execute  many  of  these ;    and  the 
beauty  and  accuracy  with  which  they  were  finished 
led  his  master  strongly  to  advise  him  to  devote  his 
attention  to  the  improvement  of  this  long-lost  art. 
At  the  expiration  of  his  apprenticeship,  Bewick 
spent  a  short  time  in  London  and  in  Scotland,  and 
on  his  return  to  Newcastle,  entered  into  partner- 
ship with  Beilby.    About  this  time,  Thomas  Saint, 
a  printer  of  Newcastle,  was  at  work  on  an  edition  of 
'  Gay's  Fables,'  and  Bewick  was  engaged  to  furnish 
the  cuts.     One  of  these,  the  '  Old  Hound,'  obtained 
the  premium  offered  by  the  Society  of  Arts  for  the 
best  specimen  of  wood-engraving,  in  the  year  1775  ; 
but  the  work  was  not  published  until  1779.     His 
success  in  this  and  an  edition  of  '  Select  Fables '  by 
the  same  printer,  induced  Bewick  to  project  the 
'  History  of  Quadrupeds.'     This  work,  after  several 
years  of  preparation  and  labour,  was  published  in 
1790.     In  the  preparation  he  was  encouraged  and 
patronized   by  Marmaduke   Tonstal   of  Wycliffe, 
whose  museum  of  animals,  both  winged  and  quad- 
ruped, living  and  dead,  was  very  extensive.     In 
the  intervals  of  collecting  materials  for  this  work, 
Bewick  was   employed  in  engraving  on  copper 
the  plates  of  natural  history  for  a  small  quarto 
volume,  entitled  '  A  Tour  through  Sweden,  Lap- 
land, &c.,  by  Matthew  Consett,  the  companion  of 
Sir   G.    H.   Liddell;'    'The   Whitley    large   Ox' 
(bred  in  Mull).     From  the  moment  of  the   pub- 
lication  of  the  '  History  of  Quadrupeds,'   which 
passed   through    three   editions    in    three    years, 
Thomas  Bewick's  fame  was  established.     He  sub- 
sequently, in  conjunction  with  his  brother  John, 
supplied  the  woodcuts  for  the  elegant  edition  of 
'  Goldsmith's  Traveller  and  Deserted  Village,'  and 
for  'Pamell's  Hermit,'  both   printed  by  Bulmer. 
These  appeared  in  1795,  and  were  allowed  to  excel 
everything  of  the  kind  that  had  before  been  pro- 
duced.    In  1797  was  published  the  first  volume  of 
'  British  Birds,'   for  which  Beilby  furnished  the 
written  descriptions  ;  the  second  volume,  on  '  Brit- 
ish Water  Birds,'  devolved  on  Bewick  alone,  who 
was  assisted  in  the  literary  corrections  by  the  Eev. 
Henry   Cotes,  vicar  of  Bedlington.     These   were 
followed  by  numerous  illustrations  of  publications 
of  the  day,  in  which   he  availed  himself  of  the 
talents  of  the  several  pupils   whom  he  had  in- 
structed, and  who  have  since   so   eminently  dis- 
tinguished themselves  in  the  same  line  of  engrav- 
ing ;  among  these  were  Nesbitt,  Harvey,  Robert 
Johnson,  Luke  Clennell,  Eansom,  and  Hole.   Bewick 
was  indefatigable,  and  the  number  of  engravings 
he  executed  is  almost  inconceivable.     One  volume, 
edited  by  the  Rev.  T.  Hugo,  and  published  in  1870, 
contains  impressions  of  upwards  of  2000  wood- 
cuts.    He  was  an  early  riser ;  fond  of  indulging  in 
rustic  and  athletic  sports,  which  are  so  prevalent 
in  the  north ;  was  warm  in  his  attachments,  and 
had  some  humorous  peculiarities.     He  died,  as  he 
had  lived,  a  truly  honest  man,  near  the  Windmill 
Hills,  at  Gateshead,  in  1828.     There  are  several 
memoirs  of  his  life,  the  best  of  which  is,  perhaps, 
that  which  is  included  in  the  '  History  of  Wood 
Engraving,'   by  John   Jackson,  who  devoted  to 
Bewick  fifty  pages  of   his  book,  illustrated  with 
thirty  engravings. 

BEWICK,  William,  bom  at  Harworth,  Dur- 
ham, in  1795,  came  to  London  in  early  life,  and 
became  a  pupil  of  Haydon,  at  whose  request  he 
made  drawings  of  the  Elgin  Marbles  for  Goethe. 
In  1822  he  sent  a  large  picture  of  '  The  meeting 


of  Jacob  and  Rachel  to  the  British  Institution. 
A  few  years  afterwards  Sir  Thomas  Lawrence  gave 
him  a  commission  to  copy  Michelangelo's  frescoes 
in  the  Sistine  Chapel,  and  for  three  or  four  years 
he  resided  in  Italy.  He  then  settled  in  London 
for  a  few  years  as  a  portrait  painter,  until  ill-health 
compelled  him  to  retire  into  the  country.  In  1843 
he  was  one  of  the  competitors  for  the  decorations 
of  the  Houses  of  Parliament,  and  sent  up  a  cartoon 
of  'The  Triumph  of  David.'  He  died  in  1866. 
(See  'Life  of  William  Bewick,'  by  Thomas  Land- 
seer,  1871.) 

BEXTERHAM.     See  Berteeham. 

BEYER,  Jan  de.    See  De  Beijeb. 

BEYEEEN.     See  Beijbhen. 

BEYLBROECK,  M.,  a  Flemish  engraver,  who 
resided  in  England  about  the  year  1713.  He  en- 
graved a  plate  representing  the  '  Death  of  Dido,' 
after  Sebastien  Bourdon,  which  is  neatly  executed, 
but  stifE  and  formal,  and  without  much  effect. 

BEYTLER,  Matthias,  (Beitler  or  Betjtlee,) 
was  born  at  Augsburg  about  1660.  About  1682 
he  was  living  at  Anspach,  where  he  distinguished 
himself  as  an  engraver.  The  following  works  by 
this  artist  are  now  in  existence : 

A  little  Book  of  Animals.    1582. 
Twelve  plates,  mostly  representing  Animals. 
A  little  Book  of  Eoses,  &c.     1582. 
Eleven  -plates  with  different  figures. 
Christ  on  the  Cross. 

BEZ.     See  Bastieb  de  Bez. 

BEZZUOLI,  Giuseppe,  historical  painter,  was 
bom  at  Florence  in  1784.  His  principal  works 
are  found  in  his  native  town  ;  at  St.  Remi,  '  The 
Baptism  of  Clovis ; '  in  the  Villani  mansion,  '  A 
Madonna '  in  fresco ;  in  the  Pitti  Palace,  '  The 
Entry  of  Charles  VIII.  into  Florence.'  His  own 
portrait  is  in  the  UflSzi.  In  the  Borghese  Palace 
at  Rome  are  two  ceilings,  representing  '  The  Toilet 
of  Venus,'  and  '  Venus  carrying  oS  Ascanius.' 
He  died  in  1865. 

BIAGIO,  Beenabdino  (di  Betto)  di,  is  commonly 
known  as  Pintueicohio  (the  'little  painter,'  a  name 
he  acquired  from  the  smallness  of  his  stature,  and 
which  he,  to  some  extent,  adopted  in  order  that 
he  might  be  distinguished  from  a  Bernardino  of 
Perugia,  a  painter  of  no  great  merit) ;  he  was 
also  called  SOBDICCHIO,  either  because  of  deafness, 
or  of  his  corpulency.  His  father's  name  was 
Benedetto  Biagio,  and  hence  he  was  sometimes 
called  Bernardino  di  Betto.  He  was  bom  at  Pe- 
rugia in  1454.  He  was  an  assistant,  and  probably 
also  the  pupil,  of  Pietro  Perugino,  with  whom, 
according  to  Vasari,  he  worked  in  the  Sistine 
Chapel.  Amongst  his  earliest  paintings  were  some 
frescoes  in  Santa  Maria  del  Popolo,  executed  for 
Cardinal  della  Rovere.  He  was  employed  by 
Innocent  VIII.  to  paint  frescoes  in  the  castle  of 
Sant'  Angelo,  and  the  walls  in  the  Belvedere  (now 
known  as  the  Museo  Clementine),  and  by  Alex- 
ander VI,  to  decorate  the  Appartamento  Borgia  in  the 
Vatican.  He  decorated  six  rooms,  in  one  of  which 
the  frescoes  were  destroyed  by  Leo  X.  to  make 
way  for  works  by  Giovanni  da  Udine  and  Perino 
del  Vaga.  The  other  five,  however,  remain  intact. 
Pinturicchio  also  painted  frescoes  representing  the 
'  Life  of  St.  Bernard  of  Siena '  in  the  Cappella 
Bufalini  in  Santa  Maria  Ara  Coeli,  and  various 
frescoes  in  Santa  Maria  del  Popolo.  While  at 
Rome,  in  1491,  he  was  called  to  Orvieto  to  decor- 
ate the  cathedral  of  that  town,  but  of  the  works 

123 


Biagio 


A  BIOGRAPHICAL  DICTIONARY  OF 


Bianohi 


which  he  then  executed  only  much-damaged  frag- 
ments remain.  In  1496  Pintnricchio  went  from 
Rome  to  Perugia  and  executed  many  good  works. 
In  1600—1601  he  painted  frescoes,  representing 
the  '  Annunciation  of  the  Virgin,'  and  '  Christ  dis- 
puting with  the  Doctors,'  in  the  cathedral  at 
Spello.  He  next  painted  ten  subjects  from  the 
'  Life  of  Enea  Silvio  Piccolomini '  (afterwards  Pius 
II.)— his  best  and  most  famous  work  —  in  the 
library  of  the  cathedral  of  Siena.  In  these  fi-es- 
coes  he  is  supposed  to  have  received  assistance 
from  Raphael  in  the  general  design  and  the  out- 
line ;  this  work  occupied  him,  with  various  inter- 
ruptions, from  1502  till  1607.  The  last  known 
work  by  this  master  is  the  '  Christ  bearing  the 
Cross,'  in  the  Casa  Borromeo,  at  Milan,  painted  in 
1613  ;  in  which  year  Pinturiccliio  died  at  Siena 
of  starvation  and  neglect,  deserted,  it  is  said,  in 
his  illness  by  his  heartless  wife  Grania.  Pinturic- 
chio  was  a  very  prolific  artist,  and  left  many  works, 
all  executed  in  the  old-fashioned  tempera,  for  he 
never  mastered  the  art  of  oil  painting.  He  was 
fond  of  landscape  backgrounds,  but  they  are  over- 
crowded, and  his  paintings  are  loaded  with  too 
much  gilding  and  architectural  ornamentation  to 
be  in  good  taste ;  with  all  these  faults,  he  was  one 
of  the  best  masters  of  the  Umbrian  school. 

To  the  above-mentioned  works  may  be  added 
the  following: 

Berlin.    Museum.    St.  Augustine,  St.  Benedict,  and  St. 
Bernard  {formerly  ascribed  to  Feru- 
gifio). 
„  „  Virgin  and  C!hild. 

London.  Nat.  Gall.   St.  Catharine  of  Alexandria. 
„  „  The  Madonna  and  ChUd. 

„  „  The  return  of  Ulysses  to  Penelope. 

(A  fresco  transferred  to   canvas; 
formerly/  in  the  Fetrucci  Falace, 
SieTia,  painted  about  1509.) 
„  „  The  Story  of  Griselda.     (i)  Her  Mar- 

riage,   (ii)  Her  Divorce,    (iii)  Her 
Ee-instatement.     (doubted/) 

Naples.  StudJ  Gall.  The  Assumption  of  the  Virgin. 

Paris.  Louvre.  Madonna  and  Child  between  St. 
Gregory  and  another  Saint. 

Perugia.  Accademia.  The  Virgin  between  SS.  Jerome  and 
Augustin  (painted  in  1498  for  the 
convent  of  Santa  Anna,  Perugia^. 

Eome.  Vatican.  Coronation  of  the  Virgin  (painted 
about  1500). 

Siena.  Academy,  Virgin  enthroned  with  Saints  (painted 
about  1501). 

BIAGIO,  Martino  (di  Baetolommeo)  di,  was  the 
son  of  Bartolommeo  di  Biagio,  a  goldsmith  of  Siena, 
and  a  contemporary  of  Taddeo  Bartoli.  His  name 
appears  in  the  roll  of  the  Guild  of  the  Sienese 
painters,  in  1389,  but  his  first  known  work  is  in  a 
church  at  Cascina,  which  is  now  desecrated.  There 
will  be  found  a  series  of  frescoes  representing  the 
'Virgin  and  Child,'  between  SS.  Catharine  and 
Agatha,  life-sized  figures  of  the  Saints,  colossal 
figures  of  the  Virtues,  and  scenes  drawn  from  the 
life  of  the  Virgin,  with  a  '  Crucifixion,'  that  is  dated 
1396.  He  seems  to  have  remained  in  Pisa  up  to 
1404,  having  painted  in  1403  a  '  Virgin  and  Child, 
between  Saints,'  that  is  now  in  the  Hospital  of 
Santa  Chiara,  in  that  city.  In  1405  and  1406 
Martino  decorated  the  three  chapels  of  San  Cres- 
cenzio,  San  Savino,  and  San  Niccol6,  in  the  Duomo 
of  Siena.  In  1407  he  aided  Spinello  to  decorate 
the  Sala  di  Balia,  Siena,  where  his  part  was  the 
ornamentation  of  the  ceiling  with  allegorical  half- 
figures  of  the  Virtues.  He  was  appointed  umpire 
in  the  valuation  of  Taddeo  Bartoli's  paintings  in 

124 


the  Chapel  of  the  Palace  of  Siena,  and  seems  to 
have  filled  several  ofiioes  in  the  government  of  the 
city  between  the  years  1410  and  1428.  His  death 
probably  occurred  in  1433. 

Asciano.  Boniche  Coll.     Madonna  and  Child.    Signed  in 

1408. 
Pisa.        Academy.  Marriage  of  St.  Catharine.  1403. 

Siena.      Academy.  Madonna  with  Saints  (three). 

BIAGIO,  ViNCENZO  DI,  commonly  called  Catena, 
possibly  from  a  partiality  for  jewellery,  was  born 
probably  at  Treviso,  and  flourished  towards  the 
close  of  the  16th  and  the  beginning  of  the  16th 
century.  He  was  a  painter  of  no  great  origin- 
ality ;  he  studied  at  Venice  under  Bellini,  whose 
influence  is  perceptible  in  his  works  ;  and  he  w.is 
also  an  imitator  of  Giorgione.  Catena  painted 
portraits  with  skill,  and  was  also  much  esteemi;d 
for  his  easel  pictures  of  historical  subjects ;  he 
was  employed  in  decorating  the  churches  of 
Venice,  some  of  which  still  contain  works  by  his 
hand.  His  will,  dated  1531,  proves  him  to  have 
been  alive  in  that  year,  but  we  have  no  later 
record  of  him.  The  following  are  a  few  of  his 
works : 

Berlin.       Museum.     Madonna  and  Saints  and  donor. 
,_,  „  Portrait  of  Count  Eaimund  Fugger 

(one  of  his  best  works). 
Dresden.    Gallery.       Madonna  with  Saints. 

„  „  Portrait  of  Doge  Loredano  (ascriiei 

to  him  Ity  Crowe  and  Cavalcaselle  ; 

in  catalogue  to  Giovanni  Bellini). 

Liverpool.  Institution.  Madonna  and  donator  (ascribed  to 

him  by  Crowe  and  Cavalcaselle). 
London.    Nat.  Gall.   ■Warrior  adoring  the  Infant  Christ 
(ascribed  to  Catena :  catalogued  as 
of  the  school  of  Giovanni  Bellini  ; 
formerly  given  to  Giorgione). 
„  „  ^.  Jerome  in  his  study  (given  to 

him   by   J.   A    Crowe;  in   Cata- 
logue *  ascribed  to  Giovanni  Bel- 
lini '). 
Padua.        Com.  Gal.     Presentation  in  the  Temple. 
Petersbrg.  Hermitage.  Virgin  and  Child  with  SS.  Peter 

and  John  the  Baptist. 
Venice.     Ducal  FaX,  Madonna  and  Saints. 
„  S.  Simeone.  The  Holy  Trinity. 

„  Academy.     SS.  Augustine  and  Jerome. 

BIANCHI,  Baldassarb,  was  born  at  Bologna  in 
1614.  He  was  first  a  scholar  of  Giovanni  Paderna, 
but  afterwards  studied  under  Agostino  Mitelh,  with 
whom  he  painted  prospective  pieces  at  Sassuolo. 
He  passed  the  greater  part  of  his  life  in  the  em- 
ployment of  the  dukes  of  Modena  and  Mantua, 
whose  palaces  he  ornamented  with  a  large  number 
of  his  paintings.  He  also  decorated  the  theatres^of 
^Modena  and  Mantua.  He  died  at  Modena  in  1679. 
'Orlandi  states,  that  he  had  a  daughter,  Ldcrezia 
Bianchi,  who  also  distinguished  herself  in  the  art. 

BIANCHI,  Fedbbigo,  a  Milanese,  was  a  scholar, 
and  subsequently  son-in-law,  of  Giulio  Cesare 
Prooaccini.  Orlandi  reports  that  at  the  early 
age  of  seventeen  he  painted  three  works  in  fresco, 
in  the  cloister  of  the  monastery  of  the  Padri 
Zoccolanti,  at  Milan.  Several  other  works  by 
this  master  were  in  the  churches  of  that  city.  He 
was  greatly  patronized  by  the  duke  of  Savoy,  who 
held  his  talents  in  high  estimation,  and  honoured 
him  with  the  title  of  '  Cavaliere,'  and  a  gold  chain 
and  medal.     He  flourished  in  the  17th  century. 

BIANCHI,  Francesco,  (or  Francesco  del  Bi- 
ANCHO  Ferraro,)  Called  II  FRABii,  was  born,  ac- 
cording to  Vidriani,  at  Ferrara  in  1447.  Modena 
is  also  mentioned  as  the  place  of  his  birth.  His 
works  werB  much  esteemed  in  his  time,  and  are 


Bianchi 


PAINTERS  AND  ENGRAVERS. 


Bickham 


said  by  Vidriani  to  have  been  gracefully  designed, 
and  painted  with  a  fine  impasto  of  colour.  He 
also  gives  him  the  credit  of  having  been  the 
instructor  of  Correggio.  He  died  in  1510.  His 
works  are  now  rarely  seen.  The  Louvre  possesses 
a  'Virgin  and  Child  enthroned  with  two  Saints,' 
and  the  Modena  Gallery  an  '  Annunciation  of  the 
Virgin.' 

BIANCHI,  Giov.  Paolo.     See  Blancus. 

BIANCHI,  IsiDOKO,  called  'da  Campione,'  was 
a  native  of  Milan,  and  flourished  about  the  year 
1626.  He  studied  under  Pietro  Francesco  Mazzu- 
chelli,  and  was  one  of  the  ablest  followers  of  his 
style.  He  excelled  in  fresco  painting  more  than  in 
oil,  as  is  evident  in  his  works  in  the  church  of  Sant' 
Ambrogio  at  Milan,  and  in  different  churches  at 
Como.  He  was  chosen  by  the  Duke  of  Savoy  to 
finish  a  grand  saloon  at  Rivoli,  which  had  been 
commenced,  by  Mazzuchelli,  and  was  left  unfinished 
at  his  death.  He  was  afterwards  made  painter  to 
the  Court,  and  was  knighted  in  1631. 

BIANCHI,  Orazio,  was  born  at  Rome,  and, 
according  to  Abate  Titi,  was  a  painter  of  history 
of  fair  merit.  His  best  work  was  the  '  Marriage 
of  St.  Joseph  and  the  Virgin  Mary,'  in  the  church 
of  San  GiosefEo  at  Rome. 

BIANCHI,  Paolo,  an  artist  chiefly  employed  in 
engraving  portraits  for  the  booksellers,  flourished 
about  the  year  1670.  His  plates  are  neatly  exe- 
cuted with  the  graver,  but  in  a  stifE,  tasteless  style. 
He  engraved  some  of  the  portraits  for  Priorato's 
'  History  of  Leopold,'  among  which  are : 

Cardinal  Flavio  Chigi,  nepEiew  of  Alexander  VII.,  and 
Luigi  de  Benevides  Oarillio. 

BIANCHI,  PiBTBO.  This  painter  was  born  at 
Home  in  1694,  and  was  a  scholar  of  Benedetto  Luti 
aad  Baciccio.  He  acquired  considerable  celebrity 
as  a  painter  of  history,  portraits,  landscapes,  and 
animals.  Among  his  most  esteemed  performances 
are  a  '  St.  Clara,'  at  Gubbio,  and  a  picture  of  the 
'Conception,'  in  the  church  of  Santa  Maria  degli 
Angeli,  at  Rome,  of  which  a  mosaic  copy  is  in  a 
chapel  of  St.  Peter's.     He  died  in  1740. 

BIANCHI,  Sebastiano,  an  Italian  engraver, 
flourished  about  the  year  1680.  He  produced 
some  plates  of  devotional  subjects,  which  are  exe- 
cuted with  the  graver  in  a  very  indifEerent  style. 
Among  others  is  a  print  representing  the  '  Emblems 
of  our  Saviour's  Sufferings,  with  Angels,'  &c. 

BIANCO,  Baktolommbo,,  distinguished  himself 
as  an  architect,  engineer,  and  painter.  He  was 
bom  at  Florence  in  1604,  and  in  1612  he  studied 
painting  under  Biliverti.  In  1620  he  visited  Ger- 
many ;  on  his  return  he  decorated  several  houses, 
and  painted  for  churches  and  theatres.  In  1656 
he  went  to  Spain  to  paint  scenes  for  theatres.  He 
died  at  Madrid  in  the  same  year. 

BIANCDCCI,  Paolo,  was  born  at  Lucca  in 
1583,  and  was,  according  to  Lanzi,  a  distinguished 
scholar  of  Guido,  whose  graceful  and  delicate  style 
he  followed.  His  works  bear  a  near  resemblance 
to  those  of  SasBoferrato.  Of  his  best  pictures  niay 
be  noticed,  a  representation  of  '  Purgatory,'  which 
he  painted  for  the  church  of  the  Sufiragio,  and  an 
altar-piece  of  several  Saints  for  San  Francesco. 
He  died  in  1658. 

BIARD,  PiEBKE,  bom  in  Paris  about  1559,  was  a 
sculptor,  architect,  painter,  and  etcher.  He  studied 
at  Rome,  and  died  in  Paris  in  1609.  He  etched 
amongst  others  a  spirited  plate  with  two  eagles 
and  foliage. 


BIARD,  PiEEBE,  'the  younger,'  born  in  Paris 
between  the  years  1592  and  1594,  was  an  architect, 
sculptor,  painter,  and  engraver.  He  was  the  son 
of  Pierre  Biard,  who  is  best  known  as  a  sculptor. 
He  studied  in  Italy,  and  executed  as  an  engraver 
74  etchings,  representing  allegorical  and  mytho- 
logical subjects,  after  Raphael,  Michelangelo,  and 
Giulio  Romano.  Though  his  design  is  deficient, 
he  worked  with  a  fine  point.  He  died  in  Paris 
in  1661. 

BIBIENA.     See  Galli. 

BICCI,  Family  of  the. 

LoBENZO  Di  Bioci  is  the  eldest  member  of  a 
family  of  painters  at  Florence,  about  whom  Vasari 
is  somewhat  confused.  To  Lorenzo  di  Bicci  he 
attributes  many  works  which  have  since  been 
proved  to  be  by  the  hand  of  his  son,  Bicci  di 
Lorenzo.  Of  Lorenzo  di  Bicci  all  we  know  is 
that  he  was  a  painter ;  and  though  his  name 
occurs  as  such  in  records  at  intervals  from  1370 
to  1398,  no  authentic  work  by  him  is  in  existence. 

Bioci  DI  Lorenzo,  painter  and  sculptor,  the  son 
of  Lorenzo  di  Bioci,  was  born  in  1373.  He  mar- 
ried in  1418,  and  in  1424  was  registered  in  the 
Guild  of  Painters  at  Florence.  He  was  constantly 
employed  in  decorating  churches  in  that  city  and 
the  neighbourhood,  and  we  find  his  name  recorded 
at  frequent  intervals  from  1420  to  1452,  in  which 
year  he  died  at  Florence,  and  was  buried  in  the 
Carmine.  Vasari,  who  confuses  the  Bicci,  ascribes 
to  Lorenzo  di  Bicci  those  works  which  are  now 
given  on  good  authority  to  the  son,  Bicci  di 
Lorenzo.  Amongst  Bicci's  works  may  be  men- 
tioned '  SS.  Cosmo  and  Damian,'  in  the  UfBzi,  and 
frescoes  representing  the  '  Dedication  of  the 
Church  by  Pope  Martin  V.,'  in  Santa  Maria  Nuova 
(now  Sant'  Egidio),  in  which  church  he  also  exe- 
cuted some  figures  in  terra  cotta. 

Nebi  di  Bicci,  the  son  of  Bicci  di  Lorenzo 
(and  not,  as  Vasari  says,  of  Lorenzo  di  Bicci),  was 
a  Florentine  painter  of  no  great  merit,  who 
flourished  in  the  15th  century.  He  was  a  most 
indefatigable  worker,  and  his  pictures  are  seen  in 
the  galleries  and  churches  of  Florence.  His 
masterpiece  is  '  St.  Giovanni  Gualberto  enthroned, 
with  ten  Saints,'  in  the  old  church  of  San  Pan- 
crazio.  (For  further  information  concerning  the 
Bicci,  see  Crowe  and  Cavalcaselle's  'History  of 
Painting  in  North  Italy.') 

BICHARD,  — ,  a  French  engraver,  who  flourished 
about  the  year  1760,  engraved  some  plates  repre- 
senting tombs  and  buildings,  from  the  designs  of 
G.  M.  Dumont. 

BICKART,  JoDOCtrs,  flourished  at  Mentz  about 
1650 — 1672.  He  was  a  painter,  and  one  of  the 
earliest  engravers  in  mezzotinto ;  but  his  works 
are  very  rare.    The  following  are  the  best  known: 

A  portrait  of  an  old  Man. 

A  portrait  of  John  Philip,  Elector  of  Mentz. 

A  portrait  of  an  old  Man  reading. 

BICKER.     See  Miel. 

BICKHAM,  Geobgb,  an  English  engraver,  was 
chiefly  employed  in  engraving  plates  of  writing, 
in  which  he  excelled.  He  died  in  1769.  We  have 
a  few  portraits  and  copies  of  paintings  by  him, 
but  indifEerently  executed — among  others  the  fol- 
lowing : 

George  Shelly,  a  writing-master ;  after  his  own  design, 

1709. 
John  Clarke,  also  a  writing-master. 
Kohert  More,  another  writing-master. 

125 


Bickham 


A  BIOGRAPHICAL  DICTIONARY  OF 


Bignon 


Sir  Isaac  Newton,  with  emHematical  ornaments ;   G. 

Bickham,  senior,  seul.  yif>2.    Sold  by  John  Bickham, 

engraver. 
TPeace  and  "War ;  after  Sulens. 
The  Gold  and  Silver  Age ;  after  Subens. 

BICKHAM,  Geokqb,  'the  younger,'  the  son  of 
the  engraver  of  the  same  name,  was  not  more 
distinguished  in  art  than  his  father.  He  engraved 
many  of  the  humorous  plates  published  by  Miss 
Bowles,  as  well  as  the  portraits  of  his  father  and 
himself  in  a  kind  of  frieze,  representing  a  view 
of  '  Newmarket  Race-course.'     He  died  in  1849. 

BIDAULD,  Jean  Joseph  Xavibr,  a  French  land- 
scape painter,  was  born  at  Carpentras  in  1768.  He 
was  educated  by  his  brother,  Jean  Pieebe  Xaviee 
BiDAULD,  a  painter  of  landscapes  and  natural  his- 
tory, who  was  born  at  Carpentras  in  1745,  and 
died  at  Lyons  in  1813.  He  obtained  a  medal 
at  the  Salon  of  1812,  and  was  named  member  of 
the  Institute  in  the  room  of  Prud'hon,  1823.  He 
executed  a  great  number  of  views  of  Italy,  and 
exhibited  during  the  years  from  1791  to  1844. 
Three  landscapes  by  him  are  in  the  Louvre.  One 
is  a  view  of  Subiaco,  another  represents  Avezano 
— both  painted  in  1789  ;  the  third  bears  date  1793. 
He  died  at  Montmorency  in  1846. 

BIDEBMANN,  Johann  Jacob,  bom  at  Winter- 
thur,  Switzerland,  in  1762,  was  instructed  by  A. 
Graff,  at  Dresden.  He  travelled  considerably,  and 
eventually  settled  at  Constance  in  1804,  and  painted 
both  in  water-colour  and  oil,  mostly  small  land- 
scapes, with  figures  and  cattle,  and  often  views  in 
Switzerland,  as  well  as  portraits  and  conversation- 
pieces.  He  etched  eleven  plates  of  Eglisau  on 
the  Rhine,  in  a  most  beautiful  manner.  He  died 
at  Constance  in  1828. 

BIE,  Db.     See  De  Bib. 

BIEVRE,  —  DE,  an  engraver  who  flourished 
about  1766,  produced  a  few  portraits,  among  which 
is  that  of  Caroline  Matilda,  Queen  of  Denmark. 

BIEZELINGEN,  Cheistiaan  Jans  van,  a  Dutch 
portrait  painter,  was  born  at  Delft  in  1568.  This 
artist  painted  from  memory  a  portrait  of  William 
I.,  Prince  of  Orange,  after  his  assassination  by 
Gerards,  as  well  as  a  portrait  of  the  latter  while 
in  prison.  He  spent  several  years  at  the  Spanish 
Court,  where  he  was  well  employed.  He  died  at 
Middelburg  in  1600. 

BIFFI,  Carlo,  a  Milanese  historical  painter  and 
etcher,  born  in  1605,  was  a  pupil  of  C.  Procaccini. 
He  died  in  1675. 

BIFFIN,  Saeah,  was  born  at  Bast  Quantoxhead, 
near  Bridgewater,  Somerset,  in  1784,  without  hands 
or  feet.  She  was  first  instructed  by  an  artist  of  the 
name  of  Duke,  with  whom  she  resided  the  greater 
part  of  her  life.  After  some  time  the  Earl  of  Morton 
made  her  acquaintance,  and  was  so  much  interested 
in  her,  that  he  had  her  instructed  by  W.  M.  Craig, 
one  of  the  best  miniature  painters  of  the  day,  under 
whose  instruction  she  improved  so  rapidly  that  in 
the  year  1821  she  received  a  medal  from  the 
Society  of  Arts.  She  was  patronized  by  George 
III.,  George  IV.,  William  IV.,  Queen  Vifctoria, 
and  several  other  distinguished' "  personages.  In 
her  old  age  she  was  rather  reduced  in  circum- 
stances, but  a  small  annuity  was  purchased  for 
her,  on  which  she  was  able  to  live  comfortably  till 
her  death,  which  took  place  at  Liverpool  in  1850. 

BIGARI,  VlTTOElo,  was  born  in  1692,  at  Bologna, 
and  his  works  are  to  be  met  with  in  almost  every 
public  edifice  in  that  city.  In  the  church  of  the 
Madonna  del  Soccorso  is  an  admired  picture  by 

126  ^ 


him  of  the  'Virgin  Mary  and  Infant  Jesus,  with  St- 
Petronio  and  othpr  Saints.'  In  the  Palazzo  Aldro- 
vandi  he  painted  a  gallery,  in  which  he  represented 
the  principal  transactions  of  that  noble  family. 
His  works  are  mentioned  in  favourable  terms  by 
Zanotti  in  the  'Pitture  di  Bologna.'  He  died  in 
1776.  His  sons,  Giacomo  and  Angelo,  were  also 
painters. 

BIGG,  William  Rbdmoeb,  who  was  bom  in  1755 
was  admitted  a  student  of  the  Royal  Academy  in 
1778,  became. an  associate  in  1787,  and  an  Acade- 
mician in  1814.  His  pictures  were  generally  of 
simple  subjects,  appealing  to  the  domestic  sym- 
pathies ;  they  were  painted  with  considerable 
power.  His  'Shipwrecked  Sailor  Boy,'  'Boys 
relieving  a  Blind  Man,' '  Black  Monday,'  and  others 
of  like  character,  have  been  engraved.  He  died  ' 
in  London  in  1828. 

BIGI,  Feancbsco  (di  Ceistofano),  commonly 
known  as  Feanoiabigio  or  Feanoia  Bigio,  was 
born  at  Florence  in  1482.  He  studied  first  at  the 
Brancacci  Chapel,  but  in  1605  he  became  acquainted 
with  Andrea  del  Sarto,  and  studied  for  some  time 
with  Albertinelli.  He  seems  to  have  devoted 
much  of  his  time  to  portrait  painting,  many  ex- 
amples of  which  can  be  seen  in  England,  and  on 
the  continent.  Frescoes  by  him,  although  now 
much  injured  by  damp  and  the  effects  of  time,  are 
at  San  Giovanni  Battista  della  Calza,  and  at  Santa 
Maria  de'  Candeli,  at  Florence.  In  the  court  of 
the  convent  of  the  Servi  there  is  a  '  Marriage  of 
the  Virgin  and  St.  Joseph,'  of  which  the  following 
story  is  told :  The  fresco  was  all  but  finished,  and 
the  screens  were  still  around  it,  when  a  solemn 
feast  day  of  the  Order  arrived,  and  some  of  the 
monks  undertook  to  uncover  it  on  their  own  re- 
sponsibility. This  so  enraged  Bigi,  that  he  seized 
a  mason's  hammer  and  struck  out  the  heads  of 
the  Virgin  and  of  some  of  the  other  figures; 
nor  could  threats  or  entreaties  prevail  on  either 
Bigi  or  any  of  his  fellow- artists  to  replace  them ; 
and  thus  mutilated  it  still  remains.  Bigi 
died  at  Florence  in  1525. 

The  following  list  contains  a  few  of  his 
most  celebrated  works : 

Berlin.      Museum.    Portrait  of  a  man  {formerly  ascrHei 
to  Sebastiano  del  Piombo). 
„  „  Portrait  of  a  young  man  (with  mom- 

gram,  and  inscribed  "  1522  a  di  24 
dottobe"). 
„  „  Portrait  of  a  young  man. 

Dresden.  Gallery.      Bath^heba  bathing  {with  monogram, 

and  dated  MDxni). 
Florence.  Fitti  Pal.    Portrait  of  a  youth  {with  monogram, 
and  dated  MDXini). 
„  .    „  Calumny  of  Apelles. 

„  Vjflzi.  Madonna  del  Pozzo. 

„  „  Temple  of  Hercules. 

London.  Nat.  Gal.  Portrait  of  a  yomig  man  {signed  with 
the  accompanyiiig  monogram,  and 
inscribed  tak:  tblia:  CHI:  BIBN: 
eima). 
„  Yariorom/h  C.  Half-length  of  a  man  at  a  wmdow 
{dated  mdxvi). 
Paris.      Zotwre.        Portrait  of  a  young  man  {ascniei 

in  the  catalogue  to  Eaphael). 
Turin.      Gallery.      Annunciation. 
Windsor  Castle.        Portrait  of  the  Factor  of  Pier  Frim- 
cesco  de'  Medici  {also  ascribed  to 
Andrea  del  Sarto). 
BIGNON,  FEANgois,  a  French  engraver,  who 
was  born  in  Paris  about  the  year  1620.    He  was 
principally  employed  on  portraits,  which  he  gener- 
ally executed  with   the  graver,  though  he  occn- 
isionally  called  in  the  assistance  of  the  point.    His 


Bigordi 


PAINTERS  AND  BNGEAVBRS. 


Bigordi 


style  is  neat,  but  there  is  a  want  of  harmony  in 
the  efEect  of  his  prints.  Some  of  his  portraits  are 
ornamented  with  borders,  with  small  emblematical 
figures,  &o.     "We  have  by  him : 

St.  Margaret ;  after  N.  Poussin. 

Thirty -three  Portraits  of  the  Plenipotentiaries  as- 
sembled at  the  Peace  of  Miinster ;  after  Z.  Heince. 
Published  in  1648. 

Twenty-seven  Portraits  of  illustrious  Frenchmen ;  after 
the  pictures  by  Z.  Heince  in  the  gallery  of  Cardinal 
Richelieu.    Published  in  1650. 

BIGORDI  Family,  The. 

TOMMASO  BIGORDI. 

Bomenico  di  Tommaso    Davide  di  Tommaso    Benedetto  di  Tommaao 
(1449—1494).  (1452—1526;.  (1458-149TJ. 

Bidolfo  di  Domenico 
(1483—1661;. 

Michele  di  Eidolfo 
(fl.  ab.  1668). 

BIGORDI,  Benedetto  (di  Tommaso),  called  also 
Benedetto  del  Ghielandaio,  was  a  brother  and 
pupil  of  Domenico,  and  was  born  at  Florence  in 
1458.  He  frequently  assisted  his  brother  in  his 
works,  and  completed  some  which  he  left  un- 
finished at  his  death.  Benedetto  was  also  known 
as  a  miniature  painter.  He  died  at  Florence  in 
1497.     The  following  are  his  principal  works : 

Berlin.     Museum.     Eesurrection  of  Christ  (executed  in 
conjunetton  with  Davide,  after  the 


Florence.  8.  Maria  \ 


\  of  Domenieo  Bigordi),  part 
of  an  altar-piece  painted  for  Santa 
Maria  Novella,  Florence. 

'^^'■"  I  St.  Lucia. 

Paris.        Louvre.        Christ  bearing  the  Cross. 

BIGORDI,  Davide  (di  Tommaso),  or  Davide  del 
Ghielandaio,  who  was  born  at  Florence  in  1462, 
was  chiefly  employed  in  assisting  his  brother 
Domenico ;  and,  with  Benedetto,  completed  some 
of  his  unfinished  works.  Davide  also  practised  as 
a  mosaicist  at  Orvieto,  Siena,  and  at  Florence, 
where  he  died  in  1625. 

BIGORDI,  Domenico,  whose  full  name  seems 
to  have  been  Domenico  di  Tommaso  Curradi  di 
DofEo  Bigordi,  is  generally  called  Ghielandaio  (or 
in  the  Florentine  dialect  GeillandaJo^  In  which 
manner  he  sometimes  signed  his  works),  or  '  The 
Garlandmaker,'  an  epithet  probably  derived  from 
his  father's  profession.  He  was  the  son  of  a  gold- 
smith and  broker  in  Florence,  and  was  born  there 
in  1449.  In  his  early  years  he  probably  followed  his 
father's  business,  but  afterwards  entered  the  studio 
of  Alessio  Baldovinetti,  and  became  one  of  the 
most  distinguished  artists  of  his  time — both  as  a 
m&saioist  and  a  painter.  His  design  was  more 
correct  and  graceful  than  was  usual  in  his  time, 
and  the  expression  of  his  heads  is  superior  to  that 
of  any  painter  who  had  preceded  him.  His  earliest 
remaining  frescoes  are  those  in  the  Churcli  and 
Refectory  of  Ognissanti,  which  are  dated  1480,  and 
represent  St.  Jerome,  and  the  '  Last  Supper.'  Soon 
afterwards  he  commenced  his  labours  at  the 
Palazzo  Vecchio,  Florence,  in  1481,  where  a  fresco 
of  the  '  Glory  of  St.  Zanobius '  and  other  subjects 
still  remain.  He  was  called  to  Rome  by  Sixtus  IV. 
in  1483,  to  aid  in  the  decoration  of  the  Sistine 
Chapel,  where  he  painted  '  The  Call  of  SS.  Peter 
and  Andrew,'  which  still  remains  ;  and  '  The  Resur- 
rection,' which  has  perished.  Previous  to  1485  he 
decorated  the  Cappella  San  Fina  in  the  Duorao  of 
Gimignano  with  frescoes,  representing  different 
events  in  the  life  of  that  saint,  which  are  remark-  I 


able  for  their  beauty  and  grandeur  of  treatment. 
In  the  year  1485  he  completed  the  decorations  of 
the  Sassetti  Chapel  in  the  church  of  Santa  Triniti, 
Florence:  these  consist  of  portraits  of  Francesco 
Sassetti  and  his  wife  Nera;  a  series  of  classical 
subjects,  and  six  subjects  from  the  life  of  St.  Francis 
of  Assisi.  The  altar-piece  he  finished  for  this  chapel 
with  the  '  Adoration  of  the  Shepherds,'  is  now  in 
the  Academy  of  Arts,  Florence.  His  next,  and  his 
most  important  commission,  was  that  given  him  by 
Giovanni  Tornabuoni  to  adorn  the  choir  of  Santa 
Maria  Novella.  These  frescoes,  which  are  Bigordi's 
master-pieces,  consist  of  four  courses  of  designs  on 
the  three  walls  of  the  choir,  and  represent — ^  St 
Francis  before  the  Soldan,'  and  '  The  Death  of  St, 
Peter,  Martyr; '  eight  subjects  drawn  from  the  lift 
of  St.  John  the  Baptist ;  and  thirteen  taken  from  the 
life  of  the  Virgin.  In  these  beautiful  and  wonder- 
ful designs  will  be  found  twenty-one  portraits  of 
members  of  the  Sassetti  and  Medici  families,  his 
own  portrait  and  those  of  his  assistant  Sebastiano 
Mainardi,  and  of  Baldovinetti.  After  the  comple- 
tion of  the  above  immense  work,  Domenico  painted 
by  order  of  Lorenzo  de'  Medici,  the  '  Christ  in  Glory, 
adored  by  SS.  Romualdo,  Benedict,  Attinia,  and 
Greciniana,'  for  the  Badia  of  Volterra,  where  it 
still  remains.  In  1488  he  finished  the  '  Adoration 
of  the  Magi,'  for  the  church  of  the  Innooenti, 
Florence,  in  which  picture  is  his  own  portrait.  The 
latest  known  picture  by  Ghirlandaio  is  the  '  Visit- 
ation of  the  Virgin,'  dated  1491,  and  now  in  the 
Louvre.  He  died  at  Florence  in  1494.  He  was  the 
founder  of  an  eminent  school,  and  will  ever  be 
remembered  as  the  instructor  of  Michelangelo. 
The  following  are  some  of  his  best  works : 

Berlin.      Gallery.      Virgin  and  Child   with   Cherubim 
and  four  Saints  (executed  with  the 
assistance  of  pupils). 
„  „  Virgin  and  Child  with  Saints  (exe- 

cuted in  conjunction  with  Francesco 
Granacci). 

Adoration  of  the  Shepherds.    1485. 

Madonna  with  foiu'  Saints. 

Adoration  of  the  Kings.    1488. 

The  Last  Supper  (fresco). 

St.  Jerome  (fresco).    1480. 

Adoration  of  the  Magi.     1487. 

Madonna  and  Saints. 

Madonna  and  Saints. 

(i)  Madonna  and  Child  with  the  two 
St.  Johns,  St.  Dominick,  and  St. 
Michael,  (ii)  St.  Catharine  of  Siena, 
(iii)  St.  Lawrence  (part  of  an  altar- 
piece  executed  from  designs  by 
Domenico  for  Santa  Maria  Novella, 
Florence :  the  exterior  wings, 
finished  by  Davide  and  Benedetto 
Bigordi  and  Francesco  Granacci, 
aft(fr  Domenieo's  death,  are  in  the 
Berlin  Museum). 
Paris.       Zouvre.        Visitation,  mccccixxxxi. 

S.  Gimi-  1  (7^j^„^       Annnnoiation  (fresco). 

gnano.  I  "  ' 

Volterra".  S.Francesco.  Christ  adored  by  Saints. 

BIGORDI,  Michele  (di  Ridolfo),  who  painted 
at  Florence  about  1568,  died  at  the  age  of  75.  A 
'  Holy  Family '  by  him  is  in  the  Pitti  Palace. 

BIGORDI,  RiDOLFO  (di  Domenico )^callad  GnjJt^ 
LAKO^o — who  was  born  at  Florence  in  1483,  lost 
his  fSher  Domenico  when  he  was  still  a  child, 
and  was  taken  under  the  protection  of  his  uncle 
Davide.  He  afterwards  studied  under  Cosimo  Eos- 
selli  and  Fra  Bartolommeo,  and  had  so  far  profited 
by  the  instruction  of  these  masters,  that  when 
Raphael  visited  Florence,  he  was  so  satisfied  of  his 

127 


'Florence.Academy. 

„         Innocenti. 
„         Ognissanti. 

„  Uffizt. 

Lnca.       5^.  Martina. 
Munich.  Pinakothek. 


Bije 


A  BIOGEAPHICAL  DICTIONAEY  OF 


Bindon 


ability,  that  he  entrusted  him  to  finish  a  picture  of 
the  'Virgin  and  Infant'  he  had  commenced,  for 
one  of  the  churches  at  Siena.  So  highly  did  Ea- 
phael  esteem  Eidolfo's  talents,  that  on  his  return  to 
Eome  he  invited  him  to  assist  him  in  his  great 
works  in  the  Vatican.  Unfortunately  for  his  fame, 
Eidolfo  refused  the  invitation  of  Eaphael,  for,  if 
he  had  accepted  it,  he  would  probably  have  par- 
ticipated in  the  glory  of  that  illustrious  painter  in 
an  equal  degree  with  Giulio  Eomano.  He  possessed 
an  acute  and  vivacious  imagination,  with  an  elegance 
and  *aste  in  his  forms  that  have  a  near  afiBnity  to  the 
style  of  that  master.  In  some  of  his  first  produc- 
tions, in  San  Jacopo  at  Eipoli,  and  in  San  Girolamo 
at  Florence,though  there  is  something  of  the  dryness 
of  Pietro  Perugino,  they  bear  a  great  resemblance 
to  the  juvenile  works  of  Eaphael.  He  approaches 
nearer  to  the  better  time  of  that  master  in  his  two 
pictures  of  subjects  from  the  Life  of  St.  Zanobio, 
originally  painted  for  the  Academy  at  Florence,  but 
afterwards  placed  in  the  Ducal  Gallery.  He  died 
at  Florence  in  1561.  The  print  of  the  '  Procession 
to  Calvary'  (plate  125  of  Eosini)  will  give  an  idea 
of  his  style  of  composition  and  delineation  of  char- 
acter ;  but  it  does  not  bear  much  of  the  impress  of 
Fra  Bartolommeo  or  Giulio  Eomano.  The  follow- 
ing are  some  of  his  most  important  pictures: 


Berlin.     Museum,      Adoration  of  the  Infant  Christ. 
Florence.  2'.  Vecchio,  Holy  Trinity. 

„  „  Annunciation.     1514. 

„        Academy.  Magdalene  and  St.  Francis  at  the  foot 
of  the  Gross. 

„  TTffizi.  St.  Zanobio  restoring  a  child  to  life. 

„  „  Madonna  del  Pozzo  {also  ascribed  to 


„         Pitti.  Holy  Family. 

Pi.stoja.S  PutroMag ^iigin  adored  by  Saints. 

BIJE,  De.     See  De  Bije. 

BIJLAEET,  Jan  Jacob,  a  Dutch  painter,  was 
born  at  Eotterdam  in  1734.  His  paintings,  some 
of  which  are  at  Cassel  and  Brunswick,  mostly 
represent  girls,  and  are  weak  in  colouring.  He 
sometimes  worked  for  churches.  He  died  at  Ley- 
den  in  1809. 

BILCOY,  Maeib  Marc  Antoinh,  was  born  in 
Paris  in  1755.  He  painted  a  number  of  genre 
subjects,  and  was  received  into  the  Academy  in 
1789.     He  died  in  Paris  in  1838. 

BILFELDT,  Jean  Joseph,  a  French  miniature 
painter,  was  born  at  Avignon  in  1793.  He  studied 
under  Easpay,  and  devoted  himself  chiefly  to 
miniatures  and  portraits,  some  of  which  are  at 
Versailles.     He  died  in  Paris  about  the  year  1849. 

BILIVEET,  Jan,  (or  Belliveet,)  who  was  born 
at  Maestricht  in  1576,  was  brought  up  in  the 
school  of  Lodovico  Cardi,  in  Italy,  where  he  was 
called  Giovanni  Biliverti.  He  completed  some  of 
the  works  left  unfinished  at  the  death  of  his  in- 
structor, to  whose  style  he  endeavoured  to  unite 
the  expression  of  Santo  di  Titi,  and  something 
of  the  splendour  of  Paolo  Veronese.  He  died  at 
Florence  in  1644.  Amongst  his  best  works  may 
be  mentioned : 

Florence.        Pitti  Pal.       Tobias  and  the  Angel. 

,,  VMzi.  Joseph  and  Potiphar's  Wife. 

Petersburg.    Hermitage.    Hagar  in  the  Desert. 
Vienna.  Belvedere.     Christ    and    the    "Woman  of 

Samaria. 

BILLMAEK,  Carl  Johann,  who  was  born  at 
Slookholm  in  1804,  was  a  landscape  painter;  he 
visited  Dalecarlia,  St.  Petersburg,  and  Paris,  where 
he  studied  under  Deroy.    From  1828  to  1830  he  pub- 


lished  100  lithographic  landscape  studies,  and  in 
1833,  whilst  in  Paris,  he  produced  29  works,  repre- 
senting the  scenery  of  his  native  country ;  and  later 
on  24  plates  of  views  on  the  Ehine,  and  also  100 
plates  in  a  work  entitled,  '  Journey  from  Stockholm 
to  Naples.'  He  was  a  member  of  the  Academy  of 
Stockholm,  and  received  the  decoration  of  the 
Wasa  order.     He  died  in  Paris  in  1870. 

BILLONI,  GiAMBATTiSTA,  a  painter  of  Padua 
was  born  in  1676,  and  died  in  1636.  He  painted 
landscapes  and  portraits,  and  sometimes  attempted 
history  ;  but  his  reputation  is  now  confined  to  his 
portraits. 

BILLWILLEE,  Johann  Loeenz  Jacob,  bom  at 
St.  Gallen,  Switzerland,  in  1780,  etched  the  por- 
traits of  Piiger,  Maurer,  Schmutzer,  Fischer,  and 
himself,  and  painted  genre  pieces  after  Kobell  and 
J.  Seelos.  He  committed  suicide  at  Vienna  in 
1810. 

BILLY,  Niccol6  and  Antonio,  (or  Billi,)  two 
Italian  engravers,  who  flourished  about  the  year 
1734,  engraved  several  portraits  and  historical 
subjects,  executed  with  the  graver  in  rather  a  stiff 
dry  manner.  Niccol6  engraved  some  plates  for  the 
Museum  Florentinum. 

Fredericus  Zuccharus. 

Hans  Holbein  ;  se  ipse  pinm. 

Pietro  Leone  Ghezzi  ;  se  ipse  del. 

Giovanni  Morandi  ;  se  ipse  del. 

Cardinal  Pompeo  Aldrovandi ;  G.  Berti  pinx. 

Cardinal  SpineUi ;  Dom.  Dupra  pinx. 

The  Infant  Jesus  sleeping ;  oval. 

St.  Philip  Keri  kneeling  before  the  Virgin ;  after  S. 

Conca. 
The  Holy  Family ;  after  Carracci  ;  half-length  fignres. 
The  Flight  into  Egypt ;  after  Quido. 

BILTIDS,  Jacob.    See  Van  deb  Bilt,  Jacob. 

BIMBI,  Bartolommeo,  a  Florentine  artist,  who 
was  born  in  1648,  studied  under  Lorenzo  Lippi, 
and  after  painting  historical  pieces  for  a  short 
time,  became  an  excellent  painter  of  fruit  and 
flowers  ;  he  was  considered  the  Mario  of  his 
school.     He  died  in  1725. 

BIMEL.     See  Bumel. 

BINCK.     See  Bink. 

BINDEE,  Joseph,  who  was  born  at  Vienna  in 
1805.  received  his  first  art  instruction  in  that  city. 
From  1827  to  1834  he  resided  at  Munich.  Two 
years  later  he  became  teacher  at  the  Stadel  Insti- 
tute, Frankfort ;  and  in  1847  he  returned  to  Vienna 
and  was  elected  in  the  following  year  a  member  of 
the  Academy,  of  which  he  was  made  a  lecturer  in 
1851.  He  died  in  1864.  Binder  at  first  painted 
portraits,  but  afterwards  turned  his  attention  to 
historical  subjects,  a  branch  of  art  in  which  he  was 
very  successful.  Towards  the  close  of  his  li£e  he 
painted  frescoes  for  churches.  The  following  are 
some  of  his  best  works : 

Portrait  of  the  Emperor  Albert  II.    {In  the  Eaisersaal 

at  Frankfort.) 
Madonna  and  Child. 
The  Conversion  of  the  Eobber  Julian. 
St.  Catharine  of  Siena  visiting  a  poor  family. 
St.  Florian. 
Conversion    of    St.    Eustachius.      {In  the   Belvedere, 

Vienna.) 

BINDON,  Francis,  who  was  bom  in  Ireland  at 
the  beginning  of  the  18th  century,  painted  por- 
traits of  Dean  SwiEt,  the  Archbishop  of  Armagh, 
Dr.  Sheridan,  and  other  celebrated  men  of  the  time, 
some  of  which  were  engraved.  He  also  practised 
as  an  architect,  and  bmlt  country  mansions.  He 
died  in  1765. 


Binet 


PAINTERS  AND  ENGEAVEES. 


Birch 


BINET,  Louis,  a  French  engraver,  was  born 
in  Paris  in  1744.  He  was  a  pupil  of  Beauvarlet, 
and  engraved  several  plates  after  the  works  of 
Greuze,  Joseph  Vernet,  and  other  masters.  He 
died  in  Paris  about  the  year  1790. 

BING,  Edward,  (or  Btng,)  was  an  assistant  to 
Sir  Godfrey  Kneller,  who,  before  his  death,  com- 
missioned him  to  finish  all  his  portraits  which 
were  then  incomplete,  and  in  return  settled  on 
him  £100  a  year.  Bing  died  about  the  middle  of 
the  last  century.  His  brother,  Egbert  Bing,  was 
also  employed  by  Kneller. 

BINK,  Jakob,  (or  Binck,)  an  old  German  en- 
graver and  painter,  was  born  at  Cologne  between 
1490  and  1504.  From  the  earliest  accounts  of 
Bink,  we  must  consider  it  probable  that  he  was  a 
pupil  of  Durer,  but  this  is  by  no  means  certain, 
while  his  early  residence  in  Italy  throws  a  doubt 
upon  the  supposition.  He  is  also  said  to  have 
worked  under  Marc'  Antonio  in  Rome.  One  of 
his  largest  plates  is  a  rather  feeble  copy  of  the  very 
popular  '  Massacre  of  the  Innocents '  by  Raphael. 
Previous  to  the  year  1546  he  was  appointed  painter 
to  King  Christian  III.  of  Denmark,  whose  portrait 
and  that  of  his  wife  Queen  Dorothea,  by  him,  are 
said  to  be  at  Copenhagen.  He  was  also  employed 
by  Prince  Albrecht  of  Brandenburg,  who  sent  him 
in  1549  to  the  Netherlands,  to  erect  a  monument 
to  the  late  Princess.  Bink  now  received  a  fixed 
annual  salary  from  the  above-named  prince,  and 
removed  his  wife  and  family  to  Konigsberg,  where, 
about  twenty  years  after,  he  died,  in  1568  or  1569. 
Of  his  paintings  none  but  portraits  are  known.  In 
the  Garderobe  at  Konigsberg  are  those  of  '  Prince 
Albrecht '  and  his  '  First  Wife,'  and  his  own  por- 
trait is  in  the  Belvedere,  Vienna.  Bink's  pictures 
are  remarkable  for  correctness  of  drawing  and 
general  artistic  taste.  This  artist  holds  a  dis- 
tinguished rank  among  the  engravers  denominated, 
on  account  of  the  small  size  of  their  prints,  by  the 
name  of  the  '  Little  Masters.'  His  style  is  very 
neat,  sometimes  resembling  the  works  of  H.  Alde- 
grever,  but  his  plates  evince  less  mastery  in  the 
execution.  His  drawing  is  correct,  and  there  is 
an  agreeable  taste  in  the  turn  of  his  figures.  There 
has  existed  considerable  confusion  respecting  the 
marks  of  the  artists  of  this  period,  particularly  those 
whose  names  commence  with  a  B.  The  works  of 
this  master  are  generally  marked  with  the  cipher 
annexed,  the  G  meaning  Coloniensis. 
Several  other  engravers  used  the  initials  TpT) 
/.  B.,  one  of  whom,  very  skilful  indeed,  Jyj  3 
and  possessed  of  much  invention,  is  mis- 
taken by  Sandrart  for  Bink.  The  following  are  his 
principal  prints: 

The  Portrait  of  Jacob  Bink,  with  a  cap,  a  skull  in  his 

cloak,  and  a  cup  in  his  right  hand. 
The  Portrait  of  Lucas  Gassel ;  I.  B.    1529.    Inscribed 

Ima^o  ab  Jacob  Binck  ad  vivum  delineata. 
Portrait  of  Francis  I. ;  Franciscus  rex  Frandai. 
Portrait  of  Claude,  First  Queen  of  Francis  I.    1528. 
Christiernus  II.  Danorum  Eex.    1525. 
Elisabeta  Danorum  Begina. 
Christian  III.,  surrounded  by  nine  shields  of  arms  and 

six  Cupids,  is  one  of  his  most  elaborate  and  excellent 

engravings.    It  is  rare,  and  not  in  Bartsch's  catar 

logue. 
St.  Jerome,  with  the  Lion. 
Twenty,  representing  the  Divinities;    copied    after 

Caralius,  who  engraved  these  plates  after  Jl  Rosso. 
Adam  holding  the  branch  of  a  tree. 
Eve,  with  a  branch  with  two  apples. 
Lot  and  his  Daughters ;  circular ;  marked  twice. 
David,  with  the  head  of  Goliath.    1526. 


Jiidith,  with  the  head  of  Holofemes. 

St.  Michael  vanquishing  the  Evil  Spirit. 

The  Virgin  Mary  adoring  the  Infant  Jesus  in  the 
manger. 

Virgin  sitting  on  a  bank. 

Saints,  various  small  prints,  including  SS.  Anthony, 
the  Virgin  with  Catharine  and  Barbary,  Magdalene, 
George. 

The  Beheading  of  St.  Jobn. 

The  Soldier  struggling  with  Death.    A  fine  design. 

Many  subjects  from  fable  and  allegory,  including  Cupid, 
Venus,  Hercules  and  Nessus,  Pride,  Fortune,  Justice. 

The  Massacre  of  the  Innocents ;  copied  after  Marc' 
antonio  ;  very  scarce ;  an  inf erio^rint. 

A  'Woman  beating  and  driving  away  the  Devil  with 
her  crutch.    1528. 

A  Soldier  and  a  young  woman. 

A  Peasant  carrying  a  basket  of  eggs. 

A  Peasant  and  woman  dancing. 

A  Vignette,  four  Cupids  mounted  on  dolphins. 

A  Vase,  ornamented  with  the  heads  of  two  unicorns. 
"With  about  fifteen  other  ornamental  trifles.  His  prints 
amount  in  number  to  140,  but  many  of  them  are  copies 
from  Durer,  Sebald  Beham,  and  others.  He  is  therefore 
inferior  in  originality  to  some  other  Little  Masters,  his 
contemporaries. 

W,  B.  S. 

BINNEMAN,  Walter.  This  artist,  who  is  sup- 
posed to  have  been  a  native  of  England,  flourished 
about  the  year  1675.  He  engraved  a  few  portraits, 
which  are  very  indifferently  executed ;  among 
them  is  that  of  Robert  Chamberlaine,  an  arithme- 
tician, prefixed  to  his  '  Accomptant's  Guide.' 

BINOIT,  Peter,  a  flower  painter  of  the  17th 
century,  flourished  in  Cologne.  In  the  Darmstadt 
Gallery  there  are  two  flower-pieces  by  him.  One 
has  his  monogram  and  the  date  1611,  and  the  other 
is  signed  P.  BINOIT.  FRANCFORT  1620. 

BINYON,  Edward,  was  an  English  landscape 
painter  in  oil  and  water-colours.  He  lived  many 
years  in  the  isle  of  Capri,  where  he  died  in  1876, 
from  the  effects  of  bathing  while  heated.  His 
works,  which  appeared  at  the  Dudley  Gallery  and 
at  the  Royal  Academy,  evinced  his  power  of 
colour  and  of  portraying  the  effects  of  the  sunny 
south.  Amongst  his  contributions  to  the  latter 
institution  were : 

Arch  of  Titus.    1859. 

Capri.    1870. 

Marina  di  Laccho,  Ischia.    1873. 

Coral  Boat  at  Dawn,  Bay  of  Naples.     1875. 

Hidden  Fires,  Vesuvius  from  Capodimonte.    1878. 

BIONDI,  Francesco,  who  was  born  at  Milan  in 
1735,  painted  sacred  subjects.  He  died  in  1805. 
In  the  gallery  of  his  native  town  there  is  a 
'  Madonna  and  Child,'  by  him. 

BIORD,  Peter.  _  The  name  of  this  artist  is 
aflBxed  to  an  etching  representing  '  Cupid  and 
Psyche.'  It  is  executed  in  a  bold,  spirited  style, 
and  is  apparently  the  production  of  a  painter. 

BIRCH,  Henry,  an  English  engraver,  practised 
in  the  latter  part  of  the  18th  century.  He  engraved 
after  Stubbs  and  other  contemporary  painters. 

BIRCH,  John,  portrait  and  landscape  painter, 
was'  born  at  Norton,  Derbyshire,  in  1807.  As  a 
boy  he  gave  indication  of  a  love  for  art,  sketching 
the  beautiful  scenery  of  the  neighbourhood.  For 
some  time  he  assisted  his  father  in  his  business  as 
a  file-cutter,  but  afterwards  went  to  a  carver  and 
gilder,  with  whom  he  remained  seven  years.  He 
then  determined  to  take  up  portrait  painting  as  a 
profession,  and  went  to  London,  where  he  studied 
under  H.  P.  Briggs.  Here  he  received  several 
commissions  to  paint  copies  of  the  portraits  by  his 
master,  in  which  he  was  so  successful,  that  it  was 

129 


Birch 


A  BIOGRAPHICAL  DICTIONAEY  OF 


Biacarra 


sometimes  difficult  to  distinguish  the  copy  from  the 
original.  Amongst  the  original  portraits  which  he 
painted  were  several  of  Ebenezer  Elliott,  the  Corn 
Law  Rhymer  ;  one,  a  half-length,  representing  him 
amongst  the  rocks  of  Rivilin,  was  painted  on  the 
spot,  when  the  poet  and  painter  were  on  a  ramble 
together.  His  landscapes  consist  of  views  of 
the  magnificent  scenery  of  Derbyshire:  'Dove- 
dale,'  'Millin's  Dale,'  'Matlock  High  Tor,"_ En- 
trance to  the  Peak  Cavern,'  were  favourite  subjects 
of  his  pencil.  Birch  was  a  man  of  enlarged  and 
liberal  views,  anicf  great  conversational  powers. 
For  some  years,  towards  the  latter  part  of  his  life, 
he  resided  in  London,  making  occasional  visits  to 
his  native  town,  during  the  last  of  which  it  is  said 
that  he  painted  about  forty  portraits  in  nine 
months.     He  died  at  South  Hackney  in  1857. 

BIRCH,  William,  a  miniature  painter  and  en- 
graver, was  born  at  Warwick  about  1760.  He 
exhibited  enamel  portraits  at  the  Royal  Academy 
from  1781  to  1794,  when  he  went  to  Philadelphia, 
where  he  died.  As  an  engraver  he  is  best  known 
by  his  '  D^lices  de  la  Grande  Bretagne,'  consist- 
ing of  thirty-six  plates  of  ancient  buildings  in 
Norwich  and  elsewhere,  published  in  1791. 

BiRCK,  Paul.  Strutt  mentions  tliis  artist  as 
the  engraver  of  four  plates,  exclusive  of  a  title, 
representing  the  'Four  Elements,'  in  circles,  sur- 
rounded with  ornaments,  which  appear  to  be  pat- 
terns for  goldsmiths.  They  are  executed  with  the 
graver  in  a  style  resembling  that  of  J.  T.  de  Bry. 
n  the  title  is  the  following  inscription :  Quatuor 
Mundi  Elementa,  elegantibus  figuris  sen  imagin- 
ibus  (wtificiosa  expressa.     Paulus  Birch,  f. 

BIRCKAERT,  Anton,  (or  Bieckaet,)  a  German 
engraver,  who  was  born  at  Augsburg  in  1677,  and 
resided  sometime  at  Prague,  where  he  died  in  1748. 
He  engraved  some  large  architectural  plates  with 
figures,  which  are  executed  with  the  graver  in  a 
fitifE,  formal  style.  Basan  mentions  a  print  by  him 
representing  the  '  Martyrdom  of  Forty  Portuguese 
Jesuits  ; '  after  Borgognone.  Dlabacz  has  given  a 
numerous  catalogue  of  his  works. 

BIRCKENHOLZ,  Patjlus,  was  a  native  of 
Germany,  and  flourished  about  the  year  1670.  He 
was  a  print-seller  as  well  as  an  engraver,  and  pub- 
lished a  set  of  small  plates,  representing  warlike 
trophies,  with  figures,  &c.  They  are  executed 
chiefly  with  the  graver,  in  a  neat,  but  formal  style. 
The  title  to  these  plates  is  Omnis  generis  instru- 
Tnenta  hellica. 

BIRD,  Edward,  an  English  painter,  born  at 
Wolverhampton  in  1762  (or  1772),  served  an  appren- 
ticeship to  a  maker  of  tea-trays,  and  was  employed 
to  embellish  them  with  fruit,  flowers,  and  fanciful 
designs.  At  the  expiration  of  his  term  of  service  he 
left  Birmingham,  and  set  up  a  school  for  drawing 
at  Bristol.  During  the  intervals  of  instruction 
he  made  sketches,  designs,  and  compositions  for 
pictures  ;  and  it  would  appear  that  his  progress 
was  due  to  his  own  observation  and  persevering 
industry.^  He  painted  humorous  and  pathetic  sub- 
jects, which  attracted  much  attention,  and  induced 
the  members  of  the  Royal  Academy  to  enrol  his 
name  as  an  Associate  in  1812,  and  as  an  Acade- 
mician in  1815.  His  best  pictures,  as  historical 
compositions,  are  'The  Battle  of  Chevy  Chase,' 
and  the  '  Surrender  of  Calais.'  His  chief  merit,  as 
an  artist,  lay  in  natural  and  touching  representa- 
tions of  homely  and  social  subjects ;  history,  both 
sapred  and  profane,  required  a  spirit  more  imagin- 
ative than  be  possessed.     He  was  a  kind-hearted 

130 


man,  much  respected  by  his  brother  artists  and 
all  who  knew  him.  He  died  at  Bristol  in  1819 
and  was  buried  in  the  cloisters  of  the  cathedral! 
Among  his  best  paintings  are : 

Good  News  (exhitited  at  the  Academy  in  1809). 

Choristers  Behearsing  (purchased  ly  the  Prince  Regent), 

A  Country  Auction  (exhibited  in  1812). 

A  Poaclier's  Career,  m  six  subjects.    1812. 

Queen  Philippa  interceding  for  the  Burghers  of  Calais 

1814. 
The  Day  after  Chevy  Chase  (purchased  In/  the  Duke  of 

Sutherland  for  300  guineas). 
Death  of  Eli.    (This  picture  received  a  prize  of  300 

guineas  from  the  British  Institiction,  and  was  bought 

for  500  guineas  hy  the  Duke  of  Sutherland.) 
The  Baffle  for  the  Watch  (in  the  National  Gallery). 
Christ  led  to  be  Crucified  (exhitited  in  1817). 
The  Death  of  Sapphira  (his  last  work).    1818. 

BIRD,  John,  a  landscape  painter,  was  born  in 
1768.  He  made  some  of  the  drawings  for  Angus's 
'Principal  Seats  of  the  Nobility'  (1787),  and  other 
topographical  works.    He  died  at  Whitby  in  1829. 

BISCAINO,  Baktolommeo,  the  son  of  Giovanni 
Andrea  Biscaino,  was  born  at  Genoa  in  1632.  He 
was  instructed  by  his  father  in  the  first  rudiments 
of  the  art,  and  afterwards  became  a  scholar  of 
Valeric  Castelli.  From  the  early  indications  he 
gave  of  uncommon  genius,  great  expectations  were 
formed  of  his  future  eminence,  and  they  were  not 
disappointed.  Before  he  had  reached  his  twenty- 
fifth  year  he  had  painted  many  considerable  works, 
but  his  career  was  cut  short  by  the  plague,  which 
visited  Genoa  in  1657,  to  which  his  father  and 
himself  fell  victims.  The  Dresden  Gallery  pos- 
sesses three  pictures  by  this  artist,  representing 
'  The  Woman  taken  in  Adultery,'  '  The  Adoration 
of  the  Magi,'  and  'The  Circumcision  of  Christ.' 
He  etched  several  plates,  in  a  free,  bold  style, 
resembling  in  some  degree  the  works  of  Benedetto 
Castiglione,  but  in  a  more  finished  manner.  His 
subjects  are  finely  composed  and  elegantly  drawn. 
He  sometimes  marked  his  plates  B.  B.  The 
following  are  his  most  esteemed  prints : 

Moses  in  the  Bulrushes. 

Susannah  and  the  Elders. 

The  Nativity,  with  Angels. 

The  Circumcision. 

The  Wise  Men's  Offering. 

Herodias,  with  the  Head  of  St.  John. 

The  Virgin  Mary  and  Infant  Jesus,  with  Angels. 

The  Virgin  suckling  the  Infant  Jesus,  with  St.  Joseph. 

The  Virgin  suckling  the  Infant,  with  St.  Joseph,  and 

St.  John  with  his  lamb. 
The  Virgin  adoring  the  Infant  Jesus. 
The  Virgin  with  the  Infant  Jesus  on  her  knee,  St.  John 

Mssing  his  foot,  and  St.  Joseph  beliind. 
The  Virgin  with  the  Infant  Jesus  standing  on  her  knee, 

stretching  out  His  arm  to  St.  Joseph ;  half-length 

figures. 
The  Holy  Family,  with  St.  John  holding  a  cross. 
The  Eepose  in  Egypt,  with  Angels  in  the  clouds. 
The  Infant  Jesus  reposing  on  the  globe. 
St.  Joseph,  with  the  Infant  Jesus ;  half-length. 
St.  Christopher  giving  his  hand  to  the  Infant  Jesus. 
St.  Christopher,  with  the  Infant  Jesus. 
Mary  Magdalene  in  the  desert ;  dated  1656. 

BISCAINO,  Giovanni  Andeea,  a  native  of 
Genoa,  painted  landscapes  in  a  bold  and  spirited 
style ;  but,  according  to  Soprani,  the  necessity  he 
was  under  to  paint  with  despatch,  in  order  to 
support  a  numerous  family,  prevented  his  ^^^*''*' 
ing  that  care  and  attention  wliioh  would  have 
rendered  his  works  more  deserving  of  our  esteem. 
He  died  at  Genoa,  of  the  plague,  in  1657.         . 

BISCAERA,    Giovanni,    an   Italian  histoncai 


Bischof 


PAINTERS  AND  ENGEAVEES. 


Bitterlich 


painter,  of  Turin,  flourished  in  the  first  half  of  the 
19th  century.  He  died  in  1851.  His  own  portrait 
is  in  the  Uffizi  at  Florence. 

BISCHOF,  Feiedrich,  who  was  bom  at  Anspach 
in  1819,  was  a  painter  of  genre  Bubjects.  'The 
First  Snow,'  by  him,  is  in  the  Pinakothek  at 
Munich.     He  died  in  1873. 

BISCHOP,  CoKNELis,  a  Dutch  painter,  who  was 
bom  at  Dordrecht  in  1630,  was  a  scholar  of  Fer- 
dinand Bol.  He  painted  history  and  portraits,  in 
the  style  of  his  master,  but  with  very  indifferent 
success.  He  died  in  1674.  His  son,  Abraham 
BlSPHOP,  was  eminent  as  a  painter  of  birds. 

BISET,  Karel  Emanuel,  a  Flemish  painter,  was 
bom  at  Mechlin  in  1633.  It  is  not  said  by  whom 
he  was  instructed,  but  he  went  to  Paris  when  he 
was  young,  and  met  with  great  encouragement, 
his  pictures,  which  represented  gallant  assemblies, 
balls,  concerts,  and  what  are  called  'conversations,' 
being  adapted  to  French  taste.  Notwithstanding 
his  success,  the  love  of  his  native  country  induced 
him  to  return  to  Antwerp,  where  he  was  appointed 
director  of  the  Academy,  in  1674.  He  designed 
his  subjects  with  taste,  but  his  colour  is  rather 
cold  and  grey.  His  chief  work  is  a  large  picture 
in  the  Brussels  Gallery,  formerly  in  the  hall  of  the 
Archers'  Guild  at  Antwerp,  representing  '  William 
Tell  preparing  to  shoot  the  Apple  from  the  Head 
of  his  Son.'  A  '  Family  Group '  by  him  is  in  the 
Museum  at  Eotterdam.  He  died  at  Breda  in  1680 
(or  1685).  His  son  Jan  Baptist  Biset  was  also 
a  painter. 

BISI,  Fra  Bonaventuea,  called '  Padre  Pittorini,' 
was  a  monk  of  the  order  of  St.  Francis,  at  Bologna, 
where  he  was  born  in  1612  (or  1610).  He  had 
been  instructed  in  drawing  when  young,  by  Lucio 
Massari,  and  was  celebrated  for  his  copies  in 
miniature  from  the  works  of  Correggio,  Titian, 
Guido,  &c.,  many  of  which  were  in  the  cabinet  of 
Alfonso  IV.  of  Modena,  by  whom  he  was  employed. 
He  also  etched  a  few  plates  after  Parmigiano, 
Guido,  &c.,  and  one  after  his  own  design  of  a 
'  Holy  Family,  with  St.  John  and  St.  Elisabeth,' 
marked  F.  B.  B.  F.  1631.  He  died  at  Modena  in 
1662. 

BISI,  MiCHELE,  an  Italian  engraver  and  painter, 
who  was  bom  at  Genoa  about  1788,  does  honour  to 
the  schools  of  Bartolozzi,  Eosaspina,  and  Longhi. 
He  first  distinguished  himself  by  the  publication 
of  the  '  Pinacoteca  del  Palazzo  Eeale  delle  Scienze 
e  delle  Arti  di  Milano,'  in  which  he  was  aided  by 
his  wife,  Eenesta  Bisi,  who  was  likewise  a  pupil 
of  Longhi.  In  1819  he  undertook  a  series  of 
engravings  from  the  paintings  of  Andrea  Appiani, 
in  which  he  was  assisted  by  some  of  the  best 
scholars  of  Longhi.  His  engraving  of  '  Venus 
embracing  Cupid'  happily  expresses  the  beauty 
of  the  original  picture.  Subsequently  appeared 
'  The  Virgin  and  Infant  Christ  enthroned,  attended 
by  St.  Anthony  and  St.  Barbara,'  after  Luini, 
which  he  has  treated  in  a  brilliant  and  delicate 
manner,  preserving  the  beauty  and  grace  peculiar 
to  the  master;  'Andromeda  and  Perseus,'  after 
Guercino ;  an  '  Adoration  of  the  Virgin,'  after 
Sassoferrato ;  and  'The  Offering  of  the  Magi,' 
after  Gaudenzio  di  Ferrara.  He  also  succeeded 
as  a  painter  of  landscapes. 

BISQCEET,  Antonio,  was  a  Spanish  historical 
painter,  who  was  bom  at  Valencia,  and  a  scholar 
of  Eibalta.  He  established  himself  at  Teruel  in 
1620,  and  became  renowned  as  a  painter.  He  was 
a  good  colourist  and  designer,  and  infused  much 
E  2 


sentiment  into  his  pictures,  which  are  chiefly 
subjects  from  Eomish  legends.  He  also  copied 
Sebastiano  del  Piombo's  'Dead  Christ  in  the  arms 
of  the  Virgin,  attended  by  the  Marys  and  St.  John.' 
He  died  in  1646. 

BISSCHOP,  Jan  de.    See  De  Bisschop. 

BISSET,  James,  bom  in  1760,  first  practised  as 
a  miniature  painter  at  Newmarket.  He  afterwards 
went  to  Birmingham,  where  he  engraved  the  em- 
blematic plates  to  his  'Poetical  Survey  round 
Birmingham'  (1800).  In  1814  he  published  a 
'  Descriptive  Guide  to  Leamington  Priors.'  He 
died  at  Leamington  in  1832. 

BISSOLO,  PiEE  Francesco,  was,  it  is  believed, 
a  native  of  Treviso,  and  was  brought  up  in  the 
school  of  the  Bellini  at  Venice.  He  flourished 
from  about  1492  to  1630.  His  paintings  are  now 
very  rarely  to  be  met  with.  Some  of  his  works  at 
Murano,  and  in  the  cathedral  of  Treviso,  were  com- 
pared by  Lanzi  with  those  of  Palma  Vecchio. 

Berlin.  Gallery.    Eesurrection  of  Christ. 

Castel-Franco.  Floriaiw.  Altar-piece  (sigjied  and  dated 
MDXXVIII). 

lK>ndon.  ffat.  Gall.  Portrait  of  a  lady. 

Venice.  Academy,  Christ  exchanging  the  crown 

of  thorns  of  St.  Catharine  of 
Siena  for  a  crown  of  gold. 
{Signed  Feaciscus  Bissolo) 
— formerly  in  San  Fietro  Mar- 
tire,  Murano  (c/eneral/y  con^ 
tidered  his  masterpiece). 

Francesco  Bissolo  is  thought  by  Crowe  and 
Cavalcaselle  to  be  possibly  identical  with  Pietro 
de'  Ingannati,  the  author  of  a '  Madonna  and  Child,' 
in  the  Berlin  Gallery — signed  Petrus  de  Ingan- 

ATUS  P. 

BISSONI,  Giovanni  Battista,  was  born  at  Padua 
in  1576 ;  and,  according  to  Eidolfi,  was  first  a  scholar 
of  Francesco  AppoUodoro,  called  11  Porcia,  a  por- 
trait painter,  and  afterwards  of  Dario  Varotari. 
Bissoni  painted  several  pictures  for  the  churches 
and  convents  at  Padua  and  Eavenna.  He  died  in 
1636. 

BISUCCIO,  Leonardo  di,  of  Milan,  is  a  painter 
whose  name  has  been  handed  down  to  posterity  by 
the  reputation  of  one  work  only.  It  is  the  decora- 
tion of  the  chapel  of  Sergiani  Carracciolo,  in  the 
church  of  San  Giovanni  a  Carbonara,  in  Naples, 
The  subjects  are  scenes  from  the  life  of  the  Virgin, 
in  which  several  portraits  of  members  of  the  Car- 
racciolo family  have  been  introduced.  In  general 
treatment  the  work  resembles  the  style  of  Giotto, 
but  the  heads  partake  of  the  beauty  of  Fra  An- 
gelico.  Bisuccio  lived  about  the  middle  of  the 
15th  century. 

BITTEELICH,  Eddard,  was  bom  at  Stupnicka, 
in  Galicia,  where  his  father  had  established  him- 
self. Whilst  Eduard  was  still  young  his  parents 
moved  to  Vienna,  with  the  intention  of  educating 
him  for  the  civil  service,  but  against  their  will  he 
entered  Waldmiiller's  studio,  and  devoted  himself 
to  miniature  painting.  In  1855  he  went  to  Venice 
in  order  to  copy  the  works  of  the  old  masters.  His 
enthusiasm  was  so  great  that  he  would  scarcely 
allow  himself  the  time  to  eat  and  drink.  Upon  his 
return  he  married  Marie  Singer  von  Wyssogurski, 
and  immediately  afterwards  put  himself  under  the 
direction  of  Eahl,  whom  he  never  afterwards  left 
until  his  death.  For  this  master  he  designed  many 
fresco  paintings,  and  sketched  an  immense  number 
of  small  compositions,  amongst  them  the  20  sheets 
for  the  '  Wanderings  of  the  Argonauts,'  and  the 

131 


BittlieuseT 


A  BIOGRAPHICAL  DICTIONARY  OF 


Blake 


coloured  eketohes  for  the  Duke  of  Oldenburg. 
After  Rahl's  death,  Bitterlioh's  principal  work — 
executed  in  conjunction  with  Griepenkerl — was  the 
design  for  the  new  Opera  House  ;  and  of  his  earlier 
productions  we  may  name,  The  Pompeian  figures 
in  the  Ypsilanti  Palace,  and  the  20  Lunettes  in  the 
Banqueting-hall  of  the  Grand  Hotel  of  Vienna, 
together  with  the  pictures  for  the  restored  castle 
of  Duke  Leopold  in  Hdrnstein.  He  died  at  Press- 
baum,  near  Vienna,  in  1872. 

BITTHEUSER,  Johann  Pleiokaed,  an  engraver, 
born  at  Biitthard  in  1774,  was  instructed  by  J.  G. 
von  Miiller;  he  was  professor  at  Wiirzburg,  and 
died  there  in  1869.  The  following  engravings  are 
some  of  his  best  works: 

The  Last  Supper ;  after  Leonardo  da  Vinci.    1805. 
The  meeting  of   Augustus  and  Cleopatra;  after  2t. 


The  Wife  of  Domenichino  coming  out  of  the  bath; 
after  Xiomenichino. 

BIZAMANUS  was  the  name  of  a  family  of 
painters  who  belonged  to  a  school  at  Otranto,  in 
Apuleia,  and  flourished  a  short  time  before  the  16th 
century.  Their  paintings  are  executed  in  the 
Byzantine  style,  with  landscapes  in  the  back- 
grounds. The  painting  in  the  Museo  Cristiano  of 
the  Vatican,  of  '  Christ,  risen  from  the  dead,  and 
Mary  Magdalene,'  is  attributed  to  Donatus  Biza- 
manus;  and  that  in  the  Museum  at  Berlin,  of 
'The  Descent  from  the  Cross,'  to  Angelus  Biza- 
manus. 

BIZEMONT-PRUNELl^,  AndeS  Gaspaed  Pae- 
FAIT,  Comte  de,  French  draughtsman  and  engraver, 
was  born  at  the  chateau  of  Tignonville,  near 
i^tampes,  in  1752.  He  was  a  pupil  of  E.  Gaucher, 
and  etched  and  engraved  on  wood  a  considerable 
number  of  works.  He  was  for  some  years  director 
of  the  Museum  at  Orleans,  and  died  there  in  1837. 
Among  his  etchings  may  be  mentioned : 

Hagar  and  Ishmael ;  after  Guercino. 
Cephalus  and  Procris ;  after  the  same. 
Virgin  and  Child ;  after  Gnido, 
A  Pieti ;  after  Eibera. 
La  Nourrice ;  after  JVatoire. 

An  Allegory  upon  the  death  of  Louis  XVL  and  of 
Marie  Antoinette. 

BIZZELLI,  Giovanni,  a  Florentine  painter,  born 
in  1556.  He  was  a  scholar  of  Alessandro  Allori, 
called  Bronzino.  He  afterwards  went  to  Rome, 
where  he  painted  some  pictures  for  the  churches. 
On  his  return  to  Florence  he  executed  several 
works  for  the  public  edifices,  which  are  described 
by  Borghini  in  his  account  of  the  painters  and 
sculptors  of  Florence.  He  died  in  1612.  His 
own  Portrait  and  an  '  Annunciation '  by  him  are 
in  the  Uffizi. 

BLACEO,  Beenaedino.  Ridolfi  describes  several 
«rorks  of  this  painter  in  the  churches  at  Udine,  in 
the  Friuli— among  them,  the  principal  altar-piece 
of  the  church  of  Santa  Lucia,  representing  the 
'  Virgin  and  Infant  Saviour,  with  a  group  of 
Angels,  and  St.  Lucia  and  St.  Agatha;'  and  in 
Porta  Nuova,  the  '  Virgin  and  Infant  Christ,  with 
St.  Peter  and  St.  John.'  Blaceo  appears  to  have 
flourished  about  1650. 

BLACKLOCK,  W.  J.,  a  landscape  painter,  was 
born  in  1816.  His  views  of  scenery  in  the  North 
of  England  were  much  admired  at  the  Royal 
Academy  Exhibition  of  1853  and  the  two  follow- 
ing years.  He  died  at  Brampton,  Cumberland,  in 
1858.  ' 

BLACKMORE,   John,   a   mezzotint    engraver, 


was  bom  in  London  about  the  year  1740.  We 
have  by  him  some  well-scraped  plates,  chiefly 
portraits  after  Sir  Joshua  Reynolds,  among  which 
are  the  following : 

Samuel  Foote ;  after  Sir  Joshua  Bej/nelds,    1771. 
"W.  H.  Bunbury,  caricaturist ;  after  the  same, 
Henry  Bimbury ;  after  the  same. 
Innocence.    1770. 

He  also  engraved  plates  after  Frans  Hals  and  other 
Flemish  artists.     He  died  about  1780. 

BLACKWELL,  Elizabeth,  the  daughter  of  a 
London  merchant,  is  known  as  the  author  of  '  A 
Curious  Herbal,  containing  600  cuts  of  the  most 
useful  plants  which  are  now  used  in  the  practice 
of  physio,  engraved  on  copper-plates  after  draw- 
ings taken  from  the  life,'  published  in  1737  and 
1739.  This  celebrated  botanical  work  was  issued 
at  Nuremberg  in  1757,  with  German  and  Latin  text 
and  600  coloured  plates,  and  at  Leipsic  in  1794. 
Mrs.  Blackwell  was  the  wife  of  Dr.  Blackwell 
who  for  many  years  was  physician  to  the  King 
of  Sweden,  and  was  involved  in  a  State  prose- 
cution for  treason,  and  beheaded  in  1747.  His 
widow  lived  till  1774. 

BLAGRAVB,  John,  an  eminent  mathematician, 
a  native  of  Berkshire,  published  among  other 
works,  in  1585,  'The  Mathematical  .Jewel,'  illus- 
trated with  woodcuts,  executed  by  himself,  in  a 
neat  style.     He  died  in  1611, 

BLAIN  DE  FONTENAY,  Jean  Baptiste.  A 
mistake  for  Belin  de  Fontenat,  which  see. 

BLAIZE,  Candide,  a  French  miniature  painter, 
was  born  at  Nancy  in  1795,  and  died  in  Paris 
about  1855. 

BLAKE,  B.,  a  painter  of  still-life,  birds,  fish, 
and  other  objects  of  that  kind.  His  works,  when 
carefully  painted,  are  very  pleasing,  but  his  cironm- 
stances,  and  his  mode  of  living,  obliged  him  to  hurry 
his  pictures,  and  too  frequently  to  repeat  them. 
As  they  were  to  a  certain  degree  popular  in  his 
day,  the  dealers  held  him  in  thrall,  and  injured  his 
reputation  by  employing  others  to  copy  his  works. 
He  was  also  compelled  by  necessity  to  make,  for 
these  patrons,  copies  of  the  works  of  Dutch  painters, 
in  which  he  was  sometimes  so  successful .  aa  to 
enable  his  employers  to  mislead  their  customers. 
Little  of  his  history  is  known.  He  exhibited 
'Views  of  Dunford,  near  Salisbury,'  more  than 
once  at  the  Academy;  and  '  Dead  Game'  frequently 
with  the  Society  of  British  Artists,  of  which  he 
was  a  foundation  member.  He  died  about  the 
year  1830. 

BLAKE,  Nicholas,  a  draughtsman  and  engraver, 
who  illustrated  Hanway's  '  Travels  in  Russia  and 
Persia,'  published  in  1763,  an  edition  of  'Pope's 
Poems,'  and  other  works.  He  was  a  native  of 
Ireland,  and  lived  for  many  years  in  Paris,  where 
it  is  believed  he  died  at  the  end  of  the  last  century. 

BLAKE,  William,  an  artist  of  high  poetic  genius, 
and  fervent,  but  xmcontrolled,  imagination,  was 
the  son  of  a  worthy  hosier,  who  had  carried  on 
business  for  many  years  at  28,  Broad  Street,  Golden 
Square,  London,  where  his  second  son,  William, 
was  born  on  the  28th  November,  1757.  The  boy, 
though  set  in  the  most  prosaic  surroundings,  soon 
showed  a  love  for  art  and  poetry.  He  drew  designs 
on  his  father's  bills,  made  sketches  on  the  counter, 
and  was  fond  of  wandering  dreamily  in  the  fields, 
where,  he  records,  he  saw  his  first  vision  when  a 
boy  of  eight  or  ten  years  of  age.  At  this  early  age, 
in  truth,  he  was  already  an  artist  and  poet,  for  some 


Blake 


PAINTERS  AND  ENGRAVERS. 


Blake 


of  his  poems  in  his  first  published  volume,  entitled 
'  Poetical  Sketches,  by  W.  B.,'  a  thin  octavo  volume 
now  very  rare,  are  stated  to  have  been  written  in 
his  twelfth  year,  and  no  doubt  he  had  begun  before 
this.  At  ten  years  of  age  he  was  sent  to  a  school 
in  the  Strand,  kept  by  Pars,  to  learn  drawing;  and 
at  fourteen  his  father,  who  was  not  rich  enough  to 
give  him  a  regular  education  in  art,  did  the  best 
for  him  he  could,  by  apprenticing  him  to  James 
Basire  the  engraver,  second  of  the  name,  who  em- 
ployed him  in  making  drawings  in  Westminster 
Abbey  and  other  churches,  thereby  awaking  pro- 
bably that  love  for  Gothic  beauty  which  is  manifest 
in  many  of  his  works.  One  of  his  mystic  en- 
gravings, called  '  Joseph  of  Arimathsea  among  the 
Rocks  of  Albion,'  is  dated  1773,  and  therefore 
belongs  to  this  early  apprentice  period.  When 
this  was  over,  in  1778,  he  began  to  engrave  a  little 
for  the  publishers,  and  also  attended  the  antique 
school  of  the  Royal  Academy.  In  1780  he  ex- 
hibited a  picture  at  the  Royal  Academy — '  The 
Death  of  Earl  Godwin '  —  probably  executed  in 
water-colours  ;  but  he  did  not  continue  to  send  his 
works  regularly  to  the  Academy,  only  seven  in  all 
having  ever  been  exhibited  there.  In  1782  this 
erratic  genius,  who  though  always  at  work  con- 
sidered it  his  business  "  not  to  gather  gold,  but  to 
make  glorious  shapes,  expressing  God-like  senti- 
ments," married,  and  opened  a  printseller's  shop  in 
Broad  Street.  His  wife,  Katherine  Boucher  by 
name,  was  a  young  woman  of  no  education,  not 
even  being  able  to  read  or  write,  but  she  proved  a 
noble  and  wise  helpmate,  indulging  him  in  all  his 
harmless  vagaries,  and  yielding  him  the  most 
loving  and  untiring  service. 

In  1787  Blake  issued  his  '  Songs  of  Innocence,' 
a  small  volume  of  simple  poems,  set  in  beautiful 
and  fanciful  design.  His  wife  aided  him  in  taking 
ofE  the  impressions  from  the  plates,  which  were  en- 
graved in  a  peculiar  manner,  that  Blake  believed 
had  been  revealed  to  him  by  the  spirit  of  his  brother 
Robert.  The  '  Songs  of  Innocence '  was  followed, 
in  1793,  by  the  '  Gates  of  Paradise.'  This  also  was 
printed  in  the  same  extraordinary  fashion,  the 
letter-press  as  well  as  the  designs  being  drawn  on 
the  copper  with  the  impervious  fluid  he  considered 
had  been  revealed  to  him,  but  which  was  probably 
the  ordinary  stopping-out  varnish  of  engravers  ; 
and  then  the  rest  of  the  plate  eaten  away  with 
aquafortis,  so  that  the  letters  and  design  remained 
in  relief  as  in  stereotype. 

Next  came  '  The  Songs  of  Experience,'  a  sort  of 
continuation  of  'The  Songs  of  Innocence,'  and 
afterwards  published  with  it,  forming  a  charming 
little  volumej  and  then  several  prophetic  books, 
beginning  with  '  Urizen,'  a  work  Allan  Cunning- 
ham rightly  characterizes  as  having  "  the  merit  or 
fault  of  surpassing  all  human  comprehension." 
The  same  may  be  said  of  '  The  Book  of  Thel,'  and 
'The  Marriage  of  Heaven  and  Hell,'  though  the 
latter  is  said  by  Swinburne  to  "  give  us  the  high- 
water-mark  of  Blake's  intellect."  Other  works  of 
a  like  allegorical  or  prophetic  signification  are — 
'Visions  of  the  Daughters  of  Albion,'  'America,' 
and  '  Europe,'  intricate  and  wild  allegories  ;  '  The 
French  Revolution,  a  poem  in  seven  books,'  Book 
I.  only  being  published;  'The  Song  of  Los, 
or  Time,'  resembling  Urizen  in  its  fitful  bursts 
of  poetry,  but  just  as  mystical  and  extravagant  in 
expression;  and  'The  Book  of  Ahania,'  published 
in  1795. 

In  1797  he  was  employed  by  the  bookseller 


Edwards  to  illustrate  an  edition  of  Young's  '  Night 
Thoughts.'  Great  force  of  imagination  is  displayed 
in  this  work,  as  also  in  his  edition  of  '  Blair's 
Grave,'  for  which  he  designed  twelve  '  Inventions,' 
that  are  amongst  the  most  powerful  creations  of 
his  art.  His  design  of  'The  Old  Man  at  Death's 
Door'  is  well  known.  For  these  wonderful  'In- 
ventions,' published  in  1805,  he  only  received  £21. 

In  1800  Blake,  who  had  always  hitherto  lived  in 
poor  lodgings  in  Soho  or  Lambeth,  was  persuaded 
by  the  poet  Hayley  to  remove  to  a  cottage  near  his 
residence  at  Felpham  in  Sussex.  Here  he  lived  for 
three  years,  holding  'high  converse'  with  the 
mighty  spirits  of  the  past,  not  merely  by  means  of 
their  works,  but,  as  he  believed,  by  actual  inter- 
course with  their  spirits.  For  this  poet-artist,  who 
had  been  whipped  by  his  father  when  ho  was  a 
young  boy  for  asserting  he  had  seen  an  angel  on 
Peckham  Rye,  was  now  a  confirmed  visionary,  and 
talked  of  Homer  and  Moses,  William  Wallace, 
Edward  I.,  and  even  of  the  great  Arch-fiend,  as  if 
they  had  sat  in  person  to  him  for  their  likenesses. 

Early  in  1804  Blake  returned  to  London,  and 
settled  at  17,  South  Molton  Street,  where  he  con- 
tinued to  live  for  seventeen  years.  Here  he  pub- 
lished his  mystical  book,  '  Jerusalem,'  which  he 
considered  his  greatest  work,  charging  for  a  set 
of  re-tinted  engravings  twenty-five  guineas  ; .  also 
the  'Giant  Albion,'  and  'Milton,'  a  poem  in  two 
books,  though  why  called  Milton  it  is  difSoult  to 
understand. 

Among  Blake's  paintings,  most  of  which  were 
executed  by  a  process  he  termed  '  fresco,'  must  be 
mentioned  his  picture  of  the  '  Canterbury  Pilgrim- 
age,' the  painting  of  which,  through  the  double- 
dealing  of  a  print-seller  named  Cromek,  caused  a 
deep  feeling  of  resentment  in  his  breast  against 
the  guileless  Stothard,  whose  celebrated  'Pilgrim- 
age,' painted  at  the  same  time  for  Cromek,  quickly 
became  popular.  Blake  exhibited  his,  with  some 
other  of  his  paintings,  in  the  old  shop  in  Broad 
Street,  now  belonging  to  his  brother,  but,  as  might 
be  expected,  the  exhibition  attracted  no  visitors. 

Blake' s  last  work,  and  perhaps  his  greatest,  was 
his  series  of  '  Twenty-one  Inventions  for  the  Book 
of  Job.'  These  he  painted  in  water-colour  in  the 
first  instance,  for  his  kind  friend,  Mr.  Butts,  but  in 
1826  he  issued  the  volume  of  Job  prints,  which 
are  among  the  best  known  of  his  works,  and, 
according  to  Cunningham,  "  ought  to  be  in  the 
portfolios  of  all  who  are  lovers  of  nature  and 
imagination." 

At  this  time  he  was  living  in  poverty,  though 
not,  it  may  be  hoped,  in  actual  want,  in  two  upper 
rooms  at  No.  3,  Fountain  Court,  Strand.  He  had 
several  kind  friends  who  helped  him  a  little,  and 
his  faithful  Kate  was  still  by  his  side.  Here  he 
lived  happy  and  contented,  working  with  the  graver 
by  day  and  seeing  visions  by  night,  and  here  he 
died  on  the  12th  of  August,  1827,  chanting  songs 
of  his  own  composing  to  the  very  last,  and  "  sing- 
ing of  the  things  he  saw  in  heaven." 

It  is  difficult  to  form  any  just  estimate  of  the  art 
of  this  remarkable  artist,  for  its  strength  and  its 
weakness  are  at  times  strangely  intermingled.  At 
the  present  day  its  value  is  probably  exaggerated, 
a  sort  of  Blake  culte  having  been  instituted,  which 
it  is  only  given  to  the  initiated  to  understand ;  but 
even  when  this  shall  have  burnt  itself  out,  Blake, 
it  may  be  believed,  will  still  retain  his  position  as 
one  of  the  most  creative  and  most  imaginative  of 
our  British  artists,  one  in  whom  the  wisdom  of  the 

133 


Blanc 


A  BIOGRAPHICAL  DICTIONARY  OF 


Blanchet 


sage,  the  simplicity  of  the  child,  and  the  uncon- 
trolled imagination  of  the  madman  were  strangely 
allied.  Bibliography:  'Life,'  in  Allan  Cunning- 
ham's '  British  Painters,'  new  edition,  1879.  '  Life,' 
by  Gilchrist,  two  vols.,  1863.  '  Critical  Essay,'  by 
A.  C.  Swinburne,  1868.  'Blake's  Poetical  Works, 
with  Memoir,'  by  W.  M.  Rossetti,  1875.  Catalogue 
with  Introductory  Remarks  of  the  Exhibition  of 
Blake's  Works  at  the  Burlington  Pine  Arts  Club, 
1876.  M.  M.  II. 

BLANC,  Horace  le.    See  Lb  Blanc. 

BLANCHARD,  Auguste  Jean  Baptiste  Marie, 
a  French  line-engraver,  was  born  in  Paris  in  1792, 
and  died  there  in  1849.  He  was  the  pupil  of  his 
father,  Auguste  Blanchard,  and  engraved,  among 
other  works : 

Madonna  and   Child  with    St.  John;    after  Batoni. 

(Aguado  Gallery.) 
The  Oath  of  the  Horatii ;  after  David. 
Daphnis  and  Oliloe ;  after  Alirier. 
The  Entry  of  Henry  IV.  into  Paris ;  after  Gerard. 
Elizabeth  of  Bourbon,  Queen  of  Spain  ;  after  Buiens. 
Josephine,  Empress  of  the  French ;  after  Prud'hon. 

BLANCHARD,  Edouard  Th^ophilb_,  a  French 
subject  and  portrait  painter,  was  born  in  Paris  in 
1844.  He  studied  under  Picot  and  Cabanel,  and 
obtained  the  Prix  de  Rome  in  1868.  With  his 
friend  Regnault  he  became  a  volunteer  in  1870, 
and  fought  against  the  Germans.  His  works  were 
awarded  medals  in  1872  and  1874.  He  died  in 
1879.     The  following  are  amongst  his  works : 


A  Courtesan.    1872. 
Hylas  and  the  Nymphs. 
Herodias.     1874. 
Cortigiana.     1875. 
The  Buffoon.     1878. 


1874. 


BLANCHARD,  Gabriel,  known  as  '  Blanchard 
LE  NEVEU,'  the  only  son  of  Jacques  Blanchard,  was 
born  in  Paris  in  1630,  and  studied  under  his  uncle, 
Jean  Baptiste  Blanchard.  He  was,  in  1668,  elected 
Academician  on  the  merits  of  an  allegorical  paint- 
ing of  the '  Birth  of  Louis  XIV.,'  now  at  Versailles  ; 
but  his  most  successful  work  was  a  picture  of  '  St. 
Andrew,'  which  he  painted  for  the  Goldsmiths' 
Guild.  He  became  keeper  of  the  royal  collection, 
und  successively  assistant-professor,  professor,  and, 
in  1699,  treasurer  of  the  Academy.  He  died  in 
1704.  Two  of  his  sons,  Nicolas  and  Philippe 
Thomas,  were  likewise  painters. 

BLANCHARD,  Henri  Pierre  L:fioN  Phara- 
MOND,  an  historical  and  landscape  painter,  was 
born  at  La  Guillotiere,  a  suburb  of  Lyons,  in  1805. 
He  studied  under  Baron  Gros,  travelled  in  many 
distant  countries,  and  went  with  the  French  expedi- 
tion to  Mexico  in  the  years  1858  and  1859.  In  1856 
he  was  in  Russia,  and  was  present  at  the  coronation 
of  Alexander  II.  He  died  in  Paris  in  1873.  The 
following  are  some  of  his  principal  works : 

Bull- Hunting. 

The  Smugglers.    1836. 

The  Disarmament  of  Vera  Cruz.  1840.   {At  Versailles.) 

The  Street  of  El  Alari  at  Tangiers. 

San  Isidoro  Labrador,  the  Patron  Saint  of  Madrid. 

Vasoo  Nunez  de  Balboa  discovering  the  South  Sea. 

(Paris  Univ.  Exhib.  1855.) 
The  Valley  of  Jehoshaphat.  {Paris  Univ.  BxMh.  1855.) 
The  Arrival  of  the  French  at  Plan-del-Rio.    1865. 
Farm  Yard  at  Ohatou. 
The  Djiguietotka. 
An  American  Glade. 

He  also  contributed  largely  to  the  '  Illustration,' 
and  in  1855  piiblished  '  L'ltin^raire  Historique  et 
Descriptif  de  Parin  k  Constantinople '  (12  plates). 

134 


BLANCHARD,  Jacques,_  an  eminent .  French 
painter,  was  born  in  Paris  in  1600.  His  first  in- 
structor in  the  art  was  Nicolas  Bollery,  his  ma- 
ternal uncle  ;  but  when  about  twenty  years  of  age 
he  spent  four  years  at  Lyons,  studying  under 
Horace  le  Blanc,  and  then  went  to  Italy,  and 
passed  two  years  at  Rome.  He  returned  by  way 
of  Venice,  and  was  so  struck  with  the  beautiful 
colouring  of  the  great  Venetian  masters,  especially 
Titian,  that  he  was  induced  to  remain  two  years 
in  that  city.  On  his  return  to  Paris  he  executed, 
as  a  reception  picture  into  the  Guild  of  St.  Luke, 
a  '  St.  John  on  the  Isle  of  Patmos,'  which,  with 
others  of  his  works,  was  greatly  admired.  He  was 
the  first  to  establish  a  true  and  natural  style  of 
colouring,  in  which  the  artists  of  his  country  were 
very  deficient,  though  he  scarcely  merited  the  name 
of  the  '  French  Titian,'  which  was  given  to  him 
by  his  contemporaries.  His  chief  works  at  Paris 
were  the  two  pictures  he  painted  for  Notre-Dame, 
one  representing  'St.  Andrew  kneeling  before  the 
Cross,'  the  other  the  '  Descent  of  the  Holy  Ghost,' 
executed  in  1634 ;  in  the  gallery  of  the  Hotel  de 
Bouillon,  now  fallen  into  ruin,  he  painted  thirteen 
large  pictures  of  subjects  from  Ovid.  The  Louvre 
contains  four  works  of  his — two  of  the  'Holy 
Family,'  a  '  Charity,'  and  a  '  St.  Paul  in  Medita- 
tion,' but  they  are  all  of  small  size :  it  has  not  one 
of  the  large  pictures  which  established  his  fame 
as  a  colourist.  Although  now  almost  forgotten, 
his  reputation  was  great,  and  in  many  respects 
well  deserved.     He  died  in  Paris  in  1638. 

Blanchard  etched  some  plates  from  his  own 
designs  and  those  of  others,  among  which  are 
the  following : 

The  Holy  Family ;  without  his  name ;  Chez  Suart. 
The  Holy  Family,  with  St.  Catharine  and  St.  John ; 

Chez  dartres. 
St.  Agnes  adoring  the  Infant  Jesus  in  the  arms  of  the 

Virgin  Mary;    after   Lodomco    Carracci;    withont 

name. 

BLANCHARD,  Jean  Baptiste,  known  as  '  Blan- 
chard l'oncle,'  an  historical  painter,  was  bom  in 
Paris  in  1595.  He  studied  under  Nicolas  Bollery, 
his  maternal  uncle,  and  in  1624  accompanied  his 
brother  Jacques  to  Rome.  He  became  an  Acade- 
mician in  1663,  and  died  in  Paris  in  1665.  No 
record  of  his  works  exists. 

BLANCHARD,  Laurent,  a  French  historical 
and  portrait  painter,  was  born  at  Valence,  in  the 
department  of  DrSme,  and  died  in  Paris  in  1819.. 
He  exhibited,  amongst  other  works : 

The  Marriage  of  Hercules  with  Hebe.    1804. 
Telemaohus  on  the  Island  of  Calypso,    1812. 
Venus  complaining  to  Jupiter.    1812. 
St.  John  preaching  in  the  Wilderness.    1812. 
A  Holy  Family.    1819. 

BLANCHERI,  Vittoeio.    See  Blanseri. 

BLANCHE!,  Thomas,  a  French  historical  and 
portrait  painter,  was  born  in  Paris  in  1617,  accord- 
ing to  D'Argenville,  although  the  registers  of  the 
Academy  would  place  his  birth  in  1629.  His 
genius  at  first  directed  him  to  sculpture,  but  after 
studying  that  art  for  some  time  under  Sarrassin, 
he  was  advised  to  abandon  it,  on  account  of  the 
delicacy  of  his  constitution,  and  to  apply  himself 
to  painting.  After  receiving  lessons  from  Poussin, 
whose  friend  he  became,  he  went  to  Rome,  and 
frequented  the  studio  of  Albani,  without  adopting 
his  style.  He  had  also  the  advantage  of  study- 
ing under  Andrea  Sacchi,  by  whose  instruction  he 
much  benefited.     After  passing  some  yean  i" 


Blancus 


PAINTEES  AND  ENGRAVERS. 


Bleecker 


Italy,  one  of  his  friends  took  him  to  Lyons,  where 
he  settled ;  but  he  often  visited  Paris,  where  he 
painted,  in  1662,  for  the  cathedral  of  Notre-Dame, 
'The  Ecstasy  of  St.  Philip,'  now  in  the  Louvre. 
He  executed  for  the  Hotel  de  Ville  of  Lyons  some 
considerable  works,  which  established  his  reputation 
as  one  of  the  ablest  historical  painters  of  his  country, 
but  these  were  almost  entirely  destroyed  by  fire  in 
1674.  He  was  admitted  into  the  Academy  as  a 
portrait  painter  in  1676,  and  as  an  historical 
painter  in  1682,  on  which  occasion  he  painted  for 
his  picture  of  reception  'Cadmus  killing  the 
Dragon,'  now  in  the  Louvre.  He  founded  the 
Academy  at  Lyons  in  1681,  and  died  in  that  city 
in  1689. 

BLANCUS,  Cheistoph,  an  engraver,  supposed 
to  be  a  native  of  Germany,  flourished  about  the 
year  1600.  He  engraved  a  few  plates  in  the 
manner  of  Jan  Miiller,  but  with  not  much  success. 
We  have  by  him : 

A  Holy  Family,  accompanied  by  Angels ;  half-length ; 
after  Spranger.    1595. 

The  Portrait  of  Michelangelo  Buonarroti.    1612. 

BLANCDS,  Johannes  Patjlus,  (or  Bianchi,) 
according  to  Heineken,  flourished  about  the  year 
1682.  We  have  some  etchings  by  him,  which  are 
executed  in  a  heavy,  indifferent  style.  Among 
others  are  an  emblematical  print,  after  C.  Stores, 
inscribed,  lo.  Paul.  Blancus  incid.,  and  'Christ 
praying  in  the  Garden,'  without  the  name  of  the 
painter,  dated  1682. 

BLANES,  Benito  RODRIGUEZ.  See  Rodri- 
guez Blanes. 

BLANKERHOF,  Jan  Teunisz,  called  also  Jan 
Maat,  a  Dutch  painter  of  sea-pieces,  was  born  at 
Alkmaar  in  1628.  He  learned  the  first  rudiments 
of  the  art  from  Arnold  Teerlink,  a  painter  of  no 
reputation,  and  became  afterwards  a  scholar  of 
Cesar  van  Everdingen.  On  leaving  that  master 
he  went  to  Italy,  and  passed  some  time  at  Rome, 
where  the  Flemish  Society  of  Painters  conferred 
on  him  the  name  of  Maat  (or  comrade).  He  also 
spent  some  time  in  Candia.  He  was  living  in 
1674,  but  the  date  of  his  death  is  not  known.  His 
best  pictures,  in  which  he  combined  the  truth  and 
nature  of  the  Dutch  school  with  the  grand  scenery 
of  Italy,  represent  storms  on  the  coast  of  the 
Mediterranean.  The  Brussels  Museum  and  the 
Schleissheim  Gallery  contain  each  a  good  specimen 
of  his  art. 

BLANSERI,  ViTTOEio,  (or  Blanchbbi,)  wag^orn 
at  Venice,  about  1735,  and  was  educated  in  the 
school  of  the  Cavaliere  Claudio  Beaumont.  He  is 
considered  his  ablest  scholar,  and  succeeded  him  in 
the  service  of  the  court  of  Turin,  in  which  city  are 
his  principal  works.  Three  of  his  pictures  are  in 
the  church  of  San  Pelagic,  one  of  which,  represent- 
ing '  St.  Louis  fainting,  supported  by  an  angel,'  is 
particularly  admired. '  He  iied.  in  1775. 

BLARENBERGHB,  Henei  Di&mk  van,  a  French 
painter  in  water-colours,  born  at  Lille  in  1734,  was 
the  son  of  Jacques  Guilladme  van  Blaeenbbrghe, 
a  painter,  who  died  in  1742.  His  works  are  dis- 
tinguished by  the  charm  of  their  composition  and 
the  delicacy  of  their  execution,  and  are  much 
sought  after  by  collectors.  He  excelled  in  subjects 
in  miniature  painted  upon  snuff-boxes,  bonbon- 
nieres,  and  rings,  many  of  which  have  realized 
high  prices  when  sold  by  public  auction.  At  the 
Demidoff  sale  in  1863,  a  snuff-box  in  gold,  painted 
with  a  view  of  the  chSteau  of  Bellevue,  sold  for 
11,000  francs.    There  are  drawings  by  him  in  the 


Louvre,  and  some  views  of  European  capitals 
painted  in  oil  at  Versailles.  Blarenberghe  died  in 
Paris  in  1812.  He  had  a  son,  Louis  Nicolas,  who 
imitated  his  style  so  well  that  it  is  impossible  to 
distinguish  their  unsigned  works.  The  dates  of 
his  birth  and  death  are  unknown. 

BLASCO,  M  ATI  as,  was  a  painter  of  merit  at  Val- 
ladolid  early  in  the  reign  of  Philip  IV.  His  style 
was  simple  and  natural,  and  his  colouring  pleasing. 
He  painted  for  the  church  of  San  Lorenzo  at  Valla- 
dolid  a  '  Martyrdom  of  St.  Lawrence '  which  bears 
his  signature  and  the  date  1621.  He  also  painted 
four  pictures  of  miracles  wrought  by  a  favourite 
Virgin  of  the  same  church. 

BLEAVIT,  — .  This  artist  is  mentioned  by 
Strutt  as  an  engraver  of  portraits.  Among 
others,  he  engraved  that  of  Ren6  Descartes,  the 
philosopher. 

BLECHEN,  Kael  Eduabd  Ferdinand,  landscape 
painter,  was  bom  at  Kottbus  in  1798.  Although 
his  inclination  for  art  developed  itself  very  early, 
he  first,  in  1812,  entered  a  banker's  business.  He 
next  occupied  himself  as  a  decorative  painter.  In 
the  easel-pieces  of  his  earlier  period  the  influence 
of  the  Dutch  painters  manifests  itself  in  a  power- 
ful observation  of  nature  in  his  technical  treat- 
ment ;  in  his  conception,  however,  an  uncommon 
fantastic  disposition  is  noticeable — at  times  in- 
clining to  the  melancholy,  at  times  to  the  romantic. 
A  journey  now  undertaken  to  Italy  disclosed  to 
him  his  taste  for  pure  art,  and  now  at  length  he 
displayed  in  his  pictures  and  sketches  a  keen 
insight,  astonishing  for  his  time,  into  the  true 
characteristic  of  light  and  atmosphere  in  Italian 
landscape.  At  this  period  of  his  painting  his 
former  phantastic  nature  is  only  occasionally 
noticeable.  In  1830  he  was  made  teacher  of  the 
landscape  class  at  the  Berlin  Academy,  and  he  may 
be  looked  upon  as  the  founder  of  the  modern 
Berlin  school  of  landscape,  in  virtue  especially  of 
his  more  important  Italian  pictures.  He  died  in 
1840  at  Berlin.  In  the  Museum  there  is  a  '  View 
of  Tivoli  ; '  and  the  majority  of  his  water-colour 
drawings  and  sketches  are  now  in  the  Royal 
Collection  of  engravings  there. 

BLEECK,  PiETEE  VAN,  a  Dutch  portrait  painter, 
and  the  son  of  Richard  van  Bleeok,  painter  of 
portraits,  was  born  at  the  Hague  in  1695.  He  went 
to  London  in  1728,  was  much  employed,  and  died 
there  in  1764.  He  engraved  several  plates  in 
mezzotint,  which,  without  any  superior  excellency, 
are  clearly  scraped,  and  have  considerable  merit. 
He  sometimes  marked  his  plates  with  the  'Tfn 
annexed  monogram.     We  have  by  him :  X^D 

Eichard  van  Eleeck,  painter;    se  ipse  pinx.  P,  van 

Bleeck  junior,  fee.    1735. 
Bembrandt  van  Bijn ;  se  ipse  pinx.  Van  Bleeck.  Viit ; 

■with  the  cipher. 
Francois  du  Quesnoy,  called  Fiammingo,  Sculptor ;  A. 

van  Byck  pinx.    P.V.B.I.f.    1751. 
Nell  Gwyn ;  after  Lely. 
Mrs.  Clive,  in  the  character  of  Fhillida ;  P.  van  Bleeck 

fee.    1735. 
Mrs.  Gibber,  in  the  character  of  Cordelia ;  the  same. 
Griffin  and  Johnson,  in  the  characters  of  Tribulation 

and  Ananias ;  the  same. 
The  Virgin  Mary  and  Infant ;  after  A.  van  der  Werf. 

1748. 

BLEECKER.  Several  painters  of  this  name 
flourished  at  Haarlem  during  the  17th  century. 
The  name  is  fovmd  in  various  forms — Bleecker, 
Bleeker,  Blieoker,  Blieker,  Blecker,  and  Bleker. 
The  following  are  the  most  important : 

135 


Bleecker 


A  BIOGRAPHICAL  DICTIONABY  OF 


Block 


BLEECKER,  Diek,  was  a  native  of  Haarlem,  and 
flourished  in  the  17th  century.  In  the  Q-allery  at 
Brunswick  is  an  excellent  portrait,  which  is  sup- 
posed to  be  his  own,  painted  by  himself,  and  dated 
1617.  He  lived  as  late  as  1652,  the  date  of  a 
painting  by  him  of  '  Mary  Magdalene.' 

BLEECKER,  Gereit  Claesz,  who  died  at  Haar- 
lem in  1656,  distinguished  himself  there  as  a 
painter  of  landscapes  and  figures. 

BLEECKER,  Jan  Gaspab,  was  born  at  Haarlem 
in  1608.  He  was  a  painter,  but  is  more  especially 
known  by  his  engravings,  which  are  rather  scarce. 
The  Brunswick  Gallery  has  a  painting  of  '  St.  Paul 
and  St.  Barnabas '  by  him.  He  etched  several 
plates,  both  from  his  own  designs  and  after  other 
masters,  executed  in  a  slight  and  spirited  style,  of 
which  the  following  are  the  principal : 

SUBJECTS   FEOM   HIS    OWN   DESIGNS. 
A  Landscape,  witii  Jacob  and  Eachel. 
A  Landscape,  with  Eebekah  and  the  servant  of  Abraham. 
A  Peasant  and  a  Woman  riding  in  a  waggon. 
A  similar  subject. 

A  Landscape,  with  a  carriage  at  the  door  of  an  inn.  1643. 
A  Landscape,  with  a  woman  milking  a  cow,  and  a 

peasant.     1643 , 
A  Landscape,  with  cattle. 
A  Landscape,  with  a  woman  on  horseback. 
A  Landscape,  with  figures  on  horseback. 
A  Landscape,  with  a  shepherd  watching  his  flock. 

SUBJECTS    FEOM   COENELIS   POELENBUEG,   IN  THE 

STYLE   OF    EEMBEANDT. 
Jacob  and  Laban  dividing  their  flocks ;  J,  G,  Blecker. 

aq.fort.     1638. 
The  Lystrians  wishing  to  sacrifice  to  Paul  and  Barnabas  ; 

savie  mark.     1638. 
The  Crucifixion ;  C,  P.  pinx.  I.  C.  B, 

BLEEK,  PiETEE  VAN.     See  Bleeck. 

BLEKERS,NoEBBET,  a  Dutch  painter,  was  born  at 
Haarlem  about  1635.  He  painted  history,  and  was 
patronized  by  the  Prince  of  Orange,  for  whom  he 
painted  one  of  his  best  pictures,  representing  the 
'  Triumph  of  Venus.'  Vondel,  a  poet  of  his  country, 
has  celebrated  the  works  of  this  painter.  He  died 
at  Haarlem  in  1682. 

BLES,  Hendeik,  commonly  called  Heeei  met 
DE  Bles  (with  the  forelock),  was  born  at  Bouvignes 
about  1480.  He  imitated  the  style  of  Joachim 
Patenier,  under  whom  he  is  supposed  to  have 
studied  at  Antwerp,  and  painted  in  the  stiff  and 
dry  manner  of  his  time.  He  generally  introduced 
into  his  landscapes  scriptural  subjects,  with  a 
number  of  neatly  drawn  figures.  Instead  of  mark- 
ing his  works  with  his  name,  he  usually  painted  an 
owl  in  one  of  the  corners,  for  which  reason  the 
Italians  nicknamed  him  'Civetta.'  He  died  at 
Li^ge  about  1550  (the  Berlin  Gallery  Catalogue 
says  "  after  1521 ").  His  pictures  are  very  curious, 
and  much  esteemed     We  note  the  following : 

Berlin.  Museum.  Portrait  of  a  Young  Man. 

Florence.  U£lzi.  Landscape  with  ruin. 

London.  iVai.  Gall.  Christ  on  the  Cross. 

„  „  The  Magdalen. 

Modena.  S.  Fietro.  Pieta. 

Munich.  Finakothek.  Adoration  of  the  Kings. 

Venice.  Accademia.  Tower  of  Babel. 

BLESENDORF,  Constantin  Feiedeioh,  the 
brother  of  Samuel  Blesendorf,  was  born  at  Berlin 
in  1675.  He  was  a  miniature  painter  in  water- 
colour  and  oil,  and  an  engraver,  and  worked  chiefly 
for  the  booksellers.  He  died  in  1754.  We  have 
by  him : 

A  Frontispiece  for  Julian's  Opera ;  S.  Blesendorf  inv. 

a  F.  Blesendorf  fee. 
136 


Frontispiece  for  Beyer's  Thesaurus  Antiguitatam;  F.  C. 
Blesendorf  fee. 

Portrait  of  Frederick  "William,  Elector  of  Brandenburg. 
1688. 

BLESENDORF,  Samuel,  a  Prussian  enamel 
painter  and  engraver,  was  born  at  Berlin  in  1670. 
He  designed  and  engraved  several  portraits  for 
Puffendorf's  'History  of  Sweden.'  He  worked 
chiefly  with  the  graver,  and  his  plates  are  very 
neatly  finished.  He  died  in  1706.  Among  others 
we  have  by  him : 

Charles  XI.,  King  of  Sweden. 

Charles  XII. 

Frederick  Eudolph  Louis,  Baron  of  Canitz. 

Samuel,  Baron  of  Puffendorf . 

Frederick  III.,  Elector  of  Brandenburg.    1696. 

Frederick  William,  Prince  Electoral. 

Frederick  "William ;  after  Adam  de  Clere. 

The  Portraits  of  John  Frederick  of  Brandenburg,  Mar- 
grave of  Anspach,  and  the  Margravine,  in  a  garden ; 
after  Gasp.  JVetseher.    1682  ;  very  fine. 

BLEYSWYCK,  F.  van,  a  Dutch  engraver,  who 
flourished  at  Leyden  from  about  1720  to  1746.  He 
engraved  many  portraits  for  the  publications  of  his 
time,  which  are  highly  finished,  but  without  much 
taste.  Among  these  are  some  of  the  plates  for  Hof- 
man's  'Portraits  historiques  des  Hommes  illustres 
de  Dannemark,'  dated  1746.  He  also  engraved 
some  small  landscapes,  in  which  the  point  and  the 
graver  are  handled  with  great  delicacy. 

BLICKE.     See  Bliek. 

BLIECKER  (or  Bliekeb).     See  Bleeokeb. 

BLIEK,  Daniel  van,  (or  Blickb,)  was  a  good 
painter  of  interiors  and  exteriors  of  churches  and 
other  public  buildings ;  he  lived  at  Middelburg 
from  about  1660  to  1661.  His  manner  of  painting 
resembles  that  of  Van  Vliet.  The  Berlin  Museum 
has  the  Interior  of  a  Church,  by  him,  signed  and 
dated  1653. 

BLIN,  FEANgois,  a  French  landscape  painter, 
who  was  bom  at  Reimes  in  1827,  studied  under 
Picot,  and  exhibited  at  the  Salon  from  1852  to 
1866,  in  which  year  he  died  in  his  native  town. 
His  paintings  were  often  of  a  gloomy  character, 
but  showed  a  close  study  of  nature.  The  follow- 
ing are  the  best : 

Euins  of  the  Castle  at  Guildo ;  in  the  Lille  Museum. 

The  Old  MiU  at  Guildo. 

A  Summer  Evening  at  Sologne. 

BLINKVLIET,  M.  The  exact  time  when  this 
painter  fiourished  is  unknown ;  but  he  imitated 
Berohem  so  successfully  that  his  works  have  been 
ascribed  to  that  master :  probably  they  were  con- 
temporaries. 

BLOCHOM.     See  Lochom. 

BLOCK,  Benjamin,  the  son  of  Daniel  Block,  was 
born  at  Liibeok  in  1631.  He  was  instructed  in 
art  by  his  father,  and  proved  a  reputable  painter 
of  history  and  portraits.  The  Prince  of  Mecklen- 
burg, in  whose  service  his  father  passed  a  great  part 
of  his  life,  took  him  under  his  protection,  and  sent 
him  to  Italy  for  improvement.  He  visited  Rome, 
Naples,  and  Venice,  and  mefwith  employment  as 
a  portrait  painter  in  each  of  those  cities.  On  his 
return  from  Italy  he  was  invited  to  the  court  of 
Saxony,  where  he  painted  portraits  of  the  electoral 
family  and  the  principal  courtiers.  He  died  at 
Ratisbon  about  1690.  His  historical  works  were 
altar-pieces  for  the  churches  in  different  parts  of 
Germany.  He  was  also  a  good  engraver.  The 
following  portraits  are  his  best  plates : 

Friedrioh  Wilhelm,  Elector  of  Brandenburg. 

Marquard  Schenk  von  Oastell. 

AVUhelm  Ludwig,  Duke  of  Wurtemberg. 


Blocls 


PAINTEBS  AND  ENGRAVERS. 


Bloemaert 


BLOCK,  Daniel,  a  painter  of  portraits,  was  born 
at  Stettin,  in  Pomerania,  in  1580.  He  was  a  scholar 
of  Jakob  Scherer,  a  portrait  painter  of  reputation, 
under  wliom  he  soon  became  proficient ;  and  he 
ultimately  surpassed  his  instructor.  He  was  em- 
ployed at  the  courts  of  Denmark  and  Sweden,  and 
passed  many  years  in  the  service  of  the  Duke  of 
Mecklenburg.  By  the  exertion  of  very  reputable 
talents  he  gained  a  large  fortune,  of  which  he  was 
deprived  by  plunder.     He  died  in  1661. 

BLOCK,  Jacob  Rogeb,  a  Dutch  painter,  was  bom 
at  Gouda  in  1580.  He  went  to  Italy  when  he  was 
very  young,  and  applied  himself  particularly  to 
the  study  of  architecture  and  perspective.  He 
made  designs  of  the  fine  remains  of  antiquity  in 
the  environs  of  Rome,  and,  on  his  return  to 
Holland,  painted  some  pictures  composed  from 
those  subjects,  which  were  highly  esteemed.  Hou- 
braken  reports  that  Rubens,  in  a  journey  he  made 
through  Holland,  visited  this  artist,  and  on  seeing 
his  works,  pronounced  him  the  ablest  painter  of 
his  country  in  the  subjects  he  represented.  He 
also  excelled  in  military  architecture,  and  was 
taken  into  the  service  of  the  Archduke  Leopold, 
whom  he  accompanied  in  some  of  his  campaigns. 
He  was  killed  by  a  fall  from  his  horse  in  1632. 

BLOCKLANDT,  Antonis  van.    See  Montfookt. 

BLOBM,  A.,  was  a  native  of  Germany,  and 
resided  at  Vienna  in  the  seventeenth  century.  He 
was  chiefly  employed  by  the  booksellers.  He  en- 
graved the  portraits,  views,  battles,  &c.  for  a  book 
entitled  'Istoria  di  Leopoldo  Cesare,'  published 
at  Vienna  in  1674.  The  plates  are  etched,  and 
finished  with  the  graver. 

BLOEM,  M.,  is  the  author  of  a  picture  of  '  Dead 
Game,'  in  the  Hermitage,  St.  Petersburg,  which 
bears  his  name  and  the  date  1653  ;  another  picture 
of  still-life  in  the  same  gallery  is  also  attributed  to 
him.     No  details  of  his  life  are  recorded. 

BLOEMAERT,  Abraham,  a  Dutch  painter  and 
engraver,  was  born  at  Gorcum  about  1564.  He  was 
the  son  of  an  architect  and  sculptor,  who  placed 
him  under  the  tuition  of  Joost  de  Beer,  but  he 
seems  to  have  profited  most  by  studying  and  copy- 
ing the  works  of  Frans  Floris.  In  1581  he  went 
to  Paris,  where  he  stayed  three  years,  studying 
under  Jean  Bassot  and  Herry,  two  unimportant 
painters.  On  his  return  to  his  native  country  he 
studied  at  Herenthals  under  Hieronymus  Francken. 
He  subsequently  painted  at  Amsterdam  and  at 
Utrecht,  where  he  died  about  1658.  He  painted 
history  and  landscapes,  allegory,  mythology,  ani- 
mals, and  flowers,  and  was  a  very  productive  artist. 
His  colouring  is  excellent,  but  his  drawing  is  very 
defective,  and  frequently  negligent.  The  following 
are  his  best  works  : 

Berlin.  Museum.  Joseph's  Dream. 

Oopenhagea.  Gallery.    The  children  of  Niobe  HUed  by 
the  arrows  of  Apollo  {painted 
for     the     Emperor     Bndolph. 
Signed). 
„  „  Hercules    and  Omphale;   Venus 

and  Adonis. 
Hague.  Gallery.     Hippomenes  receiving  the  prize 

{signed  and  dated  1626). 
„  „  The  Marriage  of  Peleus  {signed 

and  dated  1638). 
Munich.         Ptjioiortefc.Eaising  of  Lazarus  {dated  1607; 

one  of  his  best  works). 
Paris.  Louvre.       Angelic  Salutation. 

„  „  Nativity  {signed  and  dated  1612). 

„  „  Man's  Portrait  {signed). 

Bloemaert  numbers  among  his  scholars  his 
four  sons,  and  Jan  Gerritsen  Ouyp,  Gerard   and 


Willem  van  Honthorst,  Jan  and  Andries  Both, 
Cornells  van  Poelenburg,  and  Jan  Baptist  Weenix. 

As  an  engraver,  he  has  a  claim  to  considerable 
attention.  We  have  by  him  a  number  of  plates 
etched  in  a  free,  bold,  and  masterly  manner,  some 
of  which  are  in  imitation  of  pen-drawings.  But 
his  most  esteemed  prints  are  those  executed  in 
chiaroscuro,  the  outlines  of  which,  contrary  to  the 
usual  process,  are  not  cut  on  the  blocks  of  wood, 
but  are  etched  on  copper.  These  are  very  spirited, 
and  produce  a  good  effect.  His  prints  are  some- 
times signed  with  his  name  at  full  length,  but 
more  frequently  marked  Ah.  Bl.  in.,  or  A.  BL,  or 
thxm,  A.  Bloem. 

The  following  are  his  principal  prints : 

ETCHINGS   BY   A.    BLOEMAERT. 
St.  John,  with  a  lamb. 
The  Magdalene  penitent. 
St.  Peter  penitent. 

The  Holy  Family ;  J.  Starterus  exo.    1593. 
Juno. 
Foux  Landscapes,  with  figures  and  animals, 

PRINTS   IN  CHIAROSOURO. 
Moses  and  Aaron. 
The  Virgin  and  Infant  Jesus. 
The  Holy  Family. 

Two  Busts,  the  Virgin  Mary  and  St.  Joseph. 
St.  Simon,  with  the  Instrument  of  his  martyrdom. 
The  Magdalene,  with  a  crucifix. 
St.  Jerome  reading ;  A.  Bio. 

Another  St.  Jerome ;  after  Farmigiano  ;  marked  F.  P. 
A  naked  Infant ;  after  Titian. 
A  "Woman  with  a  veil ;  after  Farmigiano. 

BLOEMAERT,  Adriaan,  was  the  fourth  son  of 
Abraham  Bloemaert,  and  received  his  first  instruc- 
tion from  his  father.  He  was  sent  to  Italy,  where 
he  studied  some  time.  He  afterwards  visited 
Vienna,  where  he  met  with  emplojrment,  and  ulti- 
mately settled  at  Salzburg,  and  was  killed  in  a 
duel  in  1668.  He  painted  history  and  portraits  with 
some  success.  Heineken  attributes  to  this  artist 
several  plates  of  portraits,  although  they  are 
without  his  name. 

BLOEMAERT,  6oenelis,  a  very  eminent  en- 
graver, the  third  son  of  Abraham  Bloemaert,  was 
born  at  Utrecht  in  1603.  He  was  instructed  by 
his  father  in  the  first  principles  of  design,  and 
from  a  natural  inclination  for  engraving,  he  de- 
voted himself  entirely  to  that  art.  His  first  master 
was  Crispyn  van  de  Passe,  and  it  was  not  long  before 
he  surpassed  his  instructor.  In  1630  he  went  to 
Paris,  where  he  distinguished  himself  by  some 
plates  he  engraved  for  the  '  Temple  of  the  Muses.' 
From  Paris  he  went  to  Rome,  where  he  fixed  his 
residence,  and  where  he  lived  the  greater  part  of 
his  life.  He  died  there  in  1680.  This  admirable 
artist  distinguished  himself  not  only  by  the  beauty 
of  his  graver,  but  by  a  talent,  unknown  before 
him,  of  effecting  an  insensible  gradation  from  his 
lights  to  his  shadows,  and  introducing'  a  delicate 
variety  of  tints,  in  the  different  distances  in  his 
subject.  Previous  to  his  time  there  was  a  great 
inattention  to  harmony,  the  lights  being  left  in- 
discriminately clear,  so  that  the  picture  was  ren- 
dered spotty  and  incongruous.  By  this  essential 
improvement  he  has  established  his  claim  to  origin- 
ality, and  may  be  said  to  have  given  birth  to  that 
admirable  style  which  was  afterwards  so  success- 
fully followed  by  the  great  engravers  of  the 
French  school,  Audran,  Baudot,  Picart,  and  Poilly. 
His  works  are  universally  admired ;  they  are 
numerous,  and  several  of  them  are  become  very 
scarce.     Some  of  his  prints  are  marked  C  Bl.  and 

137 


Bloemaert 


A  BIOGRAPHICAL  DICTIONARY  OF 


Eloemen 


others  Corn.  Bio.,  or  G.  Bio.    The  following  are 
the  principal : 

SUBJECTS  FROM    HIS    OWN    DESIGNS. 
iFranciscus  Bonisigniis,  secretary  to  Prince  Leopold ; 

C.Bl. 
Giovanni  Battista  Toretti,  Florentine ;  Eoma. 
v.  de  Grebber ;  P.  Haarlem  coTisec. ;  C.  Bio.  sc. 
J.  Doens,  Scot.  Tiieol. 
Jacques  Faverau ;  after  Diepenbeeck ;  oval. 
Moses  in  the  Bulrushes. 

Tne  Virgin  Mary,  and  the  Infant  Jesus  caressing  her. 
A  Thesis,  with  three  of  the  Popes  in  niches. 
A  Frontispiece,  where  St.  Ignatius  is  presented  with  a 

Map. 

SUBJECTS    AFTEE   ABRAHAM    BLOEMAERT. 
Bartholomeus  Aribertus,  liber  Baro  Malgrati. 
Athanasius  Kircher,  Jesuit. 
Cardinal  Francesco  Peretti  di  Montalto. 
The  Tomb  of  D.  Nomi. 

The  Virgin  Mary,  with  the  Infant  Jesus  sleeping. 
The  Infant  Jesus,  with  a  Glory. 
The  Assumption  of  the  Virgin ;  fine  composition. 
St.  Jerome  in  the  Desert. 
The  Four  Doctors  of  the  Church  disputing  on  the 

Sacrament. 
St.  Francis  kneeling  before  the  Infant  Christ. 
Christ  carrying  His  Cross,  and  St.  Ignatius  ;  very  fine. 
Avarice,  an  old  "Woman  counting  money  by  candlelight, 
liberality,  a  young  "Woman  giving  drink  to  a  child. 
An  old  Woman  warming  her  hands  at  a  stove. 
A  half-length  figure  playing  the  Eomel-pot,  called  the 

Mustard  Grinder. 
Four,  called  Travellers  reposing. 
Two  landscapes,  in  one  a  woman  with  a  basket,  sitting 

under  a  tree,  and  in  the  other,  a  woman  sitting ;  fine 

and  scarce. 
Thirteen,  the  twelve  Mouths  of  the  Year,  and  the 

Zodiac. 
A  Cat,  with  a  Eat  under  her  paws ;  fine.    There  are 

many  copies  of  this  plate. 
The  great  Owl,  with  a  pair  of  spectacles  and  a  book. 

SUBJECTS   AFTEE   ITALIAN    MASTERS,    ETC. 
The  Virgin,  with  the  Infant  seated  on  a  throne,  with 

St.  Boch  and  St.  Sebastian ;  after  Barocdo. 
The  Holy  Family,  with  St.  Joseph  with  Spectacles; 

after  Carracci. 
The  Crucifixion ;  after  the  same. 
St.  Margaret ;  after  the  same. 
The  Nativity ;  after  Fietro  da  Cortoiia. 
The  Virgin  and  Infant  Jesus,  with  St.  Martha  holding 

the  Palm  of  Martyrdom ;  after  the  same. 
The  Birth  of  Christ ;  after  Schiavone. 
The  Grenius  of  Poetry  distributing  wreaths  ;  a  circular 

plate. 
St.  John  in  the  "Wilderness ;  Videns  Joannes,  ^c. ;  after 

Giro  Ferri. 
Christ  at  table  with  His  Disciples ;  after  the  same. 
The  Resurrection ;  after  the  same. 
St.  Paul  preaching  at  Athens  ;  after  the  same. 
The  Holy  Family,  with  St.  Francis  kneeling ;  after  the 

same. 
St.  Anthony  of   Padua  kneeling  before  the  Infant 

Jesus  ;  after  the  same. 
St.  Peter  raising  Tabitha  from  the  dead ;  after  Guer- 
cino  ;  extremely  fine.    The  most  capital  plate  of  this 
master. 
The  Virgin  Mary  adoring  the  Infant  Jesus  sleeping ; 

after  Guido. 
The  Annunciation ;  after  Lanfranco  ;  inscribed  Spiritus 

sanctus,  ^c. 
St.  Luke  painting  the  Virgin  and  Infant ;  after  Eaphael. 
The  Adoration  of  the  Shepherds ;  after  the  same. 
The  Holy  Family  ;  after  Parmigiano. 
The  Eesurrection ;  after  Paolo  Veronese. 
The  Virgin  and  Infant  Clirist ;  after  Titian. 

BLOEMAERT,  Predeeik,  the  second  son  of 
Abraham  Bloemaert,  "was  bom  at  Utrecht  about  the 
year  1600,  and  distinguished  himself  as  an  en- 
graver. He  learned  the  art  from  his  father,  and 
was  chiefly  occupied  in  engra"ving  after  his  designs. 

138 


We  have  a  number  of  el-.hings  by  him  as  well 
as  prints  in  chiaroscuro.  His  principal  work  was 
a  drawing-book,  containing  173  plates,  engraved 
from  the  designs  of  his  father.  He  also  executed 
a  few  plates  entirely  "with  the  graver.  His  prints 
are  sometimes  signed  A.  Bloem.  inv.  F.  B.  JUius 
fecit,  and  sometimes  F.  B.  The  following  are 
principally  after  his  father's  designs  : 

Twelve  of  the  Archbishops  and  Bishops  of  "CTtrecht, 
two  of  which  are  by  Corn.  Bloemart. 

Thomas  a  Kempis. 

St.  Francis  in  a  Hermitage. 

The  Body  of  Leander  on  the  sea-shore. 

A  set  of  sixteen  figures  of  Men  and  "Women  ;  marked 
F.  B.fec. 

A  set  of  thirty,  of  Beggars ;  on  the  title  is  inscribed 
JVudus inops  mutilus,  F.  B.fec. 

The  Five  Senses. 

The  Four  Seasons. 

Twenty  Landscapes ;  F.  S.fSius  fecit  et  exc. 

A  Landscape,  with  a  Kgeon-house. 

Fourteen  of  AniTnals  and  Birds;  entitled  Verschofde 
Besten  und  Vogelen. 

Four  of  Cock-fighting ;  Be  Sanabijters. 

BLOEMAERT,  Hbndeik,  was  the  eldest  son  of 
Abraham  Bloemaert.  He  painted  portraits,  but 
never  rose  above  mediocrity.  He  died  in  1647.  A 
portrait  of  a  man  signed  Bloemabet  .ffixAxis  50, 
A.  1643,  in  the  Hermitage  at  St.  Petersburg,  is 
attributed  to  him. 

BLOEMEN,  Jan  Feans  van,  called  Oeizontb, 
was  bom  at  Antwerp  in  1662.  His  pictures  bear 
no  resemblance  to  the  taste  of  his  country,  which 
may  be  accounted  for  by  his  having  visited  Italy 
when  he  was  very  young,  and  having  there  passed 
the  remainder  of  Hs  life.  He  there  studied  under 
Antonius  Goubau.  He  died  at  Rome  in  1740  (?). 
The  name  of  Orizonte  was  given  him  by  the  Society^ 
of  Flemings  at  Rome  on  account  of  the  beauty 
and  delicacy  with  which  he  painted  the  distances 
in  his  landscapes.  His  works  are  well  kno'svn  in 
this  country,  and  are  justly  esteemed.  Inferior  to 
Gaspard  Poussin,  he  may  still  be  ranked  among  the 
able  painters  of  landscape.  He  made  choice  of 
the  most  interesting  views  in  the  vicinity  of  Rome 
and  Tivoli,  which  he  represented  with  great  truth 
and  even  grandeur.  In  his  forms,  as  well  as  in  his 
touch,  he  appears  to  have  imitated  the  fine  style  of 
Gaspard  Poussin,  and  in  some  of  his  best  pictures 
(for  he  is  very  unequal)  he  has  approached  the 
picturesque  beauty  of  that  admirable  painter.  He 
was  also  influenced  by  Claude  Lorrain.  There  is 
scarcely  a  palace  at  Rome  that  is  not  ornamented 
with  some  of  his  works.  His  best  pictures  are  in 
the  pontifical  palace  at  Monte  Cavallo,  and  in  the 
Oolonna,  Doria,  and  Eospigliosi  palaces.  The 
Louvre  has  six  landscapes  by  him,  the  Vienna 
Gallery  three,  the  Hermitage  St.  Petersburg  three, 
the  Berlin  Museum  one,  the  Milan  Gallery  one, 
and  the  Dresden  Gallery  one.  He  etched  five 
plates  of  views  near  Rome,  executed  in  a  bold 
and  masterly  style. 

BLOEMEN,  Noebert  van,  called  Cephalus,  the 
youngest  of  the  three  brothers,  was  bom  at  Ant- 
werp in  1670.  He  studied  and  painted  portraits 
and  conversation-pieces  in  Rome,  and  afterwards 
returned  to  his  native  country  and  settled  at 
Amsterdam,  where  he  died  in  1746. 
BLOEMEN ,  PiETEE  VAN,  called  Standaaet,  or 

Stendaedo   (Standard),   a  brother  of  Jan  Prans 

van   Bloemen,  was    bom    at    Antwerp   in   1657. 

Following  the  example  of  his  brother,  he  went  to 

Italy  for  improvement.     The  name  of  Standaart 

was  given  him  by  his  countrymen  at  Borne  from 


Bloemers 


PAINTERS  AND  ENGRAVERS. 


Blooteling 


his  occasionally  painting  attacks  of  cavalry.  After 
passing  some  years  in  Italy  he  returned  to  Flan- 
ders with  the  studies  he  had  made  from  the 
objects  worthy  of  notice  in  the  neighbourhood  of 
Rome.  In  1699  he  was  made  director  of  the 
Academy  at  Antwerp ;  he  died  therein  1719.  The 
pictures  of  this  master  represent  battles,  the  march 
of  caravans,  horse-fairs,  &c.,  ingeniously  composed, 
with  a  number  of  figures,  horses,  and  other  animals, 
extremely  well  drawn,  and  painted  with  uncommon 
freedom  and  spirit.  He  decorated  his  landscapes 
with  the  ruins  of  architecture  and  statues  "from 
the  studies  he  had  made  in  Italy,  and  his  figures 
are  designed  in  a  superior  style  to  the  usual  taste 
of  his  country.  The  Dresden  Gallery  has  six  pic- 
tures by  him,  the  Vienna  Gallery  two,  the  Prank- 
fort  two,  the  Hermitage  St.  Petersburg  one,  and 
the  Copenhagen  one.  He  etched  some  of  his  own 
works. 

BLOEMERS,  Aenoldus,  born  at  Amsterdam  in 
1792,  painted  flowers,  fruit,  and  animals.  He 
was  instructed  by  Antonie  Piera,  but  principally 
imitated  Van  Huijsum.  He  died  at  the  Hague  in 
1844.  The  Rotterdam  Gallery  has  a  flower-piece 
bj'  him. 

BLOIS,  Abraham  de.    See  Db  Blois. 

BLOK,  Anna  C.    See  Pischek. 

BLOK,  Johanna.    See  Koertbn. 

BLOKLANDT,  Antonis  van.    See  Montfooet. 

BLOMBERG,  August  Gotthold  Dietrich  Hugo, 
Baron  von,  a  poet  and  painter,  was  born  at  Berlin 
in  1820.  He  studied  under  Wach  in  the  Academy 
at  Berlin,  and  under  L6on  Cogniet  at  Paris,  and 
copied  Rubens's  works  in  the  Louvre.  He  died  at 
Weimar  in  1871.  Among  his  paintings  may  be 
mentioned : 

'  Das  Domroschen.'    1844. 
'  Neptune  and  Amymone.    184T. 
Twenty-seven  sketches  from  Dante. 
A  Town  of  the  Middle-Ages. 
The  Merchant  of  Venice.    1866. 
Benvenuto  Cellini  in  Bngelsberg. 
King  William  at  Koniggratz.    1867. 

BLOMMENDAAL,  Reyee  Jacobsz,  a  painter  of 
Haarlem,  entered  the  Guild  of  that  city  in  1662, 
and  died  there  in  1675.  Nothing  furtheris  known 
of  him. 

BLOND,  Le  (or  Blon).    See  Le  Blond. 

BLONDEAU,  Jacques,  a  French  engraver,  was 
born  at  Langres  about  the  year  1639.  He  en- 
graved at  Rome  several  plates  after  the  Italian 
painters,  and  some  after  the  pictures  of  Pietro  da 
Cortona  in  the  Pitti  Palace  at  Florence.  He  seems 
to  have  imitated  the  style  of  Cornelis  Bloemaert, 
but  he  never  in  any  way  equalled  that  fine  engraver. 
He  also  engraved  some  portraits,  without  putting 
his  name  on  the  plates.  We  have  by  him  the 
following: 

portraits. 

Cardinal  Francesco  Lorenzo  Brancati.    1681. 

Cardinal  Fortuna  Caraffa.    1686. 

Cardinal  Maximiljan  Gandoia.    1686. 

Cardinal  Opitius  PaUavicini. 

General  Enee,  Coimt  of  Caprara. 

Bene  d'Est,  Duke  of  Modena. 

John  George  III.,  Elector  of  Saxony. 

John  Sobieski,  King  of  Poland. 

Cardinal  Bichi ;  after  Bourgignon  ;  oval. 

SUBJECTS  AFTER  VARIOUS  MASTERS. 

The  Pulpit  of  St.  Peter ;  after  Bernini. 
The  Magdalene,  half  length ;  after  Calandrucci. 
The  Msfftyrdom  of  St   Laurence ;  after  Pietro  da  Cor- 
tona. 


Eight  allegorical  subjects ;  from  the  pictures  by  Pietro 
da  Cortona,  in  the  Pitti  Palace ;  small  plates. 

The  Circumcision  ;  after  C.  Ferri. 

The  Crucifixion ;  after  the  same. 

St.  Augustine  appearing  to  St.  Theresa;  after  the 
same. 

BLONDEEL,  Lansloot,  or  Lancelot,  who  was 
born  at  Bruges  about  1495,  was  originally  a 
mason,  on  which  account  he  took  a  trowel  as  his 
monogram.  He  did  not  turn  his  attention  towards 
art  until  he  was  twenty-five  years  of  age.  His 
pictures  display  a  study  of  the  Italian  style,  and  are 
noticeable  for  architectural  backgrounds.  Speci- 
mens are  in  the  churches  of  Bruges  and  elsewhere. 
A  'Last  Judgment',  in  the  Berlin  Gallery, formerly 
given  to  him,  is  now  thought  to  be  possibly  by 
Jehan  Bellegambe.  Blondeel  designed  the  chim- 
ney-piece in  the  Council  Hall  at  Bruges,  which 
contains  statues  of  Charles  V.  and  other  monarchs. 
He  died  at  Bruges  in  1560. 

BLONDEL,  Jean  PnANgois,  a  French  architect 
and  engraver,  was  born  at  Rouen  in  1705.  He 
came  to  Paris  in  1739,  and  opened  a  school,  the 
fame  of  which  gained  him  admission  into  the 
Academy  in  1755.  He  published  a  description  of 
the  fetes  given  by  the  city  of  Paris  in  1740,  on 
tbe  marriage  of  Madame  Louise  Elizabeth  of 
France  with  Don  Philip,  Infant  of  Spain.  The 
plates,  representing  the  temporary  buildings,  fire- 
works, &c.,  are  chiefiy  engraved  by  himself.  He 
also  etched  the  plates  for  some  large  volumes  on 
Architecture,  published  by  himself.  Blondel  died 
in  Paris  in  1774. 

._  BLONDEL,  Merey  Joseph,  a  French  historical 
painter,  was  born  in  Paris  in  1781.  He  was  a 
pupil  of  Regnault,  carried  ofE  the  grand  prize  in 
1803,  and  was  elected  a  member  of  the  Institute  in 
1832.  His  principal  works  are — '  Philip  Augustus 
at  Bouvines'  (1819),  painted  for  the  Duke  of 
Orleans  ;  '  The  Fall  of  Icarus,'  and  '  .aiolus  letting 
loose  the  Winds  against  the  Trojan  Fleet ; '  the 
grand  staircase  of  the  Louvre,  the  ceiling  of  the 
hall  of  Henry  II.,  and  that  of  the  Grand  Hall,  in 
the  same  building ;  '  Justice  protecting  Commerce,' 
six  very  efBective  bas-reliefs  in  grisaille  in  the 
Bourse  at  Paris ;  the  Gallery  of  Diana,  at  Fon- 
tainebleau  ;  '  Homer  at  Athens,'  and  '  Zenobia  on 
the  Shore  of  the  Araxes,'  formerly  in  the  Luxem- 
bourg; 'The  Surrender  of  Ptolemais  to  Philip 
Augustus,'  at  Versailles,  and  several  others.  He 
died  at  Paris  in  1853. 

BLOOT,  PiBTEE  DE.    See  De  Bloot. 

BLOOTELING,  Abraham,  (or  Bloteling,)  a 
very  eminent  Dutch  designer  and  engraver,  was 
born  at  Amsterdam  in  1634.  From  the  style  of 
his  etchings  it  is  not  unlikely  that  he  was  brought 
up  under  the  Visschers.  On  the  inroad  of  the 
French  into  Holland  in  1672,  he  came  to  England, 
where  he  met  with  encouragement,  but  did  not 
reside  here  longer  than  two  or  three  years.  This 
laborious  artist  produced  a  great  number  of  etch- 
ings, some  plates  executed  with  the  graver,  and 
several  in  mezzotint.  In  1685  he  published  the 
collection  of  gems  of  Leonardo  Agostini,  etched 
by  himself.  He  died  after  1698.  He  some- 
times signed  his  plates  with  his  name  at  length, 
and  sometimes  marked  them  with  a  cipher,  com- 
posed of  A  and  J?,  thus  '-^  .  The  works  of 
this  engraver  are  sufBciently  interesting  to  excuse 
our  giving  a  more  than  usually  detailed  list  of 
them: 

139 


Blot 


A  BIOGRAPHICAL  DICTIONARY  OF 


Blyhoofl 


ETCHINGS   AND   PLATES   WITH   THE   GEAVEE. 
POETEAITS. 
Thomas  Sydenham,  Bishop  of  Worcester;  after  Mrs 

Beale. 
John  'WilHns,  Bishop  of  Chester ;  after  the  same, 
Anthony,  Earl  of  Shaftesbury ;  after  Greenhill.    One  of 

the  scarcest  prints  of  this  artist. 
Edward,  Earl  of  Sandwich  ;  after  Lely. 
Edward,  Earl  of  Montagu ;  after  the  same. 
James,  Duke  of  Monmouth ;  after  the  same. 
Cornells  Tromp,  Admiral  of  Holland  ;  after  the  same 
Prince  Rupert ;  after  the  same.    1673. 
Aert  van  Nes,  Admiral  of  Holland  ;  L.  de  Jonghe  pinx, 
Constantijn  Huygen  ;  after  Netscher. 
John  Henry  Thim  ;  A.  Stech piruc. 
Jerome  de  Bevemingh ;  after  Vaillant. 
WiUem  van  Haren ;  after  the  same.     1080. 
Egbert  Meesz  Kortenaer,  Admiral  of  Holland ;  Bart. 

van  der  Heist  pinx. 
The  Marquis  de  MirabeUe ;  after  Van  Dyck. 
Ferdinand  de  Fiirstenberg,  Bishop  of  Paderbom;  A, 

Blotelinq  sc.  1669. 
Michel  Adriaensz  de  Euyter,  Admiral ;  Bloteling  fee. 

aquaforti. 
Sir  Thomas  More,  Lord  High  Chancellor. 
Edward  Stillingfleet,  Canon  of  St.  Paul's. 
Henry,  Duke  of  Norfolk.     1678. 
Jane,  Duchess  of  Norfolk.    1681. 
Augustus  SteUingwerf,  Admiral  of  Friesland. 
Comehs  de  Wit,  Vice  Admiral  of  Holland. 
Tierck  Hides  de  Fries,  Admiral  of  Friesland. 
Cornells  Speelman,  Vice  Admiral, 

VAEIOUS   SUBJECTS  AFTEE  HIS   OWN  DESIGNS 
AND   OTHEE   MASTEES. 
Twelve  Views  of  Gardens ;  inscribed  Alcune  Vedute,  ^c. 
Eighteen  circular  plates  of  subjects  of  sacred  history, 

with  flowers;  A.  Bloteling  fee. 
A  Landscape,  with  Diana  bathing ;  J.  van  Neck  pinx. ; 

A.  Bloteling  exc. 
A  Landscape,  with  Alpheus  and  Arethusa ;  the  same. 
Six  Views  of  the  Environs  of  Amsterdam ;  Jae.  Muis- 

dael  inv. ;  A.  Bloteling  fee.     1670. 
Actseon  devoured  by  his  Dogs ;  G.  Flink  pinx. 
.  A  Shepherd  playing  on  his  Pipe,  with  a  Shepherdess ; 

after  the  same. 
The  Golden  Age ;  G.  Lairesse  pinx. ;  iV.  Visscher  exc. 
The  Marriage  of  St.  Catharine ;  after  Raphael. 
Two  Heads  of  Children ;   after  Buhens ;  rare ;    some 

impressions  have  the  name  of  Eubens. 
The  Study  of  the  Head  of  a  Man;  after  Buhens;  A. 

Blotelijig  fee.  et  exc;  rare. 
Four  Studies  of  Lions ;  after  Rubens ;  inscribed  Varice 

Zeonum  Icones,  a  P.  P. 
Two  Huntings  of  the  Boar  and  Stag ;  fine. 

PEINTS   IN   MEZZOTINT. 
POETEAITS. 
Justus  Lipeius ;  A.  Bloteling  fee. 
Michelangelo  Buonarroti ;  A.  Bloteling  fee. 
Frans  'M.iQYis,  painted  h/  himself;  A.  Bloteling  fee. 
Jan  de  Wit,  Grand  Pensionary  of  Holland ;   after  De 

Baan. 
Cornelis  de  Wit,  the  brother  of  Jan ;  after  Be  Baan. 
Staverinus,  an  old  Jew,  holding  a  Medal :  Com.  Bega 

pinx. 
Titus  Oates ;  Bawker  pinx. 
Desiderius  Erasmus ;  M.  Holbein  pinx,    1671. 
Henry  Benuet,  Earl  of  Arlington ;  after  Lely  ;  oval. 
Charles,  Earl  of  Derby ;  after  the  same. 
Abraham  Symmonds,  an  artist ;  after  the  same. 
Queen  Catharine ;  after  the  same. 

William  Henry,  Prince  of  Orange  ;  after  the  same.   1678. 
Nell  Gwyn ;  P.  Lely  pinx. 

Mary  of  Modena,  Duchess  of  York ;  after  the  same. 
Cornelis  Tromp,  Admiral  of  Holland  ;  after  the  same. 
Michiel  Adriensz  de  Euijter,  Admiral  of  Holland ;  J. 

Lievens  pinx. 
The  Emperor  Leopold  I. ;  C.  Morad  pinx, 
Henry  Casimir,  Prince  of  Nassau ;  M,  van  Muscherpinx, 
Portrait  of  a  Venetian  Lady  ;  Titiano  inv, 
Constantijn  Huygens ;  B,  Valliant  pinx, 
Jan  de  Oronefeld ;  after  the  same. 
140 


VAEIOUS    SUBJECTS    PEOM    HIS    OWN   DESIGNS   AND 
OTHEE   MASTEES. 

The  Five  Senses ;  after  C.  Bega. 

The  Four  Ages;  circular ;  after  the  sam,e._ 

Hercules  destroying  the  monster ;  G.  lairesse  pinx. 

St.  Peter  penitent ;  after  P.  Moreels. 

A  Landscape,  with  mythological  figures ;  T.  de  Neve 

pinx. 
The  Temptation  of  St.  Anthony ;  Cam.  Frocaceinipinx. 
A  Man  holding  a  glass ;  Bostrate  pinx. 
Bust  of  a  Man ;  circular. 

Bust  of  a  young  Man  crowned  with  laurels ;  circular. 
Bust  of  Hippolyta ;  oval. 
Two  Heads,  with  Phrygian  and  Grecian  Head-dresses ; 

one  plate. 
The  Satyr,  and  a  Peasant ;  oval. 
Vanitas,  a  Child  blowing  bubbles. 
Abundance,  a  figure  sitting. 
The  head  of  a  Vestal,  crowned  with  roses. 
Small  bust  of  Jupiter ;  circular. 
Small  bust  of  Venus  ;  same. 
Half  length  of  a  Boy  holding  a  Cat. 
Cupid  and  Psyche. 
A  Blind  Man  playing  on  the  Flute. 
Andromeda. 

BLOT,  Maurice,  a  French  Kne-engraver,  was  bom 
in  Paris  in  1754.  He  was  a  pupil  of  Augustin  de 
St.  Aubin,  and  engraved  some  portraits  and  fancy- 
subjects  in  a  neat  style.  He  died  in  Paris  in  1818. 
We  have  by  him : 

L'Occupation  du  Manage,  and  Companion ;  after  Aviry. 
La  Promesse  de  Mariage,  and  Le  Verrou ;  after  Fra- 

gonard. 
Marcus  Sextus ;  after  Gu4rin. 
Meditation ;  afier  Guido. 
A  Boy  blowing  bubbles ;  after  F.  Mieris. 
Mars  and  Venus ;  after  N.  Poussin. 
La  Vierge  aux  Cand61abres ;  after  Raphael. 
Vanity ;  after  Leonardo  da  Vinci, 
The  Judgment  of  Paris ;  after  Van  der  Werf. 
The  Dauphin  and  Madame  Royal,  the  children  of  Louis 

XVI. ;  after  Madame  Le  Brun.     1786. 
Giovanni  Angelo  Braschi,  Pope  Pius  VI.,  a  frontispiece 

for  the  Life  of  that  pontiff.     1799. 
Jupiter  and  lo ;  after  Eegnault  (Mus^e  Francais). 
Jupiter  and  CaHsto  ;  after  the  same  (Mus6e  Fran9ais). 
Andr^  GuiUaiime  de  GAry,  abbS  of  St.  Grenevieve ;  after 

himself. 

BLOTELING.    See  Blooteling. 

BLUNCK,  DiTLEV  CoNBAD,  who  was  born  at 
Breitenburg,  near  Itzehoe,  in  1799,  studied  from 
1814  to  1827  in  the  Academy  of  Copenhagen,  under 
Eckersberg.  In  1828  he  went  to  Rome,  where  he 
spent  ten  years,  and  was  much  influenced  by  the 
style  of  Carstens.  On  his  return  from  Italy  he 
lived  at  Vienna  and  at  Hamburg,  where  he  died  in 
1853.     Among  his  best  works  are  the  following : 

Christian  IV.  at  Rothenburg.    1823. 
Elijah  raising  the  Widow's  Son  to  life.    1827. 
The  Four  Ages  of  Man. 
Manifestation  of  God  to  \ 

Ezekiel.     1830.  (  ,    ^i    ^        i  ,-.7, 

The  Engraver  at  his  work-  K"        ^P'^'^"'  ^"^^"V- 

table.    1826.  J 

Noah  in  the  Ark. 
Thorwaldsen  with  Danish 

Artists  in  a  Roman  Inn. 


Dish    y 
Inn.  J 


In    the  Thorwaldsen   Mu- 
seum, Copenhagen. 


BLYHOOFT,  ZacAaeias,  a  Dutch  painter,  of 
whom  but  little  is  known ;  it  is  supposed  that  he 
lived  at  Middelburg  between  1625  and  1700.  Two 
pictures  by  him  are  noticed  in  the  Catalogues  of 
Hoet  and  Terwesten,  and,  in  regard  to  their  merit, 
compared  to  those  of  Netscher.  For  this  reason 
he  is  noticed  here,  as  many  pictures  are  ascribed  to 
Netscher  that  resemble  his  manner,  but  are  not  by 
him. 


Blyth 


PAINTERS  AND  ENGRAVERS. 


Boccaccino 


BLYTH,  Robert,  an  English  engraver,  was  born 
in  1750.  We  have  some  spirited  etchings  by  him 
from  drawings  by  John  Hamilton  Mortimer,  A.R.A. 
He  led  a  careless  life,  and  committed  suicide  in 
1784.    The  following  are  his  best  plates : 

Three,  of  Studies ;  in  the  style  of  Sahator  Bosa  and 

De  Lairesse. 
Four  of  the  same,  with  inscriptions. 
Bust  of  an  Oriental  Chief.    1779 ;  oval. 
Bust  of  an  old  Man ;  oval. 
Banditti  going  on  an  expedition.    1780. 
Banditti  returning  from  an  expedition.    1780. 
The  Captive.    1781. 

The  life  and  death  of  a  Solder ;  four  plates. 
Fishermen. 
A  Nymph,  with  a  basket  of  flowers,  sitting  on  the  sear 

shore,  with  a  shepherd. 
Cains  Marius  reflecting  on  the  ruins  of  Carthage. 
Nebuchadnezzar  recovering  his  reason  ;  compamon. 
Homer  reciting  his  Terses  to  the  Grecians. 

BOADEN,  John,  a  portrait  painter,  exhibited 
his  works  for  many  years,  between  1812  and  1838, 
at  the  Royal  Academy  and  the  Society  of  British 
Artists.  He  died  in  1839.  In  the  South  Kensing- 
ton Museum  is  a  portrait  of  the  Rev.  Chauncy 
Hare  Townshend  by  him. 

BOATERI,  Jacopo,  a  native  of  Bologna,  and  a 
pupil  of  Prancia,  flourished  in  the  15th  century. 
He  is  known  as  the  author  of  a  '  Holy  Family,'  in 
the  Pitti  Palace,  Florence.  The  dates  of  his  birth 
and  death  are  alike  unrecorded. 

BOBA,  Geoege,  a  painter  and  engraver  of  the 
16th  century,  known  by  the  name  of  MaItee 
Georges,  was  a  native  of  Rheims,  and  is  said  by 
some  to  have  been  a  disciple  of  Frans  Floris,  and 
by  others  of  Titian.  His  name  in  full,  or  included 
in  a  monogram  very  small,  is  found  on  some  etch- 
ings of  landscapes  with  historical  subjects,  after 
Primatiocio ;  Bartsch  gives  an  account  of  six  of 
them. 

BOBADILLA,  Geeonimo  de,  a  Spanish  painter, 
was  bom  at  Antequera,  a  small  town  in  the  vicinity 
of  Seville,  in  1620.  According  to  Palomino  he  was 
a  scholar  of  Francisco  Zurbaran,  whose  manner  he 
followed.  He  excelled  in  painting  historical  sub- 
jects of  a  medium  size  and  perspective  _  views. 
He  used  a  peculiar  varnish  on  his  pictures, 
which  Murillo  compared  to  crystal.  He  was 
a  great  collector  of  academic  figures,  drawings, 
models,  and  sketches  of  celebrated  artists.  He  was 
one  of  the  founders  of  the  Academy  at  Seville 
in  1660,  and  continued  to  support  it  until  his  death, 
which  took  place  in  that  city  in  1680. 

BOBBIN,  Tim,  a  name  assumed  by  John  Collier, 
the  caricaturist.     See  Colliee. 

BOCANEGRA,  Pedro  Atanasio,  a  Spanish 
painter,  was  born  at  Granada  in  1638.  He  was  a 
scholar  of  Alonso  Cano,  but,  according  to  Palomino, 
improved  himself  in  colouring  by  studying  the 
works  of  Pedro  de  Moya  and  Van  Dyck.  In  the 
cloister  of  Nuestra  Senora  de  Gracia,  at  Granada, 
is  a  picture  by  him  of  the  '  Conception,'  and  at  the 
College  of  the  Jesuits  is  one  of  his  most  esteemed 
works,  representing  the  '  Conversion  of  St.  Paul.' 
He  died  at  Granada  in  1688.  He  was  vain  and 
arrogant,  and  boasted  his  superiority  to  all  the 
artists  of  his  time ;  but  on  being  challenged  to  a 
contest  of  ability  by  Mathias  de  Torres,  he  slunk 
from  the  trial,  and  left  Madrid.  His  works  were, 
however,  much  coveted,  and  no  collection  was 
considered  complete  without  a  specimen.  The 
'Death  of  St.  Clara'  by  him  is  in  the  Hermitage, 
St.  Petersburg. 


BOCCACCINO,  Boccaccio,  was  born  at  Cremona, 
it  is_  believed,  in  1460,  and  was  either  a  pupil  or 
co-disciple  of  Domenico  Panetti.  Influenced  by 
Mantegna,  he  became  a  celebrated  painter,  and 
executed  in  Sant'  Agostino,  at  Cremona,  several 
frescoes,  in  1497.  He  visited  Rome,  but  not  being 
successful  with  his  '  Coronation  of  the  Virgin,'  in 
Santa  Maria  Transpontina,  he  returned  to  Cremona. 
Some  of  his  works  bear  a  strong  resemblance  to 
those  of  Perugino,  particularly  his  'Marriage  of 
the  Virgin,'  and  '  The  Madonna,  with  St.  Vincent 
and  St.  Anthony,'  in  the  church  of  San  Vincenzio  at 
Cremona,  which  have  been  frequently  regarded  as 
the  productions  of  Vannucoi.  One  of  his  most 
admired  performances  is  a  frieze  in  the  cathedral 
at  Cremona,  where  he  has  represented  the  '  Birth 
of  the  Virgin,'  and  some  subjects  from  her  life, 
painted  in  1606 — 1518.  In  these  Lanzi  considers 
him  inferior  to  Perugino  in  composition,  less 
beautiful  in  the  airs  of  his  heads,  and  less  vigor- 
ous in  light  and  shadow,  but  richer  in  his  drapery, 
more  varied  in  colour,  more  spirited  in  his  attitudes, 
and  perhaps  not  less  harmonious  and  pleasing  in 
his  architecture  and  landscape.  Lanzi  observes  of 
this  painter,  that  he  was  the  best  modern  among 
the  ancients,  and  the  best  ancient  among  the 
moderns.  He  was  one  of  the  instructors  of  Ben- 
venuto  Garofalo.  His  works  extend  from  1496  to 
1518,  and  this  last  date  is  usually  given  as  the 
year  of  his  death ;  but  his  will  was  made  in  January, 
1525  (new  style),  and  an  inventory  of  the  pro- 
perty divided  among  his  heirs,  December  26th, 
1625.     The  following  are  some  of  his  best  works  : 

Cremona.       Cathedral.  Appearance   of    the    Angel    to 
Joachim.    1515. 
„  „  Meeting  of  Joachim  and  Anna 

„  „  Birth  of  the  Virgin.    1515. 

„  „  Marriage  of  the  Virgin. 

„  .,  The  Annunciation.     1508. 

„  „  The  Visitation. 

„  „  Adoration  of  the  Shepherds. 

„  „  The  Circumcision. 

„  „  Christ  reasoning  vrith  the  Doc- 

tors.   1518. 
„  „  Christ  between  the  four  Patron 

Saints  of  Cremona.    1506. 
(^All  the  above  are  frescoes) 
„  S,  Quirico.  Virgin  and  two  Saints.     1518. 

Ferrara.         FinacotecaDeath  of  the  Virgin. 
London.         JViit.  Gal.    Procession  to  Calvary. 
Paris.  Louvre.       Holy  Family. 

Venice.  Acad.  Marriage  of  St.  Catharine. 

„  iS.Giuliano.yiTgm    and    Child    with    four 

Saints. 

BOCCACCINO,  Camillo,  the  son  of  Boccaccio 
Boccaccino,  was  born  at  Cremona  in  1511,  and  was 
brought  up  under  his  father.  Educated  in  the 
Gothic  maxims  of  Boccaccio,  and  only  permitted 
the  career  of  a  very  short  life,  he,  however,  formed 
to  himself  a  style  which  was  both  pleasing  and 
grand ;  and  he  was  considered  as  the  greatest 
genius  of  the  Cremonese  school.  In  1537  he 
painted  in  the  niches  of  the  cupola  of  San  Sigis- 
mondo  the  'Four  Evangelists,'  so  much  in  the 
style  of  Correggio,  that  it  appears  almost  incredible 
that  a  young  man  of  twenty-six  years  of  age,_  who 
had  never  foequented  the  school  of  that  painter, 
could  approach  so  near  to  the  greatness  of  Cor- 
reggio, both  in  the  intelligence  of  perspective  and 
in  foreshortening.  Two  other  works  of  this 
painter,  at  Cremona,  are  justly  admired  —  the 
'Raising  of  Lazarus'  and  the  'Adulteress  before 
Christ,'  surrounded  by  friezes  of  a  numerous  group 
of  Angels,  finely  composed,  and  designed  in  the 


Boccaccluo 


A  BIOGRAPHICAL  DICTIONARY  OF 


Bocksberger 


loftiest  style.    This   promising  artist  died  in  the 
prime  of  life,  in  1546. 

BOCCACCINO,  Francesco,  was  born  at  Cremona 
about  the  year  1680.  He  studied  at  Rome,  first 
under  Brandi,  and  afterwards  in  the  school  of 
Carlo  Maratti,  under  whom  he  acquired  a  pleasing 
manner  of  composing  and  painting  easel  pictures 
of  historical  subjects,  which  were  well  esteemed  in 
"  private  collections,  and  of  which  he  painted  more 
than  of  larger  works  for  the  churches.  He  some- 
times imitated  the  style  of  Albani,  and,  like  that 
painter,  he  was  fond  of  treating  mythological 
subjects.     He  died  in  1750. 

BOCCARDI,  Giovanni,  known  as  Maestro  Gio- 
vanni, was  a  miniature  painter  who  lived  at 
Florence  in  the  early  part  of  the  16th  century,  and 
who,  with  his  son  Feancesoo,  painted  (1507-23) 
a  number  of  the  cboir-books  of  Monte  Cassino  and 
Perugia.  The  influence  of  the  school  of  Raphael 
was  noticeable  in  these  productions. 

BOCCATI,  Giovanni,  of  Camerino,  is  known  by 
a  picture — signed  and  dated  1447 — in  the  Gallery 
of  Perugia.  The  subject  is  '  The  Virgin  and  Child 
enthroned,  and  surrounded  by  Angels,  Seraphim, 
and  Saints.' 

BOCCHI,  Faustino,  was  born,  according  to  Or- 
landi,  at  Brescia  in  1659.  He  was  a  scholar  of 
Angelo  Everardi,  called  II  Fiamminghino.  He 
chiefly  excelled  in  painting  battles  and  skirmishes 
of  cavalry,  which  he  composed  with  great  in- 
genuity, and  touched  with  a  spirited  pencil.  His 
figures,  though  on  a  small  scale,  are  correctly 
drawn,  and  his  landscapes  are  very  pleasing.  He 
died  in  1742. 

BOCCIARDO,  Clemente,  called  Clementone — 
according  to  Soprani,  from  the  prodigious  size  of 
his  person — was  born  at  Genoa  in  1620.  He  was  a 
scholar  of  Bernardo  Strozzi,  and  accompanied  Bene- 
detto Castiglione  to  Rome,  where  he  studied  some 
time,  and  afterwards  visited  Florence,  where  he 
met  with  encouragement,  and  painted  his  portrait 
for  the  Florentine  Gallery.  It  is  engraved  in  the 
'  Museo  Fiorentino.'  His  principal  works  are  at  Pisa, 
of  which  Lanzi  distinguishes  his '  Martyrdom  of  St. 
Sebastian,'  in  the  church  of  the  Carthusians.  More 
ingenious  in  his  compositions,  and  more  correct  in 
bis  design,  than  Strozzi,  he  is  inferior  to  him  in  the 
truth  and  purity  of  his  tints.     He  died  in  1658. 

BOCCIARDO,  DoMENico,  was  born  at  Finale, 
near  Genoa,  about  the  year  1686,  and  was  a  dis- 
ciple and  a  follower  of  the  style  of  Giov.  Maria 
Morandi.  Without  the  possession  of  much  inven- 
tion, he  was  a  correct  designer  and  an  agreeable 
colourist.  In  the  church  of  San  Paolo,  at  Genoa, 
is  a  picture  by  this  painter  of  St.  John  baptizing 
several  figures. 

BOCHOLT,  Franz  von,  a  German  engraver, 
who  flourished  from  1458  to  1480,  is  said  to  have 
been  a  shepherd  at  Mons,  in  Hainault ;  but  it  is 
more  probable  he  was  a  native  of  Bocholt,  a  small 
town  in  the  bishopric  of  Miinster.  His  prints, 
amounting  to  fifty-five,  are  chiefly  copies  after  the 
plates  of  Martin  Schongauer  and  Von  Meckenen, 
although  he  engraved  some  few  plates  from  his 
own  designs.  They  are  all  executed  in  a  laboured, 
stiff  style,  and  are  generally  marked  F.  v.  B.  The 
following  are  by  him  : 

COPIES  FROM  MARTIN  SCHONGAUER. 

St.  Anthony  carried  into  the  air  by  demons. 
St.  James  reading 
St.  Michael  and  the  Dragon. 
142 


COPIES   FROM    ISRAEL   VON   MECKENEN. 
The  Judgment  of  Solomon. 
The  Annunciation. 
The  Virgin  and  Child ;  in  an  arch. 

SUBJECTS   FROM   HIS   OWN   DESIGNS. 
A  Friar  struggling  with  a  Girl,  who  defends  herself  with 

her  distaS. 
Samson  strangling  the  Lion. 
Two  Men  quarrelling. 
St.  George  and  the  Dragon,  with '  Francis  van  Bocholt,' 

in  very  old  characters. 

BOCK,  Hans,  was  a  German  painter  of  the  16th 
century,  who  flourished  at  Basle,  where  he  executed 
within  and  without  the  Rathhaus,  some  colossal 
frescoes,  which  render  his  name  famous.  The 
Rathhaus  also  possesses  a  painting  of  the  'Calumny 
of  Apelles,'  by  him.  His  works,  though  mannered, 
display  much  power  and  energy. 

BOCKHORST,  Jan  van.    See  Boekhorst. 

BOCKHORST,  Johann  von,  called  Langen  Jan, 
was  born  at  Miinster  in  1610.  His  family  had  settled 
at  Antwerp  when  he  was  young,  and  he  became  a 
scholar  of  Jacob  Jordaens.  Under  that  able  in- 
structor he  became  a  very  distinguished  painter 
of  historical  subjects.  "There  are  many  of  his 
pictures  in  the  churches  in  Flanders,  and  they  are 
deservedly  ranked  among  the  best  productions  of 
the  Flemish  school.  In  1633  lie  entered  the  Guild 
of  St.  Luke  at  Antwerp.  He  seems  to  have  taken 
the  works  of  Van  Dyck  as  his  model,  and  some 
of  bis  best  pictures  are  so  much  in  the  style  of 
that  admirable  painter  that  they  may  easily  be 
mistaken  for  his  works.  He  also  excelled  as  a 
portrait  painter ;  many  of  his  portraits  are  only 
inferior  to  those  of  Van  Dyck.  He  died  in  1668. 
The  following  are  some  of  his  principal  works  : 

Apx^p  (  CJmrch  of  Triptych — Resurrection:  Annun- 

'*P*    \  Beguines.        elation :  and  Ascension. 
„        St.  Augustin.  The  Empress   Helena  with  the 
true  Cross. 
Ghent.  St.  Jacques.  Martyrdom  of  St.  James. 

Lille.  Museum.     Martyrdom  of  St-  Maurice.  1661. 

Madrid.  Gallery.      Mercury. 

„  „  Ulysses  in  female  attire  at  the 

Court  of  Lycomedes. 

BOCKLIN,  J.  C,  was  a  German  engraver,  who 
executed  a  set  of  British  portraits  for  a  German 
edition  of  the  '  History  of  England.'  They  are 
poorly  engraved,  and  the  whole  are  copied  from 
the  prints  by  White. 

BOOKMAN,  G.,  was  a  mezzotint  engraver,  who, 
if  not  a  native  of  England,  resided  here  in  the  first 
half  of  the  18th  century.  He  appears  to  have 
been  also  a  painter,  as  he  engraved  a  plate  of  '  St. 
Dunstan  and  the  Devil,'  which  is  signed  with  his 
name,  with  the  addition  of  pinx.  et  sculp.,  1743. 
He  died  about  1768.  '  We  have  several  portraits 
by  him,  among  which  are  the  following : 

William  Augustus,  Duke  of  Cumberland ;  after  Van  Zoo. 

Another  Portrait  of  the  same,  with  Ms  hat  on ;  ad 
vivum.     1746. 

Mary,  fourth  Daughter  of  George  11.,  consort  of  Fred- 
erick II.,  of  Hesse  Cassel ;  after  J.  Worsdale. 

Philip  Yorke,  Earl  of  Hardwicke ;  after  M.  Bahl. 

Thomas  Chubb,  the  Deist. 

BOOKMAN,  R.,  is  known  as  the  painter  of 
portraits  of  Naval  Heroes  at  Greenwich  Hospital 
and  Hampton  Court,  and  also  as  a  mezzotint 
engraver.     It  is  believed  that  he  died  about  1769. 

BOCKSBERGER,  Hans,  (or  Bocksperger,)  born 
at  Salzburg  in  1540.  He  painted  battle-pieces, 
bunting-parties,  allegorical,  mythological,  and  his- 
torical subjects  ;  and  was  principally  occupied  with 


Bocq.uet 


PAINTERS  AND  ENGRAVERS. 


Boel 


the  decorations  of  houses  at  Munich,  Augsburg, 
Ingolstadt,  Passau,  Ratisbon,  Landshut,  and  Salz- 
burg.    As  a  wood-engraver  he  illustrated  the  fol- 
lowing : 
The  Bible  with  122  plates.    1565. 
Livy.    1573. 

Flavius  Josephus.    1565 — 1571. 
The  Book  of  Animals,  by  G.  Sohaller.    1592. 
All  of  these  were  published  by  Feyerabend,  at  Frank- 
fort.   Besides  these,  there  exist  by  him  several 
handsome  designs  for  armour. 

BOCQUET,  Nicolas,  a  French  engraver,  men- 
tioned by  Basan,  lived  about  the  year  1601.  There 
are  two  indifferent  prints  by  him : 

Adam  and  Eve ;  after  Maphael. 

St.  Bruno  kneeling  before  a  Oucifix;  after  Bon  de 
Boullongne. 

BODART,  PiSTEE,  a  native  of  Holland,  resided 
at  Leyden  about  the  year  1723.  His  prints  are 
little  known  in  England.  His  principal  work  is  a 
drawing-book,  entitled  "  Les  Principaux  f  ondements 
du  Dessein,"  published  at  Leyden  in  1723.  It  con- 
sists of  a  great  number  of  plates  of  heads,  hands, 
feet,  figures,  and  groups,  from  the  designs  of 
Gerard  Hoet.  They  are  chiefly  etched,  in  an 
indifferent  style. 

BODDINGTON,  Heney  John,  was  born  in  1811. 
He  was  one  of  the  sons  of  Edward  Williams,  of 
Barnes,  and  changed  his  name  because  so  many  of 
his  family  were  painters.  He  was  a  member  of 
the  Society  of  British  Artists,  and  a  constant  con- 
tributor to  their  exhibitions,  usually  sending  views 
on  the  Thames,  or  other  river  subjects.  He  also 
exhibited  at  the  Royal  Academy.  He  died  at 
Barnes  in  1865. 

B6DEKKER,  Johannes  Feedeeik,  a  Dutch 
portrait  painter,  was  bom  at  Cleve  in  1660.  He 
was  a  scholar  of  Jan  de  Baan,  and  met  with  great 
encouragement  in  his  profession  at  Amsterdam 
and  the  Hague.  One  of  his  best  productions  was 
the  half-length  portrait  of  Duke  Eberhard  Ludwig 
of  Wiirtemberg.  There  is  a  poorly-scraped  mezzo- 
tint by  this  artist  of  a  '  Boy  and  a  Girl,'  half- 
figures,  with  flowers,  after  his  master,  J.  de  Baan. 
He  died  at  Amsterdam  in  1737. 
_  BODEMER,  Jakob,  was  bom  in  1777  at  Not- 
tingen,  in  the  vicinity  of  Garlsruhe.  He  worked  at 
first  as  an  enamel  painter  in  Geneva,  but  in  1799 
entered  the  Academy  of  Vienna,  and  devoted  him- 
self to  the  profession  of  enamel  portrait  paint- 
ing, and  brought  that  art  to  perfection  by  the 
invention  of  a  glass-like  coating  to  the  pictures. 
He  died  at  Vienna  in  1824.  The  following  are 
specified  among  his  productions  : 

Mary  with  the  Child  Jesus  {in  possession  of  Prince  Zin- 

zendorf). 
Madonna  in  Prayer ;  after  Holbein  {Count  Caernin's). 
Cupid ;  after  Paolo  Veronese. 
Portraits  of  the  Imperial  Family  of  Austria. 

BODENEHR,  Moeitz,  engraver  to  the  court  at 
Dresden,  was  born  at  Freiburg  in  1665  and  died  at 
Dresden  in  1749.  He  engraved  a  suite  of  thirty- 
two  mythological  and  poetical  pieces  after  Samuel 
Botsohild,  which  were  published,  with  his  name,  in 
1693.  His  father,  Johann  Geoeg  Bodenehe,  was 
an  eminent  engraver,  who  was  bom  in  1631,  and 
died  in  1704 ;,  and  his  brothers,  Gabeiel  and 
Gboeq  Conead,  followed  the  same  profession. 
Their  sons  seem  to  have  continued  it,  for  the  name 
of  Bodenehr  is  found  to  a  late  period,  but  with 
no  particular  distinction.  There  was,  however,  a 
second  Johann  Geoeg  Bodenehe,  an  engraver  and 


worker  in  mezzotint,  who  was  born  at  Dresden  in 
1691,  and  died  at  Augsburg  in  1730;  and  by  him 
some  superior  portraits  were  engraved. 

BODERECHT,  Maekus,  a  German  engraver  in 
mezzotint,  flourished  about  the  year  1739.  He 
was  chiefly  employed  in  portraits,  and  among 
others  engraved  that  of  Johann  Thomas  Rauner, 
with  the  above  date. 

BODINIER,  Guillaume,  a  French  historical  and 
portrait  painter,  was  bom  at  Angers  in  1795.  He 
studied  at  Rome  under  the  direction  of  Pierre 
Gudrin,  and  exhibited  at  the  Salon  from  1827  to 
1857.  After  a  long  residence  in  Rome  he  returned 
to  his  native  city,  where  he  became  director  of  the 
Museum,  and  died  in  1872.  His  best  work  is  the 
'Angelus  in  the  Gampagna  of  Rome,'  painted  in 

1836,  and  formerly  in  the  collection  of  the  Duke  of 
Orleans. 

BODMER,  Gottlieb,  bom  at  Munich  in  1804, 
was  a  painter,  designer,  and  lithographer.  He  first 
painted  portraits  rmder  Stieler.  In  1829  he  drew 
upon  the  stone  the  celebrated  Madonna  di  San 
Sisto,  after  the  engraving  of  F.  Miiller,  and  after- 
wards two  paintings  after  H.  Hess,  viz., '  Christmas 
Eve,'  and  a  small  altar-piece ;  by  these  works  he 
is  favourably  known.  He  visited  Paris,  and  re- 
turning to  Munich,  died  in  1837.  He  carried  out, 
among  others,  the  following  works : 

The  departure  of  King  Otto. 

King  Ludwig  I.  in  his  family  circle. 

The  Knight  and  his  Love ;  after  Foltz, 

The  Swiss  Grena<Uer ;  after  Kirner. 

BOECE.     See  BoExins. 

BOEGLEB,  Kael,  who  was  bom  at  Munich  in 

1837,  practised  there  and  at  Wiesbaden  as  a 
painter  of  architecture  and  views.  He  died  in  his 
native  city  in  1866.  In  the  New  Pinakothek  at 
Munich  there  are  by  him  : 

The  Maxburg,  Munich.  1865. 
The  Deanery,  Munich.  1865. 
The  Military  Arsenal,  Munich.     1865. 

BOEHMER,  Kael  Wilhelm,  was  a  painter  and 
engraver  of  Saxony.  He  was  brother-in-law  and 
scholar  of  Dietrich.  There  is  a  series  of  land- 
scapes and  marine  subjects  engraved  by  him, 
with  the  dates  1744  and  1754,  published  in  8vo 
and  12mo,  with  his  name  or  monogram.  The 
series  is  rare. 

BOEKEL,  —  VAN,  a  pupil  of  Frans  Snyders, 
painted  living  and  dead  animals  in  the  m3.nner  of 
his  master.  The  date  of  his  birth  is  not  recorded  ; 
he  died  in  Paris  in  1673.  In  the  Louvre  there  is  a 
picture  by  him  of  a  man  with  dogs  and  game. 

BOEKHORST,  Jan  van,  (or  Bockhoest,)  who 
was  born  at  Deutekom  in  1661,  was  a  scholar  of 
Kneller.  He  passed  some  time  with  that  artist  in 
London,  and  painted  portraits  in  his  manner.  He 
also  painted  battle-pieces  and  some  historical  com- 
positions, which  are  rare.  He  returned  to  his  own 
country,  where  he  died  in  1724,  at  Cleve.  In  the 
castle  at  Stockholm  there  are  the  Four  Evangel- 
ists, and  an  Angel,  by  him ;  and  in  the  Belvedere 
at  Vienna  a  '  Nymph  surprised  by  Satyrs. 

BOEL,  CoENELls,  a  Flemish  engraver,  was  born 
at  Antwerp  about  the  year  1580.  He  worked 
chiefly  with  the  graver,  in  the  style  of  the  Sadelers, 
in  whose  school  it  is  probable  he  was  instructed. 
His  plates  are  executed  in  a  clear,  neat  style,  and 
possess  considerable  merit.  He  engraved  a  set  of 
oval  plates  for  the  '  Fables  of  Otto  Voenius,' 
published  at  Antwerp  in  1608.  His  most  con- 
siderable works  were  eight  large  plates  of  the 

143 


Boel 


A  BIOGRAPHICAL  DICTIONARY  OF 


Boidelsin 


battles  of  Charles  V.  and  Francis  I.,  executed  in 
conjunction  with  Jode  de  Gheyn,  the  younger,  after 
Tempesta.  He  was  probably  in  England,  as  ap- 
pears from  one  of  his  plates,  the  Frontispiece  to  a 
Bible,  published  by  the  royal  authority  in  1611, 
very  neatly  engraved,  which  is  signed  C  Boel 
fecit,  in  Richmont,  1611.  We  have  also  by  him  a 
Portrait  of  Henry,  Prince  of  Wales,  an  oval  plate, 
with  an  ornamental  border ;  and  another  plate,  of 
'The  Last  Judgment,'  Gornelis  Boel  fecit,  without 
the  name  of  the  painter. 

BOEL,  CoEYN,  the  son  of  Jan  Boel,  the  en- 
graver, was  born  at  Antwerp  in  1620.  He  en- 
graved several  of  the  plates  for  the  book  called 
'  Teniers's  Gallery,'  after  the  pictures  in  the  collec- 
tion of  the  Archduke  Leopold  William.  We  have 
also  some  etchings  by  him,  principally  after  the 
pictures  of  the  elder  Teniers,  representing  peasants 
regaling  and  merry-makings.  His  death  is  not 
recorded. 

BOEL,  Jan,  who  was  bom  at  Antwerp  in  1592, 
was  free  of  the  Guild  of  Luke  in  1610,  married  in 
1619  and  had  nine  children — among  whom  were 
Coryn  and  Pieter.     He  practised  as  an  engraver. 

BOEL,  Jan  Baptist,  the  son  of  Pieter  Boel,  the 
engraver,  was  bom  at  Antwerp  in  1650.  In  1674- 
75  he  was  admitted  as  a  master's  son  to  the  Guild 
of  St.  Luke,  and  died  in  1688-89.  In  the  Antwerp 
Museum  is  a  picture  called  '  Vanity,'  representing 
a  dead  swan,  with  a  peacock  and  flowers,  painted 
by  him  for  the  Guild  of  St.  Luke  in  1679-80. 

BOEL,  PiETEB,  an  excellent  painter  of  animals, 
birds,  flowers,  and  fruit,  and  the  son  of  Jan  Boel, 
the  engraver,  was  born  at  Antwerp  in  1622,  and 
was  a  scholar  of  Frans  Snyders.  Desirous  of  im- 
provement, he  went  to  Italy,  where  his  works 
were  much  admired,  both  at  Rome  and  at  Genoa. 
On  his  return  to  Flanders  he  met  with  great  en- 
couragement. Four  of  his  best  pictures,  repre- 
senting the  Four  Elements,  are  in  a  private  col- 
lection at  Antwerp.  He  died  at  Paris  in  1674.  His 
touch  is  free  and  spirited,  and  his  colouring  natural. 
The  Munich  Gallery  has  a  picture  by  him  of  '  Two 
Dogs  guarding  dead  Game ' ;  a  '  Boar  Hunt '  is  in 
the  Hague  Gallery,  and  the  Madrid  Gallery  has 
five  works  by  him  ;  a  picture  of  Still  Life  is  in  the 
Antwerp  Museum.  We  have  some  very  spirited 
etchings  by  Boel  of  various  animals,  and  a  set  of 
six  plates  of  birds  of  prey,  with  landscapes,  entitled 
'  Diversi  Uccelli  a  Petro  Boel.' 

BOETIUS,  Christian  Feiedkich,  (or  Boece,)  a 
German  engraver,  was  born  at  Leipsic  in  1706.  He 
was  a  pupil  of  Zink  and  C.  A.  Wartmann,  and 
resided  chiefly  at  Dresden,  where  he  was  made 
professor  of  the  Electoral  Academy  in  1764.  He 
engraved  several  of  the  plates  for  the  Dresden 
Gallery,  some  portraits,  and  various  other  subjects. 
He  died  at  Dresden  in  1782.  The  following  are 
among  his  best  prints  : 

Landscape  with  a  Monument ;  after  Breenlergh. 

La  Notts ;  after  Carreggio. 

The  Meyer  Madonna ;    after  Holbein  {me  of  his  best 
works). 

Landscape   -with  a  Cow  and  Sheep ;    after  Karel  du 
Jardin. 

A  "Woman  holding  a  Pot  with  Coals,  and  a  Boy  blowing ; 
after  Rubens, 

Sportsmen  at  the  Door  of  an  Inn ;  after  Wouicerman. 

Interior  of  an  Inn ;  after  T.  Wyck. 

The  Portrait  of  Boetius ;  in  imitation  of  a  chalk  draw- 
ing.   1771. 

Portrait  of  Charles  Hutin ;  the  same. 

Portrait  of  Baphael  Mengs ;  the  same. 

Portrait  of  J.  Casanova :  the  same. 
144 


BOETTGER,  Johann  Gottlieb,  a  German  en- 
graver, was  bom  at  Dresden  in  1766.  He  was  a 
pupil  of  J.  G.  Schulz,  and  has  engraved  several 
plates  for  the  booksellers  and  others,  among  which 
we  have : 

Portrait  of  P.  W.  E.  de  Eamdohr ;  after  Graaf. 
Calliope ;  after  Atigelioa  Kaufmann. 
Ganymede ;  after  Vogel, 
A  Vestal ;  after  the  same. 

BOTTNER,  WiLHELM,  who  was  born  at  Cassel 
in  1749,  and  died  in  1805,  is  represented  in  the 
gallery  of  his  native  town  by  a  picture  of  'Dsdalus 
and  Icarus.' 

BOETTO,  GiovENAL,  was,  according  to  Delia 
Valle,  a  Piedmontese,  and  flourished  at  Turin  from 
the  year  1642  till  1682.  He  distinguished  himself 
as  a  fresco  painter,  and  was  principally  employed 
in  embellishing  the  palaces  and  public  edifices  at 
Turin  with  allegorical  subjects,  which  were  in- 
geniously composed,  and  designed  with  taste  and 
elegance.  Among  his  most  admired  works  are 
twelve  frescoes,  in  the  Casa  Garbalh,  representing 
subjects  emblematical  of  the  Arts  and  Sciences, 
Lanzi  affirms  that  he  excelled  as  an  engraver,  but 
his  prints  are  not  specified. 

BOEYERMANS,  Theodoee,  or  Diek,  who  was 
born  at  Antwerp  in  1620,  was  a  follower  of  Van 
Dyck.  He  was  free  of  the  Guild  of  St.  Luke-  in 
1654,  and  bis  name  occurs  at  intervals  on  the 
registers  until  the  time  of  his  death,  which  took 
place  at  Antwerp  in  1677-78.  His  works — historical 
and  portraits — are  correctly  designed  and  agreeably 
coloured,  and  show  a  good  knowledge  of  chiaro- 
scuro.   Amongst  them  we  find : 

Antwerp.     Museum.      The  Ambassador. 

„  „  The    Pool    of   Bethesda.     1675. 

T.  BOEIJERMANS   PINXIT. 

„  „  The  Yisit  (signed). 

„  „  Antwerp  as  patroness  of  painters, 

inscribed  antveepls  piotoetm 

NVTEICI  P"' 

„  „  Head  of  a  Woman. 

„  j^.  i/ffcgwes.  Assumption  of  the  Virgin.    1671. 

Convent   ■) 
„  of  Sceurs  V  Miraculous  cure  of  a  Paralytic. 

Moires.     } 
Hague.         Gallery.       The  Judgment  of  Paris. 

BOGDANI,  James,  known  as  a  fruit  and  flower 
painter  in  England  in  the  time  of  Queen  Anne,  was 
a  Hungarian  by  birth.  After  a  long  residence  ia 
London,  he  died  in  Great  Queen  Street  in  1720. 
Some  of  his  pictures  are  in  the  Royal  Collection 
(Walpole). 

BOGLE,  John,  exhibited  miniature  portraits  in 
London  from  1769  to  1792.  In  early  life  he  lived 
in  Glasgow  and  Edinburgh ;  afterwards  he  came 
to  London,  where  it  is  said  he  died  in  poverty. 

BOGUBT,  Nicolas  Didieb,  a  French  landscape 
painter,  was  born  at  ChantiUy  in  1755,  and  passed 
the  whole  of  his  life  in  Rome,  where  he  died  in 
1839.  There  are  examples  of  his  work  in  the 
Galleries  of  Versailles,  Aix,  and  Montpellier. 

BOHER,  FEANgois,  a  French  painter,  sculptor, 
and  architect,  who  was  likewise  a  poet,  was  born 
at  Villefranche  in  1769,  and  became  director  of 
the  school  of  design  and  architecture  at  Perpignan. 
He  died  in  his  native  town  in  1825. 

BOIDELSIN,  — ,  (or  Boidessin,)  was  a  French 
painter  who  flourished  at  Metz  at  the  end  of  the  ' 
17th  century.  There  is  a  '  Nativity '  by  him  in  the 
convent  of  the  Visitation  of  St.  Mary  at  Metz ;  and 
he  also  jjainted  a  '  Vierge  au  Mont  Carmel,'  which  ia 
well  designed  and  drawn. 


Boilly 


PAINTERS  AND  ENGRAVERS. 


Boissieu 


BOILLY,  Alphonse,  a  French  engraver,  was  the 
son  of  Louis  Leopold  Boilly,  the  portrait  painter. 
He  was  born  in  Paris  in  1801,  and  was  a  pupil  of 
Pierre  Alexandre  Tardieu  and  of  Forster.  He  died 
at  Le  Petit  Montrouge  in  1867.  Among  his  best 
works  are : 

The  ■Woman  taken  in  Adultery ;  after  Titian. 
The  Miracle  of  the  Loaves ;  after  Murillo. 
George  Washington,  whole  length ;  after  Gilbert  Stuart. 
Marie  Th^rese  Antoinette,  Infanta  of  Spain,  Dauphiness 
of  France ;  after  Tocque. 

BOILLY,  JuLiEN  LEOPOLD,  a  painter,  engraver, 
and  lithographer,  who  was  born  in  Paris  in  1796, 
was  the  son  and  pupil  of  Louis  Leopold  Boilly. 
He  also  studied  under  Gros.  In  1826  he  made  a 
journey  to  Italy,  and  on  his  return  published  a 
series  of  studies  of  the  costumes  of  the  country. 
He  also  executed  portraits  in  pastel  and  in  chalk. 
A  portrait  of  his  father,  by  him,  is  in  the  Lille 
Museum.    He  died  in  Paris  in  1874. 

BOILLY,  Louis  Leopold,  was  born  at  La  Bassee, 
near  Lille,  in  1761.  His  only  master  was  his 
father,  Amould  Boilly,  a  wood-carver.  '  He  under- 
took to  paint  when  in  his  twelfth  year  a  picture  of 
'  St.  Rooh  curing  the  Plague,'  for  a  chapel  of  that 
saint.  In  the  following  year  he  executed  for  the 
brothers  of  St.  Rooh  a  burial  scene  containing  por- 
traits. These  are  still  to  be  seen  at  La  Bassee.  In 
his  fourteenth  year  he  went  to  an  Augustine  priory 
at  Douai,  where  he  painted  several  portraits  and 
genre  pictures.  At  Arras  he  painted  more  than 
300  small  portraits  in  two  years.  About  1786  he 
settled  in  Paris,  executing  a  vast  number  of  works. 
In  1799  he  gained  a  prize  of  2000  frs._,  and  in  1833, 
by  the  desire  of  the  Academy,  was  invested  with 
the  Legion  of  Honour.  He  is  said  to  have  painted 
in  all  over  5000  portraits,  besides  other  works. 
An  'Arrival  of  a  Diligence'  by  him,  signed  and 
dated  1803,  is  in  the  Louvre.  In  the  Lille  Museum 
are  a  series  of  twenty-seven  portrait  studies  for  his 
'  Interior  of  the  atelier  of  Isabey,'  and  a  sketch  for 
the  entire  work.  Many  of  his  works  have  been 
engraved  by  Tresca,  Cazenove,  Petit,  Chaponnier, 
and  others,  whilst  he  is  stated  to  have  produced 
about  a  hundred  prints  himself.  He  exhibited  many 
times  from  1793  to  1824,  and  died  in  Paris  in  1845. 

BOIS,  Du.     See  Du  Bois  and  Dubois. 

BOISFREMONT,  Charles  db,  one  of  the  pages 
of  Louis  XVI.,  went  to  America  during  the  Revolu- 
tion, and  there  taught  himself  painting.  On  his 
return  he  commenced  exhibiting  his  works,  in  which 
he  seems  to  have  adopted  Prud'hon  as  his  model. 
Art  is  indebted  to  him  for  the  restoration  of  the 
pictures  at  Versailles  when  they  were  in  a  very 
bad  state  of  decay.  The  date  of  his  birth  is  uncer- 
tain. He  died  in  1838.  He  exhibited  amongst 
others  the  following : 

The  Death  of  Abel.     1803. 

Hector  upbraiding  Paris  (gold  medal  and  500  francs). 

1806. 
The  Descent  of  Orpheus  into  Hell  {gold  medal  and  1000 

francs).    1808. 
The  Clemency  of  Napoleon  towards  the  Princess  of 

Hatzfeld  (^yurckased  by  the  Government,  and  executed 

in  twpestn/  at  the  Gobelins  for  the  cabinet  of  Napoleor 

at  the  Tuileries).    1808. 
The  Education  of  Jupiter  on  Mount  Ida  {forming  the 

ceiling  of  the  pavilion  of  Marsan).    1812. 
The  Good  Samaritan  {in  the  Rouen  Museum.).    1822. 
The  Death  of  Cleopatra  {also  in  the  Rouen  Museum). 

1824. 
The  Chastity  of  Joseph.    1826. 
Le  D&habill^.    Same  year. 
L 


BOISSARD,  Michel  J.,  was  a  French  engraver 
of  the  seventeenth  century.  '  A  Holy  Family  '  of 
the  year  1650,  is  liis  only  known  engraving. 

BOISSARD,  Robert,  an  engraver,  was  born  at 
Valence  about  1570.  He  worked  in  the  manner  of 
Theodoor  de  Bry.  He  used  the  same  mark  as  Ren^ 
Boivin,  but  their  works  should  not  be  confounded. 
In  France  and  England  we  have  by  him  : 

Portrait  of  Robert,  Earl  of  Essex;  after  Sromley. 

Portrait  of  Henry  IV.  of  France. 

Nymphs  bathing ;  in  the  manner  of  Aldegrever. 

Judgment  of  Paris  ;  in  the  manner  of  Lucas  van  Ley  den. 

BOISSELIER,  Antoine  F^lix,  a  French  his- 
torical and  landscape  painter,  was  born  in  Paris, 
in  1790.  He  was  a  pupil  of  Berlin,  and  exhibited, 
in  1819,  'The  Death  of  the  Athlete  Polydamas ;  ' 
in  1822,  '  The  Death  of  Bayard  '  (now  at  Fontaine- 
bleau) ;  and  in  1824  obtained  the  first  gold  medal. 
He  died  in  1857. 

BOISSELIER,  FiLix,  '  the  elder,'  a  French  his- 
torical painter,  was  born  at  Damphal  (Haute- 
Mame)  in  1776,  and  in  early  life  was  employed  as 
draughtsman  in  a  manufactory  of  decorative  papers. 
At  the  time  of  the  Revolution  he  was  thrown  into 
prison,  and  after  regaining  his  liberty  entered  the 
studio  of  Regnault.  In  1805,  and  again  in  1806, 
he  obtained  the  grand  prize  in  painting,  and  to- 
wards the  end  of  the  latter  year  went  to  Rome, 
where  he  died  in  1811.  His  '  Death  of  Adonis,' 
exhibited  in  1812,  is  now  in  the  Louvre. 

BOISSBREE,  Mblchioe,  an  artist  and  antiquary, 
was  born  at  Cologne  in  1786.  He  undertook,  in 
conjunction  with  his  brother,  Sulpice  Boisseree,  and 
J.  B.  Bertram,  the  formation  of  a  collection  of 
pictures  by  ancient  German  masters,  to  which  the 
three  devoted  twenty  years'  labour  and  the  bulk  of 
their  fortunes.  These  pictures,  with  some  few 
exceptions  which  are  in  the  chapel  of-  St.  Maurice 
at  Nuremberg,  were  purchased  by  the  King  of 
Bavaria,  in  1827,  for  120,000  thalers  (£18,000),  and 
are  now  in  the  Pinakothek  at  Munich.  Boisser^e 
executed  and  published  inl834  a  series  of  large  litho- 
graphs of  these  pictures  in  thirty-eight  numbers.  He 
was  also  the  discoverer  of  a  new  and  simple  method 
of  painting  upon  glass  by  means  of  the  brush  alone, 
and  employed  it  for  the  reproduction  of  the  best 
works  in  the  ancient  collection  formed  by  him,  as 
well  as  of  some  chefs-cCosuvre  of  the  Italian  school 
which  are  now  at  Bonn.  His  death  t»ok  place  at 
that  town  in  1851. 

BOISSEVIN,  L.,  was  a  printseller,  and  is  sup- 
posed to  have  engraved  the  following  plates : 

Charles  I. 

Oliver  Cromwell. 

Cardinal  Barberini ;  dated  1623. 

BOISSIER,  Ande^  Claude,  a  French  painter  of 
religious  subjects,  was  born  at  Nantes  in  1760.  He 
studied  under  Brenet,  and  settled  at  ChS,teau-Gon- 
tier.  Among  his  best  works  are  an  '  Assumption ' 
and  an  'Apotheosis  of  St.  Vincent  de  Paul,'  both 
of  which  are  at  Pekin ;  a  '  Temptation  of  Christ,' 
and  an  'Adoration  of  the  Shepherds.'  He  died 
at  Chiteau-Gontier  about  1840. 

BOISSlilRE.     See  Db  la  BoissiSee. 

BOISSIEU,  Jean  Jacques  de,  a  French  painter, 
more  celebrated  as  an  engraver,  was  born  at  Lyons 
in  1736.  He  studied  first  in  his  native  city,  but 
afterwards  went  to  Paris,  where  he  numbered 
Joseph  Vernet  and  Greuze  among  his  friends,  and 
then  to  Italy.  He  subsequently  returned  to  Lyons. 
Declining  health  compelled  him  to  give  up  painting 
in  oil  in  favour  of  drawing  and  engraving,  and 

145 


Eoit 


A  BIOGRAPHICAL  DICTIONARY  OF 


Bokshoorn 


he  preferred  to  live  in  retirement  near  Lyons  to 
shining  in  his  profession  in  Paris.  He  died  at 
Lyons  in  1810.  He  painted  some  pictures  of  simi- 
lar subjects  to  those  by  Ostade, — the  Dutch  School 
was  ever  his  favourite, — and  also  some  portraits. 
Two  Landscapes  with  figures  and  buildings  by  him 
are  in  the  Berlin  Gallery — one  is  dated  1773  ;  and  a 
Landscape  with  figures  is  in  the  Louvre.  Boissieu 
is,  however,  principally  known  by  the  charming 
etchings  he  has  left  us  of  landscapes  and  other 
subjects,  both  from  his  own  designs  and  those  of 
other  masters.  The  number  of  his  plates,  which 
are  generally  marked  D.  B.,  with  the  date,  is  140. 
The  following  are  his  best  prints  : 

A    mountainous    Landscape,    with    'WaterfaU ;    after 


A  Landscape,  with  Shepherds,  by  the  water-side ;  after 

Berchem. 
The  Quack  Doctor ;  after  K.  du  Jardin. 
An  Old  Man,  with  a  Boy  reading;  in  the  manner  of 


A  Cooper  working  in  a  Cellar ;  the  same. 

A  Landscape,  with  a  Boy  driving  an  Ox ;  after  JRuisdael. 

A  Landscape,  with  figures  in  a  Boat,  and  a  Mill ;  after 

the  same. 
The  Great  Mill ;  after  the  same. 
The  Mower's  Rest ;  after  Adriaan  van  de  Velde. 
An  Italian  Landscape,  with  'Women  washing. 
A  Forest,  with  a  Cottage,  and  a  Man  on  Horseback, 

with  Peasants. 
Another  Forest  scene  ;  the  companion. 
A  Landscape,  with  figures  and  animals,  in  the  middle  a 

Hill,  on  which  is  a  Cross,  and  an  old  Man  kneeling. 
A  View  near  Tivoli,  with  a  Man  and  a  "Woman  mounted 

on  a  Mule,  driving  Cattle  through  a  Eivulet. 
A  Landscape,  with   a  Hermit,  at  the  entrance  of  a 

Cavern.    1797. 
A  Landscape,  with  large  figures,  and  two  Cows  standing 

in  the  Water. 

The  two  last  mentioned,  with  the  first  and  '  The 
Great  Mill,'  are  his  best  plates.  See  '  Catalogue 
raisonne  de  son  GEuvre.'     Lyons.     1878.     8vo. 

BOIT,  Charles,  the  son  of  a  Frenchman,  was 
born  at  Stockholm  about  1663,  and  began  life  as 
a  jeweller.  He  went  to  England  and  established 
himself  as  a  drawing-master,  but  afterwards  took 
to  painting  in  enamel,  an  art  in  which  he  excelled 
so  much  that  he  was  commissioned  to  paint  for 
Queen  Anne  a  plate  twenty-four  inches  by  eighteen 
in  commemoration  of  the  victories  of  the  Duke  of 
Marlborough  and  Prince  Eugene,  which,  however, 
was  never  ffeisbed.  At  the  death  of  the  queen,  in 
1714,  he  fell  into  difficulties,  and  fled  to  Prance, 
where  he  was  much  patronized  by  the  court.  He 
became  a  member  of  the  Academy  in  1717,  and 
died  in  Paris  in  1727.  Horace  Walpole  gives  a 
long  account  of  him,  and  mentions  many  enamel 
portraits  and  copies  of  celebrated  paintings  exe- 
cuted by  him. 

BOITAED,  LoTJis  Pierre,  who  was  born  in 
France,  was  a  pupil  of  La  Farge.  He  went  to  Eng- 
land with  his  father  in  the  reign  of  George  I.,  and 
became  celebrated  as  an  engraver  of  book  plates. 
He  married  an  English  lady,  and  died  in  London 
in  1758.  His  most  important  work  was  a  repre- 
sentation of  the  Ranelagh  Rotunda,  after  Paolo 
Pannini.  Other  good  plates  of  bis  are  those  he 
executed  for  Spence's  'Polymetis.'  He  also  en- 
graved some  portraits,  among  which  is  that  of 
Brown,  the  soldier  who  distinguished  himself  at 
the  battle  of  Dettingen,  and  one  of  Elizabeth 
Canning. 

BOIVIN,  Riiii,  (or  Boyvin,)  a  French  draughts- 
man and  line-engraver,  was  bom  at  Angers  about 
the  year  1530.  and  died,  as  is  believed,  at  Rome 

146 


in  1598.  He  engraved  several  plates  in  the  style 
of  Cornells  Cort,  and  we  have  also  some  etchings  by 
him.  Some  of  his  plates  are  from  his  own  designs 
and  some  from,  those  of  Rosso  del  Rosso,  called 
by  the  French  Mattre  Roux.  He  sometimes  signed 
his  works  with  his  baptismal  name,  Benatus,  and 
sometimes  with  a  cipher  composed  of  an  R  and  B 

■th"3j  £J\,  .     The  following  are  his  principal  plates : 

Twelve  Portraits  of  Philosophers  and  ancient  Poets. 

Two  Portraits  of  Clement  Marot. 

Portrait  of  John  Sebastian  Psanserus. 

Portrait  of  George  Vicelius,  Theologian. 

Susannah  and  the  Elders. 

The  departure  of  Hagar  and  Ishmael  from  the  House 
of  Abraham ;  a  spirited  etching. 

Banditti  robbing  the  Cart  of  a  Peasant ;  etching. 

The  Plates  for  a  work  entitled  "  livre  de  la  Conquests 
de  la  Toison  d'or,  par  le  Prince  Jason  de  Tessalie." 

The  Triumph  of  Virtue  and  the  Defeat  of  Vice ;  after 
Mosso  del  JRosso. 

Francis  I.  advancing  towards  the  Temple  of  Immor- 
tality, leaving  behind  him  Ignorance  and  the  Vices ; 
after  the  same. 

BOIZOT,  Marie  Louise  Adelaide,  a  French  line- 
engraver,  was  bom  in  Paris  in  1744.  She  was  the 
daughter  of  Antoine  Boizot,  a  painter,  and  sister 
of  Louis  Simon  Boizot,  a  sculptor,  and  was  in- 
structed in  art  by  her  father  and  by  J.  J.  Flipart. 
She  engraved  with  great  neatness  several  portraits 
and  other  subjects,  and  died  about  the  year  1800. 
The  following  are  among  her  works  : 

Jean  Joseph  Guillaume  Brute,  Doctor  of  Sorbonne ;  M. 

L.  A.  Boizot  del.  etfec. 
Joseph  II.,  Emperor  of  Germany ;  after  L.  S.  Boizot. 
Louis  XVI.,  King  of  France ;  after  the  same. 
Marie  Antoinette,  Queen  of  France  ;  after  the  same. 
Louis  Stanislas  Xavier,  Count  of  Provence,  afterwards 

Louis  XVIII. ;  a/Ker  the  same. 
Marie  Josephine  Louise,  Countess  of  Provence;  after 

the  same. 
Charles  Philippe,  Count  of  Artois,  afterwards  Charles 

X. ;  after  the  same. 
Marie  Tnerese,  Countess  of  Artois ;  after  the  same. 
Madame  EUzabeth,  sister  of  Louis  XVI. ;  after  the  same. 
St.  Catharine  ;  after  L.  Carracci. 
The  Dutch  Breakfast ;  after  G.  Metsu. 
A  Boy  with  a  Birdcage ;  after  Netacher. 
A  young  Turk ;  after  the  same. 
La  Liseuse ;  after  Greuze. 

BO  JAN,  J.  L.,  was  a  French  engraver,  who 
flourished  about  the  year  1670.  He  was  chiefly 
employed  by  Jean  Berain  in  engraving  some  of 
the  plates  for  his  large  work  of  the  Ornaments  in 
the  Louvre  and  the  Tuileries. 

BOKLUND,  Johan  Kristoefeb,  who  was  bom  in 
1817  at  Kulla-Gunnarstorp,  Sweden,  studied  under 
Korner  in  Lund,  and  then  in  Copenhagen,  Stock- 
holm, Munich,  and  lastly  under  Couture  in  Paris. 
In  1856  he  returned  to  Stockholm,  where  he  became 
a  member  of  the  Academy  of  which  he  was  after- 
wards Director,  and  held  various  important  posts, 
including  the  Curatorship  of  the  National  Museum. 
He  painted  scenes  from  the  Thirty  Years'  War, 
historic  pictures,  genre  subjects,  and  portraits. 
Many  celebrated  persons  sat  to  him.  He  died  at 
Stockholm  in  1880. 

BOKSHOORN,  Joseph,  a  Dutch  portrait  painter, 
was  born  at  the  Hague,  and  came  to  London  in 
1670,  where  he  died  at  the  age  of  thirty-four.  He 
was  a  scholar  of  Sir  Peter  Lely,  whose  works  he 
copied  in  great  perfection.  He  also  copied  por- 
traits by  Van  Dyck,  particularly  that  of  the  Earl  of 
StrafEord,  which  was  in  the  possession  of  the  Earl 
of  Rockingham.  Vertue  mentions  portraits  by  him 
of  Mr.  Davenant  (son  of  Sir  William)  and  his  wife. 


Bol 


PAINTERS  AND  ENGRAVERS. 


Bol 


BOL,  CoENELis,  was  a  native  of  Holland,  and 
flourished  about  the  year  1660.  He  visited  England 
before  the  fire  of  London,  as  Tie  painted  views  of 
that  conflagration.  He  also  painted  representations 
of  Sutton  Place  in  Surrey,  Arundel  House,  Somerset 
House,  and  the  Tower.  He  etched  some  plates 
representing  the  seaports  of  Holland,  among  which 
is  that  of  the  Briel. 

BOL,  Ferdinand,  was  bom  at  Dordrecht  in  1611. 
Of  his  life  we  know  but  little.  He  went  when  a 
child  with  his  parents  to  Amsterdam,  his  future 
home;  studied  under  Rembrandt;  was  made  a 
citizen  ;  married,  in  1653,  Elisabeth  Dell ;  and  died 
there  in  1681.  His  masterpiece,  the  '  Pour  Regents 
of  the  Leprosy  Hospital,' — which  formerly  hung  in 
that  institution  at  Amsterdam,  and  is  now  in  the 
Townhall, — at  a  certain  exhibition  held  for  chari- 
table purposes  is  said  to  have  received  more  notice 
and  praise  than  any  of  the  works  of  his  master, 
Rembrandt.  Yet  Bol  was  a  most  uncertain  painter  ; 
and  although,  while  under  the  influence  of  Rem- 
brandt, he  produced  works  that  may  have  passed 
as  being  the  work  of  the  master  himself,  he  latterly 
degenerated  into  a  bad  imitator  of  Rembrandt,  and 
appears  even  to  have  exaggerated  the  faults  of  his 
manner  and  style  without  retaining  the  power  of 
giving  the  superb  effects  of  light  and  shade  which, 
while  in  that  master's  studio,  he  certainly  once  pos- 
sessed. This  change  is  apparent  in  ^^fC^* 
those  paintings  of  Bol  that  bear  a  later  (x^ 
date  than  1660,  when  he  had  probably  'ijP  ■  ' 
left  Rembrandt. 

The  following  are  his  principal  paintings : 

Amsterdam.  Museum,    Portrait  of  Ferdinand  Bol. 

„  „        Portrait    of    Arthur      Quellinus, 

Sculptor;  Bol.    1663. 
„  „        Portrait  of  Admiral  Michiel  Adri- 

ansz  de  Buyter ;   r.  bol  fecit. 
1677. 
Amsterdam.  „        A  Mother  with  her  two  Children  ; 

F.   BOL   FECIT. 

„  „        The    Instruction ;  F.  bol.     1663. 

„       Town  Sail.  Four  Eegents  of  the  Leprosy  Hos- 
pital (his  masterpiece). 

„      ^-  ^^i"'^  \  Portrait  of  Admiral  de  Euyter. 

Berlin.  Museum.    Portrait  of  an  Old  Lady;  F.  bol 

FECIT.     1642 
»      Brussels.       Gallery.     Portrait  of  a  Man ;  f.  bol  f.  1660. 
Tfm  F  and  the  B  interlaced  as 
given  above,     (Formerly  called  a 
Rembrandt.) 
„  „        Portrait  of  a  Woman ;  F.  BOL  F. 

1660.    (Formerly  called  a  Sem- 
brandt.) 
„  „        Portrait  of  Saskia  van  Ulenburgh 

wife  of  Rembrandt  van  Byn. 
„  „        A   Philosopher  in   Meditation  (a 

somewhat  similar  picture  is  in  the 
Louvre). 
Cambridge.^.^W-|^p„^,^^;,_ 

Eest  on  the  Flight  into  Egypt ;  F. 

BOL  FECIT.     1644. 
Jacob's  Vision ;  F.  EOL  fecit. 
Joseph  presenting  Jacob  to  Pha- 
raoh. 
Portrait  of  Ferdinand  Bol. 
Portrait  of  a  Young  Man  holding 

his  Hat  and  Gloves  in  his  Hand ; 

F.  BOL.    1644. 
Portrait  of  a  Man  with  Curly  Hair ; 

F.  bol.     1659. 
Portrait  of  Michiel  Adriaansz  de 

Euijter. 
„        Portrait  of  Bngel  de  Euijter;  F. 

BOL.    1669. 
Institute.  The  Angel  appearing  to  Hagar. 
L  2 


Dresden. 


Frankfort.     SlSdel. 


Hague.         Gallery, 


Liverpool. 


London.  JHfat.  Gallery,  Portrait    of    an    Astronomer;    f. 
BOL  fecit.     1652. 
„        iVoriftfo-ooi )  Portraits  of  a  Bride  and  Bride- 

Coll,       j     groom. 
„  „  A  Scene  from  Guarini's    'Pastor 

Fido.' 
Leyden.      Town  Sail.  Allegory    of    Peace    (painted    in 

1664). 
Munich.      Pinakothek,  Abraham,  about  to  offer  up  Isaac, 
stopped  by  an  Angel. 
„  „  Portrait  of  a  Man  clothed  in  Black. 

Paris.  Louvre.        A  Philosopher  in  Meditation. 

„  „  A  Young  Prince  of  Holland  in  a 

Chariot  drawn  by  Goats ;  F.  BOL. 
1654. 
„  „  Portrait  of  a  Mathematician. 

„  „  Portrait  of  a  Man  ;  F.  bol.     1659. 

Petersburg.  Hermitage.  Portrait  of  a  Countess  of  Nassau- 
Siegen  ('probably  Frn^stina,  wife 
of  John  the  youTi^er). 
„  „  Portraits  of   Persons,  unknown — 

as  Theseus  and  Ariadne. 
„  „  The  Savant,  writing. 

„  „  Portrait  of  a  Man. 

„  „  Portrait  of  a  Lady,  in  black,  seated, 

holding  her  gloves. 
„  „  Portrait  of  a  Young  Man,  his  right 

hand  on  a  table. 
„  „  Portrait  of  a  Young  Lady,  stand- 

ing before  an  old  Man,  who  is 
seated    (miscalled    'Esther    and 
Ahasuerus'). 
„  „  The  Philosopher  (signed). 

„  „  Portrait  of  a  Young  Man  (icith  a 

forged  signature  of  Membrandt). 
1641. 
„  „  Portrait  of  an  Old  Woman ;  F.  bol. 

1651 ;  OUT  81  JAEE. 
Eotterdam.  Museum.     Portrait  of  Dirk  van  der  Waeijen ; 
F.  bol.    1656. 
„  „  Portrait  of  a  Lady ;  F.  BOL  fecit. 

1652. 

Bol's  etchings  are  highly  esteemed ;  they  are 
executed  in  a  bold  and  free  manner,  and  his  lights 
and  shadows  are  very  judiciously  managed.  Al- 
though they  are  not  equal  in  lightness  of  touch 
and  tasteful  style  to  the  etchings  of  Rembrandt, 
they  possess  great  merit.  The  following  is  a  list 
of  nearly  the  whole  of  his  prints  : 

PORTKAITS   AND   HEADS. 

A  young  Man,  with  a  round  Hat ;  marked  Bol  fee. 

An  Officer  with  his  hands  on  the  Hilt  of  his  Sword ; 

Bolfec.    1643.  * 

A  young  Man,  with  a  Cap  and  Feathers ;  F.  Bol.    1642. 
A  young  Woman,  half  length,  with  a  Cap  and  Feathers ; 

marked  F.  Bol  f.     1644 ;  fine,  oval. 
The  Woman  with  the  Pear,  at  a   Window;    in  the 

manner  of  Rembrandt ;  very  fine. 
An  old  Man  sitting  in  a  Chair,  with  some  Books  and  an 

unlighted  Candle ;  marked  Bol ;  scarce. 
An  old  Man,  half  length,  with  a  Bonnet,  leaning  on  a 

Cane  ;  in  the  manner  of  Rembrandt ;  F.  Bolfec.     1642. 
Bust  of  an  old  Man,  seen  in  front,  with  a  fur  Eobe, 

fastened  with  Diamonds ;  no  name  ;  very  scarce. 

VARIOUS    SUBJECTS. 

A  Philosopher  in  Meditation,  resting  on  a  Table,  on 

which  are  some  Books  and  a  Globe ;  very  fine. 
Another  Philosopher,  holding  a  Book ;  F.  Bol.    1642. 
.  The  Astrologer,  an  old  Man  sitting  at  a  Table,  with 

Books  and  a  Globe;  he  wears  a  flat  Hat,  and  his 

Hands  are  crossed. 
The  Family — ^A  Woman  suckling  a  new-born  Infant, 

vrith  a  Man  holding  Linen ;  F.  Bol.    1649. 
Abraham's  Sacrifice ;  an  arched  plate ;  F.  Bolf. 
Hagar  in  the  Desert,  with  the  infant  Ishmael ;  F.  Bolf. 

A  very  scarce  print,  mentioned  by  Heineken. 
The  Sacrifice  of  Gideon. 
St.  Jerome  In  a  Cavern,  contemplating  a  Crucifix ;  F, 

Bolf 

147 


Bol 


A  BIOGEAPHICAL  DICTIONARY  OF 


Bologuese 


BOL,  Hans,  or  Jan,  a  Flemish  painter  and  en- 
graver, was  born  at  Mechlin  in  1634.  After  study- 
ing- two  years  under  an  obscure  painter,  he  travelled 
through  Germany,  and  passed  some  time  at  Heidel- 
berg, where  he  was  employed  by  the  Elector  of 
the  Palatine  for  two  years.  After  visiting  his 
native  city  he  went,  in  1572,  to  Antwerp,  where  he 
stayed  till  1584.  He  then  visited  Bergen,  Dor- 
drecht, and  Delft,  but  he  subsequently  settled  at 
Amsterdam,  where  he  died  in  1593.  His  works, 
which  were  greatly  esteemed,  included  several 
copies  from  the  most  eminent  masters.  Van 
Mander  speaks  highly  of  two  pictures  by  this 
master,  representing  '  Dsedalus  and  Icarus,'  and 
'  The  Crucifixion.'  He  is,  however,  more  known  as 
a  painter  of  landscapes  and  views  in  the  neighbour- 
hood of  Amsterdam.  A  Landscape  by  him  is  in 
the  Berlin  Gallery.  He  also  painted  portraits  and 
fruit  and  flower  pieces.  In  later  life  he  devoted 
himself  entirely  to  miniature  painting,  in  which  he 
was  very  successful.  The  cabinet  of  miniatures  at 
Munich  possesses  good  examples  of  his  art.  He 
etched  several  plates  from  his  own  designs  in  a 
slight  spirited  style,  which  he  sometimes  marked 
H.  B-,  and  sometimes  H.  Bol,  the  H  and  B  joined 
together.     We  have  the  following  prints  by  him  : 

The  Eeconciliation  of  Jacob  aad  Esau  ;  circular. 

The  first  interview  between  the  Servant  of  Abraham 

and  Eebekah. 
Twelve   circular  plates  of  the  Twelve  Months  of  the 

Year  ;  Ad.  Collaert  excud. 
A  set  of  twelve  Landscapes ;  H.  Bol  inv.  JoTi.  Sadele)' 

exc. 
A  set  of  twelve  Landscapes ;  if.  Cock  exc.  S.  Bol. 
A  large  Landscape,  with  a  Man  in  a  Boat  catching  a 

Goose,  with  several  figures. 

BOLDRINI,  Leonardo,  lived  in  the  16th  century, 
and  is  the  author  of  an  altar-piece,  whose  panels 
are  now  hanging  apart  in  the  church  of  San  Gallo, 
near  Zogno.  No  further  information  of  him  is 
known. 

BOLDRINI,  Niccol6,  frequently  confused  with 
Niccol6  Vicentino,  was  an  engraver  on  wood,  born 
at  Vicenza  in  the  early  part  of  the  16th  century, 
and  who  was  still  living  in  1566.  His  prints  are 
chiefly  after  Titian,  and  it  is  thought  that  he 
studied  under  that  master ;  they  are  executed  in  a 
bold  free  style.    His  works  are  scarce.    He  marked 

his  prints  with  the  cipher  ^  Jx^^  .    We  have  the 

following  by  him : 

John,  Baron  de  Schwarzenburg ;  with  a  border;  after 

Albrecht  Burer. 
The  Wise  Men's  Offering ;  after  Titian,  with  his  cipher. 
St.  Jerome  praying  ;  in  a  landscape ;  after  the  same. 
St.   Catharine,  St.  Sebastian,  and  four  other  Saints ; 

after  the  same. 
A  mountainous  Landscape,  with  a  "Woman  milking  a 

Cow. 
Venus  seated  on  a  Bank,  holding  Cupid,  a  Squirrel  on 

the  Branch  of  a  Tree  ;  marked  Titianus  inv.  Nieolaus 

Boldrinus  Vicentinus  ineidebat.    1566. 

BOLLMAN,  HiEEONTMDS.  By  this  artist,  who 
was  probably  a  native  of  Germany,  we  have  some 
prints  after  Raphael  and  other  eminent  painters  of 
the  Italian  school.  They  are  executed  in  a  bold, 
free,  and  effective  style,  and  possess  considerable 
merit. 

BOLLONGIE,  Hans  or  Jan  Bolongiek,  flourished 
in  Holland  in  the  middle  of  the  seventeenth  cen- 
tury. He  entered  the  Painters'  Guild  at  Haarlem 
in  1623,  and  is  again  mentioned  in  the  records  in 
1642.     Neither  his  birth  nor  Ms  death  is  recorded. 

148 


In  the  Rotterdam  Museum  is  a  '  Scene  of  a  Carni- 
val,' signed  H.  Bollongie,  1628.  A  flower-piece, 
marked  I.  B.  1625,  in  the  Dresden  Gallery  is  attri- 
buted to  him.  Hobatios  Bolongier  of  Haarlem 
was  also  a  painter;  he  died  in  1681. 

BOLOGNA,  Andeea  da,  was  a  follower  of  Vitale. 
A  painting  by  him,  representing  '  The  Virgin  and 
Child,'  signed  De  Bononia  natds,  Andreas  fatus 
a.d.  MCCOLXXii.,is  in  the  church  Del  Sacramento  at 
Pansola,  near  Macerata.  Another  example  of  this 
painter  is  in  a  convent  at  Fermo,  but  Bologna  does 
not  possess  any  work  by  him. 

BOLOGNA,  Ceistofoeo  da,  has  been  claimed  as 
belonging  to  Bologna,  Modena,  and  Ferrara.  As 
his  works  are  found  in  the  last-named  city,  it  is 
presumed  that  he  lived  there.  He  painted  toward 
the  close  of  the  14th  and  the  beginning  of  the  15th 
century.  Among  his  works  at  Ferrara,  an  'En- 
tombment,' signed  Xpofoeus  fecit,  in  the  Costabili 
Collection,  is  worthy  of  note. 

BOLOGNA,  Lattanzio  da,  was,  according  to 
Baglione,  a.  native  of  Bologna,  and  a  scholar  of  the 
Carracci.  On  leaving  that  celebrated  academy  he 
went  to  Rome,  and  was  employed  by  Sixtus  V.  in 
painting  the  ceiling  of  one  of  the  saloons  in  the 
Lateran.  He  also  painted  the  ceiling  in  the  chapel 
of  Sixtus  V.  in  the  church  of  Santa  Maria  Mag- 
giore,  representmg  a  choir  of  angels.  In  Santa 
Maria  de'  Monti  is  a  fine  picture  by  him  of  the 
'  Flagellation.'  This  painter  promised  to  arrive  at 
a  high  rank  in  the  art,  but  being  naturally  of  a 
weak  constitution,  which  was  probably  impaired 
by  constant  application,  he  died,  much  regretted, 
at  the  age  of  27. 

BOLOGNA,  LoEENzo  da.    See  Sabbatini. 

BOLOGNA,  Niccol6  da,  is  the  author  of  a  mis- 
sal, with  the  date  1374,  in  the  Munich  Gallery,  and 
of  miniatures  in  a  Commentary  on  the  New  'Testa- 
ment, in  the  library  of  the  Vatican,  at  Rome. 

BOLOGNA,  Pellegeini  da.    See  Pellegrini. 

BOLOGNA,  SiMONB  da,  who  painted  from  1370 
to  1377  at  Bologna,  is  thought  to  have  been  a  pupil 
of  Franco  Bolognese.  He  is  also  called  '  Simone 
de'  Crocifissi,'  in  contradistinction  to  Vitale,  who 
never  treated  that  subject,  whilst  Simone  painted 
little  else.  His  figures  are  somewhat  masculine 
and  coarse.     His  chief  works  are  in  Bologna : 


S.Giacomo     l^Tf^f 
Maggiore.|*t.    \ 


Crucifixion  (Simon  fecit  hoc 

OPUS  A.D.  MCCCLXX.). 

S.  Stefano.  Fourth  church.  Crucifixion  (signed). 

„         Seventh  church.  St.  Ursula  and  her  companions. 
J^«^^„         i  Coronation      of      the      Virgin 
„         Academy.        j     (gmoN  fecit). 

Other  paintings  by  him  are  in  Modena,  FeiTara, 
and  elsewhere. 

BOLOGNA,  ToMMAso  Vincitoeb  da.  See  Vin- 
citoee.  ' 

BOLOGNA,  Vitale  da.     See  Cavalli. 

BOLOGNESE,  Feanco,  a  miniature  painter  of 
the  14th  century,  is  said  to  have  received  instruc- 
tion from  Oderigi  of  Gubbio.  In  conjunction  with 
that  master  and  Giotto  he  was  employed  by  Pope 
Boniface  VIII.  to  illustrate  several  books,  now  in 
the  library  of  the  Vatican.  Though  inferior  to 
Giotto,  Dante  gives  him  a  higher  rank  in  the 
'  Purgatorio '  (xi.  83).  Franco  Bolognese  was  the 
founder  of  a  school  of  painters  at  Bologna,  and 
instructed,  amongst  others,  Vitale,  Lorenzo,  Si- 
mone Jacopo,  and  Cristoforo  da  Bologna. 

BOIjOGNESE,  II.  See  Geimaldi,  Giov.  Fe.,  alsc 
Monti. 


Bologuini 


PAINTERS  AND  ENGRAVERS. 


Bolswert 


BOLOGNINI,  Carlo,  who  is  mentioned  in  the 
'  Abecedario  Pittorico  '  of  Padre  Orlandi,  was  bom 
at  Bologna  in  1678  (Zani  says  1662),  and  was  first 
a  scholar  of  Mauro  Aldrovandini.  lie  afterwards 
studied  under  Giulio  Trogli.  He  excelled  in  paint- 
ing architectural  views  and  perspective,  and  was 
much  employed  at  Vienna,  where  he  resided  some 
years.     He  died  in  1704. 

BOLOGNINI,  GiACOMO,  the  nephew  of  Giovanni 
Battista  Bolognini,  was  born  at  Bologna  in  1664. 
He  received -his  instruction  in  the  art  from  his 
uncle,  and  became  a  reputable  painter  of  history. 
There  are  some  of  his  pictures  in  the  churches  at 
Bologna.  In  that  of  SS.  Sebastiano  e  Rocco  there 
is  a  picture  of  '  St.  Francis  receiving  the  Stigmata ; ' 
and  in  that  of  the  Purita,  '  The  dead  Christ,  with 
the-  Virgin  Mary  and  Mary  Magdalen.'  He  died 
in  1734. 

BOLOGNINI,  Giovanni  Battista,  a  Bolog-nese 
painter  and  engraver,  was  born  at  Bologna  in  1611, 
and  died  at  the  same  place  in  1688.  He  was  one 
of  the  ablest  scholars  of  Guido  Reni.  There  are 
several  of  his  pictures  in  the  churches  at  Bologna. 
In  Santa  Maria  Nuova  is  a  picture  by  this  master, 
representing  '  The  Virgin  Mary  and  Infant  Jesus, 
with  St.  Dominic,  St.  Eustatius,  and  Mary  Mag- 
dalene.' In  the  church  of  the  Servi,  '  The  dead 
Christ,  with  the  Virgin  Mary,  St.  John,  and  others ; ' 
in  Santa  Lucia,  '  The  Immaculate  Conception,'  and 
in  the  Pinacoteoa  of  that  town  is  a  '  Magdalen '  by 
him.  This  artist  etched  some  plates  after  the  works 
of  Guido,  in  a  slight  spirited  maimer ;  among  them 
are  the  following : 

The  Murder  of  the  Innocents ;  after  Guido. 
St.  Peter  made  Head  of  the  Church ;  after  the  same: 
Bacchus  and  Ariadne ;  in  three  sheets ;  after  the  same. 
The  Crucifixion ;  after  the  picture  in  the  church  of  the 
Capuchins  at  Bologna. 

BOLONGIER.     See  Bollongie. 

BOLSWERT,  BoBTius  Adam  i,  an  eminent  en- 
graver, was  born  at  Bolswert,  a  town  in  Friesland, 
about  1580.  It  is  not  said  by  whom  he  was  in- 
structed in  the  art  of  engraving  ;  but,  in  company 
with  his  younger  brother  Soheltius,  he  settled  at 
Antwerp  as  a  printseller  and  engraver.  He  died 
in  that  city  about  the  end  of  the  year  1633.  He 
worked  entirely  with  the  graver,  and  seems  to 
have  adopted  the  free  open  manner  of  Cornells 
Bloemaert.  The  plates  that  he  engraved  after 
Eiibens  are,  however,  in  a  more  finished  style,  and 
fuUer  of  colour.     He  sometimes  signed  his  plates 

^(^dams  <Solsvert,&  sometimes  o4Jy  ^olsuerd. 
His  principal  plates  are  the  following : 

PORTEAITS   AND   SUBJECTS   FEOM   HIS   OWN   DESIGNS. 

F.  Adam  Sasbout ;  iBscribed  Omnia  vanitas. 

John  Bergman,  Jesuit,  kneeling  before  an  Altar,  point- 
ing to  a  Skull. 

St.  Aloysius  Gonzaga  kneeling  before  a  Crucifix. 

William  Louis,  Count  of  Nassau. 

■William  of  Nassau  lying  in  State.    1618. 

Seventy-seven  plates  for  the '  Life  of  Christ ; '  published 
■  at  Antwerp  1622  and  1623 ;  Het  Leven,  &o. 

The  plates  for  a  book  entitled '  The  Pilgrimage ; '  pub- 
lished at  Antwerp  in  1627. 

VARIOUS   SUBJECTS   AFTER   DIFFERENT   MASTERS. 

The  Adoration  of  the  Shepherds ;  after  Air.  Bloemaert. 

1618.  ■' 

The  Repose  in  Egypt ;  after  the  same. 
Twenty-four  of  the  Hermits  of  the  Deserts ;  Silva  Ana- 

ghoretica;  published  at  Antwerp  in  1619;  after  the 

same. 
Twenty-six  of  the  Hermitesses ;  after  the  same. 


Four  of  landscapes  and  figures ;  after  the  same.    1613. 
Set  of  twenty  landscapes;  numbered;  after  the  same. 

1616. 
Fourteen  of   animals;  after  the  same;  B.  b.  Bolswert 

fee.    1611. 
Jesus  Christ,  with  Mary  and  Martha;  after  J.  Goiemar; 

B.  a  Bolswert  sc. ;  scarce. 
The  Judgment  of  Solomon ;  after  Bubens. 
The  Resurrection  of  Lazarus;    after  the  sams;  very 

fine. 
The  Last  Supper;  after  the  same;  P.B.  Bubens  piiix. 

Boet.  a  Bolswert  sc. ;  very  fine. 
Men  contending  against  Animal's;  after  D.   Vinchen- 

booms  ;  B.a  Bolswert  sc. ;  scarce. 
A  Landscape,  with  Adam  and  Eve  in  Paradise ;  after  the 

same  ;  B.h  Bolswert  sc. ;  scarce. 

BOLSWERT,  ScHBLTius  i,  a  very  distinguished 
engraver,  was  the  younger  brother  of  Boetius  Adam 
a  Bolswert,  and  was  born  at  the  town  of  Bolswert,  in 
Friesland,  in  1586.  He  settled  with  his  brother  at 
Antwerp,  where  he  became  one  of  the  most  cele- 
brated engravers  of  his  country.  He  died  there 
in  1659.  The  plates  of  this  excellent  artist  are 
worked  entirely  with  the  graver,  and  it  does  not 
appear  that  he  made  any  use  of  the  point.  He 
engraved  many  plates  after  the  most  eminent  of 
the  Flemish  masters,  but  he  has  particularly  dis- 
tinguished himself  by  the  admirable  performances 
he  has  left  us,  after  some  of  the  finest  pictures  of 
Rubens  and  Van  Dyck,  which  he  represented  with 
a  judgment  and  ability  that  give  them  more  efEect 
than  can  well  be  expected  in  a  print,  and  appear 
to  exhibit  the  very  character  and  colour  of  the 
paintings.  It  was  not  unusual  for  Rubens  to  retouch 
his  proofs,  in  the  progress  of  the  plates,  with  chalk 
or  with  the  pencil,  which  corrections,  attended  to 
by  the  engraver,  contributed  not  a  little  to  the 
characteristic  expression  we"  find  in  his  prints ; 
proofs  of  this  description  are  to  be  met  with  in 
the  portfolios  of  the  curious.  He  engraved  with 
equal  success  historical  subjects,  huntings,  land- 
scapes, and  portraits  ;  and  the  number  of  }ns 
prints  is  very  considerable.     His  plates  are  gener- 


'&.,0i^ 


ally  signed  with  his  name,  or  thus, 

ols.      The  following  are  his  principal  prints,  of 
which  we  have  given  rather  a  detailed  list : 

VARIOUS   SUBJECTS,   MOSTLY   AFTER   HIS    OWN 
DESIGNS. 
The  Infant  Jesus  and  St.  John  playing  with  a  Lamb. 
The  Virgin  Mary,  and  Infant  Jesus  sleeping. 
The  Virgin  giving  suck  to  the  Infant. 
The  Virgin  Mary,  with  her  hands  folded  on  her  Breast. 
The  Virgin  Mary  with  the  Infant  in  the  clouds,  with 

Angels  and  Cherubim. 
The  Infant  Jesus  caressing  the  Virgin  Mary,  and  St. 

Joseph  holding  a  Pear. 
Twelve  half-length  figures  of  Saints. 
Twelve  other  half-length  figures  of  Saints,  beginning 

with  St.  Peter. 
A  Hermit  kneeling  before  a  Crucifix. 
Mater  Dolorosa. 

Jesus  Christ  triumphing  over  Death. 
St.  Barbe,  Martyr. 

St.  Stanislaus  Eoska,  kneeling  before  an  Altar. 
St.  Francis  Borgia. 
St.  Alfonso  Rodriguez. 
Robert  Bellarmin,  of  the  Society  of  Jesus. 
Leonard  Lessius ;  another  Jesuit. 
An  emblematical  subject  of  Prince  Ferdinand ;  inscribed 

In  te  spes  reclinata  recumbif. 
Two  plates  of  a  Thesis;  dedicated  to  Sigismund,  King 

of  Poland. 
Six  plates,  with  the  Frontispiece,  for  the  Acadimie  de 

I'Espee  ;  hy  Thibault.    1628. 
The  Dispute  between  the  Gras  and  the  Meagre;  B.  A. 

Bolswert  inv. 

149 


Bolt 


A  BIOGRAPHICAL  DICTIONARY  OF 


Bombelli 


VAEIOUa   SUBJECTS,   AFTER   DIFFEBENT    FLEMISH 

MASTEBS. 
The  Death  of  a  Saint,  and  that  of  a  Sinner ;  after  Sie- 

peyibeeck. 
The  Dead  Christ  on  the  Knees  of   the  Virgin  Mary; 
after  the  same. 

The  Cruoiiixion  of  the  Three  Jesuits  at  Japan ;  after  the 
same. 

The  Crucifixion;  Jac.  Jordans  inv.  et  pinx.;  the  best 
impressions  are  before  the  cum  Frimlec/io  Sec/is. 

Mercury  and  Argus ;  after  the  same;  the  good  impressions 
are  before  the  address  of  Blooteling ;  fine. 

The  infant  Jupiter ;  after  the  same  ;  fine. 

Pan  playing  on  a  Flute ;  afterr  the  same  ;  fine. 

A  Concert;  entitled  Soo  (VOude  sonc/en,  soo  pepen  de 
Jongen  ;  after  the  same. 

Pan  holding  a  Basket  of  Fruit,  and  Ceres  crowned  with 
Com,  and  a  Man  sounding  a  Horn ;  after  the  same ; 
very  scarce. 

The  Salutation  ;  after  Gerard  Zegers. 

The  Return  of  the  Holy  Family  out  of  Egypt ;  after  the 
same. 

The  Virgin  appearing  to  St.  Ignatius,  who  is  kneeling ; 
aftei^  the  same. 

St.  Francis  Xavier,  tempted  by  the  Devil;  after  the 
same. 

Peter  denying  Christ ;  after  the  same  ;  very  fine. 

Abraham  sacrificing  Isaac ;  after  Theoodor  Eoinhtmts. 

A  Concert ;  after  the  same. 

The  Virgin  with  the  Infant  Jesus  holding  a  Globe ;  after 
Erasmus  Quellinus. 

The  Communion  of  St.  Eosa ;  after  the  same. 

The  Triumph  of  the  Archduke  Leopold  William, 
Governor  of  the  Netherlands,  1653 ;  four  sheets ;  after 
the  same. 

POBTEAITS,  ETC.,  AFTER  VAN  DYCK. 

Andries  van  Ertvelt,  painter  of  Antwerp. 

Martin  Pepin,  painter. 

Adriaan  Brouwer,  painter. 

Jean  Baptiste  Barbe,  engraver. 

Justus  iipsius,  historiographer. 

Albert,  Prince  of  Aremberg. 

Mary  Euthven,  wife  of  Van  Dyck. 

Margaret  of  Lorraine,  Duchess  of  Orleans. 

Willem  de  Vos,  painter. 

Sebastiaan  Vranck,  painter. 

Maria  mater  Dei. 

The  Holy  Family,  with  an  Angel  holding  a  Crown. 

The  Virgin  and  the  Infant  Christ  on  her  Knoe,  with  a 
Female  Saint  holding  a  Palm. 

The  Holy  Family,  with  the  Infant  sleeping  in  the  Arms 
of  the  Virgin. 

The  Holy  Family  in  a  landscape,  with  several  Angels. 

Christ  crowned  with  Thorns ;  very  fine. 

The  Elevation  of  the  Cross. 

The  Crucifixion,  a  grand  composition,  with  two  Men  on 
horseback,  and  a  figure  presenting  the  Sponge  to 
Christ.  On  the  other  side,  the  Virgin  Mary  and  St. 
John  standing,  and  Mary  Magdalene  kneeling  and 
embracing  the  Cross.  This  is  considered  one  of  the 
most  beautiful  engravings  by  Bolswert.  In  the  first 
impressions,  which  are  very  scarce,  the  hand  of  St. 
John  is  not  seen  on  the  shoulder  of  the  Virgin :  in 
the  second  impressions,  the  hand  of  St.  John  rests 
on  the  Virgin's  shoulder,  and  the  name  of  Van  Dyck 
is  changed  from  the  left  to  the  right  hand  comer 
of  the  plate.  In  the  last  impressions  the  hand  was 
erased,  probably  to  give  them  the  appearance  of  first 
impressions,  but  the  trick  is  easily  discovered  by  the 
superiority  of  the  first  in  point  of  clearness  and 
colour. 

SUBJECTS   AFTER   RUBENS. 

The  Brazen  Serpent;  the  best  impressions  are  those 
which  have  the  word  Antwerpice  at  the  right  hand 
corner,  without  the  name  of  Q-.  Sendrix. 

The  Marriage  of  the  Virgin ;  the  best  impressions  have 
the  name  of  Hendrix,  without  the  word  Antwerpice. 

The  Annunciation ;  the  best  impressions  are  those  with 
the  address  of  M.  van  den  Snden. 

The  Nativity ;  the  best  impressions  have  the  same  ad- 
dress. 

The  Adoration  of  the  Magi ;  the  same. 

The  Eetum  of  the  Holy  Family  from  Egypt :  the  same, 
150 


The  Feast  of  Herod,  with  Herodias  presenting  the  Head 
of  St.  John  to  her  Mother. 

The  Executioner  giving  the  Head  of  St.  John  to  He- 
rodias. 

The  miraculous  Draught  of  Fishes ;  in  three  plates. 

Christ  crucified  between  the  Thieves ;  O.  Hendrix  exe. 

The  Crucifixion,  a  Soldier  on  horseback  piercing  the 
side  of  oxu"  Saviour ;  dated  1631 ;  extremely  fine. 

The  Crucifixion,  with  the  city  of  Jerusalem  in  the  dis- 
tance ;  M.  van  den  Mnden  exe. 

The  Dead  Christ  in  the  Lap  of  the  Virgin  Mary,  with. 
St.  Francis ;  the  same  subject  is  engraved  by  Foniius. 

The  Eesurrection ;  M.  van  den  Mnden  excudit. 

The  Ascension ;  the  same. 

The  Four  Evangelists. 

The  Fathers  of  the  Church ;  iWc.  Lauwers  exe. 

The  Destruction  of  Idolatry ;  in  two  sheets ;  the  same. 

The  Triumph  of  the  Church  ;  in  two  sheets ;  the  same. 

The  Immaculate  Conception ;  Ant,  Bern.  Enfant  exe. 

The  Assumption ;  arched ;  M.  van  den  Enden  exe. 

The  Assumption,  with  one  of  the  Disciples  lifting  the 
Stone  of  the  Sepulchre ;  M.  van  den  Enden  ;  the  im- 
pressions with  the  address  of  Gr.  Hendrix  are  posterior, 
and  those  with  the  name  of  C.  van  Merlen  are  re- 
touched. 

The  Infant  Jesus  embracing  the  Virgin  Mary ;  M,  van 
den  Enden  exe. 

The  Virgin  Mary  holding  a  Globe,  and  the  Infant  Jesus 
holding  a  Sceptre. 

The  Holy  Family,  vrith  the  Infant  Jesus  and  St.  John 
caressing  a  Lamb. 

The  Holy  Family,  with  a  Parrot  on  a  PiUar ;  A,  £onen- 
fant  exe, 

St.  Ignatius  and  St.  Francis  Xavier;  the  first  impres- 
sions are  before  the  name  of  Jiube-ns. 

The  Education  of  the  Virgin  by  St.  Anne ;  the  best  im- 
pressions are  without  the  name  of  Hejidrix, 

St.  Cecilia ;  very  fine. 

St.  Theresa  at  the  Feet  of  Christ,  interceding  for  the 
Souls  in  Purgatory ;  M.-van  den  Enden  exe. 

The  Continence  of  Soipio  ;  the  best  impressions  are  be- 
fore the  address  of  O.  Hendrix. 

Sileuus,  drunk,  supported  by  a  Satyr,  with  another 
figure  ;  the  best  impressions  are  those  with  the  name 
of  Bolswert  only,  without  the  address. 

LANDSCAPES   AND   HUNTINGS. 

A  grand  Landscape,  deluged  by  a  Torrent ;  in  a  moun- 
tainous part  of  it  the  subject  of  Baucis  and  Philemon. 

A  large  Landscape,  with  a  view  of  the  Sea-coast  and  a 
Shipwreck. 

A  grand  woody  Landscape,  with  the  Chase  of  Meleager 
and  Atalanta. 

A  view  near  Mechlin,  with  Haymakers  and  a  Waggon, 
and  figures  'driving  Cattle. 

A  view  of  a  Stable  with  Horses  and  Cows,  and  the  sub- 
ject of  the  Prodigal  Son, — These  five  landscapes  are 
highly  esteemed  and  finely  executed. 

A  set  of  twenty  smaller  Landscapes. 

A  set  of  twelve  Himtings  of  different  animals,  of  which 
one  is  a  Lion  Hunt,  vrith  figures  on  horseback ;  very 
spirited  and  fine. 

BOLT,  JoHANN  Friedrich,  an  engraver  who 
worked  principally  in  stipple,  was  bom  at  Berlin 
in  1769,  and  died  there  in  1836.  He  was  a  pupil 
of  D.  Berger.  His  best  works  are  after  Cranach, 
Eamberg,  and  Dabling. 

BOLTON,  James,  a  pupil  of  B.  Clowes,  the 
engraver,  was  known  as  a  flower  painter  in  water 
colour  in  the  North  of  England.  He  died  near 
Halifax  in  1799  (Redgrave). 

BOLTRAFFIO.     See  Beltraffio. 

BOLZETTA.     See  Cadorin,  Matthias. 

BOM,  PiETEE,  a  Flemish  artist,  who  painted 
landscapes  in  distemper,  was  born  at  Antwerp  in 
1630.  He  was  admitted  into  the  Guild  of  St.  Lute 
in  1560,  and  became  dean  of  that  corporation  in 
1599.     The  date  of  his  death  is  not  known. 

BOMBELLI,  Sebastiano,  was  born  at  Udine  in 
1635,  and  was  a  schohar  of  Guercino.  He  after- 
wards went  to  Venice,  where  he  studied  and  copied 


Bonacina 


PAINTERS  AND  ENGRAVERS. 


Bonasone 


the  works  of  Paolo  Veronese  and  Tintoretto  with 
30  much  success  that  some  of  his  reproductions  are 
scarcely  to  be  distinguished  from  the  originals.  He 
painted  historical  pieces  in  the  early  part  of  his  life, 
but  from  the  lucrative  prospect  opened  to  him  in 
portraits,  he  was  induced  to  devote  himself  to  that 
branch  of  the  art,  although  he  had  already  painted 
some  historical  pictures  of  great  promise.  He 
visited  most  of  the  courts  of  Germany,  where  he 
painted  portraits  with  success.  Bosohini  says  that 
for  portraits  he  could  not  be  surpassed.  He  died 
in  1724.  The  Belvedere  at  Vienna  possesses  a 
portrait  of  Francesco  de'  Medici  by  him,  and  his 
own  portrait  by  himself  is  in  the  Uffizi,  Florence. 

BONACINA,  Giovanni  Battista,  an  engraver, 
was  bom  at  Milan  about  the  year  1620.  He  engraved 
some  plates  of  portraits  and  historical  subjects  in 
a  neat  style,  though  rather  dry  and  stiff.  They  are 
executed  entirely  with  the  graver,  and  he  seems  to 
have  imitated,  without,  however,  equalling,  the  style 
of  Comelis  Bloemaert.  We  have  the  following  by 
him: 

POBTEAITS. 
Pope  Clement  IX. 
Guido  Visconti. 
Hermes  Visconti. 
Giovanni  Battista  Conte  Truchi. 

SUBJECTS. 
The  Alliance  of  Jacob  and  Labau ;  after  Fietro  da  Cor- 

tona. 
St.  Martin  kneeling  before  the  Virgin  and  Infant  Jesus ; 

after  the  same. 
The  Holy  Family,  with  St.  Catharine  and  St.  John ; 

after  A?uirea  del  Sarto. 

BONASIA,  Baetolommeo,  is  the  author  of  a 
Piet4  in  the  Modena  Gallery,  signed  'Hoc  opus 
pinxit  Bartholomeus  de  Bonasciis,'  and  dated  1485. 

BONASONE,  GinLlo,  (or  Buonasonb,)  an  Italian 
painter  and  very  distinguished  engraver,  was  born 
at  Bologna  about  the  year  1498,  and  worked  from 
1521  to  1574.  He  studied  painting  under  Lorenzo 
Sabbatini,  and  there  are  some  of  his  works  in 
the  churches  at  Bologna  ;  particularly  in  San 
Stef  ano  is  a  fine  picture  by  him  of  the  '  Souls 
in  Purgatory.'  He  is,  however,  much  more  cele- 
brated as  an  engraver  than  a  painter,  and  in  this 
branch  of  art  had  the  advantage  of  being  educated 
by  Marc- Antonio.  Bonasone  has  engraved  after  the 
works  of  Michelangelo,  Raphael,  Giulio  Romano, 
Parmigiano,  and  others,  and  several  plates  from 
his  own  designs.-  His  prints,  with  a  very  few 
exceptions,  are  entirely  worked  with  the  graver, 
and  although  his  style  is  neither  so  clear,  firm,  nor 
masterly  as  that  of  his  admirable  instructor,  nor 
his  outline  so  correct  and  pure,  his  works  are  exe- 
cuted with  great  facility  and  considerable  elegance, 
and  they  are  held  in  no  small  degree  of  estimation 
by  the  judicious  collector.  We  admire  in  his  prints 
an  excellent  distribution  of  the  lights  and  shadows, 
and  a  breadth  in  the  masses  that  is  very  masterly. 
His  plates  are  generally  marked  with  his  name, 
either  at  length  or  contracted,  as  Julio  Bonoso, 
and    sometimes    with  the  initials  B-,  I-  B.,   or 

/.  B.  F.,  and  also  with  the  cipher  7"\fl-    His 

work  is  considerable ;  the  following  is  a  list  of  his 
plates  most  worthy  of  notice  : 

POETBAITS. 
The  Pope  Marcellus  II.,  without  the  name ;  scarce. 
Philippus  Hispaniarum  princeps,  Caxoli  V.  filius ;  Julio 

B.F. 
Cardinal  Pietro  Bembo.    Mt.  77 ;  after  Titian. 


Raphael  d'TJrbino,  with  and  without  the  name. 
Michelangelo  Buonarroti;  circular. 
Francisci  Flori  Antwerpiani  inter  Belgos  pictoris. 
Joannes  Bernardinus  Bonifacius,  &:c.     m.d.xlviii. 
Cardinal  Ardingbello  ;  after  a  monument. 

SUBJECTS   OF   SACRED   HISTOEY. 
Adam  and  Eve ;  after  his  own  design. 
Adam  tilling  the  Earth  and  Eve  spinning ;  the  same. 
The  Holy  Family ;  J.  Bonasone,  Inventore. 
The  Nativity ;  the  same. 
The  Resurrection  ;  the  same. 
Twenty-nine  of  the  Passion;  entitled  Fassio  Domini 

mi.  Jesu  Christi ;  Jul'd  Bonasonis  opus,  &c. 
Thirteen  of  the  Life  of  the  Virgin  ;  marked  with  a  B., 

and  some  of  them  with  a  D. 
Adam  and  Eve  driven  from  Paradise;    after  Amico 

Aspertino. 
St.  George;  after  Giulio  Bomano;  with  the  names  of 

the  artists. 
The  Holy  Family ;  after  the  same. 
The  Nativity,  a  grand  composition ;  attributed  to  Giulio 

Bomano. 
The  last  Judgment ;  after  Michelangelo  ;  inscribed  Julius 

Bonascmius  Bonmw  proprid  Michaelis  Angeli,  &c. 
Solomon,  David,  and  Jesse,  part  of  the  Sistine  Chapel ; 

after  the  same  ;  Julio  Bonasone  imitaiido,  &c. 
The  Creation  of  Eve ;  after  the  same  ;  with  his  name. 
Judith  with  her  Servant  coming  out  of  the  Tent  of 

Holofernes  ;  after  the  same. 
The  Miracle  of  the  Manna,  and  Moses  striking  the  Rock, 

on  the  same  plate ;  F.  Farmesanino  inv. ;  Julio  Bo- 

lognesefec.    1546. 
Another  Nativity ;  after  Farmigiano. 
St.  Joachim  and  St.  Aune,  presenting  the  Virgin  Mary 

to  the  High  Priest ;  after  the  same. 
The  Virgin  Mary  and  Infant  Jesus  in  the  Air;  after  the 

same,  F.  F.  I.  V. ;  J.  Bonasonis  imitando,  &c.  - 
St.  Peter  and  St.  John  healing  the  Lame ;  after  Ferino 

del  Vaga. 
St.  Paul  preaching ;  oval ;  after  the  same. 
Christ  seated  on  the  Tomb,  supported  by  two  Angels, 

with  the  Virgin  Mary  and  St.  John ;  after  Folidoro  B. 

1532. 
The  Nativity  of  John  the  Baptist;  aftei-  Fontormo ; 

Jacolms  Florentinus  Inventor,  .Julio  B.  F. 
St.  Cecilia ;  after  Raphael. 
Christ  meeting  St.  Peter  ;  after  the  same. 
St.  Peter  made  Head  of  the  Church ;  after  the  same. 
Noah  coming  out  of  the  Ark ;  after  the  same. 
Joseph  sold  by  his  Brethren  ;  after  the  same. 
The  Cup  found  in  Benjamin's  Sack ;  with  the  names  of 

Raphael  and  Bonasone. 
The  dead  Christ  on  the  Tomb,  with  the  Virgin  Mary ; 

after  Raphael,  without  the  name  of  the  engraver. 
The  Entombment  of   Christ;   after  Titian,  with  the 

names  of  the  painter  and  engraver.    1563. 

SUBJECTS    OE   PEOEANE   HISTOEY. 

Alexander   with  Bucephalus  and  Roxana ;    circular ; 

Julio  Bonasone,  inventore. 
The  Triumph  of  Cupid  and  Psyche ;  Julio  Bonasone, 


Apollo  in  his  Car,  with  the  Hours,  and  Time  walking  on 
Crutches  before  ;  L.  V.  B.  Julio  Bonasone,  inventore. 

Scipio  wounded,  retiring  from  the  Battle ;  /.  V.  Bonoso 
imitando,  &c. 

Clelia,  with  one  of  her  companions,  on  Horseback  escap- 
ing from  the  Camp  of  Porsena ;  /.  V.  Bonoso  imitando, 
&c. 

Twenty — Of  the  History  of  Juno,  with  Italian  verses ; 
after  his  own  desigjis. 

The  Fall  of  Phaeton ;  ajier  Michelangelo, 

Three  Female  Figures  with  Veils ;  after  the  same. 

The  Shipwreck  of  Mneas  ;  after  Farmigiano. 

Niobe  and  her  Children ;  after  Ferino  del  Vaga.    1541. 

The  Roman  Charity ;  a  frieze ;  after  Folidoro. 

Mars  and  Venus ;  after  Frimaticcio. 

Achilles  dragging  the  Body  of  Hector ;  after  the  same. 

The  Taking  of  Troy ;  after  the  same  ;  two  sheets.  1545, 
Bonasonis  F. 

The  Rape  of  Europa ;  after  Raphael ;  with  the  names. 

Venus  attended  by  the  Graces ;  after  the  same. 

The  Birth  of  Adonis ;  dated  1586. 

151 


Bonato 


A  BIOGRAPHICAL  DICTIONARY  OF 


Bondone 


There  are  also  several  plates  of  free  subjects  and 
statues,  bassi-rilievi,  and  architectural  subjects,  de- 
scribed in  Heinecken's  '  Dictionnaire  des  Artistes.' 
Cumberland's  Catalogue  of  the  prints  of  Giulio 
Bonasone  is  the  most  accurate  that  has  hitherto 
been  published. 

BONATO,  PiBTRO,  a  pupil  of  Volpato,  was  born 
at  Bassano  in  1766,  and  died  in  1820.  He  engraved 
plates  after  Eeni,  Correggio,  &c. 

BONATTI,  Giovanni,  was  born  at  Ferrara  in 
16.35,  and  having  shown  an  early  inclination  for 
the  art,  he  was,  at  the  age  of  fourteen,  taken  into 
the  protection  of  Cardinal  Carlo  Pio,  who  placed 
him  in  the  school  of  Guercino,  under  whom  he 
studied  three  years.  He  afterwards  went  to  Rome, 
where  he  became  a  scholar  of  Pietro  Francesco 
Mola.  He  was  employed  in  several  works  for  the 
public  edifices.  In  the  gallery  of  the  Capitol  are 
two  pictures  by  this  master,  one  representing 
Rinaldo  and  Armida,  the  other  Sisera  and  Jael. 
There  are  other  works  by  him  in  the  Chiesa  Nuova, 
and  Santa  Croce  in  Gerusalemme  at  Rome,  where 
he  died  in  1681.  In  the  UfiSzi  is  a  '  St.  Charles 
Borromeo '  by  him. 

BONA  VERA,  Dombnioo  Maria,  an  Italian  en- 
graver, was  born  at  Bologna  about  the  year- 1650. 
He  learned  the  art  of  engraving  from  his  uncle 
Domenico  Maria  Canuti.  His  plates  are  chiefly 
etched,  and  finished  with  the  dry  point.  He  en- 
graved eighteen  plates,  from  the  designs  of  Titian, 
for  a  book  of  anatomy  for  the  use  of  students. 
He  used  a  cipher  similar  to  that  of   Dominique 


Barriere  and  of  Domenico  Bettini,  i^.     We  have 
the  following  prints  by  him :    _. 

The  Baptism  of  our  Saviour  ty-Sfe  Jflim ;  after  Albani  ; 
J).  Bonavera  sc.  {one  of  hi$  oest  works), 

St.  Anne  teaching  the  Virgin  Mary  to  read ;  after  Dom, 
Maria  Canuti ;  Dom:  Bonaverafec. 

St.  Theresa  with  the  Infantnlesus  ;  after  the  same. 

The  Martyrdom  of  St.  Christiana ;  after  the  same  (one 
of  his  best  works). 

St.  John  preaching ;  after  Zodov.  Carracci  ;  D.  Bonavera. 

Lot  and  his  Daughters  ;  after  Ann.  Carracci  j  D.  Bona- 
vera. 

The  Cupola  at  Parma,  the  Assumption ;  after  Correggio  ; 
Domenico  Bonavera  so.    1697. 

BONAY,  Feancisoo,  a  Spanish  landscape  painter, 
was  bom  at  Valencia  in  1655,  and  died  in  Portugal 
in  1730.  His  landscapes  are  ornamented  with 
buildings  after  Perelle,  and  cattle  in  the  manner 
of  Berchem.  His  chief  work  is  a  landscape  in 
the  sacristy  of  the  Carmelites  at  Valencia. 

BONCONSIGLIO.     See  Buonconsiglio. 

BONCUORE,  Giovanni  Battista,  was  born  at 
Abruzzo  in  1643,  and  studied  at  Rome  under  Fran- 
cesco Albani.  He  painted  historical  subjects  with 
considerable  success,  and  his  pictures  are  distin- 
guished by  great  force  and  vigour  of  effect,  though 
sometimes  heavy  in  the  execution.  One  of  his  most 
esteemed  works  is  an  altar-piece  in  the  Chiesa  degli 
Orfanelli,  at  Rome.     He  died  in  1699. 

BOND,  John  Daniel,  a  landscape  painter  of 
Birmingham,  flourished  in  the  latter  half  of  the 
eighteenth  century.  He  died  near  Birmingham  in 
1803,  aged  78. 

BOND,  William,  was  one  of  the  engravers  of 
the  portraits  of  Sir  Joshua  Reynolds.  His  talents 
are  well  exemplified  in  the  portraits  which  he 
executed  for  Yorke's  '  Royal  Tribes  of  Wales,'  pub- 
lished in  1799.  It  is  believed  that  he  died  early  in 
the  nineteenth  century.  He  was  Governor  of  the 
Society  of  Engravers,  founded  in  1803. 

152 


BONDONE,  Giotto  di,  commonly  called  Giotto, 
the  founder  of  the  noble  line  of  Italidn  painters, 
was  the  son  of  a  peasant  named  Bondone,  and 
was  born  in  the  little  village  of  Colle  in  the 
commune  of  Vespignano.  Vasari  gives  1276 
as  the  date  of  his  birth,  but  Antonio  Pucci  in  his 
'  Centilognio '  speaks  of  him  as  being  seventy  years 
of  age  at  the  time  of  his  death  in  1336,  which, , 
would  make  the  date  of  his  birth  1266.  This" '"' 
latter  date  is  accepted  by  several  modern  writers, 
who  prefer  to  trust  any  testimony  rather  than  that 
of  Vasari.  The  pretty  story  also  tjiat  tells  how  the 
famous  painter  Cimabue  first  saw  the  shepherd-boy 
Giotto  drawing  one  of  his  sheep  upon  the  smooth 
surface  of  -  rock  is  relegated  by  modem  authori- 
ties to  the  realms  of  fable.  It  was  Ghiberti  who 
first  told  this  anecdote  in  his  '  Commentario,'  and  it 
was  merely  repeated  by  Vasari;  but-an  anonymous 
commentator  on  the  '  Divina.  Commedia,'  who  wrote 
at  the  end  of  the  14th  century,  gives  a- different 
account.  This  writer  states  that  Giotto  was  ap- 
prenticed by  his  father  to  a  dealer  in  woolj.but 
that  on  the  way  to  his  work  he  always  went.,^into 
Cimabue's  bottega,  and  finally ,.  being  missed' for 
some  time  by  his  .master,  he  was  f  otted  there  paint- 
ing busily,  whereupon.  followin^,,'the  advice  of 
Cimabue,  his  father  took  him  frrfHi  the  wool  trade 
and  placed  him  as  a  pupil  with  Cimabue.  In  any 
case  it  is  certain  that  he  studied-  for  a  time  under 
Cimabue's  direction,  but  be  soon  began-  to  follow  a 
greater  teacher,  no  other  indeed  thanlSlature,  who 
had  been  so  long  neglected  for  tradtlfcn.  Tra- 
ditionary types  failed  to  satisfy  this  daring  young 
innovator.  His  genius  If  d  him  to  look  at  Nature 
for  himself,  and  by  so  doing  he  effected  a  total 
change  in  the  spirit  of  the  art  of  his  time.  In 
estimating  the  value  of  his  work  we  mast  therefore 
regard  not  only  that  which  he  indivi'diially  accom- 
plished, but  also  the  influence  of  his  example  upon 
the  artists  who  came  after  him.  Haflfed  the  way, 
and  all  the  great  naturalistic  artists  of t the  next  .taeo 
centuries  but  followed  in  the  path  that  he  first 
pointed  out.  It  is  difficult  to  trace  Giotto's  develop- 
ment, so  many  of  his  early  works  having  perished. 
Some  of  his  earliest,  according  to  Vasari,  were 
undertaken  for  the  Badia  of  Florence,  and  he 
mentions  especially  an  '  Annunciation '  wherein 
fear  and  astonishment  were  depicted  on  the  f ^e  of 
the  Virgin.  All  the  paintings  in  the  Badia  have 
been  destroyed,  but  the  'Annunciation'  that  called 
forth  Vasari's  admiration  is  now  sa^osed  to  have 
been  a  work  by  Lorenzo  Camaldolense  that  is  still 
^preserved  in  the  Belle  Arti  in  Florence.  Giotto 
appears  to  have  painted  at  Assisi  at  two  different 
periods,  one  being  in  early  life,  when  he  probably 
assisted  his  master,  Cimabue,  or  carried  on  his 
work,  and  afterwards  in  later  life,  when  he  painted 
the  'Allegories  of  Poverty,  Chastity,  and  Obedi- 
ence,' and  'The  Glorification  of  St.  Francis,'  on  the 
ceiling  of  the  lower  church. 

About  the  year  1298  he  was  invited  to  Rome 
by  Cardinal  Stef aneschi,  nephew  to  Boniface  VIII., 
for  whom  probably  he  executed  the  famous  mosaic 
in  St.  Peter's,  called  the  'Navioella,'  an  allegorical 
representation  of  the  Catholic  Church,  wherein  the 
apostles  are  seen  in  a  boat,  and  Christ  saving  St. 
Peter  from  the  waves.  This,  though  much  re- 
stored, is  still  preserved  in  the  portico  of  St. 
Peter's.  He  likewise  painted  a  large  altar-piece 
in  Rome,  of  which  various  panels  are  still  pre- 
served, and  several  frescos,  though  none  remain 
except  a  fragment  in  San  Giovanni  in  Laterano, 


Bone 


PAINTERS  AND  ENGRAVEBS. 


Bone 


Tepresenting  Boniface  VIII.  in  a  balcony,  an- 
nouncing the  opening  of  the  Jubilee.  After  a 
short  period  in  Rome  Giotto  returned  to  Florence, 
where  he  painted,  probably  between  1300  and 
1302,  the  chapel  of  the  Podesfi  or  Bargello  of 
Florence,  which  has  been  happily  rescued  from 
destruction  in  the  present  century,  and  some  of 
Giotto's  work  in  it  restored.  It  was  here  that 
he  painted  the  portraits  of  his  friends  Dante, 
Corso  Donati,  and  Brunetto  Latini.  An  outline 
tracing  of  liis  portrait  of  Dante  was  made  by 
Mr.  Seymour  Kirkup  previous  to  its- restoration, 
and  has  been  published  by  the  Arundel  Society. 

It  is  not  quite  certain  at  what  date  Giotto  went 
to  Padua ;  but  the  Scrovegni  Chapel  in  the  church 
of  the  Arena  was  not  built  until  1303,  and  it  was  its 
founder,  Enrico  Scrovegni,  a  noble  citizen  of  Padua, 
who  employed  Giotto  to  decorate  it  with  paintings. 
Nobly  did  he  accomplish  his  task.  In  a  series  of 
thirty-eight  frescoes  he  depicted  in  a  triple  course 
along  the  walls  the  histories  of  the  Virgin  and  of 
her  Son,  many  of  the  old  incidents  being  rendered 
for  the  first  time  in  a  new  manner.  Beneath  these 
lines  of  pictures  were  placed  thoughtfully-conceived 
figures  of  the  antagonistic  virtues  and  vices,  while 
the  Last  Judgment  was  painted  above  the  arch  of 
the  doorway,  andtheAnnunoiate  Virgin,  to  whom 
the  chapel  was  dedicated,  was  abiSve  the  opposite 
arch.  His  whole  work'dt  Padua  exhibits  a  freedom 
of  invention  and  a  grace  of  expression  such  as 
had  never  before  been  seen  in  art.  It  is  here 
indeed  that  his  position  as  tlie  inaugurator  of  a 
new  era  in  art  firgt  becomes  distinctly  visible. 
His  forms  are  dignified  and  graceful,  reminiscent 
of  the  antique  in  many  instances,  but  not  a  copy 
of  it.  His  drawing  is  free,  and  the  folds  of  his 
draperies  simple  and  flowing,  in  utter  contrast  to 
the  heaviness  and  complexity  of  Byzantine  drapery. 
But  what  most  astonished  his  contemporaries  was 
the  life  and  expression  he  gave  to  his  faces.  "  The 
persons  in  grief  look  melancholy,  and  those  who 
are  joyous  look  gay,"  exclaims  an  old  writer  (quoted 
by  Mrs.  Jameson) ;  and  it  is  really  this  naturalism,  so 
different  from  the  stiff,  conventional  types  before 
in  use,  that  gives  a  new  charm  to  Giotto's  art. 
The  paintings  at  Padua  likewise  evince  a  thought- 
ful and  poetical  imagination.  The  influence  of 
Dante  was  no  doubt  strong  over  Giotto  at  the  time 
when  he  painted  them,  and  many  of  them  are  con- 
ceived quite  in  a  Dantesque  spirit ;  indeed  the 
whole  series  forms  as  it  were  a  lovely  painted 
poem  that  is  worthy  in  some  respects  to  be  com- 
pared with  Dante's  written  one. 

It  is  impossible  to  enumerate  all  the  works  that 
Vasari  attributes  to  Giotto.  Most  of  these  have 
long  since  perished,  so  that  we  have  only  his  testi- 
timony  in  respect  to  them  ;  but  it  would  really 
seem  that  Giotto  went  about  from  one  place  to 
another  in  Italy,  painting  wherever  he  went,  in  the 
manner  Ruskin  describes,  being  regarded  merely 
as  "a  travelling  decorator  of  walls  at  so  much 
a  day,  having  at  Florence  a  hottega  or  workshop 
for  the  sale  of  small  tempera  pictures."  It  is  not 
certain  whither  Giotto  next  went,  after  his  work 
at  Padua  was  accomplished.  Vasari  states  that  he 
painted  at  various  times  at  Pisa,  Verona,  Ferrara, 
Ravenna,  Urbino,  Arezzo,  Lucca,  and  Naples,  but 
it  is  diflBoult  to  trace  him  in  these  cities,  though 
here  and  there  some  dilapidated  fresco  is  assigned 
to  liim.  At  Naples  especially  an  important  series 
of  frescos,  illustrating  the  '  Seven  Sacraments  of 
the  Church,'  in  the  chapel  of  the  Incoronata,  has 


been  long  attributed  to  him ;  but  Messrs.  Crowe  and 
Cavalcaselle  bring  forward  strong  evidence  to  show 
that  these  were  painted  later,  probably  by  a  pupil. 
It  appears  certain,  however,  from  a  document  the 
above-mentioned  historians  have  found,  that  Giotto 
was  in  Naples  in  the  year  1333  ;  and  they  consider 
he  painted  there  a  fresco  representing  the  charity 
of  the  Franciscan  Order  in  a  hall  belonging  to  the 
convent  of  Santa  Chiara. 

In  Florence  he  painted  no  fewer  than  four  family 
chapels  in  the  newly-built  church  of  Santa  Crooe. 
Most  of  these  works  have  been  greatly  destroyed  by 
whitewash,  but  some  of  them  that  have  been  re- 
cently scraped  show  remarkable  power  and  origin- 
ality, though  little  more  than  the  outlines  of  the 
figures  were  to  be  seen  before  restoration.  In  one 
of  these  chapels,  namely  that  of  the  Bardi,  a  series 
of  his  frescos  have  been  recovered  that  illustrate 
the  history  of  St.  Francis,  the  same  subject  that  was 
treated  in  the  earlier  pictorial  history  at  Assisi.  It  is 
interesting  to  note  the  progress  that  art  had  made 
between  the  execution  of  these  two  series.  Giotto's 
'  Death  of  St.  Francis  '  in  the  latter  series  became 
a  sort  of  type  with  succeeding  artists  for  the  repre- 
sentation of  this  event.  Ghirlandaio  in  the  15th 
century  copied  Giotto's  composition  closely,  only 
he  left  out  the  ascending  spirit  of  the  sair^t,  which 
in  Giotto's  conception  is  carried  byangels  to  glory. 

Like  Dante,  Giotto  was  devoted  to  the  Franciscan 
order.  He  was  a  man  of  great  natural  ability,  of 
shrewd  understanding,  and,  according  to  all  the 
anecdStes  that  are  told  of  him,  was  quick  in 
repartee.  He  married,  at  the  beginning  of  the  14tlj 
century,  Ciuta  di  Lapo  di  Pelo,  and  had  six  children, 
remarkable,  it  is  said,  for  their  ugliness. 

Giotto's  last  work  in  Florence  was  as  an  architect. 
In  1334,  after  the  death  of  Arnolfo,  he  was  made 
superintendent  of  the-  works  of  Santa  Maria  del 
Fiore,  and  it  was  from  his  design  that  the  beautiful 
Campanile  of  Florence  arose.  The  sculptures 
around  this  bell-tower  were  also  very  probably 
executed  from  his  designs.  They  have  lately  been 
celebrated  by  Prof.  Colvin  under  the  title  of 
'  Giotto's  Gospel  of  Labour '  {Macmillan's  Maga- 
zine, April,  1877). 

He  died  at  Florence  on  Jan.  8,  1337,  and  was 
buried  in  the  church  of  Santa  Maria  del  Fiore. 
His  numerous  pupils  and  followers,  known  under 
the  general  name  of  Ct'oiiescAi,  were  deeply  imbued 
by  his  teaching,  and  carried  on  his  work  in  the 
same  naturalistic  spirit  as  himself. 

Bibliography  :  Ghiberti,  '  Commentario  ' ;  Vasari, 
Milanesi  edition,  1878;  '  Kunst  und  Ktinstler,' 
article  on  Giotto  by  E.  Dobbert,  vol.  viii. ;  Crowe  and 
Cavalcaselle,  '  New  History  of  Painting  in  Italy.' 

M.  M.  H, 

BONE,  Henry,  the  celebrated  painter  in  enamel, 
was  born  at  Truro,  in  Cornwall,  in  1755.  His  first 
employment  was  with  a  manufacturer  of  china  at 
Plymouth ;  he  afterwards  employed  his  talents  at 
Bristol  in  painting  landscapes  and  groups  of  flowers 
to  ornament  porcelain,  by  which  means  he  acquired 
a  thorough  knowledge  of  that  art,  in  which  he  be- 
came so  eminent.  He  removed  to  London  in  1779, 
and  became  distinguished  by  painting  in  enamel 
'The  Sleeping  Girl,'  after  Sir  Joshua  Reynolds. 
But  the  works  that  will  give  him  lasting  fame  are 
the  'Portraits  of  Illustrious  Englishmen,'  eighty- 
five  in  number,  which  he  enamelled  after  the 
original  pictures  in  the  royal  and  other  collections. 
These  must  have  cost  him  much  labour,  expense, 
and  anxiety;  but,  unfortunately,  little  pecuniary 

153 


Bone 


A  BIOGRAPHICAL  DICTIONARY  OF 


Bouifazio 


reward.  In  1811  lie  produced  a  copy  in  enamel 
(eighteen  inches  by  sixteen)  of  Titian's  '  Bacchus 
and  Ariadne,'  for  which  he  received  2200  guineas. 
He  was  elected  an  Associate  of  the  Royal  Academy 
in  1801,  and  in  the  same  year  was  appointed  painter 
in  enamel  to  G-eorge  III.  In  1811  he  was  made  a 
full  member  of  the  Academy,  and  died  in  1834, 
when  his  miniatures  were  dispersed  by  auction. 

BONB,  Henry  Pierce,  the  son  of  Henry  Bone, 
was  born  in  1779,  and  was  instructed  in  enamel- 
painting  by  his  father.  He  painted  and  exhibited 
portraits  and  other  subjects  in  oil  from  1799  to  1833, 
when  he  turned  his  attention  definitely  to  enamel 
painting,  which  he  practised  till  1855,  when  he 
died  in  London.  He  was  enamel-painter  to  Queen 
Adelaide,  and  to  Queen  Victoria  and  the  Prince 
Consort. 

BONE,  Robert  Teewick,  was  born  in  London  in 
1790.  He  was  the  son  of  Henry  Bone,  the  cele- 
brated enamel  painter,  who  instructed  him  in  art. 
He  exhibited  classical  and  sacred  pictures  at  the 
Royal  Academy  and  the  British  Institution  from 
1813  to  1838,  and  succeeded  in  gaining,  in  1817, 
the  £100  premium  for  his  picture  of '  A  Lady  with 
her  Attendants  at  the  Bath.'     He  died  in  1840. 

BONESI,  Giovanni  Gieolamo,  according  to  Za- 
notti,  was  born  at  Bologna  in  1653,  and  was  a 
scholar  of  Giovanni  Viani.  He  painted  several 
pictures  for  the  churches  and  public  edifices  at 
Bologna,  in  which  he  appears  to  have  imitated  the 
style  of  Carlo  Cignani.  Among  his  most  esteemed 
productions  are  the  following :  '  St.  Francis  of  Sales 
kneeling  before  the  Virgin,'  in  the  church  of  San 
Marino ;  '  St.  Thomas  of  Villanuova  giving  Alms 
to  the  Poor,'  in  San  Biagio ;  and  '  The  Virgin  and 
Infant  Christ,  with  Mary  Magdalene  and  St.  Hugo,' 
at  the  Certosa.,    He  died  in  1725. 

BONPANTI,  Antonio,  called  II  Toericella, 
was  a  native  of  Ferrara,  in  which  city  there  are 
several  of  his  works  in  the  churches  and  convents. 
His  most  esteemed  pictures  are  the '  Purification,'  and 
'  Christ  disputing  with  the  Doctors,'  in  the  church  of 
San  Francesco,  and  the  'Holy  Family'  in  that  of  La 
Santissima  Trinita. 

BONFIGLI,  Benedetto,  (or  Buonfiglio,)  was 
born  at  Perugia  about  1420.  His  earliest  work  was 
an  '  Annunciation,'  originally  in  the  Orfanelli  at 
Perugia.  His  masterpiece  is  a  series  of  frescoes  in 
the  Palazzo  del  Consiglio  in  the  same  city,  which  re- 
present the  Lives  of  St.  Louis  of  Toulouse  and 
St.  Herculanus  ;  they  were  commenced  in  1454  and 
not  finished  in  1496,  in  which  year  Bonfigli's  will 
is  dated.  This  work  occupied  much  of  his  time, 
and  gained  him  considerable  reputation  in  his  native 
city.  An  'Adoration  of  the  Magi,'  said  to  have 
been  painted  in  1460,  in  San  Domenico,  is  con- 
sidered one  of  his  best  productions.  Among  other 
pictures  of  his  may  be  mentioned  a  Banner  {Gon- 
falone)  painted  in  1465  for  the  brotherhood  of  San 
Bernardino,  and  representing  the  deeds  of  their 
patron  saint;  another  Gonfalone  painted  for  the 
brotherhood  of  San  Fiorenzo  in  1476,  in  honour  of 
the  Virgin,  who  had  been  prayed  to  intercede  for 
the  cessation  of  the  plague  ;  a  '  Virgin  of  Mercy,' 
painted  in  1478  for  the  church  of  the  Commenda 
di  Santa  Croce ;  and  several  others  in  and  around 
Perugia.  Bonfigli  is  especially  noticeable  for  the 
correctness  of  his  perspective,  the  beauty  of  his 
colouring,  and  his  love  of  detail.  He  was  much 
influenced  by  Domenico  Veneziano  and  Pietro  della 
Francesoa.  According  to  Lanzi,  Perugino  was 
his  pupil,  but  there  is  nothing  to  corroborate  the 

16.4 


statement.  We  have  no  record  of  Bonfigli  after 
1496. 

BONI,  GiACOMO,  was  bom  at  Bologna  in  1688, 
and  was  a  scholar  of  Marc  Antonio  Franceschini, 
whom  he  greatly  aided  in  his  works,  particularly 
at  Rome.  He  is  also  said  to  have,  studied  under 
Carlo  Cignani,  whose  style  is  discernible  in  many 
of  his  works,  such  as  the  ceiling  of  Santa  Maria 
della  Costa  at  San  Remo,  and  in  that  of  San  Pietro 
Celestini  at  Bologna.  He  excelled  particularly  in 
fresco,  and  painted  a  saloon  in  the  Palazzo  PaDavi- 
cino,  which  was  much  admired,  and  a  fine  picture 
of  '  The  infant  Jupiter.'     He  died  in  1766. 

BONI,  MioHELB  Giovanni,  known  as  Giambono, 
(sometimes  Zambono,)  was  a  pupil  and  contem- 
porary of  Jacobello,  and  was  both  a  painter  and 
a  mosaicist.  He  was  bom  at  Venice  about  the 
beginning  of  the  fifteenth  century.  At  the  Academy 
of  that  city  is  a  '  Redeemer  between  St.  Bernardino 
and  other  Saints,'  painted  soon  after  the  canon- 
ization of  that  saint,  which  occurred  about  1470. 
Count  Riv^a  of  Padua  possesses  a  '  Virgin  and  Child ' 
by  this  artist.  He  also  executed  in  the  Cappella 
de'  Masooli  in  St.  Mark's,  Venice,  mosaics  repre- 
senting scenes  from  Life  of  the  Virgin. 

BONIFACCIO,  Feancbsco,  was  born  at  Viterbo 
in  1637,  and  was  a  scholar  of  Pietro  da  Cortona  at 
the  time  that  Ciro  Ferri  and  Romanelli  studied 
under  that  master.  He  was  a  respectable  painter 
of  historical  subjects,  which  he  treated  in  the  man- 
ner of  his  instructor,  and  painted  several  pictures 
for  the  public  edifices  of  his  native  city.  In  the 
Palazzo  Braschi  is  a  picture  by  this  master  of 
'  The  Adulteress  before  Christ.' 

BONIFACCIO,  Natalis,  (or  Bonifazio,)  an 
Italian  engraver  who  flourished  about  the  year 
1590.  His  plates  are  principally  etchings,  which 
are  executed  in  a  free,  spirited  style.  His  most 
considerable  works  were  the  plates  he  engraved  for 
a  book  published  at  Rome  in  1590,  composed  by  D. 
Fontana,  architect  to  Pope  Sixtus  V.,  concerning 
the  removal  of  the  Vatican  obelisks.  He  has  in- 
scribed his  name  on  these  plates,  Natalis  Bonifacius 
Sihenicensis  fee. 

BONIFAZIO  (or  Bonifacio)  is  a  name  borne 
by  three  artists,  who  all  came  originally  from 
Verona.  There  still  exists  much  confusion  as  to 
the  authorship  of  the  various  works  attributed  to 
them.  The  following  notices  show  those  pictures 
which  are  generally  given  to  each  painter. 

BoNiFAzio  I.,  commonly  called  BoNiFAZio 
Veronese,  was  a  follower,  if  not  a  pupil,  of 
Palma  Vecchio.  He  was  also  much  influenced  by 
Giorgione  a  d  Titian,  and  several  of  his  best 
works,  which  are  remarkable  for  a  Titian-like 
beauty  of  colouring,  have  passed  under  the  names 
of  those  masters.  Bonif  azio  I.,  the  most  important 
member  of  the  family,  died  in  1640.  His  works 
are  seen  in  most  Italian  Galleries,  and  in  those 
of  Vienna,  Dresden,  St.  Petersburg,  and  Paris. 
The  following  are  his  principal  productions : — 


Florence. 


Milan. 

Modena. 
Borne. 


Fitti  Fal,  Repose  in  Egypt  («&<)  ascribed  to 
Paris  Bordone). 
„  The    Sibyl    with   the   Emperor 

Augustus  (also  ascribed  to  Faris 
Bordotie). 
„  Finding  of  Moses  {formerly  attri- 

buted to  Giorgione'). 
Brera.        Finding  of  Moses  {formerly  given 

Gall.  Adoration  of  the  Ejngs. 

Colonna  Fal.  Holy  Family  {formerly  called  a 
Titian  ;  also  called  a  Bordone). 


Bonifazio 


PAINTERS  AND  ENGRAVEES. 


Bonnart 


Venice.  Acad.         Adoration  of  the  Magi. 

J,  „             Dives  and  Lazarus. 

„  „             Judgment  of  Solomon. 

„  S.  Stefano.  Madonna  and  Child  (?). 

Bonifazio  II.,  commonly  called  Bonifazio 
Veneziano,  died  in  Venice  in  1553,  aged  sixty-two. 
He  probably  studied  under  Bonifazio  I.  The 
following  pictures  are  attributed  to  him  : — 

Berlin.  Gall.  "Woman  taken  in  Adultery.  MDLn. 

Eome.      Borghese  Pal.  Christ  in  the  House  of  Zebedee. 
„  „  Eetum  of  the  Prodigal  Son. 

Bonifazio  III.,  who  painted  at  Venice  from 
about  1555  to  1579,  is  supposed  to  be  the  author 
of  the  following  paintings : — 

Venice.  Gall.  The  Queen  of  Sheba  before  Solo- 

mon.   1555. 
„  „  Adoration  of  the  Kings.     1558. 

„  „  Several  Figures  of  Saints. 

BONIFAZIO  DA  VALDAENO.     See  Bembo. 

BONINGTON,  Richard  Parkes,  was  born  at  the 
village  of  Arnold,  near  Nottingham,  in  1801.  His 
father,  who  was  for  a  time  governor  of  Nottingham 
Gaol,  but  lost  his  appointment  through  irregulari- 
ties, became  afterwards  a  portrait  painter,  and 
went  to  Paris.  Young  Bonington,  then  fifteen 
years  of  age,  was  permitted  to  study  in  the  Louvre 
and  enter  as  a  student  in  the  i^cole  des  Beaux- Arts  ; 
he  was  also  an  occasional  pupil  of  Baron  Gros, 
under  whose  tuition  he  improved  so  rapidly  that  he 
soon  acquired  great  reputation,  and  won  the  gold 
medal.  In  1822  he  paid  a  visit  to  Venice,  where 
he  painted  several  elaborate  views.  He  then  re- 
turned to  England,  where  he  was  little  known  at 
the  time,  so  that  the  pictures  which  he  sent  to  the 
British  Institution  created  astonishment  in  the 
world  of  art.  He  did  not  remain  long  in  this 
country,  but  went  back  to  Paris,  where,  while 
sketching,  he  met  with  a  sunstroke,  which  brought 
on  brain  fever.  He  never  recovered  from  this,  but 
died  in  London  in  1828,  in  the  twenty-seventh 
year  of  his  age. 

The  career  of  Bonington  is  a  sad  instance  of 
genius  cut  ofE  in  its  bloom,  for  the  few  works 
which  he  produced  show  extraordinary  talent. 
He  excelled  alike  in  landscape,  marine,  and  figure 
subjects.  At  the  British  Institution  he  exhibited 
in  1826  two  '  Views  on  the  French  Coast,'  which 
were  much  admired,  and  also  '  The  Column  of  St. 
Mark,  Venice,'  now  in  the  National  Gallery.  To 
the  Royal  Academy  he  sent  but  four  subjects — 
'Henri  III.  of  France,'  'The  Grand  Canal,  Venice' 
(both  painted  in  1828),  and  two  'Coast  Scenes.' 
His  best-known  pictures  are  '  Henri  IV.  and  the 
Spanish  Ambassador '  (which  was  sold  in  the  San 
Donate  collection  in  1870  for  £3320,  and  is  now, 
with  several  others  by  Bonington,  in  the  Hertford 
House  Gallery),  and  '  Francis  I.  and  the  Duchesse 
d'Etampes'  (now  in  the  Louvre).  In  the  South 
Kensington  Museum  are  three  water-colour  draw- 
ings by  him. 

BONINI,  GiEOLAMO,  called  L'Anconitana,  was, 
according  to  Padre  Orlandi,  a  native  of  Ancona, 
and  flourished  about  the  year  1660.  He  was  a 
favourite  scholar  and  imitator  of  Francesco  Albani, 
and  assisted  that  master  in  many  of  his  principal 
works,  particularly  in  the  Sala  Famese,  and  in  the 
palaces  at  Bologna.  A  •  Christ  adored  by  Saints ' 
by  him  is  in  the  Louvre.     He  died  about  1680. 

BONINSEGNA,  Duccio  di.     See  Buoninsegna. 

BONIS,  Ploriano.    See  Bugnj. 

BONISOLI,  Agostino,  was  bom  at  Cremona  in 
1633,  and  was  first  a  scholar  of  Battista  Tortiroli, 


and  afterwards  studied  a  short  time  under  Miradoro 
Agostino  Bonisoli,  a  relation,  an  artist  of  little 
note.  He  was  indebted  to  his  natural  genius  and 
his  study  of  the  works  of  Paolo  Veronese  more 
than  to  either  of  his  instructors.  He  was  more 
employed  in  easel  pictures  of  sacred  subjects  than 
for  the  churches.  The  only  large  work  by  him 
that  is  recorded  is  a  picture  in  the  Conventuali  at 
Cremona,  representing  the  dispute  between  St. 
Anthony  and  the  tyrant  Ezzelino.  He  died  in 
1700. 

BONITO,  Giuseppe,  was  born  at  Castellamare, 
in  the  kingdom  of  Naples,  in  1705.  He  was  a 
scholar  of  Francesco  Solimena,  and  one  of  the 
most  successful  followers  of  his  style.  He  ac- 
quired considerable  celebrity  as  a  painter  of  history, 
and  was  much  employed  as  a  portrait  painter.  He 
was  appointed  painter  to  the  Court  of  Naples, 
where  he  died  in  1789.  A  Portrait  of  a  Turkish 
Ambassador  by  him  is  in  the  Madrid  Gallery. 

BONNAR,  William,  a  painter  of  portraits,  his- 
tory, and  genre,  was  born  at  Edinburgh  in  1800. 
His  father  was  a  house-painter  of  considerable 
skill,  and  the  son,  having  from  his  early  years 
evinced  a  remarkable  aptitude  for  drawing,  was 
apprenticed  to  one  of  the  leading  decorators  of  the 
time.  When  George  IV.  visited  Edinburgh  in 
1822,  Bonnar  assisted  David  Roberts  in  decorating 
the  assembly  rooms  for  the  grand  state  ball  which 
was  given  in  honour  of  the  occasion.  Shortly 
afterwards  some  signboards  painted  by  him  at- 
tracted the  notice  of  Captain  Basil  Hall,  who 
sought  out  and  encouraged  the  young  artist.  In 
the  year  1824  his  picture  of  '  The  Tinkers '  estab- 
Mshed  him  as  a  favourite  with  the  public,  and 
shortly  after  the  formation  of  the  Royal  Scottish 
Academy  (in  1830)  he  was  elected  one  of  the 
members.  Bonnar  died  at  Edinburgh  in  1863. 
He  left  behind  him  many  fine  pictures,  several  of 
which  have  been  engraved.  In  the  Edinburgh 
Gallery  there  are  his  own  Portrait  and  a  Portrait 
of  G.  M.  Kemp,  the  Architect  of  the  Scott  Monu- 
ment, Edinburgh. 

BONNART,  Henri,  a  French  painter  and  en- 
graver, was  the  brother  of  Robert,  Jean  Baptiste, 
and  Nicolas  Bonnart.  He  was  born  in  Paris  in 
1642,  became  rector  of  the  Academy  of  St.  Luke, 
and  died  in  Paris  in  1711.  Le  Blanc  attributes  to 
him  201  plates,  of  which  20  are  religious  subjects, 
46  portraits,  and  1S5  costume  prints.  His  son, 
Jean  Baptiste  Henri  Bonnakt,  followed  his 
father's  profession,  and  died  in  1726,  aged  about 
48  years.  In  Perrault's  '  Cabinet  des  Beaux- Arts,' 
published  in  Paris  in  1690,  there  is  a  plate  of  a  ceil- 
ing ornamented  with  figures,  which  is  probably  by 
him ;  it  is  etched  in  a  free,  masterly  style,  finished 
with  the  graver,  and  marked  Jean  Bonnart,  Junior, 
del.  et  sculp. 

BONNART,  Jean  Baptiste,  painter  and  en- 
graver to  the  king,  was  born  in  Paris  in  1654,  and 
was  still  living  in  1752.  Le  Blanc  assigns  to  him 
34  subjects,  of  which  one  is  '  Jesus  Christ  on  the 
Mount  of  Olives,'  9  portraits,  and  24  costume 
pieces. 

BONNART,  Nicolas,  who  was  an  engraver, 
was  the  eldest  brother  of  Henri,  Robert,  and  Jean 
Baptists"  Bonnart,  and  was  bom  about  1636.  Le 
Blanc  attributes  to  him  379  plates,  of  which  15  are 
scriptural  subjects,  some  of  them  after  the  works 
of  his  brother  Robert,  27  mythological,  32  historical, 
24  portraits,  and  208  plates  of  costumes,  manners, 
&c.     He  died  in  1718,  aged  81  years.     His  son, 

155 


Bonnart 


A  BIOGRAPHICAL  DICTION ABY  OP 


Bouonl 


Nicolas  Bonnart,  an  engraver,  died  in  1762,  at 
the  age  of  about  74  years. 

BONNART,  RoBBET,  who  was  Kkewise  an  en- 
graver, was  born  in  Paris  in  1652.  He  was  godson 
of  Robert  Nanteuil,  and  a  pupil  of  Van  der  Meulen,. 
after  whom  he  engraved  several  plates.  He  was 
appointed  painter  and  engraver  to  the  king,  and 
subsequently  assistant-professor  at  the  Academy  of 
St.  Luke.  He  died  after  1729,  and  has  been  often 
confounded  with  his  son,  Robert  Franqois  Bon- 
nart, who  was  professor  at  the  Academy  of  St. 
Luke,  and  was  still  living  in  1759.  Le  Blanc  men- 
tions only  nine  plates  by  him,  among  which  are : 

Portrait  of  Louis  XIV. 

Portrait  of  the  Dauphin  Louis. 

The  Talcing  of  Yalenoiennes  in   1677;  after  Van  der 

Meulen. 
The  Taking  of  Cambrai  in  1677 ;  after  the  same. 
The  Siege  of  Douai ;  after  the  same. 
The  Entrance  of  the  Queen  into  Arras,  two  sheets ; 

after  the  same. 

BONNCIONE,  E.,was  an  engraver  who  flourished 
about  the  year  1670,  and  whose  name  is  affixed  to 
a  small  plate,  representing  Diana  in  a  chariot 
drawn  by  Dragons,  with  a  Cupid  behind  her,  after 
F.  Bol.     It  is  slightly  etched  in  a  poor,  dark  style. 

BONNEAU,  Jacob,  the  son  of  a  French  engraver, 
exhibited  landscapes  painted  in  water-colours,  both 
at  the  Incorporated  Society  of  Artists  and  at  the 
Academy,  from  1765  to  1784.  He  was  well  known 
as  a  drawing  master,  and  was  largely  employed  by 
the  booksellers,  for  whom,  among  other  plates,  he 
engraved  the  heads  prefixed  to  the  '  History  of  the 
American  Buccaneers,'  published  in  London  in 
1741.     He  died  at  Kentish  Town  in  1786. 

BONNEFOND,  Jean  Claude,  who  was  born  at 
Lyons  in  179^  studied  under  Bevoil,  and  became 
successful  in  representing  scenes  from  peasant  lifo. 
About  1826  he  went  to  Rome,  and  became  influenced 
by  the  style  of  Robert  and  Sohnetz,  and  painted 
sacred  as  well  as  genre  subjects.  In  1831  he  be- 
came director  of  the  Art  School  at  Lyons,  and  in 
1837  a  member  of  the  Academy.  He  died  in  that 
city  in  1860.  In  the  Museum  of  Lyons  there  are 
by  him — 

The  Bed-chamber.     1824. 

A  Woman  tired  with  travelling,  succoured  by  monks. 
1827. 

The  Ceremony  of  the  Holy  Water,  on  the  day  of  Epiph- 
any, at  the  church  of  the  Greek-CathoUcs  at  Eome. 
'1831. 

Portrait  of  Jacquard.  1834.  {Commissioned,  hj  the  town 
of  Lyons.) 

A  Greek  officer  wounded.    Eome.    1826. 

A  Roman  goatherd  deploring  the  loss  of  his  goat.  1836. 

BONNEJMAISON,  Fee^ol,  was  a  French  portrait 
painter  and  lithographer,  who  was  distinguished 
by  the  skill  with  which  he  restored  many  of  the 
pictures  taken  to  Paris  under  the  first  empire.  He 
was  educated  in  the  school  of  Montpellier,  and  died 
in  Paris  in  1827.  The  Chevalier  Bonnemaison 
published  in  1818  a  '  Suite  d'^^tudes  calqu^es  et 
dessinies  d'apr^s  cinq  tableaux  de  Raphael,'  and 
in  1822  a  series  of  lithographs  from  paintings  of 
the  niodern  French  school  in  the  gallery  of  the 
Duchess  de  Berry. 

BONNBMER,  FRANgoLS,  was  a  French  painter 
and  engraver  who  was  bom  at  Falaiso  in  1637.  He 
worked  with  Monier,  the  younger  Corneille,  and 
the  younger  Vouet  on  the  ceiling  of  the  gallery  of 
the  King'sAudience  Chamber  at  the  Tuileries,  and 
was  commissioned  by  the  king  to  copy  some  works 
of  Carracci  in  the  Farnese  Gallery  at  Rome.     He 

156 


engraved  several  plates  after  Le  Brun,  and  was 
the  master  of  M^nageot.     He  died  in  Paris  in  1689. 

BONNER,  Geoege  William,  one  of  the  earliest 
English  wood-engravers,  was  bom  at  Devizes  in 
1796.  He  was  celebrated  for  his  revival  of  the 
art  of  printing  tints  by  means  of  a  combination 
of  blocks.     He  died  in  1836. 

BONNER,  Thomas,  was  bom  in  Gloucestershire 
in  the  first  half  of  the  18th  century.  He  was 
celebrated  as  one  of  the  best  of  the  topographical 
draughtsman  and  engravers  of  his  day.  He  illus- 
trated Collinson's  'History  of  Somersetshire' 
(1791),  Polwhele's  '  Devonshire '  (1797),  a 
'  Perspective  Itinerary,'  and  many  other  works. 
It  is  believed  that  he  died  soon  after  1807. 

BONNET,  Lonis  Maein,  a  French  engraver  in 
aquatint  and  in. chalk,  was  born  in  Paris  in  1743. 
He  resided  for  some  time  at  St.  Petersburg,  where 
he  engraved  some  portraits  of  persons  of  the 
Russian  Court.  On  his  return  to  Paris  he  published 
several  plates,  executed  in  imitation  of  drawings 
in  crayons,  of  which  style  he  pretended  to  be  the 
inventor.  They  are  chiefly  after  Boucher,  and 
other  modern  French  masters.  Bonnet  died  about 
the  year  1793. 

BONO  FERRARESE.     See  Fereaea,  Bono  da. 

BONOMI,  Joseph,  the  elder  of  the  name,  was 
born  at  Rome  in  1739,  and  went  to  London  in 
1767  to  decorate  buildings  for  the  brothers  Adam. 
In  1775  he  married  a,  cousin  of  Angelica  KaufE- 
mann.  In  1789  he  was  elected  an  Associate  of 
the  Royal  Academy,  and  from  that  time  constantly 
exhibited  architectural  drawings.  In  1804  he  was 
appointed  architect  of  St.  Peter's  at  Rome.  He 
died  in  London  in  1808. 

BONOMI,  Joseph,  the  son  of  the  architect,  was 
born  in  London  in  1796.  He  passed  many  years 
in  Egypt,  and  became  distinguished  for  liis  great 
knowledge  of  hieroglyphics.  He  assisted  Owen 
Jones  in  the  decoration  of  the  Egyptian  Court 
at  the  Crystal  Palace,  and  published  '  Nineveh 
and  its  Palaces,'  and  works  on  Egypt,  Nubia,  and 
Ethiopia,  illustrated  with  his  own  drawings.  In 
1861  he  was  made  curator  of  the  Soane  Museum. 
He  died  at  Wimbledon  in  1878. 

BONONI,  Baetolommeo,  is  the  author  of  a 
'  Virgin  in  Glory,'  in  the  Louvre,  that  is  signed 
and  dated  1507.  No  further  information  can  be 
given  of  this  artist.  He  is  thought  to  have  been 
a  native  of  Pavia. 

BONONI,  Carlo,  was  bom  at  Ferrara  in  1569, 
and  was  instructed  in  the  art  by  Giuseppe  Mazzuoli 
(called  II  Bastaruolo),  under  whom  he  studied  until 
he  was  twenty  years  of  age.  Contemporary  with 
Ippolito  Scarzellino,  and  unable  to  equal  him  in 
the  tenderness  of  his  tints  and  the  beauty  of  his 
expression,  he  endeavoured  to  rival  him  in  the 
boldness  of  his  design  and  the  vigour  of  his  colour- 
ing. Bent  on  improvement,  he  visited  Bologna, 
where  the  Carracci  were  then  in  the  zenith  of  their 
fame.  Their  works  inspired  him  with  a  new  idea 
of  his  art.  After  passing  some  time  at  Bologna, 
he  went  to  Rome,  where  he  improved  his  style  of 
design  by  studying  after  the  antique.  His  predi- 
lection for  the  style  of  the  Carracci  diew  him 
again  to  Bologna,  where  he  copied  some  of  their 
principal  works.  He  afterwards  went  to  Venice, 
where  the  splendid  productions  of  Paolo  Veronese 
appear  to  have  excited  the  liveliest  admiration. 
The  works  of  Correggio  at  Parma  seem  to  have 
been  not  less  the  objects  of  his  contemplation. 
In  his  smaller  works  he  approaches  so  near  to  the 


Bononi 


PAINTERS  AND  ENGRAVERS. 


Bouviciuo 


style  of  the  Carracci  tnat  he  was  called  '  the 
Carraoci  of  JFerrara.'  In  his  extensive  decorative 
works  he  exhibits  the  magnificence  and  richness 
of  Paolo  Veronese.  Such  are  his  '  Feast  of  Ahas- 
uerus,'  painted  in  the  refectory  of  the  Regular 
Canons  at  Ravenna  (which,  in  abundant  and  copious 
invention,  may  almost  vie  with  the  'Marriage  of 
Cana '  by  Paolo  Veronese),  the  '  Feast  of  Herod '  in 
San  Benedetto,  and  the  '  Miracle  at  Cana '  in  the 
refectory  of  the  Certosini  at  Ferrara.  Many  other 
works  by  this  painter  are  in  the  public  edifices  at 
Ferrara,  and  his  academy  produced  some  of  the 
principal  painters  of  the  Ferrarese  school.  The 
Uffizi,  Florence,  possesses  a  '  Liberation  of  St.  Peter 
from  Prison '  by  him,  and  in  the  Modena  Gallery 
there  are  four  of  his  works.  He  died  at  Ferrara  in 
1632. 

BONONI,  LiONELLO,  was  the  nephew  and  scholar 
of  Carlo  Bononi,  and  flourished  about  the  year 
1649.  The  excellent  instruction  of  his  uncle  might 
have  enabled  him  to  arrive  at  celebrity  in  the  art, 
but  his  negligence  and  depravity  of  conduct  pre- 
vented his  ever  going  beyond  mediocrity.  His 
most  creditable  performances  are  two  pictures  he 
painted  for  the  chapel  of  the  hospital  of  Santa 
Maria  Novella,  representing  '  The  Visitation  of  the 
Virgin  to  St.  Elizabeth,'  and  '  The  Holy  Family.' 

BONONIA,  Jac.  db  Avaciis   de.     See  Degli 

AVANZI. 

BONONIA,  SiMONB  BA.     See  Bologna. 

BONONIENSIS,  Fe.,  was  an  Italian  engraver, 
by  whom  we  have  some  very  spirited  etchings, 
executed  in  a  bold,  mastei-ly  style.  They  are 
chiefly  from  the  works  of  Paolo  Veronese,  and  are 
usually  signed  with  his  name. 

BONSBR,  J.,  was  a  native  of  Holland,  who 
worked  there  and  at  Lyons  between  the  years  1629 
and  1642.  He  was  principally  employed  by  the 
publishers,  for  whom  he  engraved,  among  other 
book-plates,  some  frontispieces,  with  figures  and 
ornaments.  They  are  executed  with  the  graver  in 
a  very  indifferent  style. 

BONSIGNORI,  Fbanoesco,  (miscalled  by  Vasari, 
and  others  after  him,  Monsignobi,)  was  born  in  1455 
at  Verona,  where  he  lived  under  the  influence  of 
Liberale  till  he  was  thirty-two  years  of  age.  He 
then  visited  Mantua  in  1487,  and  became  influenced 
by  the  works  of  Mantegna.  He  painted  historical 
subjects  with  much  success,  and  was  largely  patron- 
ized by  the  Marchese  Francesco  Gonzaga.  He  died 
at  Caldiero,  near  Verona,  in  1519.  Less  learned 
and  correct  in  his  design  than  Mantegna,  he  is  more 
modern  in  his  style ;  and  his  colouring,  particu- 
larly in  the  carnations,  has  more  of  the  morhidezza. 
He  excelled  in  painting  animals,  which  he  was 
fond  of  introducing  into  his  works  ;  and  from  the 
fact  that  his  paintings  of  these  occasionally  de- 
ceived other  animals,  he  was  called  '  the  modern 
Zeuxis.'  In  the  Brera  at  Milan  is  one  of  his  best 
pictures,  representing  '  St.  Louis ; '  and  in  the  re- 
fectory of  the  church  of  the  Franciscans  at  Man- 
tua are  some  perspective  views,  which  show  him 
to  have  been  a  perfect  master  of  that  branch  of 
art.  His  last  production  was  'The  Vision  of  Christ 
to  the  nun  Ozanna,'  dated  1519,  and  now  in  the 
Academy  at  Mantua.  Of  others  may  be  mentioned : 
Florence.     Pitti  Pal.    Several  portraits. 

„  E5^zt.  „  >, 

liondoii.  Nat.  Gall.  Portrait  of  a  Venetian  Senator 
{signed  Fkanciscus  Bonsignoet- 
TJS  Veeonensis  P  1487).  The 
original  cartoon  is  in  the  Alher- 
titia  Library  at  Vienna. 


Mantua 

Academy. 

i, 

Pal.  Gonzaga. 

97 

S.  Francesco 

„    S.  M.  d.  Grazie. 

Eome. 

Doria  Gall. 

Venice. 

Layard  Coll. 

Verona. 

Gallery. 

J) 

S.  Bernardino 

5» 

S.  Nazaro. 

» 

S.  Termo. 

Vienna. 

Alhertina  Col. 

Christ  ascending  Calvary. 

Several  paintings.    1495-6. 

Last  Supper.     1506. 

St.  Sebastian. 

Christ  beariug  His  Cross. 

Virgin  and  Child,  with  Saints. 

A   CrLicifixion,  with    portraits  of 

Donators. 
Madonna,  Child,  and  Saints.    1488. 
Madonna,  with  Saints.    1514. 
Madonna,  Child,  and  SS.  Jerome 

and  Christopher.     1484. 
Eight    portraits    in    black  chalk. 

148T. 

BONSIGNORI,  Fra  Giholamo,  (miscalled  Mon- 
SIGNOEI,)  the  brother  of  Francesco  Bonsignori,  was 
born  at  Verona  about  the  year  1440.  At  an  early 
period  in  his  life  he  became  a  monk  of  the  order 
of  the  Dominicans,  and  in  the  church  of  his  monas- 
tery he  executed  some  altar-pieces.  He  at  first 
studied  the  works  of  Mantegna,  but  in  his  later 
productions  he  followed  the  style  of  Fiesole.  He 
also  studied  Leonardo  da-Vinci,  and  produced  ex- 
cellent copies  of  some  of  his  works  ;  in  particular, 
that  of  the  celebrated  '  Last  Supper '  is  pro- 
nounced by  Lanzi  the  best  copy  ever  made  of 
that  miracle  of  art.  It  was  originally  in  the  great 
library  of  San  Benedetto  at  Mantua,  but  now  in 
the  possession  of  Count  Aroo  at  Paris.  In  the 
style  of  Leonardo  he  also  painted  a  '  St.  John,' 
which  is  now  in  the  Zecca  at  Milan.-  Among  his 
early  paintings  there  is,  besides  the  altar-piece,  a 
'  Last  Supper '  in  the  Dominican  monastery,  and  a 
'  Madonna '  in  fresco  in  Santa  Anastasia  at  Verona. 
He  died  of  the  plague  at  Mantua  about  1519. 
Another  brother  of  Francesco,  Fra  Cheeubino 
BONSIGNOEI,  excelled  in  miniature  painting. 

BONTEKRAAY.     See  Mytens,  Dan. 

BONVICINO,  Alessandeo,  one  "  of  the  best 
painters  of  northern  Italy  of  the  sixteenth  century, 
commonly  known  as  Moeetto,  was  born  at  Rovato, 
near  Brescia,  about  1498.  He  at  first  studied 
under  Ferramola,  whom  he  assisted  in  the  painting 
of  an  organ  screen  in  the  cathedral  of  Brescia  in 
1518.  It  is  said  that  he  was  a  pupil  of  Titian, 
whose  style  he  approached  nearer  than  any  of  his 
countrymen ;  but  whether  he  worked  under  him 
at  Padua,  Venice,  or  Vicenza  is  not  known.  His 
portraits  have  been  compared  to  those  of  that 
great  master.  Romanino's  work  also  had  great 
influence  on  his  style.  Moretto  imparted  instruc- 
tion to  the  famous  portrait-painter  Moroni.  In 
later  life,  he  attempted  to  introduce  into  his 
works  something  of  the  greatness  of  Rapliael,  and 
became  the  author  of  a  very  attractive  style.  An 
uncommonly  graceful  turn  of  his  heads,  an  ex- 
pression of  devotion  and  fervent  piety  in  his 
figures  (which  generally  represents  sacred  sub- 
jects), a  freshness  of  colour  approaching  to  Titian, 
are  the  characteristics  of  the  works  of  Bonvioino. 
He  occasionally  painted  in  fresco,  but  was  less 
successful  in  this  than  in  oil.  The  date  of  his 
death  is  unrecorded  ;  he  painted  as  late  as  1554, 
and  died  probably  in  1556.  He  was  buried  in  the 
church  of  San  Clemente,  Brescia,  which  city  pos- 
sesses many  of  his  best  works.  The  following  is 
a  list  of  Moretto's  most  important  paintings  : — 

Bellag^o.  Frizzoni  Coll.  Pieta.    1544. 
Berlin.  Museum.    Virgin  and  Child,  St.  Elizabeth, 

and     Saints      {signed     ales: 

MOEETTVS  PeIX  F'iIDXI,i). 

„  „  Adoration     of     the    Shepherds 


157 


Brescia.       S.  Clemente.  Five  Virgin  Martyrs. 


Bonzi 


Brescia. 


A  BIOGRAPHICAL  DICTIONAEY  OP 


Bordone 


iS.  Clemente.  Ascension  of  the  Virgin. 
„  St.  Ursula. 

S.  Francesco.   Majesty  of  St.  Margaret.    1530. 
COoronation    of    the    Virgin    (an 
early  work). 
Massacre  of  the  Innocents. 
Scenes  from  the  Life  of  John  the 
Baptist   {painted    in    1521    in 
competition  with  JRomanino). 
"  Entlironement  of  St.  Anthony  of 
Padua. 
Christ   in  the  house   of  Simon. 
1544. 


S.  Giovanni 
•lista. 


St.  Nicholas  of  Bari.     1539. 


Petersburg.  Hermitage. 


Venice. 


„     S.  Maria  delle 

Grazie. 
„     S.  Maria-  delta 

PietL 
„      S.  Maria  de  ) 
Miracoli.      j 
„  SS.Nanaro  e  C«&o. Coronation  of  the  Virgin. 
„  „  Transfiguration.     1541. 

„  Tosi  Coll.     Virgin  and  Clrild  in  Heaven. 

„  „  Supper  at  Emmaus. 

„  „  Portraits. 

Florence.        TJffizi.         Portrait  of  a  Man. 

„  „  Descent  of  Christ  into  Hades. 

Frankfort.     Stadel.        The  Virgin  and  Child  with  SS. 

Anthony  and  Sebastian. 
London.         Nat.  Gal.   Portrait  of  Count  Sciarra  Marti- 
nengo  Oesaresco  (at  one   time 
attributed  to  Moroni). 
„  „  St.    Bernardino     with     various 

Saints. 
„  „  Portrait  of  an  Italian  Nobleman. 

1526. 
Paris.  louvre.      St.  Bernardino  of   Siena  and  St. 

Louis  of  Toulouse. 
„  „  St.  Bonaventura  and  St.  Anthony 

of  Padua. 
,  Faith  {formerly  called  a  Palina 
Vecehio). 
„  Judith      {formerly      called      a 

Raphael). 
S.  Maria  della  The    Feast     of     the     Pharisee 
PietL  {dgned  Alex  Mobettus  Beix. 

F.  MDXLVIIIl). 

Verona.         S.  Giorgio  1  Virgin  and  four  female  Saints. 

Maggiore.  j      1540- 
Vienna.  Belvedere.  St.  Justina  and  a  Kjiight  {one  of 

his  best  works ;  formerly  as- 
cribed to  Pordenone  and  en- 
graved, by  RaU,  as  his  work). 

BONZI,  PiETKO  Paolo,  who  was  born  at  Cortona, 
is  generally  known  as  II  Gobbo  (the  Hunchback). 
He  is  sometimes  called  II  Gobbo  da  Cortona,  from 
his  birthplace ;  sometimes  II  Gobbo  de'  Oarracoi, 
from  his  having  been  brought  up  in  their  academy  ; 
but  he  is  most  frequently  called  II  Gobbo  dalle 
Prutta,  from  his  excellence  in  painting  fruit.  He 
first  attempted  historical  painting,  and  gave  proof 
of  his  incompetency  in  his  picture  of  '  The  Incre- 
dulity of  St.  Thomas,'  in  the  Eotunda  at  Rome.  He 
was  not  much  more  successful  in  landscapes,  as 
appears  in  his  pictures  of  that  description  in  the 
Palazzo  Mazzerini  at  Monte  Cavallo.  But  he  sur- 
passed every  artist  of  his  country  in  painting  fruit. 
His  arrangement  of  these  objects  is  tasteful  and 
picturesque,  and  his  colouring  has  all  the  volup- 
tuous richness  of  nature,  with  a  relief  that  is  per- 
fect deception.  His  works  are  the  ornaments  of 
several  of  the  palaces  at  Bome,  particularly  the 
beautiful  festoons  in  a  ceiling  in  the  Palazzo  Mattel. 
His  oil  pictures  are  not  less  admired  than  his  works 
in  fresco.  In  the  Stockholm  Gallery  are  five  fruit 
pieces  by  him.  A  male  portrait  by  him  is  in  the 
Berlin  Gallery;  and  in  the  Louvre  is  a  picture, 
attributed  to  him,  of  '  Latona  turning  the  Peasants 
into  Progs.'  He  died  at  Rome,  aged  60,  during  the 
pontificate  of  Urban  VIII.  (1623—1644). 

BOOM.    See  Vbrboom. 

BOON,  Daniel,  a  Dutch  painter,  flourished  in 
England  in  the  reign  of  Charles  II.  He  painted 
drunken  scenes  and  revellings,  in  which  his  ambi- 

158 


tion  appears  to  have  l  een  to  introduce  as  much  of 
ugliness  and  deformity  as  a  mind  naturally  vulgar 
could  conceive.     He  died  in  London  in  1698. 

BOONEN,  Aenoli)  van,  an  eminent  portrait 
painter,  was  bom  at  Dordrecht  in  1669.  He  was 
first  a  scholar  of  Arnold  Verbius,  but  afterwards 
was  instructed  by  Godefried  Schalken.  He  painted 
genre  pictures  in  the  style  of  the  latter,  represent- 
ing subjects  by  candlelight,  but  met  with  such 
encouragement  in  portrait  painting  that  he  devoted 
himself  almost  wholly  to  that  branch  of  art.  His 
style  was  well  adapted  to  succeed  in  it.  An  excel- 
lent oolourist,  a  faithful  designer  of  his  model, 
and  gifted  with  an  uncommon  facility  in  his  oper- 
ation, he  was  soon  distinguished  as  one  of  the 
ablest  artists  of  his  day.  He  painted  a  great 
number  of  portraits  of  the  most  distinguished 
personages  of  his  time,  among  whom  were  Peter 
the  Great,  the  Elector  of  Mentz,  the  Landgrave 
of  Hesse-Darmstadt,  the  Prince  and  Princess  of 
Orange,  the  great  Duke  of  Marlborough,  and 
several  others.  He  painted  some  large  pictures 
for  the  halls  of  the  different  companies  at  Am- 
sterdam and  Dordrecht.  He  died  in  1729.  The 
Dresden  Gallery  has  seven  works  by  him,  and  a 
'Woman  Singing'  in  the  Lille  Gallery  is  also 
attributed  to  him.  His  son,  Kaspee  van  Boonen, 
also  painted  portraits,  but  in  no  way  proved  him- 
self equal  to  his  father. 

BOONEN,  Jaspee  van,  who  was  bom  at  Dor- 
drecht in  1677,  was  a  younger  brother  of  Arnold 
van  Boonen.  He  painted  portraits  with  consider- 
able success.     He  died  in  his  native  town  in  1729. 

BOOTH,  William,  who  was  bom  at  Aberdeen 
in  1807,  was  noted  for  his  female  portraits  in 
miniature.  He  exhibited  at  the  Royal  Academy 
from  1827  to  1845,  the  year  of  his  death. 

BOECH,  Geeaed  tee.     See  Tee  Boeoh. 

BORCHT,  VAN  DEE.    See  Van  dee  Boecht. 

BORCHT,  Jacob  1,  an  engraver,  executed  several 
of  the  plates  for  the  'Academic  de  I'Espee,'  by 
G.  Thibault,  published  at  Antwerp  in  1628.  He 
worked  entirely  with  the  graver  in  a  style  resem- 
bling that  of  Jakob  de  Gheyn. 

BORDIER,  PiEEEB,  of  Geneva,  flourished  in  the 
17th  century.  He  was  the  friend,  and  subsequently 
brother-in-law,  of  Jean  Petitot  the  elder,  and  as- 
sisted him  in  many  of  his  works,  usually  executing 
the  hair  of  his  portraits  and  the  backgrounds. 
Works  executed  entirely  by  him  are  very  rare,  and 
he  was  more  famous  for  his  discoveries  in  modes 
of  miniature  painting  and  enamelling  than  for  any 
particular  picture.  It  is  said  that  he  was  employed 
by  the  Parliament  to  paint  a  '  Memorial  of  the' 
Battle  of  Naseby,'  which  they  presented  to  Fairfax, 
their  victorious  general.  See  also  Petitot,  Jean, 
'  the  elder.' 

SORDINO,  J.  P.,  an  Italian  engraver,  flourished 
about  the  year  1604.  He  engraved  the  plates  for 
a  volume  in  quarto,  entitled,  '  Series  et  Gesta  Poi^- 
tificum,'  published  in  the  above  year. 

BORDONE,  Paeis,  an  eminent  painter  of  the 
Venetian  school,  was  born  at  Treviso  in  1500.  He 
was  of  a  noble  family,  and  after  having  received 
an  education  suited  to  his  birth,  as  he  had  shown 
a  decided  inclination  for  art,  he  was  placed  in  the 
distinguished  school  of  Titian,  under  whom  he 
studied  for  some  time.  After  this  he  became  a 
pupil  of  Giorgione,  whom  he  imitated  with  much 
success.  Subsequently,  however,  he  devoted  him- 
self entirely  to  the  study  of  Titian,  and  became  a 
faithful  imitator  of  that  great  master,  so  that  his 


Borekens 


PAINTERS  AND  ENGEAVEKS. 


Borluyt 


works  have  often  been  confused  with  the  originals. 
He  also  excelled  in  portrait  painting,  and  his 
pictures  of  that  description  are  not  inferior  to 
those  of  any  artist  of  hig  country,  Titian  only 
excepted.  His  first  productions  were  executed  in 
Treviso,  Vicenza,  and  Venice,  and  were  the  objects 
of  universal  admiration.  His  most  important  work 
was  the  dome  of  the  church  of  San  Vicenzo  at 
Treviso,  in  which  he  has  represented,  in  six  com- 
partments, 'The  Annunciation,'  'The  Nativity,' 
'The  Adoration  of  the  Magi,'  'The  Crucifixion,' 
'The  Ascension,'  and  'The  Assumption  of  the 
Virgin.'  In  1538  he  was  invited  to  France  by 
Francis  I.,  and  he  there  painted  the  portraits  of 
that  monarch  and  the  principal  personages  of  his 
Court.  He  was  knighted  by  Francis  II.  From 
Paris  he  returned  to  Venice  by  way  of  Augsburg 
and  Milan,  at  the  former  of  which  he  painted  in 
the  Fugger  Palace,  and  at  the  latter  in  the  chapel 
of  St.  Jerome.  He  died  at  Venice  in  1671.  The 
following  are  some  of  his  best  works  : 
Berlin.  Museum.  The  Chess-players  (O  Paeis  B). 
„  „         Female  portrait. 

„  „         Keclining  Venns. 

„  „         Madonna   and   Saints ;    (tim :   Nos. 

1T7  and  191). 
Dresden.     Gallery.    Holy  Family,  with  St.  Jerome  and 

St.  Elizabeth. 
Florence.  Pitti.    The  Sibyl  and  Augustus  (also   as- 

cribed to  one  of  Sonifazio'). 
Artdfovr  others, 
Hague.        Gallery.    Christ  Blessing  (Paeis  B  D  O). 
London.    Nat.  Gall.  Daphnis  and  <3iloe. 

„  „        Portrait  of  a  Genoese  Lady  (signed 

Paeis  B  O). 
Milan.  Brera.      Baptism  of  Christ. 

Paris.  Louvre.    Vertumnus  and  Pomona. 

„  „  Portrait  of  a   man   (signed    Paeis 

B.  F.,  and  dated  MDXXXX). 
Petersbg.  Hermitage.  Holy  Family. 

„  „         A  I^dy  and  Child. 

Bome.    Coldnmi  Pal.  Holy  Family. 

„  Daria  Pal.  Mars  and  Venus. 

Venice.     Academy.    The  Fishermen  presenting  the  ring 
of    St.   Mark    to    the    Doge   {his 
masterpiece'). 
Vienna.      Belvedere.  A  young  Lady  at  her  toilet. 
„  „         Venus  and  Adonis  in  an  arbonr. 

And  five  others. 
BOREKENS.     See  Borkekens. 
BORESUM.     See  Borssum. 
BORGANI,  Francesco,  was  a  native  of  Mantua 
who  flourished  about  the  middle  of  the  17th  cen- 
tury.   He  was  a  scholar  of  Domenico  Peti.     He 
did  not,  however,  follow  the  style  of  his  instructor, 
but  imitated,  with  some  success,  the  graceful  man- 
ner of  Parmigiano.     There  are  several  of  his  works 
in  the  churches  of  San  Pietro,  San  Simone,  and 
Santa  Croce,  at  Mantua,  which  prove  him  to  have 
been  an  artist  of  no  mean  ability,  and,  according  to 
Lanzi,  are  deserving  of  more  admiration  than  is 
generally  bestowed  on  them. 
BORGHEGGIANO.    See  Alberti,  Cherttbino. 
BOEGHESE,  Eitter.     See  Guidotto. 
BOEGHESE,  Giovasni  Ventura,  was  a  native 
of  Citta  di  Castello,  and  a  scholar  of  Pietro  da  Cor- 
tona.     He  assisted  that  master  in  some  of  his  most 
considerable  works  at  Bome,  and  after  the  death 
of  his  instructor  was  engaged  to  finish  some  of 
bis  paintings  left  imperfect.      In  the  church  of 
San  Niccol6  da  Tolentino  there  are  two  pictures 
by  tliis  painter,  representing  'The  Annunciation,' 
and  '  The  Virgin  Mary  crowned  by  Angels.'     His 
best  works  are  considered  to  be  four  paintings  in 
the  church  of  Citta  di  Castello,  representing  scenes 
in  the  life  of  St.  Catharine.     He  died  in  1708. 


BOEGHESE,  Pietro.    See  Dei  FKANVEsrHi 

BORGHESI,  Ippolito,  a  native  of  Naples,  and 
a  scholar  of  Francesco  Curia,  flourished  about  the 
year  1550.  He  painted  historical  subjects  with 
some  skill,  and  also  successfully  imitated  Raphael 
and  Andrea  del  Sarto.  His  most  considerable 
work  is  an  altar-piece,  representing  the  '  Assump- 
tion of  the  Virgin,'  in  the  chapel  of  Monte  di  Pieta 
at  Naples. 

BORGIANI,  Orazio,  a  painter  and  engraver, 
was  bom  at  Rome  in  1577  (?).  He  was  instructed 
in  the  art  of  painting  by  his  brother,  Giulio  Borgi- 
ani,  called  Scalzo ;  but  was  more  assisted  in  his 
progress  by  assiduously  studying  and  copying  the 
works  of  the  great  masters  in  his  native  city.  The 
patronage  bestowed  on  the  arts  by  Philip  II.  of 
Spain  induced  him  to  visit  that  country,  where  he 
passed  some  years,  and  met  with  considerable  suc- 
cess, his  works  being  held  in  great  estimation.  On 
his  return  to  Rome  he  was  patronized  by  the 
Spanish  ambassador,  for  whom  he  painted  several 
pictures,  and  he  was  also  employed  in  painting  for 
the  churches.  The  date  of  his  death  is  unknown. 
He  painted  as  late  as  1630.  In  the  UfiBzi  is  his 
portrait  by  himself.  As  an  engraver  he  has  left 
some  plates  etched  in  a  bold,  free  manner,  and 
more  finished  than  is  usual  in  the  works  of  a 
painter.  He  usually  marked  im  plates  with  a 
cipher  composed  of  an  H  and  a  jB  h^^—i 
thus :  T_D      [U5> 

We  have  by  him:  -«Zjy    ITla) 

The  Resurrection,  a  composition  of  many  figures ;  marked 

with  the  last  of  the  above  ciphers. 
The  dead  Christ,  in  a  foreshortened  position,  vrith  the 

two  Marys  and  St.  John ;  dated  1615. 
St.  Christopher  giving  his  hand  to  the  Infant  Jesus. 
St.  Christopher  carrying  the  Infant  on  his  Shoulder. 
Fifty-two  Bible  histories,  called  Raphael's  Bible;  dated 

1615. 

BOEGO  SAN  SEPOLCEO,  Eaffaelldto  dal. 
See  Dal  Colle. 

BOEGOGNONE.     See  Cototois. 

BOEGOGNONE,  Ambrogio.  See  Stefani  da 
Fossano,  Ambrogio. 

BOEGOGNONE  dalle  Teste,  II.  See  Giacchi- 
NETTi  Gonzalez. 

BOEGOMAINEEIO,  Luigi,  who  wag  bom  at 
Como  in  1836,  was  one  of  the  cleverest  caricatur- 
ists in  the  '  Spirito  Folletto,'  and  the  founder  of  the 
'Mefistofele.'  Subsequently  he  went  to  Brazil  to 
engage  in  similar  work  for  a  comic  paper,  but  died 
at  Eio  Janeiro  in  1876,  soon  after  bis  arrival. 

BOEGONA,  Juan  de,  a  painter  of  Toledo,  was  a 
distinguished  artist  of  his  time,  both  in  fresco  and 
oil,  and  produced  several  works  in  his  own  city, 
which  were  held  in  great  estimation.  He  worked 
in  conjunction  with  Alvar  Perez  de  VUloldo,  Alonso 
Sanchez,  Francois  d'Anvers,  and  other  eminent 
painters.  At  Aloala  de  Henares  he  painted  in 
1493  the  theatre  of  the  university,  and  was  em- 
ployed from  1508  to  1611  in  the  cathedral  at  To- 
ledo, where  he  painted  first  the  altar  of  the  Arabian 
Chapel,  and  afterwards  a  pictiire  of  '  The  Conquest 
of  Oran.'  At  Avila  he  finished  the  pictures  com- 
menced by  Pedro  Berruguete  and  Santos  Cruz.  He 
also  painted  portraits  of  several  cardinals.  His 
colouring  and  mode  of  casting  his  draperies  were 
considered  equal  to  the  best  masters  of  the  ItaUan 
and  German  schools  of  the  time.  He  died  at 
Toledo  in  1533. 

BOELUYT,  Goilliaome,  who  was  a  burgher  of 
the  city  of  Ghent  in  1557,  designed  a  series  of 

159 


Borras 


A  BIOGRAPHICAL  DICTIONARY  OF 


Bosch. 


plates,  illustrating  Ovi'd,  whioli  were  engraved  by 
the  Little  Bernard  (Bernard  Salomon). 

BORRAS,  Fkanoisco' Nicolas,  a  Spanish  liistorioal 
painter,  was  born  at  Cooentayna  in  1530,  and 
studied  under  Vincento  Joanes  at  Valencia.  He 
painted  the  great  altar-piece  of  the  monastery 
of  St.  Jerome  at  Ghent,  and  required  for  pay- 
ment to  be  admitted  as  one  of  the  order,  which  was 
gladly  conceded  to  liim.  He  painted  an  astonish- 
ing number  of  pictures  for  this  immense  establish- 
ment, devoting  the  greater  part  of  his  life  to  the 
purpose  of  decorating  it.  Some  of  his  pictures 
were  also  at  Cocentayna,  at  Ontiniente,  at  the 
Escorial,  at  Aldaya,  and  Valencia.  He  led  an  ex- 
emplary life,  and  died  at  the  age  of  80.  A  cata- 
logue of  his  principal  works  may  be  seen  in  Cean 
Bermudez. 

BORREKENS,  Jan  Pietee  Frans,  (or  Boebkbns,) 
who  was  born  at  Antwerp  in  1747,  painted  land- 
scapes, many  of  which  are  ornamented  with  cattle 
and  figures  by  Ommeganck  and  other  masters. 
He  died  at  Antwerp  in  1827. 

BORREKENS,  Matthys,  a  Flemish  engraver, 
was  born  at  Antwerp  about  the  year  1615.  He 
was  chiefly  employed  in  copying  the  plates  of  the 
eminent  engravers,  particularly  Bolswert,  and  some 
others,  for  Martin  van  den  Enden,  and  other  print- 
sellers.  He  worked  entirely  with  the  graver,  and 
appears  to  have  imitated,  though  without  much 
success,  the  style  of  Pontius.  We  have  also  some 
original  plates  by  him  of  portraits  and  other  sub- 
jects.    His  principal  prints  are  as  follow : 

Christ  bound,  and  kneeling,  with  two  Angels  holding 
the  instruments  of  the  Passion ;  after  Diepenheeck. 

The  Good  Shepherd ;  after  the  same. 

Augustus  Carpzon,  Plenipotentiary  of  the  Duke  of 
Saxony  at  the  treaty  of  Osnaburg ;  Aiis.  van  Halle 
pinx.     1649. 

Gerard  Schepeler,  another  Plenipotentiary  at  that  treaty; 
after  tile  same.     1649. 

The  Immaculate  Conception;  Rubens  pinx.;  M.  van 
den  Enden  exc. 

St.  Francis  Xavier,  on  a  white  ground ;  the  same  inscrip- 
tion. 

St.  Ignatius ;  tlie  same  inscription. 

St.  Barbara,  with  a  Tower  on  her  Head ;  Rubens  pinx.; 
Mat.  Boreckens  sc. ;  scarce. 

The  Crucifixion,  with  the  Virgin  Mary,  Magdalene,  and 
St.  John  ;  Ant.  van  Dyck pinx.;  Eras.  Quellinus  del. 

BORRONI,  Cavaliere  Giovanni  Anselo,  was 
born  at  Cremona  in  1684,  and  was  a  scholar  of 
Angelo  Massarotti,  and  afterwards  of  Robert  Le 
Longe.  On  leaving  those  masters  he  was  taken 
under  the  protection  of  the  noble  family  of  Crivelli, 
and  was  employed  some  years  in  ornamenting  their 
palace.  He  afterwards  painted  several  pictures 
for  the  churches  at  Cremona  and  Milan,  particularly 
in  the  latter  city.  In  the  cathedral  at  Milan  he 
painted  St.  Benedict  in  the  act  of  interceding  for 
the  city,  of  which  he  is  the  protecting  saint,  and  in 
this  production,  Lanzi  says,  he  may  compete  with 
the  best  painter  of  his  time.  In  the  Pinaooteca  of 
that  city  is  a  portrait  of  a  man  by  him.  He  died 
in  Milan  in  1772. 

BORSATO,  Giuseppe,  who  was  born  at  Venice 
in  1771,  painted  interiors  of  churches — sometimes 
in  the  manner  of  Canaletto.  In  the  Belvedere, 
Vienna,  there  is  an  '  Interior  of  St.  Mark's,  Venice,' 
by  him.     He  died  in  his  native  city  in  1849. 

BORSSOM,  Abbaham  van,  (Borssum,  Bokssem 
orBoBESUM,)  painted  landscapes,  views  of  cities, 
animals,  and  birds.  He  is  supposed  to  be  the  son 
of  a  painter,  Antoon  van  Borssora.  Little  is 
known  of  his  life:   he  was  born  in  Holland  in 

160 


the  second  half  of  the  17th  century,  and  studied 
under  Rembrandt  towards  the  close  of  that  artist's 
career.  A  painting  of  '  Cattle  in  a  Pool '  in  the 
Dulwich  Gallery  is  said  to  be  by  him,  and  a  picture 
of  still-life  in  the  Hermitage,  St.  Petersburg,  is  also 
attributed  to  him.  His  colouring  and  chiaroscuro 
bear  a  resemblance  to  Rembrandt's,  but  are  not  so 
artistically  applied.  His  drawings  are  fine,  and 
highly  estimated  in  Holland ;  one  sold  for  400 
florins,  at  Ihe  sale  of  C.  Ploos  van  Amstel's  col- 
lection. 

BORSSUM,  Adam  van,  lived  in  1666.  He  painted 
landscapes  and  animals,  and  imitated  A.  van  der 
Meer  and  Paul  Potter.  His  colouring  is  natural, 
and  his  pencilling  firm,  yet  free  and  spirited. 

BORUM,  Andreas,  who  was  bom  at  Hamburg  in 
1799,  studied  painting  in  the  Academy  at  Munich, 
and  then  devoted  himself  to  lithography,  in  which 
he  was  very  successful.  He  died  at  Munich  in  1853. 
The  following  are  his  principal  plates : 

The  Coliseum  ;  after  Rottmann. 

Milan  Cathedral ;  after  Migliara. 

Sea-piece ;  after  Adriaan  van  de  Velde, 

Views  on  the  Rhine. 

BORZONE,  Luciano,  was  born  at  Genoa  in  1590, 
and  was  a  scholar  of  Filippo  Bertolotto,  his  uncle,, 
and  of  C.  Corte.  He  painted  history  and  portraits, 
but  particularly  excelled  in  the  latter.  In  the 
church  of  San  Domenico  at  Genoa  is  a  picture  by 
Borzone  of  '  The  Presentation  in  the  Temple,'  and 
in  Santo  Spirito  '  The  Baptism  of  Christ.'  Soprani 
reports  him  to  have  been  a  man  of  great  acquire- 
ments, and  that  his  house  was  the  resort  of  persons 
of  taste  and  literature.  While  he  was  painting 
the  ceiling  of  the  Chiesa  della  Nunziata  at  Genoa 
he  fell  from  the  scaffolding,  and  was  killed,  in  the 
year  1645.  He  etched  some  plates  from  his  own 
compositions,  as  f oUow : 

Portrait  of  Giustiniani. 

St.  Peter  delivered  from  Prison. 

Prometheus  devoured  by  the  Vulture. 

Children  playing. 

A  set  of  devout  subieots. 

Luciano  Borzone  had  three  sons :  Giovanni  Bat- 
TISTA,  who  died  in  1656,  and  Carlo,  who  died  in 
1657,  completed  several  paintings  begun  by  their 
father ;  Maeia  Francesco,  the  third  son,  excelled 
in  painting  landscapes  and  sea-pieces  in  the  style 
of  Claude  Lorrain  and  Gaspard  Poussin,  and  came 
to  be  employed  at  the  court  of  Louis  XIV.  He 
was  born  in  1625,  and  died  in  1679. 

BOS,  Balthazar,  a  Flemish  engraver,  flourished 
about  the  year  1520.  He  engraved  a  middle-sized 
plate,  lengthways,  representing  '  The  Judgement  of 
Paris,'  which  is  probably  from  his  own  design,  as 
he  adds  the  word/eci<  to  his  name. 

BOS,  CoRNBLis  VAN.    See  Bosch. 

BOS,  Gaspae     See  Van  den  Bos. 

BOS,  Jbrom.     See  Aekbn,  Hieronymus  van. 

BOS,  LoDEwiJK,  was  born  at  Bois-le-Duc  about 
the  year  1450.  He  painted  flowers,  fruit,  an(' 
plants,  which  he  finished  in  an  extraordinarily 
polished  manner.  The  insects  on  the  plants  are 
curiously  drawn,  and  painted  with  surprising  pre- 
cision. He  also  painted  small  portraits  in  the  same 
laboured  style.     He  died  in  1507, 

BOS,  Maeie  R.  du.    See  Du  Bos. 

BOSC,  Do.     See  Du  Bosc. 

BOSCH,  B.  VAN  den.     See  Van  den  Bosschb. 

BOSCH,  CoRNELis  van,  (Bos,  or  Bus,)  a  Dutch 
engraver,  was  born  at  Bois-le-Duc  about  the  year 
1510.     He  went  to  Italy  when  young,  and  spent 


Bosch. 


PAINTERS  AND  ENGRAVERS. 


Bosio 


the  greatest  part  of  his  life  at  Rome,  where  he 
died.  His  style  of  engraving  resembles  that  of 
Marco  da  Ravenna  and  Eneas  Vious,  but  exhibits 
inferiority.  He  was  more  successful  in  copying 
the  works  of  Raphael  and  Giulio  Romano.  His 
plates  are  executed  with 

the  graver,  in  a  dry  formal  "El 

style.   He  usually  marked  ^  y-j  *  JP 

them  with  one  of  these  f  |  \  C^K  C'r\ 
ciphers:  ^ -L*  >  V.  D     »-.   U 

The  following  are  his  best  works : 

The  Last  Judgment ;  with  his  cipher.    1530. 

Lot  and  his  Daughters.    1550. 

David  and  Uriah.     1546. 

Jesus  preaching  to  the  Jews ;  inscribed  Beati  qui,  he. 

Venus  in  her  Car.    1546. 

Venus  and  Cupid  coming  to  Vulcan.     1546. 

Combat  of  the  Centaurs  and  the   Lapithse;    in  two 

sheets.    1550. 
Death  seizing  a  Monk. 
The  Equestrian  Statue  of  Marcus  Aurelius. 
A  set  of  sixteen  of  Trophies,  Arms,  and  Grotesques; 

Sorm.     1550  to  1553. 
Moses  breaking  the  Tables  of  the  Law  ;  after  Raphael. 

1550. 
Moses  presenting  the  Law  to  the  People:  after  the  same. 

1551. 
The  Triumph  of  Bacchus ;  after  Giulio  Romano  ;  in  two 

sheets.    1543. 
The  Entombing  of  Christ ;  after  Trans  Floris.    1554. 
The  Battle  of  the  Giants. 
The  Descent  from  the  Cross.    1545. 

BOSCH,  Blias,  was  a  German  engraver,  whose 
works  are  little  known,  though  they  are  not  desti- 
tute of  merit.  His  plates  are  executed  entirely 
with  the  graver,  in  a  neat,  finished  style.  His 
name  is  affixed  to  a  small  print  representing 
'  The  Holy  Family,  with  Angels,'  after  Johann 
von  Aachen. 

BOSCH,  Jac.  van  den.    See  Van  den  Bosch. 

BOSCH,  Jeeom.     See  Aeken,  Hieronymds  van. 

BOSCHAERT,  Nicolas,  was  born  at  Antwerp 
in  1696,  and  was  a  scholar  of  Crepu,  a  flower  painter 
of  some  reputation,  whom  he  soon  surpassed,  and 
became  a  very  eminent  artist  in  that  line.  His 
pictures  of  flowers  and  fruit  are  painted  with  great 
lightness  of  touch,  are  delicately  coloured,  and  are 
disposed  with  taste.  He  was  frequently  employed 
in  painting  flowers  and  fruit  in  the  pictures  of 
contemporary  artists. 

BOSCHER,  Philip  van,  flourished  in  the  seven- 
teenth century  ;  no  details  of  his  life  are  recorded. 
A  picture  of  a  'Widow,'  signed  P.  V.  B.  f.,  in  the 
Hermitage,  St.  Petersburg,  is  attributed  to  him. 

BOSCHI,  Fabeizio,  was  born,  according  to 
Baldinucci,  at  Florence  about  the  year  IfilQ.  He 
was  •  a  scholar  of  Domenico  Passignani,  under 
wholn  he  made  so  great  a  progress  that  at  the 
age  of  nineteen  he  executed,  in  fresco,  a  consider- 
able work  of  the  '  Life  of  St.  Bonaventure,'  which 
that  author  reports  to  have  excited  the  admiration 
of  the  artists  of  his  time.  One  of  his  best  per- 
formances was  '  The  Martyrdom  of  St.  Peter  and 
St.  Paul,'  painted  for  the  church  of  the  Certosa, 
at  Florence.  Another  capital  picture  by  him  is  in 
the  church  of  the  Dominican  convent  of  St.  Lucia, 
representing  '  The  Assumption  of  the  Virgin,  sur- 
rounded with  Angels,  and  the  Apostles  below.' 
He  died  in  1642. 

BOSCHI,  Francesco,  was  born  at  Florence  in 
1619,  and  was  the  nephew  and  scholar  of  Matteo 
Roselli.  He  finished  some  of  the  works  left  im- 
perfect at  the  death  of  his  master,  and  painted 
several  pictures  of  his  own  compositions  for  the 


churches  at  Florence.  His  greatest  merit,  how- 
ever, consisted  in  portrait  painting,  wliich  he 
practised  with  great  ability.  He  died  in  1676.  A 
'  St.  Matthias '  by  him  is  in  the  Uffizi  at  Florence. 
BOSCHINI,  Marco,  was  born  at  Venice  in  1613, 
and  was  educated  in  the  school  of  Palma.  He  did 
not  confine  himself  to  an  imitation  of  the  manner 
of  his  master,  but  occasionally  attempted  tlie 
bolder  style  of  Tintoretto.  One  of  his  most 
esteemed  works  is  an  altar-piece,  representing 
'The  Last  Supper,'  in  the  sacristy  of  San  Giro- 
larao,  at  Venice.  He  also  distinguished  himself 
as  an  engraver,  and  usually  signed  his  name  on 
his  plates,  Marcus  Boschinius.  Boscbini  was  also 
a  writer  on  art,  and  was  the  author  of  '  La  Carta 
del  Navegar  pittoresoo,'  published  at  Venice  in 
1660. 

BOSCOLI,  Andrea,  was  a  native  of  Florence, 
and  flourished  in  1553.  He  was  a  scholar  of  Santo 
de  Titi,  and  acquired  some  reputation  as  a  painter 
of  history.  His  best  work  is  a  picture  of  '  St. 
John  preaching,'  in  the  church  of  the  Teresiani  at 
Rimino.  He  also  painted  portraits  with  consider- 
able success  ;  that  of  himself  is  in  the  Florentine 
Gallery.  Florent  le  Comte  says  he  engraved 
nineteen  plates,  but  does  not  specify  them.  He 
died  about  1606. 

BOSELLI,  Antonio,  was  a  Bergamese  artist, 
who  lived  in  the  early  part  of  the  16th  century. 
He  was  a  sculptor  as  well  as  a  painter.  His 
earliest  known  work  is  a  fresco  in  the  church  of 
Ponteranica,  near  Bergamo,  which  is  dated  1495. 
In  1514  he  painted  the  altar-piece  at  Santa  Maria 
Maggiore,  Bergamo,  representing  '  Clirist  in  Glory, 
with  lhe  Virgin  and  Saints.'  In  the  Lochis  Car- 
rara Gallery  of  the  same  city  is  a  panel  with 
St.  Lawrence,  between  SS.  John  the  Baptist  and 
Barnabas  ;  and  in  the  church  of  San  Cristoforo  is 
a  picture  representing  'St.  Peter,  St.  Paul,  and  St. 
Luke,'  and  bearing  the  inscription,  Hoc  opus  An- 
tonium  scito  pinxisse  Bosellum,  die  23  Fehruarii, 
1509.  In  the  church  of  the  Augustines  is  another 
of  his  works  representing  '  The  Virgin  and  Infant 
Jesus  in  the  clouds,  and  several  Saints  below.' 
Records  prove  that  he  was  living  as  late  as  1527, 
and  it  is  believed  that  he  assisted  Pomponio 
Amalteo,  in  Friuli,  in  the  years  1534  to  1536.  The 
dates  of  his  birth  or  death  are  not  known 

BOSELLI,  Felice,  was  born  at  Piacenza  in 
1650,  and  was  a  disciple  of  GiosefEo  Nuvolone. 
For  some  time  he  attempted  historical  painting,  in 
which  he  was  not  very  successful  ;  but  he  after- 
wards adopted  a  branch  of  the  art  more  suited  to 
his  genius,  and  became  a  very  reputable  painter  of 
animals,  birds,  and  fish.  His  pictures  of  these 
subjects  are  highly  esteemed  in  his  native  country, 
and  are  to  be  found  in  the  best  collections  at 
Piacenza.  He  succeeded  so  well  in  copying  an- 
cient pictures  as  to  deceive  experienced  judges. 
He  died  in  1732,  aged  82. 

BOSER,  Karl  Feiedrich  Adolf,  who  was  born 
at  Halbau  in  Prussian  Silesia  in  1811,  studied  in 
Dresden,  Berlin,  and  Diisseldorf ;  his  paintings, 
chiefly  genre  subjects  and  portraits,  were  popular. 
He  died  at  Diisseldorf  in  1881. 

BOSHART,  Wilhelm,  who  was  bom  at  Munich 
in  1815,  at  first  studied  for  the  medical  profession  ; 
but,  abandoning  that,  he  devoted  himself  in  1844 
to  art,  studied  under  B.  Schleich,  and  soon  became 
famous  for  his  landscapes.     He  died  in  1878. 

BOSIO,  Antonio,  a  Romish  priest,  who  was  a 
Maltese  by  birth,,  reopened  and  explored,  towards 

161 


Bossaert 


A  BIOGRAPHICAL  DICTIONARY  OF 


Boss! 


the  close  of  the  16tli  century,  the  catacombs  of 
Rome.  He  made  accurate  engravings  of  the  most 
remarkable  paintings  and  objects  which  lie  found 
there,  and  published  tliera  together  with  explana- 
tory text  (see  Kugler's  '  Handbook  of  Painting,' 
revised  by  Lady  Eastlake,  p.  12.     1874). 

BOSSAERT,  Thomas  Willeboets.     See  Wille- 

BOETS. 

BOSSAM,  John,  an  English  painter,  lived  in  the 
reigns  of  Edward  VI.,  Mary,  and  Elizabeth.  Nicho- 
las Hilliard  calls  him  "  a  most  rare  English  drawer 
of  story  works  in  black  and  white,' '  and  says  that 
"for  his  skill  he  was  worthy  to  have  been  Serjeant 
painter  to  any  Icing  or  emperor."  It  is  believed 
that  he  became  a  minister  in  the  Church. 

BOSSART,  RoBBET,  was  a  German  engraver 
who  flourished  about  the  year  1595.  He  is  sup- 
posed to  have  been  a  pupil  of  Hendrik  Goltzius, 
from  the  resemblance  in  their  style,  although  that 
of  Bossart  is  much  inferior.  He  engraved  a  set  of 
prints,  in  which  the  different  nations  of  Europe 
are  represented  by  figures,  emblematical  of  what 
each  country  was  celebrated  for.  He  also  engraved 
a  portrait  of  B.  Spranger,  dated  1595. 

BOSSCHAERT,  Thomas  Willeboets.  See  Wil- 
leboets. 

BOSSCHE,  B.  VAN  DEN.    See  Van  den  Bossche. 

BOSSE,  Aeeaham,  a  French  engraver,  was  born 
at  Tours  in  1602.  He  was  the  son  of  a  tailor,  and 
went  to  Paris  to  gain  instruction  in  art  about  the 
year  1617,  but  under  whom  he  studied  does  not 
appear.  Becoming  acquainted  with  the  mathema- 
tician Desargues,  whose  works  he  afterwards  pub- 
lished, he  devoted  himself  to  the  study  of  perspective, 
and  became  professor  of  that  art  in  the  Academy 
of  Painting.  He  was  also  elected  an  honorary 
academician,  but  his  vanity  and  bad  temper  were 
before  long  the  cause  of  a  quarrel  with  his  col- 
leagues, and  of  his  ultimate  expulsion  from  their 
ranks.  From  1648  to  1654  the  diplomas  had  been 
given  in  the  name  of  M.  Martin  de  Charmois,  one 
of  the  principal  founders  of  the  Academy  and  its 
acknowledged  chief,  but  in  the  last-named  year 
the  Academy,  deeming  this  practice  to  be  incon- 
sistent with  its  dignity  and  freedom  of  action, 
resolved  that  all  its  diplomas  should  be  returned 
and  exchanged  for  new  ones.  To  this  unanimous 
decision  of  his  colleagues  Bosse  refused  to  submit, 
unless  the  phraseology  common  to  all  were  re- 
placed by  certain  laudatory  words  which  he  had 
contrived  to  get  inserted  in  the  original  document. 
Being  unwilling  to  precipitate  a  quarrel,  the 
Academy  allowed  the  matter  to  rest  for  nearly 
three  years,  during  which  time  Bosse  not  only  went 
to  its  meetings,  but  circulated  against  it  pamphlets 
overflowing  with  wit  and  hatred.  At  length  there 
was  no  alternative  left  but  to  declare  Bosse  deprived 
of  his  rank  of  academician.  He  left  Paris  and  retired 
to  Tours,  but  before  long  he  returned  to  the  capital, 
where  he  resided  until  his  death,  which  took  place  on 
the  15th  of  February,  1676.  He  was  buried  in  the 
Protestant  cemetery  of  Les  Saints-P^res.  Bosse  ap- 
pears to  have  formed  his  style  upon  that  of  Callot, 
and  his  plates,  which  are  etched  and  then  finished 
with  the  graver,  display  much  spirit  and  freedom. 
They  consist  mainly  of  allegorical  figures,  scenes  of 
civil  hfe,  popular  types,  costumes,  frontispieces, 
and  vignettes.  He  also  practised  painting  and  archi- 
tecture, and  wrote  several  works  on  those  arts  and 
on  perspective,  which  are  described  in  the  "  Cata- 
logue des  Traitez  que  le  sieur  Bosse  amis  au  jour," 
1674.  The  boat  known  of  these  are  the"Traicte 
162 


des  manieres  de  graver  en  taille  douce  sur  I'airin," 
1645,  which  was  republished  by  Cochin  in  1745, 
the  "  Traitd  des  manieres  de  dessiner  les  Ordres  de 
I'Architecture  antique,"    1664,    and   "  Le   Peintro 
converty  aux  precises  et  universelles  regies  de  son 
Art,"  1667,  which  contains  some  curious  informa- 
tion respecting  the  disputes  which  arose  between 
the  author  and  his  colleagues  in  the  Academy  of 
Painting.     He  painted  in  the  manner  of  Callot,  and 
his  pictures  are  very  rare.      The  Louvre  has  no 
example,  but  there  is  one,  '  The  Foolish  Virgins,' 
in  the  Musee  de  Cluny,  and  another,  '  An  Interior  ' 
in  the  Museum  of  Douai.     M.  Georges  Duplessis 
published   in    1859    the    "Catalogue  de  I'CEuvre 
d'Abraham  Bosse,"  in  which  are  carefully  described 
1449  works,  most  of  which  are  from  the  engraver's 
own  designs.     Besides  these  M.  Duplessis  enumer- 
ates 57  pieces  executed  by  Bosse  in  conjunction 
with  other  artists.      The  following  are  the  most 
important  of  his  works  : — 
Da-vid  holding  his  sling  {fronde),ihe  head  of  Goliath  at 
his  feet ;  beneath  are  eight  verses  in  praise  of  the 
Fronde.     1651. 
Judith  putting  the  head  of  Holofemes  in  a  bag. 
The  Virgin  and  Child,  with  four  Angels  above ;  within 

a  border ;  after  St.  Igny. 
The  History  of  Jezebel ;  six  plates. 
The  Parable  of  the  Prodigal  Son ;  six  plates. 
The  Parable  of  the  Rich  Mauanri  I^lza^us;  three  plates. 
The  Parable  of  the  Wise  and  Foolish  Virgins ;  seven 

plates. 
The  Acts  of  Mercy ;  seven  plates. 
La  deroute  et  confusion  des  Jansenistes.     1654. 
The  Senses  ;  five  plates. 
The  Ages  of  Man  ;  four  plates.     1636. 
The  Seasons  ;  four  plates. 
The  Quarters  of  the  World ;  four  plates. 
The  Elements  ;  four  plates. 
The  Gauls  imploring  the  clemency  of  Csesar. 
Illustrations  to   Hozier's  "Noms,  Suruoms,  Qualitez, 
Armes,  et    Blasons   des   Chevaliers  et   Offieiers  de 
I'Ordre  du  S.  Esprit,"  1634 ;  four  plates. 
The  Marriage  of  Ladislans  IV.,  King  of  Poland  and 
Sweden,  and  Louisa  Maria  de  Gonzaga,  Princess  of 
Mantua,  at  Fontainebleau,  1645. 
Jacques  Callot,  the  engraver. 
Louis  XIII.,  King  of  France,  as  Hercules. 
James  Howell,  the  historiographer ;   full  length,  the 

head  engraved  by  Mellan. 
Cardinal  de  Eichelieu. 

The  Infirmary  of  the  Hopital  de  la  Charity  at  Paris. 
Le  Jardin  de  la  noblesse  frangoise,   1629;    eighteen 

plates  ;  after  St.  Igny  and  Bosse. 
La  noblesse  f ran^oise  a  I'Eglise ;  thirteen  plates ;  aftei' 

St.  Igny. 
Les  Gardes  fran^oises  ;  nine  plates. 
Les  Oris  de  Paris  ;  twelve  plates. 
Les  Quatre  Jardinieres ;  four  plates ;  after  Bellaiige. 
Le  Mariage  a  la  ville ;  six  plates. 
Le  Mariage  4  la  campagne ;  three  plates. 
Le  Mari  qui  bat  sa  femme ;    La  Femme  qui  bat  son 

mari ;  two  plates. 
The    Painter,  the   Sculptor,  the  Engraver,  and  the 

Printer ;  four  plates. 
The  Schoolmaster  and  the  Schoolmistress ;  two  plates. 
The  Trades ;  seven  plates. 

Lettre  amoureuse  du  Capitaine  Extrauagant  a  sa 
Maistresse  ;  Eeponse  de  la  Damoiselle  k  la  lettre  du 
Capitaine  Bxtrauagant ;  two  plates.  1640. 
Aux  buueurs  tres  illustres  et  haut-crieurs  du  Eoi  boit; 
twenty-four  small  subjects  engraved  on  one  plate  and 
intended  to  be  cut  up  and  drawn  for  on  the  FSte 
des  Kois.  R,  E.  G. 

BOSSI,  Benigno,  an  Italian  designer  and  engraver, 
was  born  at  Porto  d'Arcisato,  in  the  Milanese, 
in  1727.  He  was  intended  to  have  studied  paint- 
ing under  Pouipeo  Batoni,  but  the  death  of  that 
artist  prevented  it,  and  he  was  advised  by  Mengs 
and  Dietrich  to  apply  himself  to  engraving.    Ho 


Bossi 


PAINTERS  AND  ENGRAVEES. 


Sotb 


stayed  a  long  time  at  Nuremberg  and  at  Dresden, 
but  during  the  seven  years'  war  he  was  under  the 
necessity  of  leaving  $axony,  and  went  in  1760  to 
Parma,  where  he  was  favoured  with  the  patronage 
of  the  duke.  He  died  there  about  1800.  We 
have  the  following  prints  by  him  : 

His  own  Portrait. 

The  Presentation  in  the  Temple.     1755. 

Forty  8mall  etchings  of  Heads,  and  other  subjects ;  very 
spirited. 

A  set  of  Vases,  and  a  Masquerade ;  after  Fetitot, 

Four  of  Trophies.    1771. 

Four  of  the  Attributes  of  the  Seasons ;  circulai.    1770. 

Two  of  Children. 

A  set  of  twenty-nine  small  plates ;  after  the  drawings  of 


Allegorical  figures  representing  the  Towns  in  Piedmont. 
St.  Catharine ;  after  the  celebrated  picture  belonging  to 

the  family  of  Sanvitali.    The  most  esteemed  plate  of 

the  artist. 

BOSSI,  Giuseppe,  of  Milan,  who  was  born  at 
Busto  Arsizio  near  Milan  in  1777,  studied  paintings 
from  works  in  the  Brera  and  at  Rome.  On  his  re- 
turn to  Milan  he  became  secretary  of  the  Academy, 
for  which  he  acquired  casts  and  pictures  in  Paris. 
He  was  instrumental  in  the  establishment  of 
Schools  of  Anatomy  and  of  Mosaic  Painting.  Be- 
sides executing  numerous  historical  works,  he  made 
a  copy  of  Leonardo's  '  Last  Supper,'  and  also  wrote 
a  Life  of  that  artist:  and  furthermore  published 
poems  in  the  Milanese  dialect.  He  died  at  Milan 
in  1816  ;  he  is  represented  in  the  Uffizi  by  his  own 
portrait,  and  in  the  Pinacoteca  at  Milan  by  his  own 
portrait  and  by  a  Dance  of  Amorini. 

BOSSIDS,  Jacob,  an  old  Flemish  engraver,  was 
born  about  the  year  1520.  He  resided  chiefly  at 
Rome,  and  he  is  supposed  to  have  learned  the  art 
o£  engraving  from  some  of  the  pupils  of  Marc- 
Antonio.  He  worked  with  the  graver  in  a  neat 
but  rather  stiff  style,  and  his  drawing  is  not  very 
correct.  His  prints,  however,  possess  considerable 
merit.  He  sometimes  marked  his  plates  with  his 
name  at  length,  and  sometimes  BB.  We  have  the 
following  by  him : 

Portrait  of  Michelangelo  Buonarroti. 

Bust  of  Cardinal  Otto  Truchsess,  of  Albani;  with  a 
border,  and  an  emblem  of  Charity;  Jae.  Bossiua  Belgia 
incidebat. 

Bust  of  St.  Thomas  Aquinas;  Jacob  Bossius  Belgia 
incidit. 

The  Crucifixion ;  Jacobus  Bossius  ineid. 

Four,  of  the  Four  Evangelists ;  marked  B.  B.  F. — 
Ooek,  exc. 

Jacob's  Ladder ;  after  Raphael ;  marked  Jae.  b  b. 

St.  Peter  and  St.  John  curing  the  lame  Man ;  Jae. 
Bos.f. 

The  Statue  of  Pyrrhus,-Kiug  of  Molossia;  after  the  an- 
tique ;  signed  Jacobus  Bossius  Belgia  ineid.    1562. 

BOSSU.     See  Le  Bosstj. 

BOTELLI,  Felice,  who  was  born  at  Piacenza  in 
1652,  studied  under  Nuvolone,  and  painted  animals, 
birds,  and  fish  with  great  spirit  and  beauty.  He 
died  in  1732. 

BOTET,  F.,  a  native  of  France,  flourished  about 
the  year  1760.  Among  other  prints  he  engraved 
some  plates  representing  gallant  subjects  and 
bambochades,  after  Charles  Antoine  Coypel. 

BOTH,  Andeies,  was  bom  at  Utrecht  about 
1609.  He  followed  almost  the  same  career  as  his 
brother,  Jan  Both,— studied  under  his  father,  then 
under  Bloemaert,  and  subsequently  accompanied  his 
brother  to  France  and  Italy.  He  chiefly  employed 
his  time  in  painting  figures  in  his  brother's  land- 
scapes ;  and  works  entirely  by  him  are  very  rare. 
He  was  drowned  in  a  canal  at  Venice  in  or  before 
II  2 


1644,  and  his  loss  is  said  to  have  caused  his  brother 
great  affliction.  Independent  of  the  reputation 
Andries  Both  acquired  by  the  charming  figures 
which  he  introduced  into  the  landscapes  of  liis 
brother,  he  painted  several  pictures  of  his  own 
composition,  in  the  manner  of  Bamboccio,  but 
more  agreeably  coloured  ;  they  generally  repre- 
sent merry-makings,  fairs,  aim  quaok-doctors,  sur- 
rounded by  figures,  designed  with  great  humour, 
and  full  of  character :  they  are  highly  esteemed. 
He  also  practised  the  art  of  engraving  with  some 
success.     We  may  mention  by  him :  .^ 

St.  Anthony  praying,  with  a  skull ;  marked  t^yiioth, 
reversed. 

St.  Francis,  with  a  crucifix  bsfore  him ;  the  same. 

Bust  of  a  Man,  in  Profile,  with  a  Cap  and  Feather ; 
marked    TT) 

Two  Beggars.      /IJ . 

Two  of  Dutch  Merry-makings;  A.  Both  inv.  etfec. 

Six  Landscapes,  numbered ;  of  which  the  first  is  marked 
A.  Both. 

The  Five  Senses,  represented  by  grotesque  figures ;  de- 
signed by  Andries  and  engraved  by  Jan  Both. 

BOTH,  Jan,  was  born  at  Utrecht  about  1610. 
He  and  his  elder  brother  Andries  studied  under 
their  father,  who  was  a  painter  on  glass,  and  from 
him  they  learned  the  first  rudiments  of  design  ;  but 
they  were  afterwards  placed  under  Abraham  Bloe- 
maert, with  whom  they  studied  until  they  found  them- 
selves sufficiently  advanced  in  art  to  travel.  They 
journeyed  through  France  and  Italy,  and  made  a  stay 
in  Rome,  where  Jan  Both,  inspired  by  the  beauty 
of  the  scenes  around  him,  and  emulated  by  the 
applause  bestowed  on  the  works  of  Claude  Lorrain, 
was  not  long  before  he  produced  some  landscapes 
that  received  the  unqualified  admiration  of  the 
artists  themselves  ;  and  Andries,  who  had  studied 
the  works  of  Bamboccio,  decorated  them  with 
figures,  painted  in  such  perfect  unison  with  the 
landscapes  that  it  could  hardly  be  believed  that 
they  were  not  by  the  same  hand.  The  figures  in 
no  way  intruded  on  the  enchanting  effect  of  the 
landscape,  and  the  landscape  occasionally  withheld 
its  attraction  to  give  value  to  the  charm  of  the 
figures.  The  sympathy  of  their  affections  had 
blended  itself  with  the  exertion  of  their  talents ; 
and  in  their  works  everything  was  warm,  tender, 
and  harmonious.  The  landscapes  of  Both  exhibit 
the  most  beautiful  scenery  ;  his  colour  is  glowing, 
yet  delicate,  and  there  is  a  sparkling  effect  of 
sunshine  in  his  pictures  that  has  scarcely  been 
equalled.  Sometimes  we  admire  the  freshness  of 
nature,  enlivened  by  the  first  beams  of  the  rising 
sun ;  at  others  the  brilliant  glow  of  its  meridian 
splendour  ;  and  we  sometimes  contemplate  the  rich 
tintings  of  evening  in  an  Italian  sky.  The  figures 
and  cattle  by  Andries,  with  which  they  are  en- 
riched, are  grouped  and  designed  with  great  taste 
and  elegance.  'The  works  of  these  excellent  artists 
had  reached  a  distinction,  even  in  Italy,  that  se- 
cured to  them  both  fortune  and  fame,  when  a 
melancholy  accident  cut  asunder  the  tender  tie  by 
which  they  were  united,  and  deprived  the  world  of 
the  combination  of  their  powers.  While  they  resided 
at  Venice,  returning  home  from  an  entertainment, 
in  or  before  1644,  Andries  unfortunately  fell  into 
one  of  the  canals,  and  was  drowned.  Both  did  not 
long  remain  in  Italy  after  the  death  of  his  brother, 
but  returned  to  Utrecht,  where  he  endeavoured,  it 
is  said,  to  supply  his  loss  by  having  the  figures 
in  his  landscapes  painted  by  Cornells  Poelenburg. 
He  died  after  1662.  (See  'Catalogue  of  Dulwich 
Gallery '  by  Dr.  Riohter.) 

163 


Bott 


A  BIOGRAPHICAL  DICTIONARY  OF 


Boucher 


The  following  are  some  of  his  principal  works  : 
bis  brother  Andries  assisted  in  the  greater  part ; 
tbey  are  nearly  invariably  signed  J.  Both — the  J 
and  the  B  interlaced. 

Amsterdam.     Gallery.     Italian  Landscapes  (three). 
„  „  A  Farm. 

„  Vail  der  \  Artist  studying  from  Nature  {one 

Hoop  Coll.  J  '  0/  his  best  works). 
Antwerp.        Museum,     Italian  Scene. 
Berlin.  Gallery.     Italian  Landscape.     1650. 

Brilssels.  Gallery.     Italian  Landscape. 

Copenhagem.  Gallery.     Italian  Landscapes  {tico). 
Dresden.  Gallery.     Landscapes  witli  Figures  {five). 

Dulwich.  College.    A  Mountain  Path  (ancZ/oMrotto-s, 

in  the  style  of  Claude  Loi-rain), 
.Florence.  Uffizi.     Landscape  with  figures. 

Hague.  Gallery.     Italian  Landscapes  {two). 

London.        ^at.  Gall.    Landscape— a  party  of  Muleteers 
{one  of  his  best  works). 
„  „         Landscape    with     Figures      {the 

figures  by  Foeleiiburg  represejit 
the  '  Judgment  of  Paris  '). 
„  „  Eocky  Itahan  Landscape. 

„  „  Cattle  and  Figures. 

„  „         Outside  the  Walls  of  Rome. 

„  „  Eiver  Scene  {all  signed). 

„     Buckingham  Pal.  Baptism  of  the  Eunuch. 
Munich.     Pirmkothek.     Landscapes  {six). 
Paris.  Louvre.       Landscapes  {two). 

Petersburg.  Hermitage.  Landscapes  {two). 

The  admirers  of  etchings  are  indebted  to  these 
able  painters  for  a  few  plates,  which  are  executed 
in  so  picturesque  and  masterly  a  style  that  we 
regret  they  had  not  more  frequently  amused  them- 
selves with  the  point.     By  Jan  Both  we  have : 

A  set  of  four  upright  Landscapes  ;  signed  J.  Both  fee. 

A  set  of  six  Landscapes  ;  lengthways  ;  J.  B.  f. 

A  Landscape,  with  loaded  Mules  ;  Both  fee. 

A  Landscape,  with  a  Traveller  seated,  with  a  Basket ; 

J.  Both  inv.  et  fee. 
The  Five  Senses ;  from  tlie  designs  of  Andries  Both. 

BOTT,  — ,  is  supposed  to  have  been  a  pupil  of 
Moucheron.  A  landscape,  in  the  Hermitage,  St. 
Petersburg,  bears  his  name  and  the  date  1677. 

BOTTALLA,  Giovanni  Mabia,  was  born  at 
Savona,  in  the  Genoese,  in  1613.  According  to 
Soprani  he  went  to  Rome  when  he  was  young,  and 
studied  some  time  under  Pietro  da  Oortona.  He 
was  taken  into  the  protection  of  Cardinal  Sacchetti, 
for  whom  he  painted  several  pictures,  which  were 
afterwards  placed  in  the  Capitol  by  Benedict  XIV. 
The  most  important  of  these  was  '  The  Meeting  of 
Jacob  and  Esau.'  He  acquired  the  name  of  '  EafEael- 
lino,'  from  his  great  veneration  for  the  works  of 
Raphael,  but  he  never  divested  himself  of  the 
style  of  Pietro  da  Cortona.  His  other  works  are 
in  the  churches  of  Naples  and  Genoa.  He  died  at 
Milan  in  1644. 

BOTTANI,  Giuseppe,  was  born  at  Cremona  in 
1717,  and  studied  first  at  Florence  under  Meucci 
and  Piigliesohi,  and  in  1740,  at  Rome,  under 
Agostino  Masuooi.  He  returned  in  1745,  and  estab- 
lished a  school  of  painting  at  Cremona,  and  also 
gained  considerable  reputation  for  painting  land- 
scapes, in  the  style  of  Gaspard  Poussin,  into  which 
he  introduced  figures  in  the  pleasing  manner  of 
Carlo  Maratti.  In  1769  he  was  made  director  of 
the  Academy  at  Mantua.  His  only  historical  work 
'  worthy  of  notice,  '  St.  Paola  taking  leave  of  her 
Attendants,'  is  mentioned  by  Lanzi,  as  being  in 
the  church  of  SS.  Cosmo  e  Damiano  at  Milan :  it 
is  now  in  the  gallery  there,  which  also  possesses 
Bottani's  own  portr5,it  by  himself. 

BOTTICELLI.     See  Filipepi. 

BOTTSCHILDT,  Samuel-;  a  painter  and  en- 
164 


grayer,  was  bom  at  Sangerhausen,  in  Saxony,  in 
1641.  He  painted  historical  subjects  with  some 
success,  and  was  made  painter  to  the  court,  and 
keeper  of  the  Electoral  Gallery  at  Dresden,  in 
which  city  he  established  an  academy  for  the  in- 
struction of  the  young  artists  of  his  country.  He 
died  at  Dresden  in  1707.  "We  have  the  following 
etchings  by  him,  some  of  which  are  from  his  own 
designs : 

The  exterminating  Angel  destroying  the  Army  of  Sen- 
nacherib ;  S.  Botsehild,  acquafarti. 

Four  of  Allegorical  Figures. 

Four  of  the  Times  of  the  Day. 

Two  emblematical  subjects,  one  of  Hope  and  Patience, 
the  other  Faith  and  Charity  ;  oval. 

Ulysses  and  Epeus  giving  the  Dimensions  of  the  Trojan 
Horse. 

Hercules,  with  Cupid  spinning. 

BOUCHARD,  Joseph,  a  French  engraver,  flour- 
ished about  the  year  1760.  He  engraved  several 
plates  representing  buildings  and  antiquities,  which 
are  executed  in  a  neat,  finished  style. 

BOUCHAEDON,  Edme,  a  French  sculptor, 
architect,  and  engraver,  was  born  at  Chaumont- 
en-Bassigni  in  1698.  After  studying  in  Italy  he 
established  himself  in  Paris,  where  he  died  in 
1762.  His  portrait  by  himself  is  in  the  Uffizi, 
Florence.     He  engraved: 

Two  Portraits  of  Cardinal  Borghese ;  after  Bernini. 
Two  Studies ;  after  Carlo  Maratbi. 
A  little  Cupid ;  oval. 

BOUCHE,  Maetin,  an  engraver,  is  believed, 
from  the  inscription  on  some  of  his  prints,  to  have 
been  a  native  of  Antwerp.  He  worked  chiefly  for 
the  booksellers,  and  was  principally  employed  on 
portraits.  His  plates  are  executed  almost  wholly 
with  the  graver,  in  a  neat  but  stiff  style,  and  they 
are  not  without  merit.     Among  his  portraits  are: 

John  Fenwick,  a.  Jesuit,  who  was  executed  at  Tyburn, 

1679. 
Thomas  Harcott,  another  Jesuit ;  signed  Martin  Bouche 

se.  Antwerpia. 

He  engraved  several  others  of  the  same  order,  who 
suffered  in  England,  and  represented  them  with  a 
knife  in  their  breast,  indicative  of  their  sufferings. 
BOUCHER,  Feanoois,  a  French  painter  and 
engraver,  was  born  in  Paris  on  the  29th  of  Sep- 
tember, 1703.  His  father  designed  patterns  for 
embroidery,  and  from  him  Boucher  no  doubt 
received  his  earliest  instruction  in  art.  He  was 
afterwards  a  pupil  of  Le  Moine,  but  is  said  to 
have  remained  with  him  only  three  months,  when 
he  became  the  assistant  of  Jean  Francois  Cars,  the 
father  of  Laurent  Cars,  w-ho  employed  him  in 
making  designs  for  the  headings  of  the  "  theses  " 
and  other  works  of  which  he  was  the  publisher. 
Having  in  1721  designed  a  series  of  illustrations  to 
Daniel's  "  Histoire  de  France,"  and  subsequently  en- 
graved for  M.  de  Julienne  the  plates  of  "Watteau's 
"  Livre  d'^tudes,"  he  in  1723  gained  the  first  prize 
at  the  Academy  with  his  picture  of  '  Evilmerodack 
setting  free  Jehoiakim ' ;  but,  through  want  of 
influential  friends,  he  was  not  sent  to  Rome.  In 
1727,  however,  he  went  to  Italy  at  his  own  expense, 
in  company  with  Carle  van  Loo,  and  reached 
Rome  in  the  following  year.  He  returned  to  Pans 
in  1731,  and  speedily  gained  an  immense  reputation 
in  the  operatic  circles  and  gay  society  which  he 
frequented.  In  1734  he  was  admitted  into  the 
Academy  upon  his  picture  of  '  Rinaldo  and  Ar- 
mida,'  which  is  now  in  the  Louvre.  He  was  also 
attached  to  the  tapestry  manufactory  at  Beauvais, 


Boucher 


PAINTERS  AND  ENGRAVERS. 


Boucher-Desnoyers 


and  upon  the  death  of  Oudry  in  1755  became 
inspector  at  the  Gobelins ;  but  this  appointment  he 
resigned  in  1765,  when  he  succeeded  Carle  van  Loo 
as  first  painter  to  the  king.  His  abilities  naturally- 
attracted  the  attention  of  Madame  de  Pompadour, 
for  whom  he  painted,  in  1753,  the  '  Four  Seasons,' 
as  well  as  the  two  fine  pictures  of  '  Sunrise  '  and 
'  Sunset,'  which  are  in  the  collection  of  Sir  Richard 
Wallace.  He  also  decorated  with  idyllic  and  erotic 
subjects  the  boudoir  at  the  Hotel  de  I'Arsenal 
in  which  Madame  de  Pompadour  was  wont  to 
receive  her  royal  lover.  The  decorations  of  this 
apartment  were  purchased  some  years  ago  by 
the  late  Marquess  of  Hertford,  and  are  said  to 
be  most  charming  examples  of  the  artist's  style. 
Boucher  likewise  painted  five  or  six  times  the  por- 
trait of  the  all-powerful  favourite,  whose  intimate 
friend  and  instructor  in  etching  he  became.  The 
frontispiece  of  her  '  Suite  d'Estampes'  is  from  his 
pencil,  and  many  of  the  plates  bear  traces  of  the 
master's  hand.  Boucher  died  of  asthma  at  his  resid- 
ence in  the  Louvre  on  the  30th  of  May,  1770,  whilst 
sitting  before  an  unfinished  picture  of  '  Venus  at 
her  Toilet,'  and  was  buried  in  the  church  of  St. 
Germain  I'Auxerrois.  He  married,  in  1733,  Marie 
Jeanne  Buzeau,  a  lady  who  painted  miniatures 
which  are  now  generally  attributed  to  her  husband, 
and  who  etched  a  plate  of  two  peasants  sleeping. 
His  wife  survived  him,  but  the  closing  years  of 
his  life  were  clouded  by  the  ill-success  of  his  only 
son,  who  failed  alike  in  painting  and  in  architec- 
ture, and  by  the  deaths  of  his  favourite  pupils 
and  sons-in-law,  Baudouin  and  Deshayes,  to  whom 
he  was  much  attached.  The  extent  and  variety  of 
Boucher's  work  is  amazing.  He  himself  calcu- 
lated that  he  had  made  no  less  than  ten  thousand 
drawings  and  sketches,  and  painted  no  less  than  a 
thousand  pictures  and  studies.  His  pastoral  sub- 
jects, after  the  manner  of  Watteau,  are  his  best 
works.  He  painted  but  few  portraits,  yet  that  of 
Madame  de  Pompadour  in  the  possession  of  M. 
Henri  Didier  is  a  masterpiece.  Although  highly 
esteemed  in  his  own  day,  Boucher  afterwards  sank 
into  undeserved  oblivion,  and  it  is  only  in  recent 
years  that  the  "  Anacreon  of  Painting"  has  been  re- 
stored to  the  place  which  is  his  due.  Voluptuousness 
is  the  idea  which  pervades  almost  all  his  works,'but 
there  is  also  present  a  delicacy  of  colour  and  grace  of 
style  which  atone  for  much  that  is  amiss.  There  is 
in  the  'Necrologe  des  Hommes  c^l^bres  de  France' 
for  1771  an  able  notice  of  Boucher,  written  by 
.Antoine  Bret,  which  is  as  free  from  the  virulent 
criticism  as  it  is  from  the  extravagant  praise 
alternately  lavished  by  Diderot  in  his  'Salons'  on 
the  "Painter  of  the  Graces."  Fuller  information 
respecting  the  artist  and  his  works  may  be  found, 
by  those  who  desire  it,  in  M.  Charles  Blanc's  '  His- 
toire  des  Peintres,'  and  in  the  monographs  of  MM. 
de  Goncourt  and  M.  Paul  Mantz.  The  following 
works  of  Boucher  are  in  the  public  galleries  of 
Europe  : 

Angers.  Museum,    La  Reunion  des  Arts. 

Edinburgh.    N'at.  Gall.  Portrait  of  Madame  de  Pompa- 
dour. 
Florence.        ITfizi.         The    Infant    Saviour     and     St. 

John, 
Lille.  Museum.    Painting,  an  allegory. 

Naury.  Museum.    Aurora  and  Gephaliis. 

Paris.  Louvre.       Rinaldo  and  Armida, 

■  „  „  Diana  leaving  the  Bath. 

„  „  Venus     demanding    of    Vulcan 

arms  for  Mneas. 
„  „  Pastoral  Subjects;  four  pictures. 


Paris. 


Louvre. 
{La  Caze 
Coll.) 


The  Three  Graces. 
Venus  and  Vulcan. 
The  Forge  of  Vulcan. 
„  „  The  Three  Graces. 

„  „  The  Painter's  Studio. 

„  „  A  Young  Lady  with  a  Muff. 

Petersburg.  Hermitage.  The  Eepose  in  Egypt. 

„  „  Venus  and  Adonis. 

Stockholm.  Museum.      The  Triumph  of  Galatea. 
„  „  The  Birth  of  Venus. 

„  „  The  Toilet  of  Venus. 

„  „  Leda  and  the  Swan.    ^ 

„  „  La  Marchande  de  Modes. 

Versailles.    Trianon,      Neptune  and  Amymone. 

As  in  everything  else  which  he  undertook,  so  in 
his  etchings  Boucher  displayed  the  qualities  of  a 
master.  Although  but  little  more  than  outlines, 
they  are  executed  with  spirit,  ease,  and  grace. 
Prosper  de  Baudicour,  in  the  '  Peintre-Graveur 
continue,'  enumerates  182  plates,  of  which  about 
44  are  from  his  own  designs.  The  following  are 
the  most  important  : 

Figures  de  diff^rents  caracteres  de  paysages  et  d'etudes 
dessin&s  d'apres  nature  par  Antoine  Watteau ;  104 
plates,  including  a  portrait  of  Watteau. 

La  Troupe  italienue  ;  after  Watteau, 

Pomona ;  after  the  same. 

La  Coquette ;  after  the  same. 

View  of  ^Vincennes ;  after  the  same. 

Livre  d'Etude  d'apres  les  desseins  originaua:  de  Bloem- 
aert ;  12  plates. 

Les  Petits  Buveurs  de  Lait ;  after  himself, 

Le  Dessinateur ;  after  himself. 

La  Blauchisseuse  ;  after  himself. 

Children  playing ;  mer  himself;  4  plates. 

Andromeda ;  after  himself;  finished  by  Pierre  Aveline. 

Innocence  (Le  petit  Berger);  after  himself;  finished 
by  Aveline. 

Eecueil  de  diverses  Figures  chinoises;  10  plates. 

R.  E.  a. 

BOUCHER,  Jean,  was  bom  at  Bourges  about  tho 
year  1700.  He  was  the  elder  brother  of  Franyois 
Boucher,  and  was  also  a  painter,  though  of  no 
great  celebrity.  He  etched  five  plates,  among 
which  is  the  portrait  of  Antoine  Watteau,  the 
painter. 

BOUCHER- DESNOYERS,  Auguste  Gaspaed 
Louis,  Baron,  one  of  the  most  eminent  of  modern 
French  engravers,  was  horn  in  Paris  on  the  19th 
of  December,  1779.  His  father  held  the  ofSce  of 
commissary-general  in  the  military  household  of 
Monsieur,  afterwards  Louis  XVIII.,  but  through 
unforeseen  misfortunes  young  Desnoyers  was  com- 
pelled to  choose  for  himself  a  career.  Intending 
to  enter  the  corps  of  engineers,  he  devoted  to 
drawing  every  moment  which  he  could  spare  from 
the  study  of  mathematics.  At  the  age  of  twelve 
he  was  introduced  to  Lethiere,  who  admitted  him 
into  his  studio,  where  he  soon  attracted  notice. 
But  the  rapid  progress  which  he  made  in  drawing 
was  but  the  means  by  which  he  hoped  to  attain 
the  end  which  he  had  in  view.  This  desire  was 
soon  accomplished,  for  the  engraver  Darcis,  who 
had  seen  a  '  Head  of  a  Magdalen '  which  Desnoyers 
engraved  on  tin  when  scarcely  ten  years  old,  took 
him  under  his  care,  and  employed  him  on  the  out- 
lines of  the  plates  after  Carle  Vernet  upon  which 
he  was  then  engaged.  In  1796  an  engraving  in 
the  dotted  style  of  a 'Young  Bacchante,'  from  a 
drawing  by  Grevedon,  met  with  a  success  which 
far  surpassed  the  hopes  of  the  young  artist.  He 
next  produced  a  number  of  small  subjects  of  similar 
character,  which  were  very  well  received,  and  at 
the  Salon  of  1799  he  exhibited  his  engraving  of 
'  Venus  disarming  Cupid,'  after  Robert  Lefevre, 
which  gained  a  prize  of  2000.  francs.     In  this  year 

165 


Bouchet 


A  BIOGRAPHICAL  DICTIONARY  OF 


Boucquet 


he  entered  the  studio  of  Alexandre  Tardieu,  -where 
he  made  some  studies  in  etching  and  line-engrav- 
ing ;  but  an  engagement  into  which  he  had  entered 
to  engrave  Hilaire  Ledru's  'P6nibles  Adieux'  did 
not  allow  him  to  remain  for  any  great  length  of 
time.  The  success  of  his  engraving  in  line  of 
'  Hope  supporting  Man  to  the  Tomb,'  after  a 
sketch  by  CarafEa  exhibited  at  the  Salon  of  1801, 
procured  him  a  commission  to  engrave  for  the 
Mus^e  the  '  Belle  Jardiniere  '  of  Raphael.  Just  at 
this  time  Desnoyers  was  drawn  in  the  conscrip- 
tion, and  Luoien  Bonaparte  went  to  his  brother  to 
solicit  the  artist's  exemption.  "Has  he  work  in 
liand  for  the  Republic  ?  "  asked  the  First  Consul,  in 
very  bad  humour.  "  Yes,"  said  Luoien.  "Well, 
then  let  him  pay  if  he  wish  to  be  replaced," 
abruptly  replied  Napoleon.  The  council  of  re- 
vision, however,  fortunately  deemed  him  unfit 
for  military  service,  although  his .  constitution 
left  nothing  to  be  desired.  From  this  time  ho 
rose  rapidly  to  the  first  rank  in  his  adopted  art, 
and  in  1806  gained  the  large  gold  medal  for  his  en- 
graving of  the  celebrated  antique  cameo  of '  Ptolemy 
11.  Philadelphus  and  Arsinoe,"  belonging  to  the 
Empress  Josephine,  which  is  now  in  the  Hermitage 
Palace  at  St.  Petersburg.  His  next  important 
•work  was  the  full-length  portrait  of  the  Emperor 
Napoleon  in  his  coronation  robes,  after  Gerard. 
This  engraving  was  exhibited  at  the  Salon  of  1810, 
and  for  it  Desnoyers  received  no  less  a  sum  than 
£2000,  together  with  the  return  of  the  plate  after 
600  impressions  had  been  taken  ofE.  He  engraved 
also  in  1810  a  small  portrait  of  the  Empress  Marie 
Louise,  to  which  a  curious  history  is  attached.  The 
Austrian  princess  had  not  set  foot  on  French  soil 
when  her  portrait  was  being  sold  in  Paris  by  thou- 
sands. The  likenesses  differed,  but  all  were  fright- 
fully ugly.  Napoleon  in  a  rage  sent  in  the  middle  of 
the  night  for  Baron  Denon,  and  commanded  him  to 
go  instantly  to  Desnoyers  and  desire  him  to  engrave 
the  portrait  of  the  future  empress.  "  Round  head, 
fair  hair,  high  forehead,"  were  the  brief  instruc- 
tions sent  to  the  artist,  who  worked  day  and  night 
until,  at  the  end  of  four  days,  a  proof  was  ready  for 
approval.  The  emperor  thought  it  superb,  and 
had  already  ordered  its  immediate  publication,  when 
he  received  a  faithful  miniature  of  the  archduchess, 
which  rendered  an  alteration  of  the  plate  impei-a- 
tive,  for  the  face  of  the  new  empress,  instead  of 
being  round,  was  a  very  elongated  oval.  Twenty 
impressions  had  been  taken  when  Desnoyers  again 
set  to  work,  and  on  the  morrow  the  authentic  por- 
trait of  Marie  Louise  was  in  circulation  throughout 
Paris.  The  empire  fell,  but  the  talented  engraver 
continued  to  enjoy  the  favour  of  the  court,  and 
held  a  position  among  engravers  similar  to  that  of 
Baron  Gerard  among  painters,  and  of  Baron  Bosio 
among  sculptors.  Elected  a  member  of  the  In- 
stitute in  1816,  he  was  appointed  engraver  to  the 
king  in  1825,  and  created  a  Baron  in  1828,  receiving 
soon  after  the  cross  of  an  officer  of  the  Legion  of 
Honour.  He  engraved  many  of  the  master-pieces 
of  the  Louvre,  but  after  1848  he  did  but  little,  for 
age  had  enfeebled  his  hand  and  weakened  his 
sight.  Desnoyers  died  in  Paris  on  the  16th  of 
February,  1857.  He  appears  to  the  best  advantage 
in  his  transcripts  of  the  works  of  ancient  masters, 
especially  Raphael,  whose  characteristics  he  renders 
with  the  greatest  truth  and  skill.  His  master- 
pieces are  the  '  Belle  Jardiniere '  of  Raphael,  and 
the  '  Vierge  aux  rochers '  of  Leonardo  da  Vinci. 
But,  although  marked  by  exceptional  talent,  his 
166 


engravings  in  line  lack  the  freedom  and  breadth 
which  distinguish  those  which  he  executed  in  the 
dotted  style.  The  landscape  backgrounds  of  his 
plates  were  for  the  most  part  engraved  by  Friedrich 
Giessler  of  Nuremberg. 

Among  Desnoyers's  works  the  first  place  must 
be  assigned  to  his  engravings  after  the  Madonnas 
of  Raphael.     These  are  as  follow  : 
La  Belle  Jardinisre.     1804. 
La  Vierge  au  Donataire.     1814. 
La  Vierge  au  Linge.     1814. 
La  Madonna  della  Sedia.     1814. 
La  Madonna  del  Pesce.     1822. 
La  Madonna  della  Oasa  d'Alba.     1837. 
La  Vierge  au  Berceau.     1831 . 
La  Belle  Jardiniere  de  Florence.     1841. 
La  Madonna  di  San  Sisto.    1846. 
Desnoyers's  other  works  include  : 
The  Visitation ;  after  Raphael.    1824. 
St.  Catharine  of  Alexandria ;  after  the  same.    1824. 
The  Transfiguration ;  after  the  same.     1840. 
La    Vierge   aux   rochers;    after  Leonardo  da   Vinci 

1812. 
The  Holy  Family ;  after  the  same. 
The  Magdalen  ;  after  Correggio. 
Bliezer  and  Kebekah  ;  after  Poussin.     1819. 
Moses  rescued  from  the  Waters  ;  after  the  same.    (The 

landscape  engraved  by  Filhol  and  Niquet.) 
Venus    disarming    Cupid ;    after  Robert  Lefhre;  in 

dotted  manner.     1799. 
The  Muses  aud  the  Pierides :  after  Ferino  del  Tan. 

1831.  .  ^ 

Cupid  and  Psyche ;  )  after  drawings  by  Ingres  from 

Oupid  bending  his  bow ;  j      antique  sculpture  ;  iov  the 

'  Mus^e  Fran9ais.'    1808. 
Ptolemy  II.  Philadelphus  and  Arsinoe ;  after  a  draw- 
ing by  Ingres  from  an  antique  cameo. 
Belisarius ;  after  Gerard.    1806. 
Francis  I.  and  his  sister,  Margaret  of  Navarre ;  after 

Richard.    1817. 
Hope  supporting  Man  to  the  Tomb;  after  Garaffa. 

1801. 
Les  Penibles  Adieux ;  after  Silaire  Ledru ;  in  dotted 

manner.     1802. 
Napoleon    Bonaparte,    First    Consul ;    after    Roisit 

Lefevre.    1802. 
Napoleon  I.,  Emperor  of    the  French;   full-length; 

after  Girard.     1808. 
Marie  Louise,  Empress  of  the  French.     1810. 
Napoleon,  King  of  Rome  ;  after  Gerard. 
Baron  Alexander  von  Humboldt ;  an  etching ;  after  a 

sketch  b'l  Girard.     1806. 
Thomas  JeflEerson,  President  of  the  XTnited  States  of 

America ;  in  dotted  manner.     1801. 
Charles    Maurice    de    Talleyrand-Perigord,  Prince  of 
Benevento ;  f uU-length ;  after  Gerard.    1814. 

R.  E.  S. 
BOUCHET,   Louis  Ande^  Gabriel,  a  French 
historical  painter,  scholar  of  David,  painted  sub- 
jects from  sacred  and  profane  history,  poetry,  and 
portraits.     He  obtained  the  first  grand  prize  in 
1797,  and  continued  to  exhibit  until  1819.    Gabet 
does  not  mention  the  date  of  his  birth  or  death. 
BOUCHET,  Louis  F.  du.     See  Du  Bouchbt. 
BOUCHOT,  FRAN50IS,  a  painter  and  engraver, 
was  born  in  Paris  in  1800.     He  studied  engraving 
under  Riohomme,  and  then  became  a  pupil  of  Eeg- 
nault,  and  subsequently  of  Lethiere,  and  obtained 
the  '  grand  prix  de  Rome '  in  1823.     He  exhibited 
at  the  Salon  from  1824  till  his  death,  which  occurred 
in  Paris  in  1842.     A  'Drunken  Silenus'  by  him  is 
in  the  Lille  Gallery,  and  the  'Burial  of  General 
Marceau '  in  the  Mairie  at  Chartres.     He  was  also 
celebrated  for  his  portraits. 
BOUCK,  or  BOUCLB,  —  van.    See  Boekel. 
BOUCQUET,  ViCTOK,  a  Flemish  painter,  was 
born  at  Furnes  in  1619.   He  was  the  son  of  Marcus 
BoucQUEf ,  a  painte'-  little  known.     Descamps  sup- 


Boud 


PAINTEES  AND  ENGRAVERS. 


Boulanger 


poses  he  must  have  visited  Italy,  as  his  works 
exhibit  a  manner  that  partakes  little  of  the  taste 
of  his  country.  He  painted  historical  subjects, 
and  was  also  esteemed  as  a  portrait  painter.  His 
works  are  distributed  in  the  different  churches  of 
the  towns  in  Flanders.  They  are  well  composed, 
and,  like  those  of  most  of  the  artists  of  his  country, 
are  well  coloured.  In  the  great  church  of  Nieuport 
are  two  altar-pieces  by  this  master,  one  of  which, 
representing  '  The  Death  of  St.  Francis,'  is  par- 
ticularly admired  ;  and  in  the  town-house  there  is 
a  large  picture  by  him,  considered  as  his  principal 
work,  representing  '  The  Judgment  of  Cambyses.' 
The  principal  altar-piece  in  the  church  at  Ostend 
is  by  Boucquet:  it  represents  the  Taking  down 
from  the  Cross.     He  died  at  Furnes  in  1677. 

BOUD,  R.,  a  Dutch  engraver,  flourished  about 
the  year  1590.  He  was  principally  employed  in  en- 
graving portraits  for  the  booksellers  :  among  others 
is  a  portrait  of  Hendrik  Goltzius,  the  painter  and 
engraver,  crowned  with  laurel  by  Fame.  It  is 
executed  with  the  graver,  in  a  stifE,  formal  style. 

BOUDAN,  Alexandre,  was  a  French  engi-aver, 
who  died  in  Paris  in  1671.  There  is  by  him  a 
portrait  of  Anne  of  Austria,  queen  of  Louis  XIII. 

BOUDEWYNS,  Adeiaan  Feans,  not  Anton 
Feans  (Bauduins,  or  Baudouin),  was  born  at  Brus- 
sels, in  1644  ;  he  studied  under  a  landscape  painter 
named  Igiiaoe  van  den  Stock,  and  was  received  into 
the  Guild  there  in  1666.  He  then  studied  under 
A.  F.  van  der  Meulen,  and  afterwards  painted 
landscapes  in  an  Italian  manner,  which  Pieter 
Bout  decorated  with  figures.  The  Dresden  Gallery 
has  ten  of  their  joint  productions,  the  Madrid 
Gallery  nine,  the  Ufifizi  in  Florence  three,  the 
Louvre  one,  and  the  Vienna  Gallery  has  two,  and 
they  are  also  seen  in  the  Galleries  of  Antwerp, 
Rotterdam,  and  Brunswick.  The  date  of  Boudewyns' 
death  is  not  known  for  certain.  Besides  painting, 
Boudewyns  devoted  much  of  his  time  to  en- 
graving. His  plates  are  chiefly  after  the  pictures 
or  designs  of  Van  der  Meulen,  and  are  etched  in 
a  bold,  free  style,  producing  a  good  effect.  His 
works  are  as  follow 

Six  Landscapes,  with  Figures ;  middle-sized  plates. 

Six  large  Landscapes ;  dedicated  to  Ph.  de  Champagne. 

Eight  Landscapes,  with  Buildings. 

Two  Stag-hunts ;  one  dedicated  to  the  Marquis  de 
Louvois. 

A  large  Landscape,  with  the  March  of  the  King  to  Vin- 
cennes ;  dedicated  to  Ch.  le  Brun. 

A  large  Landscape,  with  the  Queen  going  to  Versailles ; 

.  dedicated  to  the  Due  de  Noailles. 

Six  Views  of  Towns  in  France. 

Two  Views  of  Versailles  ;  as  it  was,  and  as  it  is. 

View  of  the  Castle  of  Vincennes. 

View  of  the  Palace  of  Fontainebleau  ;  two  sheets. 

Two  Views  of  Gardens  in  Italy  ;  after  A.  Genoeh, 

_  BOUGH,  Samuel,  a  Scotch  landscape  painter  in 
oil  and  water-colours,  was  born  in  1822  at  Carlisle, 
where  he  worked  for  two  years  in  the  town  clerk's 
office.  He  received  no  systematic  instruction  in 
art,-  although  he  became  connected  with  many 
artists.  His  first  efforts  were  in  scene  painting 
and  decorating  interiors.  In  1855  he  removed  to 
Edinburgh,  becoming  an  Associate  of  the  Scotch 
Academy  in  1857,  and  a  member  in  1875.  He 
died  at  Edinburgh  in  Noveinber,  1878.  Amongst 
his  most  important  works  are : 

Shipbuilding  on  the  Clyde.        "Winton  Castle. 

Kirkwall.  Arran  Hill. 

Borrowdale.  The  Baggage- Waggon. 

London,  from  Shooter's  Hill.    Ben  Nevis. 

St.  Monau's.  A  Windy  Day. 


BOUHOT,  Etibnne,  a  French  painter  of  archi- 
tectural views,  both  exterior  and  interior,  was 
bom  at  Bard-Ies-Epoisses  (C6te-d'0r)  in  1780.  He 
studied  under  Prevost,  and  his  works  are  numerous 
and  much  esteemed.     He  died  at  Semur  in  1862. 

BOUILLARD,  Jacques,  a  French  draughtsman 
and  line-engraver,  born  at  Versailles  in  1744,  was 
editor  of  'The  Gallery  of  the  Palais  Royal.'  He 
engraved  classical  subjects  after  Poussin,  Annibalo 
Carracci,  and  Guido  Reni,  as  well  as  after  Le  Sueur, 
Mignard,  and  Van  Loo.  He  was  a  member  of  the 
Academy  of  Painting  and  Sculpture,  and  died  in 
Paris  in  1806.     His  best  plates  are : 

A  Holy  Family  ;  after  Annibale  Carracci. 

The  Dream  of  Polyphilus  ;  after  Le  iiueur. 

St.  Cecilia ;  after  P.  Mi-'jnard. 

BOUILLON,  Pieeeb,  a  painter  and  engraver, 
was  born  at  Thiviers  (Dordogne)  in  1776,  and 
studied  under  Monsiau.  He  carried  off  the  first 
great  prize  in  painting  in  1797.  Among  other  pic- 
tures he  produced  '  Conjugal  Piety,'  exhibited  in 
1804  ;  '  Christ  Resuscitating  the  Widow's  Son  ' 
(1819)  ;  and  '  The  Clemency  of  Cfesar  towards 
Cinna.'  The  last  two  were  commissioned  in  1817 
by  the  Government,  and  were  placed,  the  former 
in  the  council  chamber  in  the  Louvre  (where  it 
still  is),  and  the  latter  in  the  palace  of  St.  Cloud. 
He  engraved  the  plates  for  the  '  Musfee  des  An- 
tiques,' published  in  three  volumes  folio.  He  died 
in  Paris  in  1831. 

BOUIS,  Ande^.    See  Bouyb. 

BOULANGB,  Louis  Jean  Baptiste,  a  French 
landscape  painter,  was  born  at  Verzy  (Marne)  in 
1812.  He  studied  under  P^iis  and  E.  Delacroix, 
and  obtained  a  medal  in  1859.  He  died  m  January, 
1878.     Amongst  his  works  are  : 

The  Skirts  of  a  Wood. 

The  Plains  of  Champagne  from  Verzy. 

Environs  of  Cormontreuil.    1857. 

Environs  of  Davillers.    1861. 

Fontainebleau  Forest.     1872. 

Meadow  at  Vitry-la-Ville.    1876. 

BOULANGER,  Clement,  who  was  born  at  Paris 
in  1805,  studied  under  Ingres,  and  died  in  1842  at 
Manisa  (Magnesia)  in  Asia  Minor.  His  pictures 
are  chiefly  historical,  but  he  also  painted  landscapes 
and  portraits.  The  following  are  some  of  the 
principal : — 

Bordeaux.      Museum.    Portrait  of  Cardinal  Donnet,  Arch- 
bishop of  Bordeaux.    1839. 
„  „  The  Vintage  of  M^doc. 

Lille.  Museum.    Procession  of  the  Corpus  Domini 

{signed  and  dated '&OTS.M.  1830). 
Nantes.  Museum.    Procession  of  the '  Ardents.'  1842. 

Toulouse.       Museum.    Procession  of  the  '  Gargouille '  at 

Kouen.  1837. 
Versailles.  Gallery.  Entry  of  the  French  Army  into 
Moutiers. 
BOULANGERj  Jean,  though  a  native  of  France, 
is  better  known  in  Italy  than  in  his  own  country. 
He  was  born  at  Troyes  in  1606,  hut  went  to  Bologna 
when  he  was  young,  and  entered  the  school  of 
Guido  Reni.  Under  that  able  instructor  he  acquired 
a  correct  and  graceful  mode  of  designing,  and  a 
tender  and  harmonious  colouring.  His  merit  re- 
commended him  to  the  protection  of  the  Duke  of 
Modena,  who  appointed  him  painter  to  the  court ; 
and  he  ornamented  the  ducal  palace  with  several 
historical  pictures,  composed  and  painted  in  the 
elegant  style  of  his  master.  He  established  an 
academy  at  Modena,  and  had  many  pupils.  He 
died  in  1660.  In  the  Modena  Gallery  there  are 
five  works  bj'  him. 

167 


Boulauger 


A  BIOGEAPHICAL  DICTIONARY  OF 


Boullong'ne 


BO  DL ANGER,  Jean,  a  French  line-engraver, 
cousin  to  the  painter  of  the  same  name,  was  born 
at  Amiens  in  1607.  He  seems  to  have  attached 
himself  at  first  to  an  imitation  of  the  style  of  Fran- 
cois de  Poilly,  but  he  afterwards  took  up  a  mode 
of  engraving  which  had  before  been  practised  by 
his  contemporary,  Jean  Morin,  but  which  he  greatly 
improved,  of  finishing  the  flesh  and  naked  parts 
of  his  figures  with  dots,  instead  of  strokes,  or  with 
a  mixture  of  both,  which  gave  a  very  soft  and 
mellow  efEect ;  but  as  he  finished  the  draperies  and 
backgrounds  with  rather  a  harsh  use  of  the  graver, 
there  was  a  want  of  union  in  the  efEect  of  his 
plates.  Notwithstanding  this  defect,  his  prints 
have  considerable  merit,  and  are  justly  held  in 
estimation.  He  died  in  Paris  about  1680.  The 
following  are  some  of  his  principal  plates  : 

POKTKAITS. 
Maria  Tberesa  of    Austria,   Queen   of  France ;    after 
Frere  Zuo, 


Pope  Urban  VIII, ;  /.  Boulanger  inv.  etfec. 

Charles  II.,  King  of  England. 

Gustavus  Adolphus,  King  of  Sweden. 

Leopold,  King  of  the  Romans. 

Henry  of  Castile,  Abbot  of  St.  Martin. 

J.  Reguault  de  Segrais,  of  the  French  Academy. 

J.  Jacques  Olier,  Cure  of  St.  Sepulcre. 

Paul  Beurier,  Canon  of  St.  Genevieve ;  ufter  Jacq  Le 

Fevrc. 
Daniel  de  Cosnac,  Archbishop  of  Ais ;  after  Claude  Le 

Febvre, 
V.  Louis  de  Seckendorf ;  after  G.  Scheffer. 
Michael  Nostradamus,  Physician. 
St.  Vincent  de  Paul. 
Mademoiselle  Le  Gras,  Foundress  of  the  Filles  de  la 

Charite. 
Francis  Isidor  de  Hayrien. 
Francjois  de  Clermont,  Bishop  of  Noyon. 

SUBJECTS   FROM    HIS   OWN   DESIGNS. 
Two  Busts  of  our  Saviour  and  the  Virgin  Mary. 
Bust  of  the  Virgin,  surrounded  by  a  border  of  Laurel ; 

oval. 
The  Virgin  Mary  and  Infant  Jesus ;  half  length. 
The  Virgin  Mary  and  Infant,  with  St.  John  presenting 

a  Cross. 

SUBJECTS   AFTER   DIFFERENT   MASTERS. 
The  Virgin   and  Infant  Christ  holding  some   Pinks, 

called  the  Virgin  of  the  Pinks  ;  after  Raphael. 
A  Bust  of  the  Virgin ;  inscribed  Mater  amabilis  ;  after 

the  same. 
The  Holy  Family,  with  St.  Joseph  giving  the  Infant 

some  Cherries  ;  after  Garracci. 
The  Virgin  of  Passau ;  after  Solaria. 
The  Virgin  Mary,   with  the   Infant  sleeping  in  her 

Arms  ;  after  Gaido. 
The  Virgin  and  Infant  Jesus,  with  St.  John  kissing  his 

Foot  ;  after  the  same. 
The  Holy  Family  ;  after  Noel  Goijpel. 
The  Holy  Family  ;  half-length  figures  ;  after  Nic.  Loir. 
The  Infant  Christ ;  inscribed  Salvator  Mundi,  &c.;  after 

the  same.    1651. 
Christ  bearing  His  Cross  ;  after  Kic.  Mignard. 
The  Virgin  and  Infaut,  with  St.  John  kissing  His  Foot ; 

after  P.  Mignard. 
The  Descent  from  the  Cross ;  after  S.  Bourdon. 
The  Entombment  of  Christ ;  after  the  same. 
The  Crucifixion  ;  after  Ch.  le  Brun. 
St.  Francis  de  Paula ;  after  S.  Vouet. 
The  Dead  Christ  supported  by  Joseph  of  Arimathea. 
The  Pompous  Cavalcade  on  the  occasion  of  Louis  XIV. 

coming  of  age. 

BOULANGER,  Louis,  was  born  of  French 
parents  at  Veroelli,  in  Piedmont,  in  1806.  He 
studied  painting  under  Guillon-Lethi^re  and  A. 
Dev^ria,  and  entered  upon  the  practice  of  art 
under  the  infiuenoe  of  the  chiefs  of  the  romantic 
school  ;  and  with  an  amount  of  early  renown,  which 
he    afterwards   retained.     He   was   intimate  with 

168 


Victor  Hugo,  who  dedicated  to  him  some  of  liig 
poetical  effusions,  a  compliment  which  he  returned 
by  illustrating  the  poet's  works  in  some  of  liig 
most  effective  canvases.  Boulanger  obtained  a 
medal  of  the  second  class  in  1827,  and  one  of  the 
first  class  in  1836,  a'ld  the  decoration  of  the 
Legion  of  Honour  in  1840  ;  whilst  in  1860  he  was 
appointed  director  of  the  Imperial  School  of  Fine 
Arts  at  Dijon.  He  had  for  a  time  a  great  reputa- 
tion, but  died  almost  forgotten,  at  Dijon,  in  1867. 
He  exhibited  at  irregular  intervals,  after  1828 : 

Mazeppa.    1828. 

The  Departure.     1828. 

The  last  scene  of  Lucrezia  Borgia,  in  water- colours. 

1834  {purchased  hy  the  Duke  of  Orleans). 
The  Triumph  of  Petrarch.     1836. 
St.  Jerome  with  Roman  Fugitives.     1855. 
Eomeo  purchasing  the  Poison.     1857. 
Lazarillo  and  the  Beggar.     1857. 
Don  Quixote  and  the  Goat-herd.    1859. 
Othello.     1859. 
Macbeth.    1859. 
"  Vive  la  joie."    1866. 

BOULANGER,  MArTHiEU,  was  a  native  of 
France,  and  flourished  about  the  year  1680.  He  is 
supposed  to  have  been  a  son  of  Jean  Boulanger, 
the  engraver.  He  was  chiefly  employed  in  engrav- 
ing portraits  for  the  booksellers,  which  are  executed 
in  a  stiff,  heavy  style. 

BOULANGER,  Pierre  Emmanuel  Hippolyte,  a 
Belgian  landscape  painter,  was  born  in  1837.  He 
studied  in  the  Academy  at  Brussels  and  at  Tervu- 
eren  and  the  neighbourhood.  He  exhibited  at  the 
Brussels  Exhibition  in  1866,  and  at  Ghent  in  1867, 
when  his  pictures  were  much  noticed.  He  ob- 
tained a  medal  in  1872  for  his  '  A116e  des  Charmes.' 
He  also  exhibited  '  Environs  de  Tervueren '  at  the 
Salon  in  1873,  and  '  Spring-time  in  Brabant'  at  the 
International  Exhibition  at  Kensington  in  1874. 
He  died  at  Brussels  in  1874. 

BOULLONGNE,  Bon  de,  (or  Boulogne,)  the 
elder  son  of  Louis  de  BouUongne,  was  bom  in 
Paris  in  1649.  He  was  instructed  by  his  father, 
and  having  painted  a  picture  of  '  St.  John,'  which 
was  shown  to  Colbert,  he  was  sent  to  Rome  for 
improvement,  under  the  pension  of  the  king,  and 
there  he  remained  five  years.  He  afterwards 
visited  Lombardy,  and  passed  some  time  studying 
the  works  of  Correggio  and  the  Carracci.  On  his 
return  to  Paris  he  was  a  candidate  for  a  seat  in 
the  Academy,  which  he  obtained  in  1677,  and 
painted  for  his  picture  of  reception  '  Hercules 
combating  the  Centaurs '  (now  in  the  Louvre). 
He  was  made  professor  in  1692.  Louis  XIV.  took 
him  into  favour,  and  employed  him  to  paint  the 
staircase  at  Versailles,  imder  the  direction  of 
Charles  le  Brun.  In  1702  he  painted  in  fresco  the 
cupola  of  the  chapel  of  St.  Jerome,  in  the  churcli 
of  the  Invalides.  One  of  his  best  works  is  '  The 
Resurrection  of  Lazarus,'  in  the  church  of  the 
Carthusians.  At  Versailles  he  painted  '  Venus  and 
Cupid,'  and  '  Bacchus  and  Silenus ; '  and  in  the 
Trianon,  in  1710,  '  Juno  and  Flora,'  and  '  The  Toilet 
of  Venus,'  both  now  in  the  Louvre.  In  addition  tc 
these  and  the  '  Hercules,'  the  Louvre  possesses  an 
'  Annunciation,'  '  St.  Benedict  restoring  a  Child  to 
life,'  and  a  'Marriage. of  St.  Catharine,'  by  him. 
'  The  Calling  of  the  Sons  of  Zebedee,'  by  him,  is  in 
the  Dublin  Gallery.  He  possessed  a  particular 
talent;  for  painting  what  the  Italians  call  '  pastici,' 
or  imitation  of  the  style  of  other  masters,  without 
the  servility  of  copies.  He  died  in  Paris  in  1717. 
We  have  a  few  etchings  by  tllis  painter : 


BouUougue 


PAINTERS  AND  ENGRAVERS. 


Bourdon 


The  Holy  Family. 

St.  John  preaching  in  the  "Wilderness. 

St.  Bruno. 

Fronti-spiece  for  an  Almanack ;  dated  1694 

A  satirical  print  against  the  Author  of  the  'Mercure 

Galant;'  inscribed,  ji A  /ta,galant,  vous  raisonnez  en 

ignorant. 

BOULLONGNE,  Louis  de,  'the  elder,'  (or  Bou- 
logne,) a  French  painter,  was  bom  in  Paris  in 
1609,  and  was  a  pupil  of  Blanohard.  He  visited 
Rome,  and  studied  the  works  of  Titian,  Guido 
Reni,  and  other  great  artists ;  and  on  his  return 
to  Paris  became  professor  of  the  Academy,  and 
painter  to  the  king.  His  principal  works  are  in 
the  church  of  Notre-Dame  at  Paris,  where  he  has 
painted  'The  Miracle  of  St.  Paul  at  Ephesus,' 
'The  Martyrdom  of  St.  Simon,'  'The  Beheading 
of  St.  Paul,'  and  '  The  Presentation  in  the  Temple.' 
He  painted  many  pictures  for  churches,  and  made 
good  copies  of  several  of  the  masterpieces  which 
the  celebrated  banker  Jabach  had  purchased  from 
the  collection  of  Charles  I. — amongst  others,  '  The 
Labours  of  Hercules,'  after  Guido  ;  the  '  Marquis 
del  Guasto,'  and  '  The  Disciples  at  Emmaus,'  after 
Titian  ;  and  a  '  Nativity '  after  Carracci.  He  died 
in  Paris  in  1674.  He  etched  thirty-nine  plates, 
among  which  may  be  mentioned : 

Le  Livre  de  Portraiture  (twenty-six  plates), 

A  Holy  Family,  with  the  Bird. 

The  same  subject,  at  the  foot  of  a  Column. 

The  Miracle  of  St.  Paul  at  Ephesus. 

The  Beheading  of  St.  Paul. 

The  Eape  of  Helen ;  after  Guido. 

His  two  daughters,  GbneviJivk  and  Madblaine, 
were  also  painters,  and  were  received  into  the 
Academyin  1669.  The  former,  who  married  Jacques 
GWrion,  the  sculptor,  died  at  Aix  in  1708,  aged  63, 
and  the  latter  in  Paris  in  1710,  aged  64. 

BOULLONGNE,  Louis  de,  'the  younger,'  (or 
Boulogne,)  who  was  born  in  Paris  in  1654,  was 
the  younger  son  of  Louis  de  Boullongne  the  elder, 
and  received  instruction  from  his  father.  He 
was  one  of  the  most  assiduous  students  of  the 
Academy,  and  gained  the  prize  for  painting  when 
he  was  eighteen,  and  was  consequently  sent  to 
Rome,  under  the  pension  of  the  king,  in  1675.  He 
there  copied  for  the  Gobelins  manufactory,  in 
their  original  size,  'The  School  of  Athens,'  and 
the  '  Disputa '  of  Raphael.  He  returned,  through 
Lombardy  and  Venice,  to  Paris  in  1680,  and  the 
following  year  he  was  received  into  the  Academy  ; 
his  reception  picture  was  'Augustus  ordering  the 
Temple  of  Janus  to  be  shut.'  In  1693  he  was  made 
professor,  in  1717  rector,  and  in  1722  director ;  in 
this  same  year  he  received  the  Order  of  St.  Michael, 
and  was  ennobled  in  1724.  Having  in  1725 
been  appointed  painter  to  Louis  XIV.,  he  was 
employed  at  Fontainebleau,  and  in  the  chateau  of 
Meudon.  In  the  church  of  Notre-Dame,  at  Paris, 
he  executed  two  fine  pictures,  'The  Purification,' 
and  'The  Flight  into  Egypt.'  The  works  of  this 
painter  show  that  he  had  profited  more  by  his 
residence  at  Rome  than  has  been  usual  with  the 
artists  of  his  nation.  There  is  a  fine  character  in 
his  heads,  his  drawing  is  correct,  and  his  colour 
is  more  vigorous  than  is  generally  found  in  the 
artists  of  the  French  school.  He  died  in  Paris  in 
1733.  He  exhibited  at  the  Salon  from  1699  to 
1704.     "We  have  the  following  etchings  by  him : 

The  Holy  Family,  the  Infant  Jesus  holding  a  Bird  by 

a  String. 
The  Holy  Family,  with  St.  John. 
The  Dead  Christ,  with  the  Marys  and  Disciples. 


The  Martyrdom  of  St.  Peter. 

The  Martyrdom  of  St.  Paul. 

The  Flagellation  of  St.  Andrew ;  after  Paolo  Veronese. 

St.  Bruno. 

The  Roman  Charity. 

BOULONOIS,  BsME  de,  an  engraver,  from  his 
name  was  apparently  a  Frenchman.  He  was  a 
print-seller,  and  lived  about  the  middle  of  the  IGth 
century.  The  prints  we  have  by  him  are  princi- 
pally portraits,  and  are  entirely  worked  with  the 
graver,  in  a  neat  but  stiff  style.  Among  others, 
we  have  the  following  portraits  : 

Olu-istcpher  Plantin. 

George  Buchanan. 

Lady  Jane  Grey. 

Hans  Holbein,  painter. 

Anthony  More,  painter. 

BOUMAN,  PiETER,  a  landscape  painter,  born 
at  Dordrecht  about  1765,  painted  views  in  the 
neighbourhood  of  Haarlem,  waterfalls,  winter 
scenes,  and  similar  subjects,  so  prevalent  with  the 
modem  Dutch  artists.  His  works  were  deservedly 
held  in  estimation. 

BOUNIEU,  Michel  Honob^,  a  French  painter 
of  historical  and  genre  subjects,  and  engraver  in 
mezzotint,  was  born  at  Marseilles  in  1740.  He 
was  a  pupil  of  Pierre,  and  became  a  member  of 
the  Academy  at  Paris  in  1767.  He  was  keeper  of 
the  prints  at  the  Bibliotheque  Nationale  from  1792 
to  1794,  and  for  the  next  twenty  years  professor 
of  drawing  at  the  Bcole  des  Ponts-et-Ghauss6es. 
He  exhibited  many  pictures  at  the  Salon,  and  at 
his  own  studio  those  of  '  Adam  and  Eve  after  their 
expulsion  from  Paradise,'  and  '  Bathsheba,'  the 
former  of  which  he  himself  engraved.  The  Bor- 
deaiix  Museum  has  a  '  Head  of  a  Woman,'  and 
'  Baigneuses '  by  him.  ,  He  died  in  Paris  in  1814, 
leaving  a  daughter,  Emilie  Bounieu,  afterwards 
Madame  Ravead,  who  inherited  her  father's  talent, 
and  exhibited  historical  subjects  and  portraits  from 
1800  to  1819. 

Bounieu  engraved  about  fifteen  subjects  from 
his  own  designs,  among  which  are  the  following : 

Adam  and  Eve  after  their  expulsion  from  Paradise. 

The  Magdalen. 

Love  led  by  Folly. 

The  Punishment  of  a  Vestal. 

The  Birth  of  Henry  IV. ;  an  allegory. 

The  Deluge. 

The  Odalisque. 

BOUQUET,  Emile,  a  French  historical,  genre, 
and  landscape  painter,  was  born  in  1819  at  Lyons, 
and  studied  under  Bonnefond.  He  sometimes 
worked  in  pastel.     He  died  at  Marseilles  in  1876. 

BOURDON,  Pierre,  was  a  French  engraver, 
who  resided  in  Paris  about  the  year  1703.  He 
engraved  a  set  of  plates  from  his  own  designs, 
representing  ornaments  with  figures  for  goldsmiths 
and  jewellers.  They  are  very  neatly  executed,  and 
are  inscribed  Petrus  Bourdon  inv.  et  fecit. 

BOURDON,  Pierre  Michel,  a  French  historical 
and  portrait  painter  and  engraver,  was  born  in  Paris 
in  1778.  He  was  a  pupil  of  Regnault,  and  painted 
for  the  town  of  Pau  a  '  Crucifixion,'  which  has 
been  spoken  of  with  praise.  He  engraved  a  series 
of  plates  entitled  '  Concours  dicennal,'  as  well  as 
some  for  the  'Mus^e  Filhol,'  of  which  he  was 
director.     He  died  in  Paris  in  1841. 

BOURDON,  SiliBASTiEN,  an  eminent  French 
painter  and  engraver,  born  at  Montpellier  on  the 
2nd  of  February,  1616,  was  the  son  of  a  painter 
upon  glass,  from  whom  he  received  his  earliest 
instruction  in  the  rudiments  of  art.     At  the  age  of 

169 


Bourdon 


A  BIOGRAPHICAL  DICTIONAEY  OF 


Bourdon 


seven  he  was  tuken  by  an  uncle  to  Paris,  and  there 
placed  under  the  tuition  of  Jean  Barth^lemy,  with 
whom  he  remained  until  he  was  fourteen  years  of 
age,  when  he  returned  to  the  south,  and  painted  in 
fresco  a  ceiling  in  a  chateau  near  Bordeaux.  He 
then  went  to  Toulouse,  but  met  with  so  little  encour- 
agement that  he  resolved  to  enlist.  His  military 
duties,  however,  proved  so  irksome  to  him  that 
his  commanding  officer,  who  recognized  his  talent, 
gave  him  some  hours'  leave  each  day  until  his 
friends  procured  his  discharge.  Being  then  eighteen 
years  of  age  he  went  to  Rome,  where  he  was  forced 
to  make  copies  of  the  works  of  Claude  Lorrain, 
Andrea  Sacchi,  Bamboccio,  and  other  artists  then 
in  vogue,  in  order  to  gain  a  livelihood  ;  but  after  a 
stay  of  three  years,  being  a  Protestant,  he  thought 
it  expedient  to  quit  Rome  on  account  of  the 
jealousy  of  an  obscure  painter  named  De  Rieux, 
who  threatened  to  denounce  him  as  a  heretic  to  the 
Holy  Inquisition.  On  his  way  home  he  visited 
Venice,  and  soon  after  reaching  Paris  married 
Susanne  Du  Guernier,  the  sister  of  the  miniature- 
painters  of  that  name.  There  a  brilliant  success 
awaited  him,  for  in  1643  he  was  selected  to  paint 
the  "mai"  ofEered  annually  to  the  cathedral  of 
Notre-Dame  by  the  Goldsmiths'  Guild.  The  sub- 
ject chosen  was  the  '  Martyrdom  of  St.  Peter,  and 
the  picture,  now  in  the  Louvre,  at  once  established 
for  him  a  reputation  which  has  been  preserved 
almost  intact  to  the  present  day.  He  was  one  of 
the  twelve  artists  who,  in  1648,  founded  the 
Academy  of  Painting  and  Sculpture,  and  was  one 
of  its  rectors  from  1655  until  his  death.  In  1652 
the  troubles  of  the  Fronde  drove  him  to  Sweden, 
where  he  became  first  painter  to  Queen  Christina, 
whose  portrait,  painted  by  him  and  engraved  by 
Nanteuil  and  Michel  Lasne,  remains  the  historic  por- 
trait of  the  famous  sovereign.  Upon  the  conversion 
of  the  Queen  to  the  Roman  Catholic  faith,  and  her 
consequent  abdication  in  1654,  Bourdon  returned  to 
Paris,  and,  among  other  works,  painted  for  the  church 
of  St.  Benedict  the  '  Descent  from  the  Cross,'  now 
in  the  Louvre,  which  was  much  admired.  Family 
afEairs  calling  him  to  Montpellier,  he  there  painted, 
in  1659,  for  the  cathedral  church  of  St.  Peter,  an 
immense  picture  of  the  '  Fall  of  Simon  Magus,' 
which  was  severely  criticised  by  a  local  painter 
named  Samuel  Boissiere.  An  affray  ensued,  and 
matters  threatened  to  become  serious,  when  Bourdon 
prudently  left  Montpellier.  After  his  return  to 
Paris  he,  in  1663,  painted,  with  the  fable  of  Phoebus 
and  Phaeton,  the  nine  compartments  of  the  ceiling 
of  the  fine  gallery  of  the  H6tel  de  Bretonvilliers  in 
the  He  St.  Louis,  a  mansion  which  has  now  entirely 
disappeared.  This  was  Bourdon's  most  important 
work,  and  it  is  fortunate  for  his  renown  that  the 
decorations  of  the  H6tel  de  Bretonvilliers  have  been 
handed  down  by  the  engravings  of  Friquet  de 
Vaurose,  one  of  his  favourite  pupils.  His  last  work 
was  a  ceiling  in  the  Tuileries,  representing  the 
'  Deification  of  Hercules. '  Bourdon  died  a  Calvinist 
in  Paris  on  the  8th  of  May,  1671.  He  was  endowed 
with  wonderful  fertility  of  imagination  and  facility 
of  execution,  but  the  quality  of  his  work  was  very 
unequal,  and  his  drawing  often  incorrect.  He 
painted  historical  and  genre  subjects,  portraits  and 
landscapes,  the  last  somewhat  resembling  those  of 
Salvator  Rosa.  He  has  enjoyed  a  great  reputation 
as  a  colourist,  notwithstanding  the  somewhat  vulgar 
preponderance  in  his  pictures  of  reds  and  browns. 
The  Louvre  possesses  drawings  by  him  which  are 
perhaps  of  even  greater  value  than  his  paintings. 
170 


They  are  29  in  number,  and  include  the  studies  for 
the  '  Martyrdom  of  St.  Peter '  and  the  '  Descent 
from  the  Cross,'  as  well  as  the  so-called  portrait  of 
himself,  which  he  introduced  into  his  picture  of  the 
'  Fall  of  Simon  Magus.'  The  engravings  of  Bour- 
don, especially  his  '  Acts  of  Mercy,'  are  very  fine, 
and  will  always  bear  witness  to  his  great  talent  in 
etching,  and  his  skill  in  the  use  of  the  graver. 
Robert-Dumesnil,  in  his  '  Peintre-Graveur  Fran- 
gais,'  describes  44  plates,  all  of  which  are  from 
his  own  designs.  The  following  are  the  principal 
subjects : 

The  Acts  of  Mercy ;  seven  plates. 

The  Eetum  of  Jacob. 

Joseph's  Dream. 

The  Angelic  Salutation, 

The  Visitation. 

The  Annunciation  to  the  Shepherds. 

The  Fhght  into  Egypt ;  four  different  plates. 

The  Holy  Family  with  the  Wasberwoman. 

La  Vierge  a  I'&uelle. 

La  Yierge  au  rideau. 

The  Eepose  in  Egypt. 

The  Return  from  Egypt. 

Landscapes ;  twelve  subjects. 

The  following  are  the  most  important  of  Bour- 
don's works  which  are  preserved  in  the  public 
galleries  of  Europe  : 

Amsterdam.  Museum.    The  Marriage  of  St.  Catharine. 
Bayeux.  Mttseum.     Queen  Christina  of  Sweden. 

Cassel.  Gallery.      Soldier    and    Feasants    playing 

Cards. 
„  „  An  Old  Man  awakening  a  Com- 

rade. 
Copenhagen.  Gallery.     Laban  carrying  away  bis  Idols. 
Florence.         XJffizi.         The  Repose  in  Egypt. 
Grenoble.        Museum.     The  Continence  of  Scipio. 
Hague.  Museum.     The  Four  Quarters  of  the  'WorM. 

Lille.  Museum.     The  Saviour  supported  by  Angels. 

Liverpool.    Royal  Inst.  A  Bacchanalian  Scene. 
London.      Nat.  Gall.      The   Return   of    the    Ark  from 

Captivity. 
Madrid.  Museo  del  St.    Paul  and    St.   Barnabas    at 

Pardo.  Lystra. 

Montpellier.   Cathedral.  The  Fall  of  Simon  Magus. 

„  Mivsee  Fabre.  The  Descent  from  the  Cross. 

„  „  The  Discovery  of  the  Body  of 

St.  Theresa. 

„  „  A  Halt  of  Gipsies. 

„  „  A  Landscape ;  very  large. 

„  „  A  Landscape  with  a  River. 

„  „  Portrait  of  a  Spaniard. 

„  „  Portrait  of  a  General. 

Munich.  Gallery.      Tiew  in  the  Environs  of  Rome. 

Naples.  Gallery.     Portrait  of  a  Farnese  Priucess. 

Paris.  Louvre.       The  Martyrdom  of  St.  Peter. 

„  „  The  Descent  from  the  Cross. 

„  ,,  Laban  seeking  his  Idols. 

„  „  The  Sacrifice  of  Noah. 

„  .,  Solomon  sacrificing  to  Idols. 

„  „  Tlie  Virgin  and  Child,  with  St. 

John. 

„  „  The  Adoration  of  the  Shepherds. 

„  ,,  The  Eepose  in  Egypt. 

„  „  The  Presentation  in  the  Temple. 

„  „  Christ  blessing  little  Children. 

„  „  The  Beheading  of  St.  Protais. 

„  „  Julius    Cffisar    at   the    Tomb  of 

Alexander. 

„  „  A  Halt  of  Gipsies ;  two  •pictures. 

„  „  The  Beggars. 

„  „  Portrait  of  Himself. 

„  Portrait  of   Himself;    the  head 

only  by  Bourdon,  the  remainder 
by  Rigaud. 

„  „  Portrait  of  Ren6  Descartes. 

„  „  Portrait,  supposed  to  be  that  of 

Michel  de  Chamillart,  Marquis 
de  Cany. 


Bourgeoi3 


PAINTERS  AND  ENGEAVEES. 


Bouteloujt 


Tetersburg.  Eermitage.  The  Massacre  of  the  Innocents. 
"  »  The  Holy  Family ;  within  a  gar- 

land of  flowers  by  Jean  Bap- 
tiste  Monnoyer. 
»  »  The  Death  of  Dido. 

»  n  A  Landscape. 

Toulouse.       Museum.    The  Martyrdom  of  St.  Andrew. 
Turin.  Gallery.    The  Massacre  of  the  Innocents. 

Versailles.      Palace.       Portrait  of  Himself. 

»  »  Portrait    of    his    Father,    Marin 

Bourdon.  K.  E.  6. 

BOUEGEOIS,  Florent  Fiddle  Constant,  a 
French  landscape  painter,  engraver,  and  litho- 
grapher, was  born  in  Paris  in  1767.  He  studied 
under  David,  but  spent  much  of  his  time  in  Italy. 
Landon  mentions  him  as  an  artist  distinguished 
for  the  richness  of  his  compositions  and  the  purity 
of  his  style,  and  describes  three  of  his  pictures  as 
being  in  the  manner  of  Gaspard  Poussin.  His 
death  did  not  take  place  earlier  than  1836. 

BOUEGEOIS,  SirPETEK  Feancis,  was  descended 
from  a  family  of  some  importance  in  Switzerland. 
His  father  went  to  reside  in  London,  where  Francis 
was  born  in  1756.  His  early  destination  was  for 
the  army,  and  Lord  Heatlifield  offered  to  procure 
him  a  commission ;  but  he  had  received  instruction 
in  the  rudiments  of  art  from  a  painter  of  horses, 
and  though  he  was  a  constant  attendant  at  military 
evolutions  and  reviews,  it  was  rather  for  the 
purpose  of  representing  the  manoeuvres  with  his 
pencil  than  of  acquiring  a  knowledge  of  military 
tactics.  Some  of  his  juvenile  attempts  having 
been  shown  to  Eeynolds  and  Gainsborough,  those 
distinguished  artists  encouraged  him  to  persevere 
in  the  cultivation  of  art.  He  was  accordingly 
placed  under  the  instruction  of  Loutherbourg  f  or 
a  sufficient  time  to  acquire  a  correct  knowledge  of 
the  true  principles  of  painting,  after  which  he 
resolved  to  prosecute  his  studies  in  the  great  school 
of  nature,  and  in  contemplating  the  works  of  the 
most  eminent  masters.  He  had  scarcely  reached 
the  nineteenth  year  of  his  age  when  he  had  acquired 
considerable  reputation  as  a  painter  of  landscapes, 
battles,  and  sea-pieces,  which  were  considered  as 
uncommon  productions  for  so  young  an  artist,  and 
as  certain  indications  of  future  excellence.  In 
1776  Bourgeois  set  out  on  a  tour  through  the 
Netherlands,  France,  and  Italy,  and  studied  with 
indefatigable  assiduity  the  works  of  the  most  cele- 
brated masters  of  the  difEerent  schools.  When  he 
returned  from  the  Continent,  he  continued  the 
exercise  of  his  talents  with  increased  ardour  and 
reputation,  and  his  exhibitions  in  the  Eoyal 
Academy  added  considerably  to  the  number  of  his 
admirers. 

When  the  Prince  Primate,  brother  to  the  unfor- 
tunate Stanislaus  Augustus,  King  of  Poland,  visited 
this  country,  he  was  particularly  pleased  with  the 
works  of  Bourgeois,  and  made  him  the  most 
flattering  ofEers  to  induce  him  to  return  with  him 
to  Poland,  which  were  gratefully  acknowledged, 
though  they  were  politely  declined.  In  1791,  how- 
ever,he  was  appointed  painter  to  the  King  of  Poland, 
who  also  conferred  on  him  the  honour  of  a  Knight 
of  the  Order  of  Merit,  on  which  occasion  he  was 
introduced  at  our  Court,  and  the  King  was  pleased 
to  confirm  the  title.  Sir  Francis  was  elected  an 
Associate  in  1787,  and  a  Eoyal  Academician  in 
1793,  and  in  1794  was  appointed  landscape  painter 
to  George  III. 

Sir  Francis  Bourgeois  was  the  intimate  friend 
of  Desenf  ans,  a  celebrated  picture-dealer,  and  de- 
voted a  great  part  of  his  time  to  assisting  that 


gentleman  with  his  judgment  in  the  formation  of 
an  extensive  collection  of  pictures  (many  of  which 
were  originally  intended  for  the  National  Gallery 
at  Warsaw),  which,  with  a  considerable  propertj', 
were  left  to  him  at  the  death  of  Desenfans  in  1804. 
He  did  not  survive  the  liberality  of  his  friend 
many  years.  The  valuable  assemblage  of  paint- 
ings which  he  inherited,  containing  good  examples 
of  Eembrandt,  Cuyp,  Wonwerman,  Murillo,  Poussin, 
and  other  masters,  he  bequeathed  to  Dulwich  Col- 
lege, together  with  £2000  to  build  a  gallery  to 
receive  them,  and  £10,000  to  provide  for  its  main- 
tenance. Sir  Francis  died  in  consequence  of  a  fall 
from  his  horse  in  1811,  and  was  buried  in  the 
chapel  of  Dulwich  College.  The  number  of  his 
pictures  is  considerable,  and  they  were  greatly 
esteemed  in  his  lifetime.  There  are  eighteen  of 
them  in  the  gallery  of  Dulwich  College,  among 
which  are : 

Landscape  and  Cattle. 

A  Friar  kneeling  before  a  Cross. 

View  on  the  Sea-shore. 

Landscape,  with  Cattle  and  Figures. 

Eeligion  in  the  Desert. 

Tobit  and  the  Angel. 

Portrait  of  Sir  Peter  Francis  Bourgeois. 

BO  UEG  UIQNON,  Lb.  See  CotiRTOis,  Guillaumb, 
and  Jaoqdbs  ;  also  Perkier,  Francois. 

BOUEGUIGNON-GEAVELOT,  Hubert  Fean- 
gois,  who  was  born  in  Paris  in  1699,  and  died  there 
in  1773,  executed  drawings  for  subjects  of  bijou- 
terie as  well  as  designs  for  illustrations  of  Eacine, 
Voltaire,  and  Marmontel. 

BOUENE,  James,  a  water-colour  landscape 
painter,  worked  in  London  in  the  early  part  of  the 
nineteenth  century.  He  exhibited  at  the  Eoyal 
Academy  as  late  as  1809,  but  was  living  some  time 
afterwards.  Four  views  by  him  are  in  the  South 
Kensington  Museum. 

BOUSONNET.     See  Bouzonnet. 

BOUT,  Pibter,  who  was  born  at  Brussels  in 
1658,  painted  chiefly  in  conjunction  with  Boude- 
wyns  (see  notice  of  that  painter),  whose  land- 
scapes he  ornamented  with  figures,  representing 
assemblies,  merrj'-makings,  and  such  like  subjects. 
He  did  a  like  service  for  Van  Artois,  as  for  instance 
in  a  picture  of  '  Winter '  in  the  Brussels  Gallery, 
and  a  Landscape  in  the  La  Gaze  Collection  in  the 
Louvre.  He  occasionally  painted  pictures  entirely 
his  own  composition.  His  death  took  place  at 
Brussels  not  earlier  than  1731.  He  has  etched 
a  few  plates  in  a  slight  painter-like  manner,  as 
follow : 

Four  Winter  Scenes,  with  Skaters,  and  a  variety  of 
figures. 

Two,  a  Landscape,  with  a  Statue  of  Neptune,  and  a 
View  of  the  Sea-straud  in  M'inter,  with  a  Fish- 
market. 

Two,  the  Bride  conducted  to  Church,  and  a  Country 
Market. 

BOUTELOUP,  Guillaumb,  a  French  painter, 
flourished  at  Blois  in  the  middle  of  the  I61I1 
century.  He  was  employed  by  the  Kings  Henry 
II.,  Francis  II.,  and  Charles  IX.,  and  as  early  as 
1658  held  the  office  of  painter  in  ordinary  to  the 
king.  In  1560  he  painted  the  portrait  of  Thony, 
the  favourite  fool  of  Francis  II.,  and  in  1572  his 
name  appears  for  the  last  time  in  the  accounts  of 
the  royal  household. 

BOUTELOUP,  Louis  Alexandre,  a  French  Une- 
engraver  who  also  worked  in  mezzotint,  was  born 
in  Paris  in  1761.  Among  other  works  he  engraved 
the  portraits  of   Caroline  of  Austria,   Queen   of 

171 


Bouterweck 


A  BIOGRAPHICAL  DIGTIONAEY  OF 


Bouttats 


Naples,  after  a  drawing  by  himself,  and  of  Car- 
dinal de  Richelieu,  from  a  terra-ootta  bust  bj'  De- 
seine.     The  date  of  his  death  is  not  recorded. 

BOUTERWECK,  Fbtedrich,  (or  Buteeweok,) 
was  born  at  Tamowitz,  in  Silesia,  about  the  year 
1800.  He  was  trained  in  the  school  of  Kolbe  at 
Berlin,  and  afterwards  pursued  his  studies  under 
Delaroche  in  Paris,  where  he  three  times  carried 
olS  the  gold  medal.  In  1834  he  made  a  tour  in 
Italy,  and  later  in  Spain,  Scotland,  and  the  Bast. 
After  a  while  he  removed  from  Berlin  to  Paris, 
where  he  lived  for  twenty-five  years.  In  the 
course  of  his  life  he  obtained  twenty-three  medals 
and  numerous  orders.  He  died  in  Paris  in  1867. 
The  following  are  among  his  best  works: 

Orestes  pursued  by  the  Furies.     1833. 

Borneo  taking  leave  of  Juliet.     1836. 

Isaac  and  Rebekah.     1840. 

Episode  from  Gamacho's  "Wedding. 

Jacob  and  Eacbel.     1844. 

Baptism  of  the  Ethiopian  Eunuch.     J  848. 

BOUTON,  Charles  Maeie,  who  was  born  in  Paris 
in  1781,  was  a  pupil  of  David.  He  was  jointly  with 
Daguerre  the  inventor  of  the  Diorama.  He  was 
highly  successful  in  representations  of  perspective 
and  atmospheric  eSects,  and  in  the  distribution  of 
light,  and  was  therefore  to  be  looked  upon  rather 
as  a  painter  of  decorations  than  of  pictures  in  the 
ordinary  sense.  Amongst  his  productions  of  the 
latter  class,  there  were  some  specimens  in  the 
Luxembourg,  and  in  some  of  the  royal  palaces. 
In  1810  Bouton  obtained  a  gold  medal ;  and  in 
1819  the  great  gold  medal  for  his  picture  of  '  St. 
Louis  at  the  Tomb  of  his  Mother,'  a  medal  equiva- 
lent to  the  great  prize,  which  Horace  Vernet  only 
carried  off  against  him  by  one  vote.  He  died  in 
Paris  in  1853. 

BOUTS,  Albert,  the  son  of  Dierick  Bouts,  was 
a  Flemish  painter,  who  died  at  an  advanced  age  in 
1549.  He  is  mentioned  by  Molanus  in  his  manu- 
script '  History  of  Louvain  '  as  having  painted  an 
'Assumption  of  the  Virgin'  in  the  choir  of  St. 
Pierre,  at  Louvain.  The  picture  is  not  now  to  be 
found. 

BOUTS,  DiEEiOK,  called  also  Stuerboddt,  is 
considered  by  some  writers  to  be  the  same  as  a 
painter  called  in  various  records  Thierry  de  Haar- 
lem, but  the  identity  is  not  satisfactorily  proved. 
A  family  of  painters  of  the  name  of  Stuerboudt 
appears  to  have  been  settled  in  Louvain  in  the 
early  part  of  the  15th  century.  Hubert  Stuerboudt, 
the  painter  and  his  sons  Hubert,  Gielys,  and 
Prissen,  are  mentioned  in  several  records  of  pay- 
ments made  between  1439  and  1467,  but  it  is  not 
certain  whether  this  Hubert  was  any  relation  to 
Dierick.  Molanus  states  that  Dierick  was  the  son 
of  a  certain  Theodoric  Bouts,  a  landscape  painter 
who  died  in  1400,  but  this  again  is  open  to  doubt. 
What  remains  assured  is  that  we  find  this  painter 
established  in  Louvain  about  the  middle  of  the 
15th  century,  and  employed  on  various  important 
works  for  the  municipality.  In  1468  he  is  men- 
iioned  in  the  town  records  as  portratuerdere  or 
municipal  painter  ex  officio,  his  dues  being  merely 
"90  plachfor  a  coat."  About  the  same  date  he 
finished  two  large  pictures  which  he  had  been 
commissioned  to  paint  for  the  Council  Chamber 
in  the  Hotel  de  Ville  at  Louvain.  These  paintings, 
now  in  the  Brussels  Gallery,  illustrate  what  is 
called  '  The  Golden  Legend,'  which  sets  forth  the 
virtue  of  juslice  as  exemplified  in  the  judgments 
of  the  Emperor  Otho  III.     They  are  striking  and 

172 


powerful  works,  with  life-size  figures,  painted  per- 
haps with  more  attention  to  detail  of  costume 
than  to  grace  of  form,  but  forcible  in  colour  and 
thorough  in  execution.  In  these  latter  qualities 
indeed  they  strongly  resemble  Rogier  van  der 
Weyden,  and  although  it  cannot  be  distinctly 
ascertained  that  Bolits  was  a  pupil  of  Van  der 
Weyden's,  his  style  points  so  clearly  to  the  iniiu- 
ence  of  that  master  that  this  may  well  be  assumed. 
For  his  paintings  in  the  Council  Chamber  Bouts 
received  the  sum  of  230  crowns,  and  was  also 
commissioned  to  paint  a  large  altar-piece  of  the 
'  Last  Judgment,'  finished  by  him  in  1472.  Another 
large  picture  was  undertaken  by  him  about  the 
same  time,  but  he  did  not  live  to  finish  it,  his  heirs 
being  paid  after  his  death  for  what  he  had  done 
on  it  according  to  a  valuation  made  by  Hugo  van 
der  Goes.    Other  works  assigned  to  this  painter  are : 

An  aHar-piece  with  the  Martyrdom  of  St.  Erasmus,  in 

the  church  of  St.  Peter's  at  Louvain.    About  1463. 
A  large  and  fine  altar-piece  of  the  Last  Supper,  in  the 

same  church.     The  wings  to  this  are  in  the  Berlin 

and  Munich  Galleries.     1467. 
Martyrdom   of  St.   Hippolytus,  in  Saint  Sauveur  at 

Bruges. 

A  few  pictures  in  various  foreign  galleries,  and 
one  in  our  English  National  Gallery,  'The  Ex- 
humation of  St.  Hubert,  Bishop  of  Li^ge '  (No.  783), 
are  also  given  to  Bouts,  but  there  must  always 
remain  a  certain  degree  of  uncertainty  about  the 
works  of  a  master  who  has  no  powerful  individu- 
ality to  distinguish  him  from  others  of  his  time- 
and  school.  Many  of  the  works  which  are  now 
thought  to  be  by  him  were  formerly  attributed 
to  Memling.  The  date  of  Dierick  Bouts'  birth  is 
not  known,  but  his  death  took  place  in  1475.  By 
his  will,  which  was  made  on  the  17th  of  April,. 
1475,  he  divided  his  property  between  his  two 
sons,  his  two  daughters,  who  were  nuns  in  the 
convent  of  Dommale,  and  Elizabeth  van  Vossem, 
his  second  wife.  See  '  Journal  des  Beaux-Arts,' 
1867,  pp.  Ill,  112. 

Bibliography :  E.  van  Even,  '  Thierry  Bouts,. 
dit,  Thierry  de  Haarlem,'  1864  ;  Crowe  and  Caval- 
caselle,  '  Early  Flemish  Painters,'  2nd  ed.,  1872 ; 
Molanus,  '  Historise  Lovaniensium,'  a  work  in 
manuscript.  jj.  II.  H. 

BOUTS,  Hubert,  a  painter  of  Louvain,  whose 
name  appears  in  the  municipal  accounts  as  having 
had  various  sums  paid  to  him  between  the  years 
1439  and  1468.  Several  of  his  sons  are  also 
mentioned  as  being  painters.  See  Van  Even's 
'Louvain  monuraentale.' 

_  BOUTS,  Theodoric,  a  landscape  painter,  men- 
tioned in  the  manuscript  of  Molanus,  '  Historise 
Lovaniensium,'  as  having  been  the  father  of  two 
sons,  Dierick  and  Albert  Bouts,  and  as  having  died 
in  1400,  aged  75.  These  dates  do  not,  however, 
agree  with  the  known  facts  of  Dierick's  life. 

BOUTTATS,  PiETER  Balthazar,  a  Flemish 
engraver,  was  born  at  Antwerp  in  1666,  and  be- 
came dean  of  the  Guild  of  St.  Luke.  He  died  in 
1731. 

BOUTTATS,  Feederik,  an  engraver,  was  born  at. 
Antwerp  about  the  year  1620.  He  engraved  seveialt 
plates  after  his  own  designs,  principally  portraits,* 
and  some  after  other  masters.  They  are  worked 
with  the  graver,  in  a  neat  style,  and  are  not  with- 
out merit.  We  have  by  him,  among  others,  the 
following : 

Charles  Emmanuel,  Duke  of  Savoy. 
Charles  Gaspar,  Elector  of  Treves. 


Bouttats 


PAIM'ERS  AND  E'NGRAVERS. 


Bovinet 


Queen  Christina  of  Sweden. 

Oliver  Cromwell. 

Frederick  'Syilliam,  Elector  of  Brandenburg. 

John  George,  Elector  of  Saxony. 

Jan  Baptist  Heil,  portrait  painter ;  se  ipse  pinx. 

Daniel  ran    Heil,  landscape  painter;   J.  B.  van  Heil 

piiix. 
Leo  van  Heil,  architect  and  painter ;  same  painter. 
David  Eijckaert,  painter ;  se  ipse  pinx. 
The  Virgin  and  Infant  Jesus,  with  St.  John   (dated 

1655).  ^ 

Cavaliers  and  Ladies  playing  at  Cards;  F.  BmUats  fecit. 

BOUTTATS,  Gaspab,  the  younger  brother  of 
Frederik  Bouttats,  was  born  at  Antwerp  about  the 
year  1625,  and  died  there  in  1703.  He  engraved 
chiefly  for  the  booksellers,  and  some  few  plates 
after  different  masters.  They  are  principally  etched, 
and  some  finished  with  the  graver.  The  following 
are  by  hira : 

Frontispiece  for  the  Psalms  of  St.  Augustine ;  Gaspar 

Boutats  fee. 
The  Massacre  of  St.  Bartholomew. 
The  Assassination  of  Henry  IV. 
The  Decollation  of  Count  Nadasti,  Count  Oorini,  and 

Marquis  Fraucipani. 
A  Sutler's  Tent ;  after  Ph.  Wmwerman. 

He  also  etched  the  plates  for  a  folio  volume  of 
'  Views  of  Jerusalem,  and  the  surrounding  Country ;' 
after  the  designs  of  Johannes  Peters. 

BOUTTATS,  Gerard,  the  youngest  brother  of 
Frederik  Bouttats,  was  born  at  Antwerp  about  the 
year  1630.  He  settled  at  Vienna,  where  he  was 
appointed  engraver  to  the  University.  His  prints 
are  chiefly  portraits ;  the  following  are  the 
principal; 

Adamus  Munds,  Physician.    1657. 
Antonius  d'Aumont. 
Charles  Joseph,  Archduke  of  Austria. 
Don  Pedro,  King  of  Portugal. 
The  Resurrection. 

-JBOUTTATS,  Philibekt,  a  Flemish  engraver, 
the  son  of  Frederik  Bouttats,  was  born  at  Antwerp 
about  the  year  1650,  and  died  at  the  age  of  72. 
His  prints  consist  chiefly  of  portraits,  and  are 
rather  neatly  engraved.  The  following  portraits 
are  by  him: 

Pope  Innocent  XI. 

The  Dauphin,  Son  of  Louis  XIV. ;  oval. 

Maiy  Antonia  Victoria,  of  Bavaria,  Dauphiness. 

Elizabeth  Charlotte,  Duchess  of  Orleans. 

■William  Henry,  Prince  of  Orange. 

Christian  V.,  Eing  of  Denmark. 

Herman  Werner,  Bishop  of  Paderborn. 

John  Sobieski,  King  of  Poland. 

Thesis,  with  the  Portrait  of  the  Bishop  of  Miinster. 

BOUVIER,  AuGtrsTUS  Jules,  a  painter  of  figure 
subjects  in  water  colour,  first  exhibited  at  the 
British  Institution  in  1848.  In  1853  he  was  made 
a  member  of  the  Institute  (then  the  New  Society) 
of  Painters  in  Water  Colours.  He  died  in  London 
in  1881,  aged  54. 

BOUYS,  Ande6,  a  French  portrait  painter  and 
mezzotint  engraver,  was  born  at  Hyeres  about  the 
year  1656.  He  studied  under  Frangois  de  Troy, 
and  acquired  sufficient  reputation  to  gain  admission 
into  the  Academy  in  1688,  when  he  presented  a 
portrait  of  the  painter  Charles  de  La  Fosse,  now 
at  Versailles,  where  there  are  likewise  two  portraits 
of  himself,  one  of  them  representing  also  his  first 
wife.  He  died  in  Paris  in  1740,  having  engraved 
several  portraits,  among  which  are  the  following : 

Andre  Bonys  and  his  first  "Wife. 
Francois  de  Troy,  painter. 

Claude  Gros,  de  Boze;   And,  Boys  pinx.  ad  vivum. 
1708. 


Fran9ois  Rene,  Marquis  de  Bellay ;  Boi/s  pinx. 

Jean  Baptiste  Masbillon,  Bishop  of  Clermont;  Boys  fee. 

De  Marais,  famous  musician. 

BOUZAS,  Joan  Antonio,  was  born  at  Santiago 
about  the  year  1672.  He  was  a  scholar  of  Luoa 
Giordano,  at  Madrid,  and  proved  a  very  promising 
artist.  He  painted  easel  pictures,  which  bear  a 
resemblance  to  those  of  his  master.  The  troubles 
occasioned  by  the  war  of  the  succession  obliged 
him  to  withdraw  himself  from  Madrid,  and  he 
returned  to  his  native  city.  His  principal  works 
are  in  the  churches  at  Santiago.  In  the  cathedral 
is  a  picture  of  '  St.  Paul  and  St.  Andrew,'  and  in 
the  convent  of  the  Dominicans  are  two  altar-pieces 
by  him.     He  died  in  1730. 

BOUZEY.     See  Woeiriot. 

BOUZONNET,  Antcinb,  (or  Bousonnet,)  called 
A.  Stella,  was  the  nephew  of  Jacques  Stella,  and 
was  born  at  Lyons  in  1634.  He  was  instructed  by 
his  uncle  in  the  rudiments  of  design,  and  is  said 
to  have  been  a  reputable  painter.  For  his  picture 
of  '  The  Pythian  Games '  he  was  in  1666  received 
a  member  of  the  Royal  Academy  at  Paris,  where 
he  died  in  1682.  We  have  a  few  etchings  by  him, 
among  which  is  '  Moses  defending  the  Daughters 
of  Jethro,'  after  Poussin. 

BOUZONNET,  Antoineite,  known  as  A.  Stella, 
was  the  sister  of  Antoine  and  Claudine  Bouzonnet, 
and  was  born  at  Lyons  about  the  year  1637.  Al- 
though she  was  not  equal  to  her  sister  in  the  use 
of  the  graver,  her  prints  possess  considerable 
merit.  Her  drawing  is  generally  correct  and  full 
of  taste.  A  third  sister,  FEANgoisE,  was  also  a 
talented  engraver.  We  have,  among  others,  tlie 
following  prints  by  Antoinette  : 

Romulus  and  Remus  suckled  by  a  Wolf ;  after  Antoine 

Bouzonnet. 
The  Entry  of  the  Emperor  Rigismund  into  Mantua; 

after  Giulio  Somano. 

BOUZONNET,  Claudine,  called  C.  Stella,  was 
the  niece  of  Jacques  Stella,  and  was  born  at  Lyons 
in  1636.  She  learned  the  principles  of  design 
from  her  uncle,  but  applied  herself  to  engraving, 
in  which  she  greatly  distinguished  herself.  Her 
plates  are  cliiefly  after  the  pictures  of  Jacques 
Stella  and  Nicolas  Poussin ;  and  perhaps  no  artist 
has  been  so  successful  in  engravings  after  the 
latter  painter,  she  having  greatly  surpassed  Jean 
Pesne.  Her  design  is  correct,  and  the  characters 
of  the  heads  are  admirably  expressed.  She  died 
in  Paris  in  1697  The  following  are  her  best 
prints : 

A  set  of  seventeen  plates  of  pastoral  subjects,  including 

the  title ;  after  Jacques  Stella. 
Fifty  plates  of  the  Sports  of  Children,  and  rural  sub- 
jects ;  after  the  same. 
The  Marriage  of  St.  Catharine ;  after  the  same. 
Moses  found  in  the  Bulrushes;  in  two  plates;   after 

JV.  Poussin. 
Moses  striking  the  Rock ;  after  the  same  ;  very  fine. 
The  Crucifixion,  called  the  Great  Calvary;  after  the 

same;  very  fine. 
St.  Peter  and  St.  John  curing  the  Lame  Man ;  after  the 

same. 
The  Holy  Family,  with  St.  Elisabeth  and  St.  John; 

after  the  same. 
Another  Holy  Family,  with  children  bringing  flowers ; 

after  the  same. 
BOVINET,  Edme,  a  French  engraver,  who  was 
born  at  Chaumont  in  1767,  was  a  pupil  of  Patas. 
His  works  are  after  the  most  eminent  Italian,  Dutch, 
and  French  painters ;  some  are  in  the  Galerie  du 
Musee  Napoleon.  He  died  at  Creil  about  1832. 
The  best  of  his  engravings  are : 

173 


Bovini 


A  BIOGRAPHICAL  DICTIONARY  OF 


Boydell 


The  Campo  Vaccino  ;  after  Claude  Lorraine. 
The  Schoolmaster  ;  after  Ostade. 
Orpheus  and  Eurydice ;  after  Foussin. 

BOVINI,  Francesco.  In  the  description  of  the 
pictures  at  Ferrai-a,  by  C.  Barotti,  there  are  men- 
tioned two  altar-pieces  by  this  master,  in  the  church 
of  the  Oratorio  della  Penitenza  in  that  city,  one 
representing  'The  Immaculate  Conception,'  the 
other  '  The  Adoration  of  the  Magi.' 

BOWER,  Edward,  is  known  as  the  painter  of  a 
portrait  of  Charles  I., '  The  King  seated  at  his  Trial,' 
in  the  possession  of  Mr.  W.  H.  Pole  Carew,  and 
of  Lord  Fairfax  and  other  celebrated  men.  Some 
of  his  works  were  engraved  by  Hollar. 

BOWLER,  Thomas  William,  a  landscape  painter, 
lived  for  some  years  at  the  Cape  of  Good  Hope, 
and  published  a  series  of  views  of  Cape  Town 
and  its  neighbourhood.  He  afterwards  visited 
Mauritius,  and  brought  home  many  drawings  taken 
in  that  island.     He  died  in  1869. 

BOWLES,  Thomas,  an  English  engraver,  was 
born  in  London  about  the  year  1712.  He  published 
a  set  o£  thirty  views  of  the  public  edifices  in  and 
near  London,  of  which  some  of  the  plates  were 
engraved  by  himself,  the  others  by  Pourdriniere, 
Vivares,  and  others  ;  among  them  are  : 

A  View  of  London  from  the  Thames.    1751. 

Somerset  House,     1753. 

Greenwich  Hospital.     1745. 

The  Eotunda  at  Banelagh.     1751. 

The  Royal  Exchange. 

St.  Mary-le-Bow. 

BOWNESS,  William,  was  born  at  Kendal  in 
1809.  He  was  an  exhibitor  in  the  Suffolk  Street 
»  Gallery  and  at  the  Royal  Academy  from  1841  to 
1855,  sending  portraits  and  occasionally  figure  sub- 
jects.    He  died  in  1867. 

BOWRING,  Benjamin,  an  English  portrait 
painter  in  oil  and  miniature,  exhibited  at  the  Royal 
Academy  from  1773  till  1781. 

BOWYER,  Robert,  born  in  1758,  was  a  cele- 
brated miniature  painter  in  the  reign  of  George 
III.,  and  was  much  patronized  by  the  Court.  He 
published  a  '  History  of  England,'  with  portraits, 
which  bears  his  name.     He  died  at  Byfleet  in  1834. 

BOXALL,  Sir  William,  was  born  on  the  29th 
of  June,  1809,  at  Oxford,  and  received  such  edu- 
cation as  his  father,  a  supervisor  of  excise,  was 
able  to  afford  at  the  Grammar  School  at  Abingdon. 
As  he  early  showed  a  love  and  ability  for  drawing, 
he  was  sent  to  London,  and  in  1819  obtained  ad- 
mission into  the  Art  Schools  of  the  Royal  Academy. 
About  eight  years  later  he  went  to  Itdy  to  study 
the  works  of  the  old  masters,  which  laid  a  sure 
foundation  for  that  judgment  and  discrimination 
on  art  matters  which  were  afterwards  of  such 
eminent  service  to  him.  He  returned  to  London 
in  1829,  and  in  that  year  exhibited  '  Milton's  Recon- 
ciliation with  his  Wife,'  and  a  portrait  of  Thomas 
Stothard  ;  and  thenceforth  till  1866  he  was  a  con- 
stant contributor  to  tlie  annual  exhibitions  of  the 
Royal  Academy,  sending  in  all  no  less  than  eighty- 
three  works.  Though  for  some  years  he  still  con- 
tinued to  paint  historic  and  allegoric  subjects,  as 
for  instance  his  '  Lear  and  Cordelia '  and  '  Hope,' 
yet  he  finally  devoted  himself  to  portraiture,  in 
which,  owing  to  his  good  colouring,  careful  finish, 
and  power  of  delineating  character,  he  greatly  ex- 
celled. Among  the  persons  who  sat  to  him  were 
eminent  members  of  all  classes  of  the  arts  and 
sciences — poets,  painters,  sculptors,  writers  on  art, 
and  others — Allan  Cunningham,  Copley  Fielding, 

174 


Landor,  David  Cox,  Coleridge,  Wordsworth,  Fred- 
erick Huth,  and  the  Prince  Consort,  whom  he 
painted  in  the  robes  of  the  Master  of  the  Trinity 
House.  His  female  portraits  which  met  with  most 
success  were  those  of  Mrs.  Hanbury  Leigh,  Miss 
Harriet  Hosmer  the  American  sculptor,  Mrs.  Card- 
well,  and  that  of  Mrs.  Peto,  which  was  exhibited 
in  1866— the  last  year  in  which  William  Boxall's 
name  appears  as  an  exhibitor  in  the  catalogue  of 
the  P  jyal  Academy.  He  also  made  several  designs 
for  illustrations  to  the  '  Waverley  Novels.' 

Soon  after  the  death  of  Sir  Charles  Eastlake,  in 
December,  1865,  Boxall  was  appointed  director  of 
the  National  Gallery,  and  from  this  date  his  time 
was  so  much  occupied  with  the  duties  of  his  position 
that  he  gave  up  the  practice  of  art.  He  was  com- 
pelled, however,  in  1874,  to  resign  the  directorship, 
the  duties  of  which  he  had  performed  with  judg- 
ment, disc-etion,  and  zeal.  In  recognition  of  these 
services  he  received  the  honour  of  knighthood  on 
the  24th  of  March,  1871.  In  1852  he  had  been 
elected  an  Associate  of  the  Royal  Academy,  and 
twelve  years  later  he  received  the  full  membership, 
which  he  resigned  in  1877.  He  was  also  an 
honorary  member  of  the  Academy  of  San  Fer- 
nando at  Madrid.  He  died  in  London  on  the  6th 
of  December,  1879. 

In  the  Diploma  Gallery  at  Burlington  House 
there  hangs  his  portrait  of  John  Gibson,  the  sculp- 
tor, painted  in  1863,  and  exhibited  in  the  follow- 
ing year  ;  in  the  National  Gallery  he  is  represented 
by  a  single  work,  and  that  neither  typical  nor  a 
masterpiece.  It  is  entitled  'Geraldine,'  and  repre- 
sents a  lady  at  her  toilet ;  it  was  exhibited  at  the 
Royal  Academy  in  1850. 

BOYCE,  Johanna  Makt.    See  Wells. 

BOYCE,  Samdel.  The  name  of  tliis  engraver  is 
affixed  to  a  portrait  of  Edward  Russell,  Earl  of 
Orford.     He  died  in  1775. 

BOYDELL,  John,  who  was  born  at  Dorrington, 
in  Shropshire,  in  1719,  was  the  son  of  a  land- 
surveyor,  who  brought  him  up  to  his  own  pro- 
fession, which  he  followed  until  he  reached  the  age 
of  twenty.  Having  at  that  period  accidentally 
met  with  Badeslade's  views  of  different  country 
seats  in  England,  particularly  one  of  Eawarden 
Caslle,  with  which  he  was  well  acquainted,  he 
determined  to  learn  the  art  of  engraving.  With 
this  resolution  he  came  to  London,  and  bound  him- 
self a  pupil  to  Toms,  the  engraver  of  the  plate  he 
had  so  much  admired.  Under  that  artist  he  applied 
himself  with  great  assiduity  for  six  years.  On 
leaving  his  instructor,  his  first  publication  was  a 
sot  of  six  views  near  London,  whioh,  on  account  of 
there  being  a  bridge  in  each  of  them,  was  called 
'  The  Bridge  Book.'  He  afterwards  engraved 
many  plates  of  views  in  England  and  Wales, 
whioh  he  published  in  one  volume,  at  the  price  of 
five  guineas.  This  publication  may  be  regarded  as 
the  basis  on  which  he  raised  the  structure  of  his 
future  eminence,  and,  as  he  used  himself  to  express 
it,  was  the  first  book  that  ever  made  a  lord  mayor 
of  London.  By  the  profits  of  this  work  he  was 
enabled  to  commence  that  encouragement  to  young 
artists  whioh  he  afterwards  carried  to  so  laudable 
an  extent.  The  art  of  engraving  was  at  that  time 
at  a  very  low  ebb  in  England,  and  the  collectors 
of  prints  were  in  the  habit  of  receiving  them  from 
abroad.  It  may  be  very  justly  attributed  to  the 
persevering  industry  of  Boydell  that  it  was  carried 
to  such  perfection  as  to  occasion  the  works  of 
British  engravers  to  be  sought  after  through  every 


Boydell 


PAINTEES  AND  ENGRAVERS. 


Bradley 


part  of  Europe.  The  distinguished  success  which 
crowned  the  labours  of  this  extraordinary  man  in 
the  promotion  of  engraving  served  only  to  excite 
him  to  further  projects  for  the  advancement  of  the 
arts  ;  and  he  formed  an  extensive  and  liberal  plan 
for  the  encouragement  of  painting  in  his  prodigious 
undertaldng — the  illustration  of  Shakespeare,  with 
engravings  from  pictures  painted  by  the  most 
eminent  English  artists.  It  is  said  to  have  been 
Boydell's  intention  to  have  bequeathed  the  Shake- 
speare Gallery  of  Paintings  to  the  public,  but  the 
disastrous  consequences  of  the  French  Revolution, 
which  operated  very  prejudicially  to  his  extensive 
concerns,  made  it  necessary  for  him  to  apply  to 
Parliament  to  dispose  of  it  by  lottery.  His  applica- 
tion was  acceded  to.  In  1774  he  was  elected 
alderman  of  his  ward,  and  in  1791  served  the 
ofBce  of  lord  mayor  with  great  distinction.  Boydell 
lived  to  the  advanced  age  of  86,  respected  by  all 
who  knew  him.     He  died  in  1804. 

The  extent  of  Boydell's  labours  may  be  esti- 
mated from  the  fact  that  he  issued  4432  plates, 
which  were  published  in  forty-eight  folio  volumes, 
of  which  twenty-six  volumes  were  occupied  with 
the  English  school,  fourteen  with  the  Italian,  six 
with  the  Dutch  and  Flemish,  and  two  with  the 
French  school. 

BOYDELL,  JosiAH,  who  was  born  at  Stanton,  in 
Shropshire,  in  1750,  was  nephew  of  John  Boydell. 
He  painted  a  few  pictures  for  the  edition  of  Shake- 
speare published  by  his  uncle^  which  were  fairly 
well  executed.  He  also  exhibited  portraits  and 
other  works  at  the  Academy  from  1772  to  1779. 
He  was  an  alderman  of  London,  and  Master  of  the 
Stationers'  Company.  He  died  at  Halliford  in 
1817. 

BOYER,  Jean  Baptiste,  Marquis  b'Aguihes, 
a  French  nobleman,  was  born  at  Aix,  in  Pro- 
vence, in  1650,  and  was  procurator-general  of  the 
parliament  of  that  town.  His  love  of  the  arts  led 
him  into  an  intimacy  with  the  principal  artists  of 
his  time,  particularly  with  Piiget,  the  celebrated 
sculptor,  with  whom  he  went  to  Italy,  and  formed 
a  large  collection  of  pictures,  sculpture,  &B.,  of 
which  he  published  the  prints  in  two  volumes  ;  six 
of  the  plates  were  engraved  by  himself.  He  also 
anuised  himself  with  painting,  for  which  he  is 
said  to  have  had  an  excellent  taste.  He  died  at 
Aix  in  1709.  Some  o'f  his  plates  are  executed 
with  the  graver,  the  others  scraped  in  mezzotint. 
Among  others  we  have  by  him  : 

The  Marriage  of  St.  Catharine ;  after  Andrea  del  Sarto  ; 

with  the  graver. 
Two  figures  of  Christ ;  on  one  plate ;  the  same. 
Two  Landscapes ;  after  Brecourt ;  the  same. 
St.  John  the  Baptist ;  after  Manfredi ;  mezzotint. 
Bust  of  a  Man  ;  the  same. 

BOYNE,  John,  born  in  the  County  Down  about 
1750,  is  known  as  a  water-colour  painter  of  some 
repute.  He  was  apprenticed  to  Byrne,  the  1  andsoape 
engraver,  but  it  is  said  led  a  wild  kind  of  life.  He 
died  in  1810.  A  drawing  by  him,  '  A  Meeting  of 
Connoisseurs,'  is  in  the  South  Kensington  Museum. 

BOYS,  ANDEi.     See  Bouys. 

BOYS,  H.  Du.    See  Du  Boys. 

BOYVIN,  Rbn^.     See  Boivin. 

BOZAUS.     See  Wobii}IOt. 

BOZB,  Joseph,  a  French  portrait  and  miniature 
painter,  was  born  at  Les  Martigues  (Bouches-du- 
RhSne)  about  1746.  He  painted  the  portraits  of 
Louis  XVI.  and  Marie  Antoinette,  and,  being 
devoted  to  the  court  and  the  royal  family,  narrowly 


escaped  the  guillotine.  He  was  thrown  into  prison, 
but  the  fall  of  Robespierre  set  him  at  liberty,  and 
he  came  to  England,  where  he  remained  until  the 
restoration.  He  died  in  Paris  in  1826.  His  own 
portrait  is  among  his  drawings  in  the  Louvre. 
BOZZATO,  II.  See  Ponchino. 
BRABANT,  Henri  BELLECHOSE  de.  See 
Bbllechose. 

BRACCIOLI,  Giovanni  Fkancesco,  who  was 
born  at  Ferrara  in  1698,  was  first  a  scholar  of 
Giacomo  Parolini,  but  afterwards  went  to  Bologna, 
and  studied  under  Giuseppe  Crespi.  On  his  return 
to  Ferrara  he  was  employed  in  painting  for  some 
of  the  churches  and  convents.  In  the  oratory  of 
the  Theatines  is  an  altar-piece  by  this  master,  repre- 
senting '  The  Annunciation  ; '  and  in  the  church  of 
St.  Catharine  there  are  two  pictures,  one  'The 
Flagellation,'  and  the  other  ''  Christ  crowned  with 
Thorns.'  According  to  Barotti,  these  are  his  best 
works.     He  died  at  Ferrara  in  1762. 

BRACELLI,  Giovanni  Battista,  an  Italian 
painter  and  engraver,  was  born  at  Genoa  about 
1584.  He  was  a  scholar  of  Giovanni  Battista 
Paggi,  and  painted  historical  pictures  in  the  style 
of  his  master.  He  engraved  the  plates  for  an 
architectural  work  published  at  Rome  by  Giacomo 
Borozzio.  They  are  executed  in  a  neat,  stifE  style. 
He  died  young,  in  1609. 

BRACQUET,  Philippe,  a  French  historical 
painter,  was  born  at  Douai  at  the  commencement 
of  the  16th  century.  He  was  an  artist  of  merit, 
and  worked  at  Valenciennes  in  1558. 

BRADEL,  P.  Jean  Baptiste,  a  French  draughts- 
man and  engraver,  was  born  in  Paris  about  1750. 
He  was  chiefly  employed  in  engraving  portraits, 
which  are  neatly  executed,  and  which  include  the 
following  plates: 

Pope  Benedict  XIV. 

Pope  Clement  XIV. 

Madame  Louise,  of  Francs. 

Louis  Prangois  Gabriel  de  la  Motte,  Bishop  of  Amiens. 

General  Paoli. 

Prosper  Jean  de  Crebillon. 

Jean  Bart,  Admiral. 

The  Chevalier  d'Bon. 

An  allegorical  subject ;  iuscribed  Trinus  et  unus. 

A  Boy  playing  on  the  Tambour  de  Basque. 

BRADLEY,  William,  was  born  at  Manchester 
in  1801.  Left  an  orphan  when  only  three  years  of 
age,  he  commenced  life  as  an  errand  boy,  but  his 
innate  taste  for  drawing  prevailed  over  all  impedi- 
ments, and  at  sixteen  years  of  age  he  began  prac- 
tice as  an  artist,  taking  portraits  at  one  shilling 
each,  and  advertising  himself  as  "  portrait,  minia- 
ture, and  animal  painter,  and  teacher  of  drawing." 
He  had  a  few  lessons  himself  from  Mather  Brown, 
then  in  high  repute  at  Manchester  ;  and  at  the  age 
of  twenty-one  went  to  London,  where  he  was  for- 
tunate enough  to  obtain  an  introduction  to  Sir 
Thomas  Lawrence,  who  gave  him  encouragement. 
After  remaining  some  years  in  the  metropolis,  in 
the  course  of  which  time  he  paid  occasional  visits 
to  Manchester,  he  finally,  in  1847,  settled  down  in 
the  latter  town  ;  where,  as  in  London,  he  enjoyed 
a  large  share  of  patronage.  Amongst  the  portraits 
painted  by  him  are  those  of  Lords  Beresford,  San- 
don,  Denbigh,  Bagot,  and  Ellesmere ;  Sir  E. 
Kerrison,  John  Gladstone,  B.  Heywood,  James 
Emerson  Tennent ;  Coh  Currieton,  C.B.,  Col. 
Anderton,  the  Rt.  Hon.  W.  E.  Gladstone,  Sheridan 
Knowles,  W.  C.  Macready,  &c.  As  an  artist 
Bradley  undoubtedly  possessed  high  talent.  His 
heads  are  remarkable  for  skilful  drawing,  and  he 

175 


Braed 


A  BIOGRAPHICAL  DICTIONARY  OF 


Brandard 


was  not  second  to  any  man  of  the  day  in  produc- 
ing a  striking  and  intellectual  likeness.  During 
his  later  years  his  health  failed,  his  mind  was 
afEected,  and  he  lost  the  money  he  had  made  in  his 
early  career.     He  died  in  1857. 

BRAED,  NiCOLAAS,  was  a  Dutch  engraver,  who 
flourished  from  the  year  1600  till  about  the  year 
1630.  He  engraved  several  plates  from  the  designs 
of  Hendrik  Goltzius  and  Jakob  Matham.  His  name 
is  also  aflSxed  to  a  small  upright  plate,  represent- 
ing '  Christ  before  Pilate,'  after  Tintoretto. 

BRAEKELEER.     See  De  Beaekeleeb. 

BRAKENBUEG,  Richard,  was  born  at  Haarlem 
in  1650.  He  was  first  instructed  in  art  by  Mom- 
mers,  a  landscape  painter,  but  he  afterwards  be- 
came a  scholar  of  Bernard  Sohendel,  whose  style 
was  more  suited  to  his  genius.  He  painted  simi- 
lar subjects  to  those  of  his  master,  representing 
merry-makings  and  drunken  assemblies.  His  pic- 
tures are  ingeniously  composed,  and  well  coloured, 
something  in  the  manner  of  Adriaan  van  Ostade, 
though  greatly  inferior.  They  are  painted  with 
facility,  although  they  have  the  appearance  of 
being  very  highly  finished  ;  and  he  perfectly  uri- 
derstood  the  management  of  chiaroscuro.  His 
greatest  defect  is  his  incorrect  drawing  of  the 
figure,  which  he  appears  not  to  have  studied 
from  nature.  He  died  at  Haarlem  in  1702.  The 
Vienna  Gallery  has  two  '  Peasant  Scenes  '  by  him, 
said  to  have  been  painted  in  1690  ;  the  Berlin 
Museum  one,  and  the  Amsterdam  Gallery  one.  In 
the  Brussels  Gallery  is  a  '  Children's  Feast,'  signed 
and  dated  1698;  and  the  Rotterdam  Museum  has  a 
'  Doctor's  Visit,'  signed  and  dated  1696.  In  Wind- 
sor Castle  are  two  good  '  Artists'  Studios  '  by  him. 
He  also  sometimes  practised  the  art  of  engraving. 

BRAMANTE  da  MILANO.     See  Milano. 

BRAMANTE  DA  URBINO.    SeeLAzzAEi. 

BRAMANTINO.     See  Suaedi. 

BRAMBILLA,  Giovanni  Battista,  was  a  native 
of  Piedmont,  and  flourished  about  the  year  1770. 
He  was  a  scholar  of  Cavaliere  Carlo  Delfino,  and 
acquired  no  mean  reputation  as  a  painter  of  history. 
There  are  some  of  his  works  in  the  churches  at 
Turin,  of  which  the  most  worthy  of  notice  is  a 
picture  of  the  '  Martyrdom  of  St.  Dalmazio,'  in  the 
church  dedicated  to  that  saint. 

BRAMBINI,  Ambkogio,  was  a  native  of  Italy, 
and  flourished  about  the  year  1580.  Among  other 
works  he  engraved  a  large  plate,  entitled  'Bene- 
dizione  del  Pontefice  nella  Piazza  di  San  Pietro. ' 
The  composition  consists  of  a  great  number  of 
figures,  and  it  is  executed  in  a  slight  style,  some- 
what resembling  that  of  A.  Tempesta.  It  is  from 
a  design  of  C.  Duchetti,  and  is  inscribed  Ambrosius 
Bram.  F. 

BRAMER,  Leonard,  was  born  at  Delft  in  1596. 
It  is  not  known  under  whom  he  studied.  In  1614 
he  started  on  a  rambling  tour,  and  went  through 
France  and  Italy,  in  the  latter  of  which  he  passed 
many  years  of  his  life.  At  Rome  he  was  a  member 
of  the  Colony  of  Dutch  Artists,  presided  over  by 
Elzheimer.  His  works  were  highly  esteemed  at 
Florence  and  at  Venice,  where  he  resided  for  some 
time.  On  his  return  to  Delft  he  founded  a  Guild 
of  St.  Luke,  and  adorned  the  meeting-hall  with 
frescoes.  He  also  decorated  the  Doelen,  a  public 
edifice  in  Delft.  The  date  of  his  death  is  not 
recorded  ;  he  was  still  living  in  1667.  He  painted 
historical  subjects  of  a  small  size,  which  he  orna- 
mented with  vases  of  gold  and  silver,  imitated 
with  a  precision  bordering  on  servility.    His  pencil 

176 


is,  however,  light  and  spirited,  and  he  was  a  perfect 
master  of  chiaroscuro.  He  also  excelled  in  paint- 
ing night-pieces  with  towns  on  fire,  and  caverns 
with  the  light  coming  from  above,  in  the  manner  of 
Rembrandt,  and  this  has  led  persons,  unacquainted 
with  the  time  in  which  he  lived,  to  suppose  he  was 
a  scholar  of  that  master.  A  '  Descent  from  the 
Cross  '  by  Bramer,  in  which  the  body  of  Christ  was 
lighted  by  a  sun's  ray,  after  Rembrandt's  manner, 
was  formerly  in  the  Museum  of  Rotterdam,  but  it 
perished  in  the  fire.  He  also  executed  seventy-two 
indian-ink  drawings  of  the  '  Eulenspiegel,'  and 
was  to  some  small  extent  an  engraver,  three  plates 
of  his  being  mentioned,  viz.,  'Christ  with  Nico- 
demus,'  a  '  Musician,'  and  '  Still  Life.'  Among  his 
best  paintings  may  be  noticed  : 
Delft.         Town  Mall.    Archers. 

Dresden.    Oallery.  Christ  mocked  (^signed  and  dated 

1637). 

„  „  Solomon  in  the  Temple. 

„  „  Solomon  and  the  Queen  of  Sheba, 

Madrid.      Gallery.  The  grief  of  Hecuba. 

„  „  Abraham  and  the  three  Angels. 

Yienna.     Belvedere.       Vanity. 

„  „  TransitorinesB. 

BRAND,  Christian  HtJLFGOTT,  who  was  bom 
at  Frankfort-on-the-Oder  in  1695,  and  studied  un- 
der Agricola,  left  that  town  and  settled,  in  1720, 
at  Vienna,  where  he  became  celebrated  for  his 
landscapes.  He  died  at  Vienna  in  1756.  The 
Belvedere  has  by  him  four  pictures,  landscapes 
with  figures  of  cattle. 

BRAND,  Feibdbich  AnoDSx,  the  son  of  Christian 
Hiilfgott  Brand,  was  born  at  Vienna  in  1735.  He 
was  a  member  of  the  Imperial  Academy,  and  died 
at  Vienna  in  1806.  He  painted  several  historical 
subjects  and  landscapes,  which  are  favourably 
spoken  of  by  the  German  authors,  and  engraved 
some  plates,  both  with  the  point  and  with  the 
graver,  in  the  use  of  which  he  was  instructed  by 
Sohmutzer.  Among  others,  we  have  the  following 
by  him : 

The  Breakfast ;  after  Torenvliet. 

A  View  near  Nuisdorf . 

View  of  the  Garden  of  Schoenbrunn. 

Banditti  attacking  a  Carriage. 

The  Entrance  to  the  Town  of  Crems. 

BRAND,  JoHANN  Christian,  a  German  painter 
and  engraver,  was  born  at  Vienna  in  1723,  and  was 
instructed  in  art  by  his  father,  Christian  Hiilfgott 
Brand.  He  acquired  great  celebrity  in  Germany 
as  a  landscape  painter,  and  was  made  professor  of 
the  Imperial  Academy  at  Vienna  in  1770.  He 
died  there  in  1795.  The  Belvedere  at  Vienna  has 
a  '  Battle  of  Hochkirchen '  by  him,  and  six  land- 
scapes ;  and  in  the  Darmstadt  Gallery  there  is  a 
picture  of  'Fishermen  on  a  Sea  Coast.'  He  etched 
several  plates  of  landscapes,  in  a  spirited  style, 
among  them  the  following : 

Eighteen  of  Landscapes,  Heads,  and  Animals.    1786. 

Four  Landscapes,  with  Peasants. 

Six  other  Landscapes,  engraved  in  a  different  manner. 

BRANDARD,  John,  a  brother  of  Robert  Brand- 
ard Avas  born  at  Birmingham  in  1812.  He  was 
for  many  years  well  known  as  an  excellent 
lithographic  artist.  He  designed  many  hundred 
illustrated  title-pages  for  music  in  a  pretty,  though 
weak,  style.     He  died  in  1863. 

BRANDARD,  Robert,  a  landscape  engraver, 
was  born  at  Birmingham  in  1805.  He  went  to 
London  in  1824,  and  entered  the  studio  of  Edward 
Goodall,  with  whom,  however,  he  remained  only 
a  year.     He  engraved  some  of  the  subjects  for 


Brandel 


PAINTERS  AND  ENGRAVERS. 


Brandt 


Brockedon's  '  Passes  of  the  Alps,'  Captain  Batty's 
'Saxony,'  Turner's  'England  and  Wales,'  and 
'  English  Rivers,'  and  numerous  plates  for  the 
■  Art_  Journal,'  after  Turner,  Stanfield,  Callcott, 
Herring,  and  others.  His  most  important  engrav- 
ings on  a  large  scale  were  Turner's  '  Crossing  the 
Brook,'  '  The  Snow-storm,'  and  '  The  Bay  of  Baiae.' 
He  also  published  two  volumes  of  etchings,  chiefly 
landscapes,  after  his  own  designs.  He  occasion- 
ally exhibited  small  oil  pictures  at  the  British 
Institution,  which  were  distinguished  by  a  good 
feeling  for  nature  and  a  healthy  tone  of  colour. 
He  died  in  1862.  '  Rocks  at  Hastings,'  in  water- 
colour,  by  him,  is  in  the  South  Kensington  Museum. 

BRANDEL,  Pete  Jan,  a  Bohemian  painter,  was 
born  at  Prague  in  1668.  He  was  a  scholar  of  Jan 
Schroter,  and  in  four  years  surpassed  his  master. 
He  gave  proof  of  his  ability  in  many  pictures 
painted  for  the  churches  and  other  public  edifices 
at  Prague  and  Breslau.  This  painter  is  said  to 
have  possessed  great  readiness  of  invention,  and 
had  acquired -an  uncommon  facility.  He  died  in 
the  greatest  poverty  at  Kuttenberg  in  1735.  In 
the  Belvedere  at  Vienna  is  a  picture  of  '  The 
Woman  taken  in  Adultery,'  by  him. 

BRANDENBERGr,  Johann,  was  born  at  Zug,  in 
Switzerland,  in  1660.  He  was  the  son  of  Thomas 
Brandenberg,  a  painter  little  known,  by  whom  he 
was  instructed  in  the  art.  On  the  death  of  his 
father  he  was  taken  under  the  protection  of  the 
Count  of  Ferrara,  who  took  him  to  Mantua,  where 
he  was  so  struck  with  the  fine  works  of  Giulio 
Romano  that  he  applied  himself  with  great  dili- 
gence to  studying  and  copying  them.  On  his 
return  to  his  native  country  he  gave  convincing 
proof  of  the  advantage  his  travels  and  study  had 
been  to  him  in  several  pictures  he  painted  for  the 
churches  and  convents  of  the  difierent  towns  in 
Switzerland.  He  painted  some  pastoral  subjects 
in  fresco  on  the  ceiling  of  the  concert-room  at 
Zurich.  His  historical  pictures  are  well  composed, 
correctly  drawn,  and  vigorously  coloured.  He 
also  painted  some  battle-pieces,  which  were  much 
admired.     He  died  in  1729. 

BRANDES,  Gbgeq  Hbineich,  was  born  at  Bort- 
feld,  in  Brunswick,  in  1803,  and  learned  the  rudi- 
ments of  painting  under  the  guidance  of  E. 
Barthels  at  Brunswick.  From  1823  to  1825  he 
attended  tlie  Academy  of  Munich,  where  he  first 
devoted  himseK  to  historic  painting  under  the  tuition 
of  Cornelius,  but  afterwards  turned  his  attention  to 
landscapes.  On  quitting  the  Academy  he  pro- 
ceeded to  the  Tyrol.  His  pictures  from  the 
Bavarian  mountains  won  him  a  reputation  by  their 
grandeur  of  disposition  and  efEective  colouring. 
In  1830-31  he  visited  Italy,  and  passed  much  of 
the  time  in  Rome.  On  his  return  he  settled  down 
in  Brunswick,  and  became  a  teacher  of  painting 
and  design  as  well  as  gallery  inspector  at  the 
Ducal  Museum.  In  1845,  together  with  Neumann, 
he  restored  the  old  mural  paintings  in  Brunswick 
Cathedral.  He  died  at  that  city  in  1868.  The 
following  are  among  his  most  important  works : 

View  near  Eome. 
Subiaco. 
The  Inundation. 

Xandscape  in  the  Harz  Mountains  during  a  Thunder- 
storm. 
View  near  Salzburg  {in  the  New  FinakotheTc  at  Munich). 

BRANDI,  DoMENico,  a  painter  of  birds,  animals, 
and  landscapes,  was  born  at  Naples  in  1683,  and 
died   in   1735  or   1736.     He  was  painter  to  the  | 

N 


Viceroy  of  Naples.  In  the  Madrid  Gallery  is  a 
landscape  with  herdsmen  and  cattle  by  him  ;  the 
Bordeaux  Museum  also  has  a  landscape  attributed 
to  him. 

BRANDI,  GIACINTO,  was  born  at  Poll,  near 
Rome,  in  1623.  He  was  first  a  scholar  of  Giovanni 
Giacomo  Sementi,  of  Bologna ;  but  he  afterwards 
studied  under  Lanfranco.  In  the  early  partof  his 
life  he  painted  some  admirable  pictures  in  the 
style  of  that  master,  but  from  his  love  of  pleasure 
and  expense  he  was  frequently  obliged  to  finish 
his  works  in  a  negligent  way  for  the  sake  of 
despatch.  In  his  best  pictures  we  find  a  grand 
style  of  composition,  a  firm  and  free  handling,  a 
fine  character  in  his  heads,  and  even  a  vigorous 
colour.  This  is  not,  however,  the  case  with  the 
majority  of  his  pictures,  which  are  frequently 
feeble  in  efEect  and  incorrect  in  design,  fie  was 
head  of  the  Academy  of  St.  Luke,  and  was  made 
a  knight  of  the  order  of  Christ.  His  principal 
works  at  Rome  are,  'The  Assumption  of  the 
Virgin,  with  St.  John  the  Baptist,  St.  Silvester,  and 
other  Saints,'  painted  in  the  vault  of  San  Silvestro  ; 
at  the  principal  altar  of  the  church  of  Gesu  e 
Maria  al  Corso,  '  The  Crowning  of  the  Virgin ; ' 
the  vault  of  the  church  of  San  Carlo  al  Corso, 
representing  '  The  Fall  of  Lucifer ; '  in  the  church 
of  San  Rocco,  '  St.  Roch  giving  the  Sacrament  to 
the  Plague-stricken.'  He  died  at  Rome  in  1691. 
The  Dresden  Gallery  possesses  by  him  a  '  Daedalus 
and  Icarus,'  and  '  Moses  with  the  Tables  of  the 
Law,'  and  in  the  Belvedere,  Vienna,  is  a  picture  of 
'  Paul  and  Anthony,  the  first  Hermits,'  by  him. 

BRANDMULLER,  Geoeg,  an  eminent  Swiss 
painter,  was  born  at  Basle  in  1661.  He  was  the 
son  of  a  member  of  the  council,  and  his  father 
possessing  a  collection  of  drawings  and  prints, 
Brandmijller  evinced  an  early  inclination  for  the 
art  by  copying  some  of  them,  and  he  was  placed 
under  the  tuition  of  an  obscure  painter  named 
Gaspar  Meyer.  When  he  was  seventeen  years  of 
age  he  was  sent  to  Paris,  and  had  the  advantage 
of  studying  under  Le  Brun,  who  found  sufiScient 
ability  in  his  pupil  to  employ  him  to  paint  from 
his  designs,  in  the  works  he  was  then  engaged  in 
at  Versailles,  and  this  he  accomplished  to  the  entire 
satisfaction  of  his  master.  On  his  return  to  Swit- 
zerland he  was  invited  to  the  Court  of  Wiirtemburg, 
where  he  met  with  great  encouragement.  His 
genius  was  equal  to  the  composition  of  grand 
historical  subjects,  which  he  treated  with  nobleness, 
and  painted  with  great  spirit  and  fire.  One  of 
his  most  esteemed  works  is  a  '  Descent  from  the 
Cross,'  in  the  church  of  the  Capuchins  at  Dornach. 
He  also  excelled  in  portrait  painting,  which  he 
rendered  more  than  usually  interesting  by  the 
introduction  of  analogous  and  historical  attributes. 
This  artist  is  regarded  in  Germany  as  one  of  the 
ablest  painters  of  his  time,  and  probably  would 
have  left  behind  him  a  still  more  brilliant  reputa- 
tion if  his  talents  had  been  permitted  a  longer 
career,  but  he  died  when  still  young  in  1690. 

BRANDT,  — ,  a  native  of  the  Hague,  who  fiour- 
ished  about  1683,  was  a  pupil  of  G.  Netscher,  and 
showed  great  talent  in  the  manner  of  his  master, 
but  died  at  his  birthplace  in  the  flower  of  his  age. 

BRANDT,  Albeettjs  Jonas,  born  at  Amsterdam 
in  1788,  was  a  scholar  of  J.  B.  Morel,  after  whose 
Heath,  in  1808,  he  passed  two  years  with  G.  van  Os. 
He  painted  dead  game,  fruit,  and  flowers.  His 
works  are  deservedly  esteemed.  He  died  at 
Amsterdam  in  1821. 

177 


Brandt 


A  BIOGRAPHICAL  DICTIONARY  OF 


BrSbiette 


BRANDT,  R.,  a  German  engraver,  flourished 
about  tlie  year  1660.  His  name  is  affixed  to  a 
middling-sized  upright  plate,  from  his  own  design, 
representing  '  The  Virgin  and  Infant  Christ,  with 
St.  Joseph  and  an  Angel.'  It  is  etched  in  a  style 
resembling  that  of  Benedetto  Castiglione,  but  the 
drawing  is  incorrect. 

BRANSTON,  Allen  Robert,  the  soii  of  a 
copper-plate  engraver,  was  born  at  Lynn  in  1778. 
When  he  was  of  age  he  went  to  London,  and  took 
lessons  in  wood-engraving,  in  which  he  quickly 
rivalled  the  best  artists  of  the  day.  He  illustrated 
Bloomfield's  '  Wild  Flowers,' published  in  1806,  a 
'History  of  England,'  published  by  Scholey,  and 
other  works-.  His  best  engraving  is  '  The  Cave  of 
Despair  '  in  Savage's  '  Hints  on  Decorative  Print- 
ing.'   He  died  in  London  in  1827. 

BRANWHITE,  Charles,  who  was  born  in  1818, 
was  a  native  of  Bristol,  and  a  pupil  of  his  father, 
a  miniature  painter.  He  formed  a  friendship  with 
William  Muller,  with  whom  he  studied,  and  by 
whose  style  he  was  much  influenced.  He  fre- 
quently exhibited  at  the  Society  of  Painters  in 
Water-Colours,  of  which  —  at  his  death,  which 
occurred  in  1880 — he  had  been  a  member  for  some 
years.     His  works  are  chiefly  landscapes. 

The  Environs  of  an  Ancient  Garden,  "i  Received  prizes 
1852.  >from    Glasgow 

A  Frozen  Ferry.     1853.  J  Art  Union. 

Ferry  on  the  Thames  {London  Univ.  Exh.     1862). 

BRASCASSAT,  Jacques  Raymond,  was  bom  at 
Bordeaux  in  1805.  He  studied  under  Richard  and 
Hersent.  The  Duchess  de  Berry  presented  him 
witli  jElOOO,  to  enable  him  to  pass  five  years  in 
Italy.  In  1830  he  turned  his  attention  to  animal 
painting,  following  the  style  of  Paul  Potter.  He 
gained  in  1828  a  second  class  medal,  and  a  first 
class  in  1831 ;  he  was  also  made  a  Chevalier  of  the 
Legion  d'Honneur  in  1837,  and  became  a  member 
of  the  Institute  in  1846.  He  died  in  Paris  in 
1867.  The  Louvre  possesses  a  'Bull'  by  him, 
signed  and  dated  1842,  and  a  '  Landscape  with 
Animals  '  of  the  year  1845 ;  and  three  Landscapes 
are  in  the  Bordeaux  Museum. . 

BRASCH,  M.,  was  a  genre  painter  who  lived  in 
the  first  half  of  the  18th  century.  He  was  at  one 
time  a  pupil  of  Peter  Horemans  in  Munich,  but 
lived  subsequently  at  Augsburg.  He  painted 
hunting  scenes  and  conversation  pictures ;  the 
latter  in  the  manner  of  Horemans. 

BRASSAUW,  Melohior,  a  native  of  Antwerp, 
flourished  in  the  eighteenth  century.  A  picture  of 
'  The  Prodigal  Son,'  in  the  Amsterdam  Gallery, 
bears  his  signature. 

BRAUN,  Adam  Johann,  was  born  at  Vienna  in 
1750,  and  was  from  1789  a  member  of  the  Academy 
of  Arts  of  his  native  city.  He  painted  genre  pic- 
tures in  the  style  of  Gerard  Dou  and  Mieris ;  as 
well  as  portraits,  among  others  that  of  a  '  Lady  at 
the  Work-table,'  (signed  and  dated  1785,)  which  is 
in  the  Belvedere  at  Vienna.  He  was  also  a  clever 
restorer  of  paintings.    He  died  at  Vienna  in  1827. 

BRAUN,  Anna  Makia.    See  Perundt. 

BRAUN,  AuQUSTiN,  (or  Bbus,)  was  a  painter 
and  engraver  who  was  born  at  Cologne  about  1570, 
and  died  later  than  1627.  Of  his  works  there  are 
mentioned : 

PAINTINGS. 

Cologne.  Wallraf  Mm.       The  Martyrdom  of  St.  Febro- 
nia. 
I)         Oh.  of  S.  George.  Seven     Pictures     from     the 
Passion, 
178 


Cologne.  St.    Mary  in\ 
~    itol.        j 


Dresden. 


Capitol. 
Gallery. 


Seven  Pictures  from  the  Life 

of  St.  Martin. 
Scenes  from  the  Life  of  the 

Virgin — and  of  Christ 


ENGRAVINGS. 


37  Scenes  from  the  Life  of  the  Virgin  Mary;   after 

Albrecht  Surer  and  others. 
St.  Peter  in  a  Ship  with  the  Keys.     1596. 
A  Memorial  in  form  of  an  Altar.    1595. 

BRAUN,  BARTHitLEMY,  a  French  historical  paint- 
er, was  a  native  of  Lorraine.  He  was  working  at 
Nancy  in  1583,  and  became  painter  in  ordinary  to 
the  Duke  of  Lorraine. 

BRAUN,  Caspee,  who  was  born  in  1807  at 
AschafEenburg,  first  studied  painting  in  the  Munich 
Academy,  and  then  turned  his  attention  to  wood- 
engraving,  in  which  he  received  instruction  from 
Brevi^res  in  Paris  and  Dessauer  in  Munich:  and 
in  this  branch  of  art  he  was  very  successful.  He 
died  in  1877. 

BRAUN GART,  J.,  a  painter  of  landscapes  and 
architecture,  was  born  at  Rottenacker,  in  Upper 
Swabia,  in  1803,  and  died  in  1849  at  EssHngen. 
He  has  left  some  elegant  productions,  including 
views  of  the  Frauenkirche  at  Esslingen  and  land- 
scapes in  the  Tyrol. 

BRAUWER.     See  Bbouwbb. 

BRAUWERE,  De,  See  DE  Bbauweeb,  also 
Brodweb. 

BRAY.     See  De  Brat. 

BREA,  LoDOVico,  a  native  of  Nice,  flourished 
about  1500.  There  are  some  of  his  works  still  to 
be  seen  in  the  churches  in  Genoa  and  the  neigh- 
bourhood, which  have  remained  nearly  as  fresh  as 
when  they  were  first  painted.  In  Sant'  Agostino 
is  one  of  his  best  works,  representing  '  The  Murder 
of  the  Innocents,'  and  a  '  Coronation  of  the  Vir- 
gin '  (1513)  is  in  Santa  Maria  di  Castello.  His 
pictures  are  generally  signed  with  his  name,  and 
are  dated  from  1483  to  1518.  According  to  Soprani, 
his  works  are  well  composed  for  the  time,  and  his 
figures  tolerably  drawn  and  gracefully  turned.  His 
talent  was  chiefly  confined  to  small  pictures.  He 
was  influenced  by  the  style  of  Perugino. 

BRilBES,  J.  B.,  was  a  French  engraver,  who 
executed  in  a  neat  style  some  plates  after  the 
designs  of  Ant.  Desgodetz  for  the  work  entitled 
'  Les  Edifices  de  Rome,'  which  was  published  in 
1682.  He  also  engraved  some  plates  after  Sebas- 
tien  Bourdon,  and  other  painters,  but  they  are  very 
indifEerent. 

BREBIETTE,  Pierre,  a  French  painter  a,nd 
engraver,  was  born  at  Mantes  in  1596.  He  studied 
under  Lallemand,  in  his  youth  travelled  in  Italy, 
became  painter  to  the  king  in  1637,  and  died  in 
Paris  between  the  years  1638  and  1650.  He  is  said 
to  have  been  a  painter  of  some  celebrity,  but  his 
works  in  painting  are  now  unknown.  Among 
other  works  he  engraved  several  plates  from  his 
own  designs,  which  are  composed  in  a  very  agree- 
able style,  and  etched  in  a  spirited  and  masterly 
manner.  He  marked  his  prints  with  the  letters 
PB  enclosed  within  a  heart  thus  4^  The  fol- 
lowing are  his  principal  works  : 

SUBJECTS   FROM   HIS   OWN  DESIGNS. 
Pierre  Br^biette,  Calcographus,  in  a  Border,  with  two 

Angels. 
Francois  Quesnel,  Pictor,  with  two  figures  of  Painting 

and  Fame. 
A  set  of  various  subjects ;  inscribed  Opera  diversa  a 

Peter  Brehiette  inventa.     1638. 


BrSce 


llAINTBRS  AND  ENGRAVERS. 


Breen 


The  Nativity. 

The  Adpration  of  the  Map ;  an  unfinished  plate. 

The  Virgin  Mary  kneeling  before  the  Infant  Saviour, 

with  two  Angels. 
The  Virgin,  with  the  Infant  Jesus  sleeping. 
The  Virgin,  with  the  Infant  crowned. 
Several  Saints  kneeling  before  the  Virgin. 
The  Conversion  of  St.  Paul. 
The  Martyrdom  of  St.  Catharine. 
The  Martyrdom  of  St.  Sebastian. 
The  Combat  of  the  Lapithse  ;  a  frieze. 
The  Death  of  the  Children  of  Niobe ;  a  frieze.    1625. 
Thetis  at  her  Toilet ;  a  frieze. 
Sacrifice  to  Ceres  ;  a  frieze. 
Orpheus  surrounded  by  Animals. 
Four  oval  plates  of  the  Seasons. 
Ten  friezes,  of  Bacchanahan  subjects. 
Twelve  friezes,  of  ditto ;  aft^  vaHaus  masters. 
Four  friezes,  of  Marine  Gods. 

SUBJECTS   AFTER   VARIOUS   MASTERS. 
The  Holy  Family,  with  St.  John ;  after  Raphael. 
The  Holy  FamUy,  with  St.  John ;   after  Andrea   del 

Sarto. 
The  Martyrdom  of  St.  George ;  after  Paolo  Veronese. 
Paradise;  after  Palma ;  a  grand  composition,  in  two 

sheets;  fine. 

BR^CE,  Jean  Marie  de,  a  French  liistorioal  and 
portrait  painter,  was  bom  at  Brece  about  1502. 
This  very  skilful  artist,  who  was  likewise  an  en- 
graver, flourished  in  Paris  in  1530,  and  was  em- 
ployed at  the  Carmelite  convent  o£  Br^ce  in  1534. 

BRBCKELENKAMP  (Brecklinkam,  &o.).  See 
Bbekelenkam. 

BREDA,  Carl  Pbedrik  von,  painter  to  the 
Swedish  Court,  was  born  at  Stockholm  in  1759. 
He  was  a  pupil  of  Reynolds,  and  distinguished 
himself  especially  in  portrait  painting,  on  account 
of  which  he  obtained  the  sobriquet  of  '  the  Van 
Dyck  of  Sweden.'  He  obtained  much  praise  for 
his  '  Four  Presidents  at  the  Reichstag  of  1810,' 
and  the  portrait  of  Lagerbring,  at  the  Ritterhaus 
in  Stockholm.  His  '  Belisarius '  is  another  of  his 
best  paintings.  He  died  in  1818.  His  son  Johan 
Fredrik  Breda,  born  in  London  in  1788,  died  at 
Stockholm  in  1835,  was  also  a  painter. 

BREDAEL.  The  following  table  shows  the 
relationships  of  the  various  members  of  this  family 
of  artists.  According  to  Kramm,  the  form  Breda 
is  an  error,  but  a  picture  in  the  Amsterdam  Gallery, 
ascribed  to  Jan  Frans  van  Bredael,  is  signed  I 

BREDA  F ; 

Willem  van  Bredael. 

Pieter,  1622— 1?19. 


Jan  Pieter,  1654?— 1?33.    Alexander,  <2. 1720.  George. 

Jan  Frans,  1683—1750. 
Frans. 

BREDAEL,  Alexander  van,  (not  Breda,)  was 
a  native  of  Antwerp,  who  painted  Italian  views, 
fairs,  and  markets  with  figures  and  cattle,  which 
were  held  in  some  estimation  at  his  time.  He  died 
in  1720.  A  '  Fete  in  Antwerp '  signed  Alexander 
van  Bredael.  f.  is  in  the  Lille  Gallery. 

BREDAEL,  Jan  Frans  van,  (not  Beeda,)  the  son 
of  Alexander  van  Bredael,  was  born  at  Antwerp  in 
1683,  and  was  instructed  in  art  by  liis  father.  He 
attached  himself  to  study  and  copy  the  works  of 
Philips  Wouwerm an  and  Jan  Brueghel,  and  was  the 
most  successful  of  the  imitators  of  the  former.  He 
visited  England  with  Rysbrack  the  sculptor.  His 
pictures  became  in  vogue,  and  after  a  residence  of 
a  few  years  he  returned  to  Flanders  amply  re- 
munerated for  his  labours.  In  1726  he  was  made 
N  2 


director  of  the  Academy  of  St.  Luke  at  Antwerp. 
V^hen  Louis  XV.  made  his  entry  into  Antwerp  in 
1746,  he  was  pleased  with  the  works  of  this  artist, 
and  ordered  four  of  them  to  be  purchased  for  him ; 
and  the  example  was  followed  by  many  of  the 
attendant  courtiers,  who  liberally  paid  for  all  the 
pictures  he  could' finish.  The  works  of  Bredael 
have  little  claim  to  originality,  being  entirely  com- 
posed and  painted  in  undisguised  imitation  of 
Wouwerman ;  but  he  never  came  near  his  model, 
either  in  the  purity  of  his  colour  or  the  exquisite 
touch  of  his  pencil.  His  skies  and  distances  are 
as  blue  as  the  admirers  of  gaudiness  can  wish  them. 
The  Dresden  Gallery  has  two  works  by  him — a 
'  Horseman  having  his  Steed  shod,'  and  a  '  Hawking 
Party  ; '  a  '  Military  Camp  '  by  him  is  in  the  Louvre, 
and  a  '  View  of  a  Village '  is  in  the  Amsterdam 
Gallery.     He  died  at  Antwerp  in  1750. 

BREDAEL,  Pibter  van,  was  born  at  Antwerp 
in  1622,  and  entered  the  Guild  in  1650.  It  is  not 
said  under  whom  he  learned  the  art,  but  he  imi- 
tated the  works  of  Jan  Brueghel,  in  whose  style 
he  painted  small  landscapes,  with  figures  neatly 
touched  and  well  coloured.  He  passed  some  time 
in  Spain,  where  his  pictures  were  much  admired. 
From  the  objects  he  introduced  into  his  landscapes, 
it  is  very  probable  he  had  been  in  Italy,  as  they 
represent  the  ruins  of  architecture  in  the  environs 
of  Rome.  He  died  at  Antwerp  in  1719.  The  four 
works  attributed  to  him  in  the  Vienna  Gallery 
are  stated  to  be  by  another  painter.  Two  Italian 
landscapes  with  figures  by  him  are  in  the  Academy 
at  Bruges,  and  one  is  in  the  Hague  Gallery. 

BRljlE,  Mattheus  Ignatius  van,  born  at  Ant- 
werp in  1773,  was  instructed  by  Regemorter ;  he 
afterwards  went  to  Paris,  and  after  having  obtained 
by  a  '  Cato  in  Utica '  the  second  prize  for  Rome, 
he  went  to  that  city  in  1797— returning  to  his  na- 
tive country  in  1804.  He  painted  numerous  his- 
torical pictures,  some  of  which  are  of  large  dimen- 
sions, and  obtained  a  high  reputation  in  Flanders. 
His  conceptions  are  frequently  poetical,  and  his 
compositions  graceful,  delineated  with  a  light, 
free,  and  spirited  pencil ;  but  his  colouring  is 
rather  too  florid  in  some  instances.  He  was  first 
professor  at  the  Academy  of  Fine  Arts  at  Antwerp, 
and  member  of  several  other  scientific  institutions. 
Among  his  most  important  works  are  '  The  Patriot- 
ism of  the  Burgomaster  Van  der  Werft,'  in  the 
Town-Hall  at  Leyden,  and  '  The  Death  of  Rubens,' 
in  the  Museum  at  Antwerp.  He  brought  forward 
some  of  the  most  eminent  of  the  later  Flemish 
painters,  among  whom  are  Wappers,  De  Keyser, 
F.  de  Braekeleer,  and  others  of  whom  their  country 
is  justly  proud.  Van  Br^e  died  at  Antwerp  in 
1839. 

BRl^E,  Philippus  Jacobus  van,  scholar  of  his 
brother  Mattheas,  was  born  at  Antwerp  in  1786. 
He  studied  at  Antwerp,  in  Paris  (where  he  became- 
a  scholar  of  Girodet),  and  at  Rome ;  and  also 
visited  Germany  and  England.  He  employed 
himself  on  historical,  fancy,  and  architectural  sub- 
jects. Of  the  last,  the  Belgian  Government  pur- 
chased his  '  View  of  the  Interior  of  the  Church  of 
St.  Peter  at  Rome,'  and  presented  him  with  a  gold 
medal  in  addition  to  the  price.  He  was  made 
conservator  of  the  Museum  at  Brussels,  where  he 
died  in  1871. 

BREEMBBRG.     See  Breenbeeqh. 

BREEN,  GiSBERT,  or  Claes,  van,  a  Dutch  en- 
graver, flourished  about  the  year  1600.     His  plates 

179 


Breenbergh. 


A  BIOGRAPHICAL  DICTIONARY  OF 


Brendel 


are  executed  entirely  with  the  graver,  in  a  neat 
manner,  resembling  the  style  of  Jacob  de  Gheyn, 
but  inferior  in  every  respect,  though  not  without 
considerable  merit.  We  have  the  following  plates 
by  him : 

The  Portrait  of  James  I.,  -with  the  Queen  and  Prince  of 

Wales. 
Six,  of  subjects  from  the  lives  of  young  Libertines ;  C. 

V.  Breenf. 
A  "Woman  carrying  a  Basket  of  Eggs  to  Market,  with  a 

Man  with  a  Basket  of  Fowls ;  a/ier  Clans  Cock. 
A  Man  and  Woman  walking,  followed  by  a  figure  of 

Envy  ;  after  the  same. 
An  Ass  that  is  washed  recompenses  the  trouble   by 

kicking  and    biting;     C.  van  Mander   pinx.    G.   v. 

Breen  sc. 
Two  young  married  Persons  dissipating  their  Dower ; 

the  same. 
The  Companion,  representing  them  reduced  to  Misery; 

the  same. 
A  Concert ;  after  Sbrassen. 

BREENBEEGH,  Bartholomects,  (or  Bbeem- 
BEKG,)  an  eminent  Dutch  painter,  who  was  known 
in  France  and  Italy  by  the  name  of  Baetolomi^, 
was  born  at  Utrecht  about  1620.  The  name  of  his 
instructor  has  not  been  recorded,  but  he  studied 
the  works  of  Poelenburg  with  great  assiduity,  and 
he  was  ranked  among  the  most  promising  artists 
of  his  country  before  his  departure  for  Italy,  where 
he  lived  the  greatest  part  of  his  life.  The  environs 
of  Rome  are  so  many  living  pictures  for  the  con- 
temptation  of  the  artist ;  and  the  beautiful  sites  of 
Albano,  Frascati,  and  Tivoli  are  naturally  the 
haunts  of  the  intelligent  landscape  painter.  This 
delightful  scenery  furnished  the  subjects  of  his  pic- 
tures, which  he  decorated  with  figures,  generally 
representing  some  subject  of  Bible  history.  There  is 
an  elevated  style  in  the  arrangement  of  his  works, 
and  he  seems  to  have  inhaled  the  taste  of  Italy 
with  the  atmosphere  he  breathed.  In  some  of  his 
works  he  imitated  Titian  and  the  Carracci.  His 
pictures  have  nothing  of  the  characteristic  vulgarity 
of  his  country.  His  best  works  are  small ;  when 
he  attempted  a  larger  scale  he  was  less  successful. 
There  is  great  suavity  in  his  colouring,  and  his 
pencil  is  exquisite  and  delicate.  He  was  still 
living  in  1663.  Of  his  works,  which  are  seen  in 
many  European  galleries,  we  may  notice  three  Land- 
scapes with  Ruins,  in  the  Dulwich  Gallery ;  six 
landscapes  (some  with  subjects  introduced)  in  the 
Louvre  ;  a  'Monk  praying'  in  the  Munich  Gallery  ; 
a  '  Landscape  with  Ruins  and  Cattle '  at  Vienna ; 
and  'Joseph  selling  Bread  during  the  Famine  in 
Egypt'  (signed  and  dated  1644)  in  the  Dresden 
Gallery — a  good  example  of  his  historical  pictures. 
Breenbergh  also  etched  several  plates  from  his 
own  designs  with  great  spirit  and  intelligence  ; 
they  are  highly  esteemed,  and  good  impressions  of 
them  are  now  scarce.  He  usually  marked  his 
plates  with  the  initials  of  his  name,  with  an  F.  for 
fecit,  thus,  B.  B.  F.    One  of  his  plates  is  marked 

with  the  cipher  "^S      We  have  by  him : 

Twenty-four  of  Landscapes,  with  Euins,  Figures,  and 
Animals;  inscribed  Verschiden  verf alien  Gebouden, 
with  his  portrait. 

Another  set  of  twelve ;  entitled  Antiquities  of  Borne. 

A  Landscape ;  marked  with  the  above-mentioned  cipher. 

Joseph  delivering  Corn  in  Egypt ;  inscribed  Erat  fames, 
&c. ;  B.  B.  F. 

The  Martyrdom  of  St.  Laurence ;  same  mark, 

BREGEON,  Angelica,  an  ingenious  lady,  was, 
according  to  Basan,  the  wife  of  Jean  Baptiste 
Tillart,  a  French  engraver.     She  executed  some 

180 


plates  with  the  point  and  graver,  among  which  is 
a  print  representing  a  youth  drawing,  after  Carle 
van  Loo. 

BBEKELENKAM,  QniETN,  (or  Beeklineam, 
not  Bbekelencamp,  nor  Breckblbnkamp,)  a  Dutch 
painter,  was  born  probably  at  Swammerdam,  near 
Leyden.  He  was  a  scholar  of  Gerard  Dou,  though 
he  did  not  attach  himself  to  the  high  finishing 
of  that  master,  but  adopted  a  style  formed  on  a 
mixture  of  the  manner  of  Dou  with  that  of  Rem- 
brandt. He  was  established  at  Leyden  in  1648,  in 
which  year  he  was  received  into  the  Guild  of  St. 
Luke,  and  in  that  city  he  spent  the  remainder  of 
his  life.  He  had  two  wives  and  nine  children. 
His  signed  works  extend  from  1653  to  1669.  His 
pictures  represent  the  interior  of  Dutch  cottages, 
with  figures.  There  is  a  very  natural  expression 
in  the  airs  of  his  heads,  his  touch  is  hght  and 
spirited,  and  he  was  well  acquainted  with  the  prin- 
ciples of  chiaroscuro.  His  works  are  found  in 
the  choicest  collections  in  Holland,  and  are  held  in 
considerable  estimation  in  this  country.  The  fol- 
lowing are  some  of  his  principal  works : 
Amsterdam.  Museum.    Interior. 

„  „  The  Fire  Comer.    1664. 

„  „  The  Mouse-trap.    1668. 

„  Six  Coll.    The  Three  Ages. 

Augsburg.       Gallery.    The  Coppersmith.    1654. 
Berlin.  Gallery.    The  Vegetable-seller.    1661. 

Brunswick,      Gallery.    Old  Woman  with  Vegetables ;  ani 

others. 
Paris.  Ixmwe.      A  Monk  writing. 

„  „  The  Consultation. 

Petersburg.  Sermitage,  A  Hermit.    1660. 

„  ,-,  The  Pisappolnt-ed  Drinker. 

BREMDEN,  Daniel  tan,  who  flourished  at  the 
Hague  in  the  first  half  of  the  17th  century,  was  a 
Dutch  engraver  of  little  note.  He  worked  with 
the  graver  in  a  neat  but  tasteless  style.  There  is 
a  small  plate  by  him  of  'Ladies  and  Gentlemen 
at  an  Entertainment,'  after  De  Vlieger;  besides 
some  plates  after  A.  van  der  Venne,  and  some 
portraits. 

BRBMOND,  Jean  Feanqois,  a  pupil  of  Ingres 
and  Couder,  was  born  in  Paris  in  1807.  He  pro- 
duced some  excellent  portraits  as  well  as  historical 
pictures.  His  death  occurred  in  Paris  in  1868 
Among  his  paintings  are : 

Portrait  of  his  Daughter. 

St.  Francis  of  Assisi. 

St.  Catharine  of  Alexandria. 

The  Entry  of  Christ  into  Jerusalem. 

Susannah  in  the  Bath. 

BRENDEL,  Heineich  Albert,  who  was  oorn  at 
Berlin  in  1827,  studied  in  the  academy  of  his  native 
city,  and  under  Wilhelm  Krause.  In  1851  he  went  to 
Paris,  and  studied  under  Couture  and  Palizzi ;  thence 
to  Italy,  and  home  to  Berlin  in  1853,  completing 
his  studies  under  Steffeck.  For  the  next  ten  years 
he  resided  principally  in  Paris,  and  worked  in  the 
summer  months  at  Barbison,  in  the  forest  of  Fon- 
tainebleau,  which  was  also  the  scene  of  the  labours 
of  Millet,  Rousseau,  Diaz,  Troyon,  and  other  artists; 
and  he  continued,  till  1869,  to  visit  Barbison  in  the 
summer,  after  he  removed  in  1865  to  Berlin  for 
the  winter.  In  1868  he  was  made  a  member  of 
the  Berlin  Academy,  and  in  1875  became  Professor 
at  the  Art  School  of  Weimar.  He  died  in  1878. 
His  first  works  were  sea-pieces,  but  he  afterwards 
devoted  himself  to  animal  painting  (more  especi- 
ally horses  and  sheep),  in  which  he  was  very  suc- 
cessful. He  received  medals  at  various  exhibitions 
at  Paris,  Berlin,  Munich,  Vienna,  and  Nantes. 


Brenet 


PAINTERS  AND  ENGBAVEES. 


BrethertoQ 


Berlin.  Gallery.      Ketum  to  the  Tillage. 

Paris.        Luxembourg.  Sheepfold  at  Barbison  [exhibited 
at  the  Salon  in  1863). 

BRENET,  Nicolas  Guy,  a  French  historical 
painter,  the  son  of  Guy  Brenet,  an  engraver,  was 
bom  in  Paris  in  1728.  He  was  admitted  into 
the  Academy  in  1763,  and  became  an  Academician 
in  1769,  on  which  occasion  he  presented  his  picture 
of  '  Theseus  finding  the  arms  of  his  father  j^Egeus,' 
which,  together  with  his  '  Generosity  of  Bayard,' 
is  now  in  the  Louvre.  There  are  likewise  some 
paintings  by  him  at  Versailles.  He  also  etched 
two  plates,  which  are  now  very  rare.  Brenet  was 
one  of  the  first  masters  of  Baron  Gerard  and  of 
Taunay :  he  was  nominated  assistant-professor  in 
the  Academy  in  1773,  and  professor  in  1778.  He 
died  in  Paris  in  1792. 

BRBNNAN,  Michael  G.,  who  was  born  at 
Sligo,  studied  in  the  schools  of  the  Royal  Dublin 
Society  and  of  the  Hibernian  Society,  and  subse- 
quently in  Italy.  He  exhibited  for  some  years  at 
the  Royal  Academy.  He  died  in  1871  in  Algiers. 
In  the  Dublin  Gallery  are  two  views  at  Capri  by 
him. 

BRENTANA,  Simons,  was  bom  at  Venice  in 
1656,  but  resided  principally  at  Verona.  He 
formed  his  style  by  an  assiduous  study  of  the 
works  of  Tintoretto,  whose  bold  and  vigorous 
manner  he  preferred  to  more  finished  and  laboured 
productions.  To  the  fire  of  Tintoretto  he  added 
something  of  the  dignity  of  the  Roman  school. 
Few  of  his  pictures  are  in  private  collections,  as 
he  was  chiefly  employed  by  the  sovereigns  of  his 
time,  and  for  the  churches.  One  of  his  finest 
pictures  is  '  The  Martyrdom  of  St.  Sebastian,  who  is 
crowned  by  an  Angel,'  in  the  church  dedicated  to 
that  saint. 

BRENTEL,  Friedbich,  a  German  engraver  and 
miniature  painter,  was  bom  at  Laugingen  in  1580, 
and  became  a  citizen  of  Strassburg  in  1601.  His 
principal  work  is  a  set  of  plates  for  '  The  Funeral 
of  Charles  III.,  Duke  of  Lorraine,'  published  at 
Nancy  about  1610.  They  are  from  the  designs  of 
Claude  de  La  Ruelle  and  Jean  La  Hire,  and  are 
etched  in  a  slight,  spirited  manner.  Other  notice- 
able plates  of  his  are  a  '  View  of  the  large  Hall  at 
Stuttgart'  (1619),  and  'John  Frederick  I.,  Elector 
of  Saxony '  (1609).  He  died  at  Strassburg  in  1651. 
The  prints  of  Brentel  are  etched  with  a  very  light 
point ;  and  his  monogram  is  found  on  a  series  of 
landscapes  orhamented  with  historical  subjects  and 
rich  borders,  and  bearing  the  dates  1617  and  1619. 
There  are  proofs  of  these  borders  without  the  land- 
scapes and  figures. 

BRESCIA,  Giovanni  Antonio  da,  was  an  en- 
graver of  the  15th  and  16th  centuries,  and  is  said 
to  have  been  a  brother  of  Giovanni  Maria  da 
Brescia.  It  is  probable  that  he  learned  engraving 
in  the  school  of  Andrea  Mantegna,  as  his  plates 
are  executed  precisely  in  the  style  of  that  artist, 
though  they  are  neater  and  more  finished.  He 
wanted,  however,  his  instructor's  correctness  of 
drawing.  His  attempt  to  imitate  Albrecht  Diirer 
was    without    success.      He    en-  _ 

graved  thirty-seven  plates,  which    S,  A  ,  D> 
he  signed  with  the  cipher  X    /V   D^ 

The  following  are  the  most  important : 

The  Virgin  suckling  the  Infant  Jesus ;  Jo.  An.  Br. 

The  Virgin  adoring  the  Infant,  St.  Joseph  sleeping; 
same  mark. 

The  Scourging  of  Christ;  Jo.  Anton.  JBrixian.  1503. 
There  axe  second  impressions  of  this  plate;  dated 
1509. 


Hercules  and  Antsens ;  Jo.An.Bx. 

Hercules  strangling  the  Lion ;  inscribed  D.  Here,  invicto. 

A  naked  "Woman  and  Child,  with  a  Satyr  playing  on  a 

Pipe ;  marked  1507 ;  Jo.  An.  BX. 
A  white  Horse,  the  same  as  that  engraved  by  Albrecht 

Durer ;  /.  ^.  Brix.    1505. 
A  grotesque ;  below,  a  Satyr  and  a  Woman ;  inscribed, 

Victoria  Augusta  ;  Jo.  An. 
A  Holy  Family,  with  SS.  Elisabeth  and  John ;  after 

Mantegna. 
An  Entombment ;  copy  after  the  same. 
Mary  with  Saints ;  after  Rwphael. 

BRESCIA,  Fra  Giovanni  Maria  da,  was  born  at 
Brescia  in  the  latter  part  of  the  15th  century.  He 
was  brought  up  a  goldsmith,  a  profession  at  that 
time  connected  with  the  arts  ;  and,  after  studying 
painting  and  engraving  for  some  time,  he  became 
a  monk  of  the  order  of  the  Carmelites  at  Brescia, 
and  painted  several  pictures,  for  the  church  of  his 
monastery,  and  in  the  cloister  some  fresco  works, 
representing  subjects  from  the  history  of  Elijah 
and  Elisha.  He  also  engraved  some  plates,  which 
are  executed  in  a  manner  that  appears  to  be  a 
feeble  mixture  of  the  style  of  Marc-Antonio  and 
Andrea  Mantegna.  We  have  by  him  the  following 
plates : 

The  Virgin  and  Infant  Jesus,  the  Virgin  holding  a  Book. 
The  Virgin  and  Infant  in  the  Clouds ;  a  circular  plate, 

with  a  Latin  dedication  and  his  name ;  Fr.  Jo.  Ma. 

Brix.  Carmelita  dicavit.    M.D.II. 
St.  Gregory  resuscitating  a  Youth  ;  inscribed  opus  Fr. 

Jo.  Maria  Brixensis  or.  Garmelitarum.    M.CCCCC.II. 
The  History  of  the  Emperor  Trajan ;  on  a  Balcony  at 

the  upper  part  of  the  plate  is  seen  the  Pope,  and  the 

words  Bivus  Gregorius  ;  and  at  the  top  opus  Fr.  is  Jo. 

Maria  Brixensis  or.  Carmelitarum.    M.CCCCC.II. 
Three  Monks  of  the  Order  of  the  Carmelites. ,  1512. 

BRESCIA,  Leonardo,  was,  according  to  Barotti, 
a  native  of  Perrara,  and  flourished  about  the  year 
1530.  There  are  many  of  his  pictures  in  the 
churches  and  convents  of  that  city,  the  most  es- 
teemed of  which  are  'The  Assumption  of  the 
Virgin,'  in  the  church  of  II  Gesu ;  '  The  Annunci- 
ation,' in  the  Madonna  del  buon  Amore  ;  and  '  The 
Resurrection,'  in  Santa  Monica.  It  is  supposed 
that  he  died  in  1598.  Artists  of  the  name  of 
Brescia  are  very  numerous ;  there  are  thirty  so 
named  in  Zani. 

BRESCIANINI  da  SIENA.    See  Puccinelli. 

BHESCIANINO  dblle  Baitaglib,  II.  See 
Monti,  Giov.  Giac. 

BRESCIANO,  GioviTA,  called  Brescianino,  is 
said  by  Cozzando  to  have  been  a  native  of  Brescia, 
and  a  scholar  of  Lattanzio  Gambara.  He  was  a 
reputable  historical  painter,  both  in  oil  and  in 
fresco.     He  flourished  about  the  year  1580. 

BRESCIANO,  GiR.    See  Savoldo,  also  Muziano. 

BRESCIANO,  PiETEO.     See  Avogadeo. 

BRESCIANO,  ViNC.     See  Foppa. 

BRESSANO,  GiR.    See  Muziano. 

BRETEUIL,  Jacques  Lauke,  Comte  de,  a  French 
nobleman,  was  a  great  amateur  of  the  arts,  who, 
according  to  Basan,  between  1730  and  1750,  etched 
several  plates  after  Berchem  and  other  masters. 

BRETHERTON,  Charles,  the  son  of  James 
Bretherton,  was  bom  about  the  year  1760.  At  ah 
early  age  he  gave  proof  of  the  most  promising 
talents  as  a  designer  and  engraver.  He  executed 
several  plates  of  portraits  for  Walpole's  'Anec- 
dotes,' as  well  as  views  and  landscapes,  which 
possess  great  merit ;  and  he  produced  some  charm- 
ing drawings  of  his  own  composition,  one  of  which, 
representing  '  Kate  of  Aberdeen,'  was  engraved  by 
Tomkins.     He  died  at  an  early  age  in  1783. 

181 


Brethertoa 


A  BIOGRAPHICAL  DICTIONARY  OF 


Briggs 


BRETHERTON,  James,  an  English  engraver, 
distinguished  himself  by  several  etchings  and 
plates  in  aquatint,  from  the  designs  of  H.  W. 
Bunbury,  and  other  masters,  as  well  as  from  his 
own  compositions.  His  works  are  dated  from  1770 
till  1790. 

BRETON,  PRANgois  Pieeue  Hippolytb  Ernest, 
a  French  artist  and  archaeologist,  was  born  in  Paris 
in  1812.  He  studied  under  Regnier,  Watelet,  and 
Champin,  and  exhibited  some  landscapes  at  the 
Salon.  He  contributed  to  Gailhabaud's  '  Monu- 
ments anciens  et  modernes,'  and  in  1843  published 
'  Monuments  do  tous  les  Peuples.'  His  latest 
works  were  '  Pompeia,'  1855 ;  '  Athenes,'  1861 ;  and 
'  L'Alhambra,'  1873.     He  died  in  Paris  in  1875. 

BRETSCHNEIDER,  Andreas,  a  German  en- 
graver, etcher,  and  designer,  was  born  at  Leipsic 
about  1578,  and  was  working  there  up"  to  1640. 
Among  his  best  engravings  may  be  cited : 

A  Nobleman  in  Spanish  clothing. 

Christ  on  the  Cross.     1601. 

Gustavus  Adolphus  on  horseback. 

Eleven  views  of  the  Festivities  at  Dessau  in  1614. 

Thirty  woodcuts  of  Bibhcal  Representations. 

BRETSCHNEIDER,  Johann  Michael,  who  was 
bom  at  Aussig,  in  Bohemia,  worked  at  Prague  in 
the  early  part  of  the  eighteenth  century.  A 
'  Musical  Entertainment '  by  him  is  in  the  Pinako- 
thek  at  Munich. 

BRETT,  Joseph  William-,  the  son  of  a  clergy- 
man, was  born  in  1816.  He  was  one  of  the  com- 
petitors for  the  decoration  of  the  Houses  of  Par- 
liament, and  sent  in  a  cartoon  of  'King  Richard 
forgiving  the  Soldier  who  shot  him,'  which  was 
unsuccessful.  He  died  by  his  own  hand  at  Chelsea 
in  1848. 

BREU,  JoRO  (or  Brew,  or  Prew), — who  flourished 
at  Augsburg  from  about  1512  to  1530,  and  died 
there  in  1536, — was  a  painter  and  draughtsman  on 
wood,  whose  style  was  influenced  by  Hans  Burck- 
mair.  A  Madonna  and  Child  by  him  (formerly 
wrongly  ascribed  to  Burckmair)  is  in  the  Berlin 
Gallery  ;  it  is  signed  with  his  monogram,  and  bears 
tlie  date  1612  ;  and  the  '  Battle  of  Zama,'  by  him, 
is  in  the  Pinakothek  at  Munich. 

BREUGHEL.     See  Brueghel. 

BREIJIL.     See  Dubreuil. 

BREUKELAAR,  Hendrik,  a  Dutch  artist  of 
great  promise,  was  born  at  Amsterdam  in  1809, 
and  was  instructed  by  C.  and  J.  A.  Kruseman.  He 
painted  the  picture  of  '  Van  Speyk  at  the  tomb  of 
De  Ruyter,'  and  others,  which  gained  him  the 
applause  of  his  countrymen.  His  works  are  not 
numerous,  owing  to  his  early  death,  which  occurred 
in  1839. 

BREVIBRE,  LO01S  Henri,  bom  at  Forges-les- 
Eaux  in  1797,  was  a  French  wood-engraver,  to 
whom  is  due  the  honour  of  having  revived  the  art 
of  wood-engra\dng,  which  had  been  neglected  in 
France  since  the  17th  century.  His  works  number 
about  3000,  and  among  them  may  be  especially 
noticed  the  Palais  de  Gaillon,  the  arch  of  the  Gros- 
Horloge  at  Rouen,  and  his  engravings  from  the 
designs  of  Chenavard,  Grandville,  Meissonier, 
Desoamps,  Fragonard,  Girardet,  Frangais,  Tony 
Johannot,  Raffet,  Deveria,  Gavarni,  Gustavo  Dore, 
Bertall,  and  others.     He  died  at  Hyeres  in  1869. 

BREW.    See  Breu. 

.  BREYDEL,  Frans,  was  born  at  Antwerp  in  1679, 

and  was  instructed  by  Rysbraek,  the  landscape 

painter.  _    He  painted  conversations   and   gallant 

assemblies,  and  also  portraits  of  a  small  size,  agree- 

18^ 


ably  coloured  and  neatly  touched.  He  passed  a 
great  part  of  his  life  at  the  court  of  Hesse-Cassel, 
where  his  works  were  much  esteemed.  He  also 
visited  England.  He  died  at  Antwerp  in  1750. 
The  Dresden  Gallery  has  two  signed  works  by  him, 

BREYDEL,  Karel,  called  'Cavalier  Breydel,' 
was  a  brother  of  Frans  Breydel,  and  was  born  at 
Antwerp  in  1677.  He  was  also  a  scholar  of  Rys- 
braek, under  whose  instruction  he  remained  three 
years.  He  afterwards  went  to  Italy,  and  on  his 
return  painted  at  Nuremberg,  Frankfort,  Cassel, 
Antwerp,  and  Brussels,  executing  a  number  of 
landscapes,  and  views  of  the  Rhine,  in  the  manner 
of  GrifBer.  He  is  more  repiited  as  a  painter  of 
battles  and  attacks  of  cavalry,  which  are  ingeniously 
composed,  and  painted  with  spirit,  after  the  manner 
of  Van  der  Meulen.  The  Museum  of  Brussels  has 
two  '  Cavalry  Skirmishes '  by  him,  and  the  Uffizi 
Florence,  two  small  landscapes,  and  the  Cassel 
Gallery  a  '  Paradise '  and  a  landscape.  He  died  at 
Ghent  in  1744. 

BRIARD,  Gabriel,  was  a  landscape  and  por- 
trait painter  of  some  grace  and  facility  of  hand, 
the  master  of  Demame,  and  the  father  of  Mme. 
Le  Brun.  He  visited  Italy  in  1749,  became  an 
Academician  in  1768,  and  died  in  1777. 

BRICART,  Claude,  a  French  engraver,  who 
flourished  about  1730.  He  executed  several  plates 
after  J.  B.  Santerre  and  others. 

BRICCIO.     See  Brizzi. 

BRIDELL,  Frederick  Leb,  was  bom  at  South- 
ampton in  1831.  He  very  early  showed  a 
talent  for  painting,  and  at  the  age  of  fifteen 
began  life  in  his  native  town  as  a  portrait  painter. 
Some  of  his  works  attracted  the  notice  of  a  picture- 
dealer,  who  first  employed  him  to  reproduce  por- 
traits, and  then  sent  him  to  Munich  and  other 
continental  cities  to  copy  the  works  of  the  great 
masters.  On  his  return  to  England  he  sent,  in 
1851,  a  picture,  'A  Bit  of  Berkshire,'  to  the  exhi- 
bition of  the  Royal  Academy.  This  was  followed 
by  '  Mountains  of  the  Tyrol '  in  1856.  Soon  after- 
wards he  went  to  Rome,  where  he  married  in  1858 
the  daughter  of  Mr.  W.  J.  Fox,  at  that  time 
member  for  Oldham,  a  lady  of  much  artistic  talent 
In  the  following  year  he  exliibited  his  finest  work, 
'  The  Coliseum  by  Moonlight,'  which  was  after- 
wards included  in  the  International  Exhibition  of 
1862.  His  other  important  paintings  were  'The 
Temple  of  Love,'  from  Spenser's  '  Faerie  Queene,' 
and  '  Sunset  on  the  Atlantic'  He  worked  with  too 
much  energy,  and  died  of  consumption  in  1868. 
After  his  death  forty  of  his  best  paintings  were 
sold  at  Christie's,  some  of  them  realising  £1000 
each. 

BRIDGFOED,  Thomas,  an  Irish  portrait  and 
subject  painter,  was  born  at  Dublin  in  1812.  He 
studied  and  for  a  short  time  painted  portraits  in 
London,  and  for  many  years  exhibited  portraits 
and  figure  subjects  at  tiie  Royal  Academy  (W. 
Mulready,  R.A.,  and  A.  Cooper,  E.A.,  in  1842). 
In  1844  he  returned  and  settled  at  Dublin,  where 
he  became  a  member  of  the  Hibernian  Academy. 
He  died  on  the  21st  November,  1878.  Amongst  his 
works  are  : 

The  Arrest  of  Sir  H.  Slingsby. 
An  Irish  "Wake. 
The  Deserter. 
Golden  Moments. 
Passing  Shadows. 

BRIGGS,  Henry  Perbonet,  was  born  at  Wal- 
worth in  1792,  or  1791.    He  was  related  to  the  wife 


Bright 


PAINTERS  AND  ENGRAVERS 


Brinckmaun 


of  John  Opie,  and,  possibly  throiigli  his  influence, 
entered  the  Academy  Schools  at  an  early  age.  In 
1814  he  exhibited  his  first  portrait  at  the  Academy. 
Four  years  later  he  attempted  an  historical  picture, 
'  Lord  Wake  setting  fire  to  his  Castle  to  prevent  a 
visit  from  Henry  VIII.,'  and  soon  afterwards 
'  Othello  relating  his  Adventures.'  In  1826  he  ex- 
hibited '  The  First  Conference  between  the  Spaniards 
and  Peruvians,  1531,'  and  in  1827,  '  Juliet  and  her 
Nurse,'  both  of  which  are  now  in  the  National 
Gallery.  He  was  elected  an  Associate  of  the 
Academy  in  1825.  and  was  made  an  Academician 
in  1832.  Henceforth  his  talent  was  so  much  in 
demand  for  portraiture  that,  against  his  own 
wishes,  he  abandoned  historical  painting  in  favour 
of  that  more  lucrative  art.  One  of  his  finest  works 
is  '  Lord  Eldon  receiving  the  Degree  of  D.C.L.  at 
Oxford.'  He  died  in  London  in  1844..  His  picture 
of  '  George  III.  presenting  the  sword  to  Earl  Howe, 
on  board  the  "Queen  Charlotte,"  1794,'  painted  in 
1827,  is  now  in  Greenwich  Hospital. 

BRIGHT,  Henet,  was  born  at  Saxmundham, 
SufEolk,  in  1814.  He  was  at  first  apprenticed  to  a 
chemist  at  Woodbridge,  and  afterwards  became 
dispenser  in  the  Norfolk  and  Norwich  Hospital. 
Here,  having  fallen  in  with  John  Bemay  Crome, 
Cotman,  and  others  of  the  Norwich  School,  he 
threw  up  his  appointment,  and  entering  on  art  as  a 
profession,  went  to  London,  where  he  was  soon 
after  elected  a  member  of  the  New  Society  (now 
called  the  Institute)  of  Water-Colour  Painters,  and 
became  acquainted  with  some  of  the  then  leading 
artists — Stanfield,  David  Cox,  Prout — and  other 
celebrated  men.  He  painted  in  oil  as  well  as 
water-colours,  exhibiting  in  the  former  medium 
for  the  first  time  at  the  Royal  Academy  in  1846. 
His  pictures  display  great  breadth  and  richness  of 
colour,  especially  those  depicting  the  banks  of 
rivers.  His  snow  scenes,  of  which  he  executed 
several,  are  very  carefully  painted.  He  died  at 
Ipswich  in  1873. 

BRIGSTOCKE,  Thomas,  first  studied  in  Sass's 
studio,  then  in  the  Royal  Academy  Schools,  and 
under  H.  P.  Briggs,  and  subsequently  under  J.  P. 
Knight.  He  also  studied  at  Paris,  Florence,  Rome, 
and  Naples,  during  eight  years.  He  exhibited  his 
first  picture, '  Alnaschar,  the  Barber's  fifth  Brother,' 
at  the  Royal  Academy  in  1842.  Five  years  later 
he  went  to  Egypt  with  a  letter  of  introduction  to 
Mohammed  Ali  Pasha,  by  whom  he  was  kindly 
received,  and  well  employed  in  painting  portraits 
of  himself  and  his  family.  There  Brigstocke  spent 
sixteen  months  painting  chiefly  at  the  Palace  of 
Shoubra,  on  the  Nile,  near  Cairo,  and  at  Ras  el  Tin, 
Alexandria.     His  chief  portraits  are  : 

General  Sir  Wm.  Nott,  in  the  Town  Rail  of  Galcidtd. 
,f        „      „        „     in  the  Town  Hall  of  Carmarthen. 
„         „      „        „    in  the  Oriental  Club,  London. 
Mohammed  Ali,  in  the  Palace  of  the  Citadel,  Cairo. 

„  „  in  the  Palace  of  Ras  el  Tin. 

„  „  in  the  Oriental  Club,  London, 

Cardinal  Wiseman,       in  St.  Cuthhert's,  near  Durham. 
General  Sir  J.  Outram,  in  the  Oriental  Club,  London. 
Sir  Hy.  HoUand,  M.D. 

He  also  painted  an  historical  picture,  entitled  the 
'Prayer  for  Victory.'  All  the  above  pictures  were 
exhibited  at  the  Royal  Academy.  Brigstocke  died 
in  1881,  aged  seventy-two. 

BRIL,  Matthts,  (or  Brill,)  was  bom  at 
Antwerp  in  1550.  It  is  not  known  under  whom 
he  studied,  but  he  went  to  Italy  during  the  pontifi- 
cate of  Gregory  XIII.,  by  whom  he  was  employed 


in  the  Vatican,  where  he  painted  in  fresco  several 
landscapes,  and  had  a  pension  settled  on  him  by 
that  pontiff.  He  would  probably  have  reached  a 
high  rank  in  the  list  of  landscape  painters,  but  he 
died  in  the  prime  of  life  at  Rome  about  1680. 
Authorities  differ  with  regard  to  the  date  of  his 
birth  and  death.  The  Louvre  has  two  '  Stag 
Hunts  '  by  him,  and  the  Dresden  Gallery  has  also 
two  landscapes  with  subjects. 

BRIL,  Paulus,  (or  Beill,)  the  younger  brother 
of  Matthys  Bril,  was  born  at  Antwerp  in  1566. 
He  was  first  instructed  in  the  art  by  Damiaen 
Oortelman,  and  was  himself  employed  in  painting 
the  tops  of  harpsichords,  which  were  usually  so 
ornamented  at  that  period.  The  fame  which  his 
brother  had  acquired  in  Italy  inspired  him  with  the 
emulation  of  equalling  him  in  reputation  ;  and  he 
thought  the  most  probable  means  of  success  was 
to  imitate  his  example,  and  to  follow  him  to  Italy. 
Passing  through  France,  he  was  under  the  necessity 
of  stopping  at  Lyons  to  recruit  his  exhausted 
finances  by  the  exercise  of  his  talent,  and  having 
succeeded,  he  at  length  reached  Rome,  and  placed 
himself  under  the  instruction  of  his  brother.  But 
his  best  studies  were  made  from  the  landscapes  of 
Titian,  some  of  which  he  had  an  opportunity  of 
copying,  and  he  began  to  distinguish  himself  by  a 
style  which,  though  founded  on  the  great  principles 
of  that  master,  was  sufficiently  original  to  be  con- 
sidered as  his  own.  For  some  time  he  assisted  his 
brother  in  his  works  in  the  Vatican,  and  on  the 
death  of  that  artist,  the  pension  of  the  Pope  was 
continued  to  Paulus ;  and,  according  to  Baglioni, 
on  the  succession  of  Sixtus  V.  he  was  engaged  in 
some  considerable  works  in  the  Sistine  Chapel,  in 
Santa  Maria  Maggiore,  and  in  the  Scala  Santa  in 
San  Giovanni  in  Laterano.  He  was  not  less 
patronized  by  Pope  Clement  VIII.,  by  whose 
direction  he  painted  his  prodigious  work  in  the 
Sala  Clementina,  a  landscape  of  grand  scenery, 
sixty-eight  feet  wide,  in  which  is  introduced  the 
subject  of  St.  Clement,  with  an  anchor  fastened  to 
his  neck,  thrown  into  the  sea.  He  also  painted 
easel  pictures  of  landscapes,  some  of  which  Anni- 
bale  Carracci  occasionally  embellished  with  his 
admirable  figures.  Bril  died  at  Rome  in  1626.  The 
following  are  some  of  his  best  paintings  : 

Amsterdam.  Gallery,  The  Euins. 

Antwerp  „  The  Prodigal  Son. 

Berlin.  „  Landscapes  {four). 

Dresden.  „  Landscapes  {two). 

Florence.  Uffizi,  A  Sea-piece. 

„  „  Landscapes  (m'ne). 

„  Pitti  Pal,  Landscapes  {tioo), 

Madrid  Gallery.  Landscapes  (four). . 

Munich.  Gallery.  Landscapes  Ttwo). 

Paris.  Louvre.  Landscapes  {eight). 

Petersburg.  Sermitage.  Landscapes  {two). 

Borne.  Palaces.  Landscapes. 

Paulus  Bril  etched  several  landscapes  in  a. 
masterly  and  spirited  style,  four  of  which  are  in 
the  set  published  by  his  scholar  Nieulandt.  We 
have  by  him  the  following  prints  : 

Four  Landscapes  in  the  set  published  by  Nieulandt. 
Two  Landscapes ;  marked  Paulus  Bril,  inv.  etfec,  &c. 
A  View  in  the  Campagna,  with  Euins;   P,  Bril  fee, 

159C. 
Another  View  in  the  same ;  the  companion. 

BRILLON,  — ,  was  a  native  of  France,  and, 
according  to  Basan,  engraved  several  plates  after 
Watteau  and  other  French  painters. 

BRINCKMANN,  Philipp  HiERONYMns,  (or  Brink- 
man,)  a  German  painter  and  engraver,  was  born  at 

183 


BrioiL 


A  BIOGRAPHICAL  DICTIONARY  OF 


Eritton 


Spires  in  1709.  He  was  a  pupil  of  J.  G.  Dathan. 
His  favourite  subjects  were  landscapes,  but  he  also 
painted  historical  subjects  and  portraits ;  in  some 
of  the  latter  he  imitated  the  force  and  colouring  of 
Rembrandt.  He  was  painter  to  the  Court,  and 
keeper  of  the  Gallery  at  Mannheim,  where  he  died 
in  1761.  In  the  Stadel  at  Frankfort  is  a  'Swiss 
Landscape'  signed  P.  H.  Brinckmann  feoit,  1745. 
He  etched  some  plates  in  a  picturesque  and 
spirited  style.  The  following  are  his  principal 
prints : 

Philipp  Hieronymus  Brintman;  se  ipse  fee. 

David  with  the  Head  of  Goliath.    1741. 

The  Death  of  Pyramus. 

The  Eepose  in  Egypt ;  Remhrandt  inv. ;  Bri-nkman  fee. 

The  Kesurrection  of  Lazarus  ;  Brinkmanfec. 

Mary  Magdalene  at  the  Feet  of  our  Saviour. 

Christ  and  the  Samaritan  Woman. 

The  Presentation  in  the  Temple ;  P.  J.  Brinhnan  inv, 

etfec. 
Six  pleasing  Landscapes  ;  PA.  Brink,  del.  etfec. 

BRION,  GuSTAVB,  was  born  at  Rothau  in  the 
department  of  the  Vosges  in  1824,  and  in  1841 
entered  at  Strassburg  the  studio  of  Gabriel  GuSrin, 
with  whom  he  remained  three  years ;  he  also 
received  tuition  from  Andreas  Friedrich,  the 
sculptor ;  but  he  soon  afterwards  went  to  Paris, 
where  his  first  work  appeared  at  the  Salon  in  1847  ; 
it  was  entitled  '  Interior  of  a  Farm  at  Dambaoh.' 
Six  years  later  he  gained  a  medal  of  the  second 
class  for  his  '  Schlitteurs  de  la  Foret-Noire  '  and  the 
'  Potato  Harvest  during  an  Inundation,'  tlie  former 
of  which  was  subsequently  burned  at  Strassburg 
by  the  Prussians.  His  fame  was  further  estab- 
lished by  his  '  Le  Train  de  Bois  sur  le  Rhin '  in 
1855,  and  from  that  time  his  works  continued  to 
increase  in  public -favour,  and  gained  considerable 
praise  and  recompense  for  their  author.  Brion 
received  numerous  medals  in  1853,  1863,  1867, 
1868,  &c.,  and  the  decoration  of  the  Legion  of 
Honour  in  1863.  He  died  in  Paris  in  1877.  With 
few  exceptions,  such  as  the  '  Siege  of  a  Town  by 
Romans  under  Julius  Caesar,'  painted  on  commis- 
sion for  Napoleon  III.,  and  at  the  cost  of  much 
research  to  the  artist,  Brion  rarely  indulged  in 
historical  subjects.  He  delighted  to  represent 
peasants  in  their  natural  avocations :  here  they 
gather  in  their  potatoes  or  chat  by  the  village 
well ;  there  they  conduct  barges  laden  with  wood 
d  own  the  river ;  now  we  see  them  at  a  marriage, 
now  hearing  mass  or  attending  a  burial.  Putting 
aside  several  subjects  drawn  from  Normandy  and 
Brittany,  from  the  Basque  Provinces,  and  from  a 
stay  in  Italy,  Brion  remained  true  to  his  love  of 
Alsace,  and  it  is  of  the  doings  of  her  peasantry 
that  he  tells  us  in  his  paintings.  The  following 
are  his  principal  works  : 

Interior  of  a  Farm  at  Dambaoh,  Salon,  1847 

'  Schhtteurs '  of  the  Black  Forest,  „      1853 

Potato  Harvest  during  an  Inimdation,  „       1852 

Wood-Barge  on  the  Ehine )  „     •    i.  fi-i-       lo^t- 

{engraved  hy  Jazet)  \  -^""^  Exhtlntton,  1855 

Burial  in  the  Vosges,  „  „  „ 

'  La  Fete-Dieu,'  „  „  „ 

The  Miraculous  Well,  „  „  „ 

Mountebank  in  the  Middle  Ages,  Salon,  1857 

Gathering  Potatoes  {in  the  Nantes  Museum),        „         „ 
A  Church  Porch,  „       1859 

Burial  on  the  Ehiue, 

The  Skittle-Players,  „  ,, 

A  Protestant  Marriage  in  Alsace  {etched  hy  Bajon)  „  1861 
The  Wedding  Feast  {etched  In/  Bellin),  „         „ 

The  Blessing,  London  Exhibition,  1862 

The  Pilgrims  of  St.  Odile,  Salon,  1863 

The  End  of  the  Deluge,  „      1864 

184 


'  La  QuSte  au  Loup,'  Salon,  1864 

Beading  the  Bible  in  Alsace,  „      iggg 

A  Wedding  in  Alsace,  „      1874 

First  Steps,  „      1876 

The  ESveil,  Encampment  of  Pilgrims,  „      1377 

Brion  also  illustrated  'Les  Miserables'  of  Victor 
Hugo,  and  '  Notre-Dame  de  Paris  '  (see  '  Flemish 
and  French  Pictures,'  by  F.  G.  Stephens). 

BRIOT,  Antoinb,  a  French  engraver,  flourished 
in  the  latter  part  of  the  17th  century.  He  engraved 
a  set  of  different  habiliments,  from  the  designs 
of  St.  Igny. 

BRIOT,  Isaac,  a  French  engraver  and  draughts- 
man, was  born  in  1585,  and  died  in  Paris  in  1670. 
His  plates  are  rather  neatly  executed,  in  the  style 
of  Wierix,  and  mostly  from  his  own  compositions, 
but  the  drawing  is  defective.  The  following  may 
be  noticed : 

POETEAITS. 
Cardinal  de  Richelieu. 
Cardinal  d'Amboise,  archbishop  of  Rouen. 
Gaspard,  Comte  de  Coligny. 
The  poet  Fran9ois  Malherbe,  in  4to. 
The  poet  Marini,  iu  4to. 


The  Alliance  of  France  with  Spain. 

St.  John  the  Baptist  in  the  Desert. 

St.  Peter  weeping. 

L'Oraison  dominicale  expliquee  par  des  emblSmes.   Two 

small  plates. 
The  Virtues.     Seven  small  plates. 
The  Sibyls.    A  set  of  small  circular  plates. 
Ovid's  'Metamorphoses.'    A  set  of  plates  pubhshed 

1637. 

Marie  Bbiot,  daughter  of  Isaac,  with  her  father, 
executed  plates  after  Paul  de  La  Barre,  J.  B. 
Coriolan,  St.  Igny,  and  others. 

BRISBGHELLA.     See  Eismann  Beiseghella. 

BRISSART,  p.,  was  a  native  of  France,  and 
flourished  about  the  year  1670.  We  have  by  him 
a  large  print,  representing  a  bird's-eye  view  of  the 
rdyal  palace  of  Vincennes,  from  his  own  design. 
It  is  etched  in  a  slight,  neat  style,  but  without 
much  effect.  He  also  engraved  several  plates 
from  the  works  of  Jean  Baptiste  Santerre. 

BRISTOW,  Edmund,  an  animal  painter,  was  bom 
at  Eton  in  1787.  He  exhibited  his  works  on  one 
occasion  only,  viz.,  at  the  British  Gallery.  He 
was  of  an  eccentric  character,  and  little  is  known 
concerning  him.  Some  of  his  works  are  in  the 
possession  of  the  Queen,  but  a  greater  number 
belong  to  Mr.  H.  Ingalton,  of  Ventnor.  He  died 
at  Eton  in  1876. 

BRITANO.    See  Ghisi,  Giov.  Batt. 

BRITTON,  John,  who  became  celebrated  as  an 
architectural  draughtsman,  was  bom  in  1771  at 
Kingston  St.  Michael,  in  Wiltshire,  where  he  passed 
the  first  few  years  of  his  life,  attending  the  village 
school  and  assisting  his  father,  who  kept  a  general 
shop.  In  1787  he  went  to  London.  In  1799  he 
exhibited  some  architectural  drawings  at  the  Royal 
Academy,  and  in  1801  he  published  the  'Beauties 
of  Wiltshire,'  in  two  volumes,  in  which  work  he 
was  assisted  by  Brayley.  This  was  followed  by 
the  '  Beauties '  of  all  the  other  counties,  the 
whole  work  being  completed  in  twenty-six  volumes, 
which  took  him  twenty  years  to  produce.  In  1805 
he  commenced  his  '  ArchiteoturaJ  Antiquities  of 
Great  Britain,'  which  was  completed  in  five  quarto 
volumes,  containing  360  engravings.  This  was 
followed  by  his  'Cathedral  Antiquities  of  England,' 
in  fourteen  volumes,  folio  and  quarto,  wi9i  300 
engravings  (1814—1835).     In  1825,  in  conjunction 


Brixia 


PAINTERS  AND  ENGRAVERS. 


Broederlam 


■with  Augustus  Pugin,  he  commenced  '  The  Archi- 
tectural Antiquities  of  Normandy,'  and  in  1829  a 
'  Dictionary  of  Architecture  and  Archaeology  of 
the  Middle  Ages,'  besides  several  smaller  books, 
including  works  on  Norwich,  York,  Canterbury, 
and  other  cathedrals.  He  also  contributed  articles 
on  British  topography  to  Rees's  'Encyclopaedia.' 
From  1845  till  shortly  before  his  death  he  was 
occupied  upon  his  'Autobiography,'  which  had 
nearly  approached  completion  when  he  died  in 
1857,  in  London. 

BRIXIA.    See  Brescia. 

BRIZE,  CoRNELis,  a  Dutch  painter  of  still-hfe, 
was  born  at  Haarlem  in  1635.  His  pictures  repre- 
sent musical  instruments,  books,  papers,  &c., 
grouped  in  an  ingenious  manner,  and  painted 
with  such  uncommon  truth  that  they  become 
interesting,  notwithstanding  the  insignificance  of 
the  subjects.  He  also  painted  armour,  and  imita- 
tions of  bas-reliefs,  but  his  pictures  of  the  former 
subjects  are  most  esteemed.  He  died  at  Haarlem 
in  1679. 

BRIZIANO.    See  Ghisi,  Giov.  Batt. 

BRIZIO,  Menechino  del,  (or  BEiziJi).  See 
Ambrogi,  Dom. 

BRIZZI,  FiLlPPO,  (or  Beicoxo,)  the  son  of  Fran- 
cesco Brizzi,  and  scholar  of  Guido,  was  bom  in 
1603.  In  the  church  of  San  Silvestro  at  Bologna 
is  an  altar-piece  by  Brizzi,  representing  '  The  Virgin 
Mary,  with  St.  John  the  Baptist  and  St.  Silvester ; ' 
and  in  San  Giuliano  is  a  picture  painted  by  him  of 
'  St.  Giuliano  crowned  by  Angels.'  The  Modena 
Gallery  has  an  '  Bcce  Homo.'     He  died  in  1675. 

BRIZZI,  Fbanoesoo,  (or  Beiccio,)  called  NosA- 
DELLA,  an  Italian  painter  and  engraver,  was  born  at 
Bologna  in  1574.  He  studied  at  first  under  Barto- 
lommeo  Passerotti,  but  was  afterwards  admitted 
into  the  school  of  Lodovico  Carraoci.  In  archi- 
tecture, perspective,  and  landscape  he  surpassed 
all  his  fellow-disciples.  He  approached  Lodovico 
more  closely  than  any  other  artist.  The  graceful 
beauty  of  his  cherubs  excites  admiration ;  and 
here,  in  the  opinion  of  Guido,  he  outshone  even 
Bagnaoavallo.  In  the  Pinaooteca  at  Bologna  are 
a  '  Madonna  and  Child '  and  a  '  Bacchus  and 
Ariadne '  by  him.  In  engraving  he  was  instructed 
by  Agostino  Carracci,  and  he  is  said  to  have  for- 
warded some  of  the  plates  of  that  master.  His 
own  prints,  though  nearly  equal  to  Agostino' s  in 
point  of  execution,  are  very  inferior  in  correctness 
of  drawing,  and  in  beauty  of  expression.  He 
died  at  Bologna  in  1625.  The  following  are  his 
principal  works  as  an  engraver : 

A  large  Landscape,  from  his  own  design. 

St.  Koch ;  after  Parmigiano. 

The  Holy  Family ;  after  Correggio. 

The  Keturn  out  of  Egypt ;  after  Lod.  Carracci. 

Portrait  of  Cinthio  Aldobrandini ;  after  L.  Carracci. 

A  Frontispiece ;  inscribed  Explicatione  del  sacro  lenzuolo. 

1599;  after  the  same ;  scarce. 
Another  Frontispiece;  inscribed  Tempio  al  Cardinale 

Cinthio  Aldobrandini.    1579 ;  after  the  same. 
Another  Frontispiece,  with  the  Arms  of  the  Duke  of 

Modena,  and  in  the  middle  some  Children ;  after  the 

same.    1594 ;  very  scarce. 
St.  Francis  kneeling,,holding  the  Infant  Jesus,  and  the 

Virgin  Mary  in  the  Oloucfi ;  after  the  same. 
The  Virgin  Mary  crowned,  with  the  Infant  Jesus,  and 

two  Angels ;  after  L.  Carracci. 
The  great  St.  Jerome;  the  plate  left  imperfect  by 

Agostino  Carracci,  finished  by  Brizzi. 
Ohnst  and  the  Samaritan  "Woman ;  after  Ag.  Carracci. 

1610. 
A    Blind     Man    led     by    a    Dog ;     after    Annibale 

Carracci. 


BROCANDEL.     See  Rovira. 

BROCAS,  Heney,  born  at  Dublin  in  1766,  was 
well  known  as  a  landscape  painter  and  as  a  draw- 
ing-master in  the  Dublin  schools.  He  died  in 
1838,  leaving  three  sons,  Henry,  Samuel,  and 
William,  who  all  followed  art  as  a  profession  in 
Dublin. 

BROCKEDON,  William,  was  born  at  Totnes, 
Devonshire,  in  1787.  He  became  a  student  at  the 
Royal  Academy  in  1809,  and  in  1815  went  to 
Paris  to  improve  himself  by  painting  at  the  Louvre. 
On  his  return  he  painted  a  picture  on  the  subject 
of '  The  Acquittal  of  Susannah,'  which  he  presented 
to  his  native  county,  and  which  is  now  in  the 
Crown  Court  at  Exeter.  He  next  painted  '  Christ 
raising  the  Widow's  Son,'  for  which  he  was  awarded 
a  prize  of  one  hundred  guineas  by  the  directors  of 
the  British  Institution.  During  his  stay  at  Rome, 
in  1822,  he  painted  '  The  Vision  of  the  Chariots  to 
Zechariah,'  which,  by  the  Pope's  permission,  was 
exhibited  in  the  Pantheon.  He  afterwards  pub- 
lished various  series  of  Landscapes,  from  sketches 
taken  in  his  travels,  as  '  The  Passes  of  the  Alps,' 
'Illustrated  Road-Book  from  London  to  Naples,' 
'Excursions  in  the  Alps,'  and  'Murray's  Hand- 
book for  Switzerland.'  He  last  exhibited  at  the 
Royal  Academy  in  1836.  He  displayed  no  ordin- 
ary talent  in  the  various  departments  of  painting — 
historical,  landscape,  and  portrait,  which  he  com- 
bined in  his  practice.  He  died  in  London  in  1854. 
He  was  a  Fellow  of  the  Royal  Society,  and  member 
of  the  Academies  of  Rome  and  Florence.  His 
portrait,  by  his  own  hand,  is  in  the  Ufifizi ;  and  a 
view  of  Laodicea,  by  him,  is  in  the  South 
Kensington  Museum. 

BROCKY,  Chaeles,  who  was  born  at  Banat,  in 
Hungary,  in  1808,  was  the  son  of  a  hairdresser, 
who  died  whilst  his  son  was  still  young.  To  gain 
a  living  the  youth  joined  a  body  of  strolling  actors. 
After  passing  through  many  vicissitudes,  he  was 
at  length  placed  in  a  free  drawing  school  at  Vienna, 
whence  he  went  to  Paris,  where  he  studied  at  the 
Louvre.  When  about  thirty  years  of  age  he  visited 
London,  where  he  took  up  his  abode.  His  first 
contribution  to  the  Royal  Academy  was  in  1839, 
and  from  that  time  he  exhibited  portraits,  ideal 
subjects,  and  miniatures  on  ivory  somewhat  fre- 
quently ;  amongst  others  a  '  Nymph '  (in  oil)  in 
1860,  and  '  Spring,'  '  Summer,'  '  Autumn,'  and 
'Winter'  in  1852.  He  died  in  1855.  A  sketch 
of  his  life  by  Norman  Wilkinson  was  published  in 
1870. 

BROECK,  B.,  C,  and  E.  van  den      See  Van 

DEN  BeOEOK. 

BROECK,  Moses  Vyt  den,  or  Veit  van  den. 
See  Uytenbrouok. 

BROBDELET,  Jan,  was  a  Dutch  engraver  of 
mezzotints,  who  flourished  about  the  year  1700. 
We  have  by  him  '  Cephalus  and  Procris,'  after 
Gerard  Hoet. 

BROEDERLAM,  Melchior,  (or  Beobdeelain,) 
of  Ypres,  who  was  '  painter  and  valet '  to  Philip 
the  Hardy,  was  born  at  Lille,  and  flourished  about 
the  year  1400.  The  work  which  brings  this  early 
master  into  notice  is  the  painting  on  the  wings  of 
an  altar-chest  carved  by  Jacques  de  Baerse  for  the 
chapel  of  the.Cartnusians  at  Dijon ;  principal  parts 
are  in  the  Museum  of  Dijon ;  the  subjects  repre- 
sented are  '  The  Annunciation,'  '  The  Visitation,' 
'The  Presentation,'  and  'The  Plight  into  Egypt.' 
Broederlam's  painting  is  noticeable  for  simplicity 
and  purity  of  character,  and  beauty  of  colour. 

185 


Broen 


A  BIOGRAPHICAL  DICTIONARY  OF 


Brooking 


BROEN.     See  De  Beoen. 

BROEKS,  Gaspae,  was  a  Dutch  painter  of 
merry-makings  and  boorish  frolics,  into  which  he 
introduced  much  low  humour  and  character.  He 
was  a  pupil  of  Jan  Baptist  van  der  Meiren,  and 
entered  the  Guild  of  St.  Luke  at  Antwerp  in  1694- 
95.  He  died  in  1716.  In  the  Dresden  Gallery  are 
two  pictures,  both  signed  I.  Bboers. 

BKOMEIS,  August,  a  landscape  painter,  who 
was  born  at  Wilhelmshohe  in  1813,  first  studied  in 
the  academy  of  his  native  town,  then  at  Munich, 
from  1831  to  1833,  in  which  year  he  went  to  Rome, 
where  he  was  much  influenced  by  the  style  of  J.  A. 
Koch.  Broineis  returned  to  Germany  in  1848,  and 
resided  at  Frankfort  and  Dusseldorf ,  and  at  Cassel, 
where  he  was  made  Instructor  and  Professor  of 
Painting  at  the  Academy  in  1867.  He  died  at 
Cassel  in  1881.  Among  his  most  successful  pic- 
tures, which  are  landscapes  of  an  ideal  character, 
are: 

The  Campagna  at  Rome  {in  the  Town  Gallery  at  Cassel). 

Italian  Landscape,  1869  {in  the  Natio  nal  Gallery  at  Berlin)  ■ 

The  Grave  of  Archimedes  in  Sicily. 

Stormy  Landscape. 

Forest  near  Dusseldorf. 

BROMLEY,  John  Charles,  the  second  son  of 
William  Bromley,  was  born  at  Chelsea  in  1796. 
He  is  known  as  the  engraver  in  mezzotint  of 
Hayter's  'Trial  of  Lord  William  Russell,'  Leslie's 
'Lady  Jane  Grey  refusing  the  Crown,'  Lewis's 
'Monks  preaching  at  Seville,'  and  other  important 
works,  including  many  excellent  portraits.  He 
died  in  1839.  His  younger  brother,  James  Bromley, 
who  was  likewise  a  mezzotint  engraver,  executed 
several  portraits  after  Hayter,  Ross,  and  other 
painters.     He  died  in  1838,  aged  thirty-seven. 

BROMLEY,  Valentine  Walter,  who  was  born 
in  1848,  received  his  art  education  from  his  father,  • 
and  at  the  early  age  of  nineteen  became  an  Asso- 
ciate of  the  Institute  of  Painters  in  Water-Colours. 
He  frequently  acted  as  art  correspondent  for  the 
'  Illustrated  London  News.'  He  also  worked  much 
as  a  book-illustrator ;  amongst  other  works,  Lord 
Dunraven's  '  Great  Divide '  was  illustrated  by  him. 
He  died  at  Fallows  Green,  Harpenden,  in  1877. 

BROMLEY,  William,  was  born  at  Carisbrooke, 
in  the  Isle  of  Wight,  in  1769,  and  was  apprenticed 
to  an  engraver  named  Wooding  in  London,  and 
soon  attracted  favourable  notice.  Of  his  early" 
works  the  most  popular  are  the  prints  in  '  Maoklin's 
Bible,'  and  his  engravings  of  Stothard's  designs 
illustrating  the  '  History  of  England.'  He  en- 
graved also  two  of  Sir  Thomas  Lawrence's  por- 
traits of  the  Duke  of  Wellington,  and  one  of  the 
young  Napoleon.  He  was  elected  an  associate 
engraver  of  the  Royal  Academy  in  1819,  and  was 
employed  for  many  years  by  the  trustees  of  the 
British  Museum  in  engraving  the  Elgin  marbles 
after  drawings  by  Corbould.     He  died  in  1842. 

BROMPTON,  Richard,  a  portrait  painter,  was  a 
pupil  of  Benjamin  Wilson.  He  afterwards  went 
to  Italy,  and  resided  some  time  at  Rome,  where  he 
received  instructions  from  Raphael  Mengs.  He 
was  there  introduced  to  the  patronage  of  the  Earl 
of  Northampton,  and  accompanied  that  nobleman 
to  Venice,  when  he  was  appointed  ambassador 
to  the  republic.  At  Venice  he  painted  a  convers- 
ation-piece, in  which  he  introduced  the  portraits 
of  the  Duke  of  York  and  several  English  gentle- 
men then  on  their  travels.  The  picture  was  after- 
wards exhibited  at  the  rooms  in  Spring  Gardens  in 
1763,  at  which  time  he  returned  to  England,  and 

186 


for  some  years  practised  portrait  painting.  Ex- 
travagant living  brought  him  to  the-  King's  Bench, 
but  he  was  rescued  by  the  Empress  of  Russia, 
at  whose  request  he  went  to  St.  Petersburg,  where 
he  was  appointed  portrait  painter  to  the  empress, 
and  where  he  met  with  much  employment.  He 
died  in  that  city  in  1782.  Among  his  best  works 
are: 

The  Prince  of  Wales  in  the  Eobes  of  the  Garter,  in 
1772;  mezzotinted  In/ John  Saunders, 

Prince  Frederick  in  the  Eobes  of  the  Bath ;  mezzotinted 
hy  John  Saunders. 

The  Earl  of  Chatham. 

Admiral  Saunders ;  in  Greenwich  Hosjntal. 

BRONKHORST,  Jan  van,  was  born  at  Utrecht 
in  1603.  He  was  taught  glass-painting  by  T. 
Verburgh,  and  studied  afterwards  under  P.  Mat- 
thieu  at  Arras,  and  under  Chamus  at  Paris.  He 
practised  that  branch  of  the  art  with  great  suc- 
cess, and  executed  the  fine  windows  in  the  new 
church  at  Amsterdam.  When  he  was  thirty-six 
years  old-  he  became  acquainted  with  Cornehs 
Poelenburg,  and  abandoned  glass-painting  to  imi- 
tate the  style  of  that  master,  and  painted  several 
pictures  in  oil,  which  were  much  admired.  Several 
of  these  works  are  in  the  Museums  of  Brunswick 
and  Rotterdam.  He  etched  some  landscapes  after 
Poelenburg,  and  other  subjects  from  his  own 
designs.  He  died  in  1680.  Bartsch  describes 
eighteen  of  his  prints,  which  he  signed  J.  (?.  feat, 
or  J.  G.  B.  fecit.     The  most  important  are : 

The  Dying  Christ ;  after  Poelenburg. 
A  Nymph  sleeping  in  a  Grotto ;  after  the  same. 
Eoman  Kuins,  in  nine  plates ;  after  tlie  same. 
A  Magdalen ;  after  Saftleven. 

BRONKHORST,  Johannes,  was  born  at  Leyden 
in  1648,  and  lived  for  some  time  at  Horn.  He  was 
especially  noted  for  his  water-colour  paintings  of 
foreign  birds  and  beasts.     He  died  in  1726.  ' 

BRONKHORST,  Pieter  van,  a  Dutch  painter, 
was  born  at  Delft  in  1588.  He  excelled  in  paint- 
ing the  interiors  of  churches  and  temples,  which  he 
ornamented  with  small  figures  representing  his- 
torical subjects.  In  the  town-house  at  Delft  he 
painted  two  large  pictures — one  of  '  The  Interior 
of  the  Temple,  with  Solomon  pronouncing  his 
Judgment,'  and  the  other,  '  Clirist  driving  the 
Money-changers  out  of  the  Temple.'  He  died  in 
1661. 

BRONTIN,  Pierre,  a  French  historical  painter 
of  the  16th  century,  was  born  in  the  department 
of  the  Nord.  He  settled  'at  Lille  about  1510, 
and  executed  many  pictures  for  the  churches  of 
that  city. 

BRONZING.     SeeALLOKi. 

BROOKE,  Henry,  who  was  born  at  Dublin  in 
1738,  painted  historical  subjects  in  London  from 
1761  till  1767,  when  he  returned  to  Dublin  where 
he  died  in  1806. 

BROOKE,  William  Henry,  who  was  bom  in 
1772,  was  a  nephew  of  Henry  Brooke,  the  author 
of  '  A  Fool  of  Quality.'  He  exhibited  portraits  and 
figure  subjects  at  the  Royal  Academy  occasionally 
between  1810  and  1826,  but  is  best  known  byhis 
illustrations  to  books :  Moore's  '  Irish  Melodies,' 
Walton's  'Angler,'  Keightley's  ' Mythology,' and 
other  works.     He  died  at  Chichester  in  1860. 

BROOKING,  Charles,  an  eminent  marine 
painter,  was  born  in  1723.  He  is  said  to  have 
been  employed  in  some  department  of  the  dock- 
yard at  Deptf  ord,  and  it  does  not  appear  that  he 
had  the  advantage  of  receiving  any  regular  educa- 


Brooks 


PAINTERS  AND  ENGRAVERS. 


Brouwer 


tion  in  the  art.  He  acquired  considerable  still  as 
a  marine  painter,  and  was  fond  of  making  pictures 
of  sea-fights  and  of  ships'  manoeuvres,  in  which 
he  displayed  his  knowledge  of  nautical  tactics. 
Unfortunately  he  was  nearly  all  his  life  in  the 
hands  of  the  lower  class  of  dealers,  and  it  is  said 
had  just  won  by  his  art  the  patronage  of  a  gentle- 
man of  property  when  he  died  of  decline  in  the 
year  1759,  leaving  his  family  destitute.  Several 
of  his  works  were  engraved  by  Ravenet,  Canot, 
and  others.  There  is  a  large  sea-piece  by  him  at 
the  Foundling  Hospital. 

BROOKS,  John,  an  engraver  in  mezzotint,  is 
said  to  have  been  a  native  of  Ireland.  James 
McArdell  was  his  apprentice,  and  both  went  from 
Dublin  to  London  about  1727.  Brooks  led  a  disso- 
lute life,  and  for  years  lived  in  seclusion.  He  died 
about  1760.  His  works  are  chiefly  portraits.  We 
have  by  him  Hugh  Boulter,  Archbishop  of  Armagh, 
Primate  of  Ireland,  and  William  Aldrich,  Lord 
Mayor  of  Dublin ;  dated  1742.  There  is  also  an 
engraving  of  '  The  Battle  of  the  Boyne '  by  him, 
after  Wyck. 

BROOKSHAW,  Richakd,  an  engraver  in  mezzo- 
tint, was  born  about  1736.  He  executed  several 
good  portraits,  and  other  subjects.  After  prac- 
tising in  London  for  many  years,  he  went  to 
Paris,  where  he  was  well  received.  He  died  soon 
after  1804.  We  have  by  him,  among  others,  the 
following : 

Louis  XVI.,  King  of  France, 

Marie  Antoinette  of  Austria,  Queen  of  France. 

A  half-length  Portrait  of  a  young  Lady  holding  a  Vase ; 

after  Sir  Joshua  lEeynolds, 
A  Portrait  of  General  Paoh. 
James  Bouverie.  son  of  the  Earl  of  Radnor ;  after  Sir 

Joshua,  Iteynolds. 
The  Enchantress ;  after  Murray. 
Eetum  from  Egypt ;  after  Rubens. 
Moonlight,  a  Searpiece;  H.  Kohell pinx. 
A  Storm  at  Sea ;  the  same. 

BROSAMER,  Hans,  an  old  German  engraver, 
was  born  at  Pulda  about  the  year  1606.  On  account 
of  the  small  size  of  his  prints  he  is  ranked  among 
what  are  called  the  Iiittle  Masters.  He  designed 
both  on  wood  and  copper,  although  he  was  pro- 
perly a  wood-engraver,  signing  himself  on  his  por- 
trait of  the  Landgrave  of  Hesse,  '  Pormschneider 
zu  Erfurt,'  where  he  resided  during  the  latter  part 
of  his  life.  In  his  copper  engravings  his  style  is 
somewhat  modern,  and  resembles  rather  the  en- 
gravers who  copied  the  designs  of  others  than 
those  of  the  earlier  period,  who  invented  their  own 
subjects.  He  sometimes  marked  his  plates  b 
with  his  name,  and  sometimes  with  the  cipher  jEb| 
annexed.  The  following  are  his  principal  Lj 
works : 

COPPER-PLATES. 
The  Portrait  of  George  "Wicelaus.    1542. 
The  Portrait  of  John  IL,  Abbot  of  Fulda. 
Samson  and  Delilah ;  Johannes  Brosamer  Fulda  degens 

faciehat,  15  H.  B.  45. 
David  and  Bathsheba, 

Solomon  and  his  Wives  worshipping  the  Idol.    1543. 
Xantippe  riding  on  Socrates. 
Laocoon  and  his  Children.     1538. 
Marcus  Curtius  leaping  into  the  Gulf ;  circular.    1540. 
The  Judgment  of  Paris. 
The  Crucifixion;  Joh.  Brosamer  Fulda  degens  faciehat, 

1542;  fine. 

WOODCUTS. 

Creation  of  Eve. 

Eve  giving  Adam  the  apple. 

Bathsheba  in  the  Bath. 


Queen  of  Sheba  before  Solomon. 

The  Last  Supper. 

SS.  Jerome,  Matthew,  Mark,  Luke,  John,  Paul,  James 

the  Great. 
John  the  Baptist  in  Prison. 
Twenty-one  pieces  from  the  Bevelation. 

PORTRAITS. 

Eoben  Hess,  the  poet, 

George  Sturtz,  physician. 

Phihp,  Landgrave  of  Hesse. 

Hans  Sachs:  with  the  following  inscription:  "1545. 
Hans  Sachs.  Alter  51  jar : "  Hans  Sachs,  at  the  age 
of  51.  1545.  On  this  print  M.  Derschau  observes,  on 
the  authority  of  a  MS.  note  on  an  old  impression, 
that  Brosamer  had  made  a  gift  of  this  engraving  to 
the  '  master-singer '  on  the  51st  anniversary  of  his 
birth.  Tff,  B.  S. 

BROSTERHOTJS,  Jan  van,  (Beosterhust,  or 
Brosterhuizen,)  is  the  name  of  a  landscape 
painter  and  engraver  of  the  early  part  of  the  18th 
century.  Little  is  known  of  his  life,  but  he  is  said 
to  have  resided  in  the  Netherlands.  He  etched  in 
the  style  of  Ruisdael,  and  his  plates,  of  which  six- 
teen are  known,  representing  landscapes,  villages, 
&c.,  are  executed  in  a  tasteful  and  pleasing  man- 
ner. They  are  signed  with  a,  B,  or  a,  B  and  an  jR 
interlaced. 

BROSTOLONI,  Giovanni  Battista,  an  Italian 
engraver,  was  bom  at  Venice  about  the  year  1726. 
He  is  said  to  have  been  a  pupil  of  Joseph  Wagner. 
We  have  the  following  plates  by  him : 
Portrait  of  Pope  Benedict  XIV. ;  an  oval  plate. 
A  Vignette,  with  the  Portrait  of  Benedict  XFV. 
St.  Theresa  in  Adoration. 

A  set  of  twenty  Views  in  Venice ;  after  Canaletti.  1763. 

Another  set  of  twelve  large  plates ;  after  the  same,  with 

the  Ceremonies  of  the  Election  of  the  Doge,  and  his 

Marriage  .with  the  Adriatic. 

BROUCK,  Moses  Vyt  den,  (or  Van  Brouck). 

See  Uytenbrodck. 

BROUWER,  Adriabn,  (or  Brauwer,  or  De 
Bradwerb,)  was  bom  about  the  year  1605,  pro- 
bably at  Oudenaerde.  Haarlem  is  considered  by 
some  writers  to  be  the  place  of  his  birth.  As 
related  by  Houbraken  and  Descamps,  the  life  of 
Brouwer  is  a  tale  of  opportunities  wasted  and 
talents  misapplied,  a  tale  of  drunken  bouts  and 
times  of  poverty.  But  later  researches  have  dis- 
covered sufficient  to  do  more  than  throw  doubts 
even  on  these  statements ;  and  in  his  epitaph,  pub- 
lished by  De  Bie,  we  read  that  he  was  '  a  man  of 
great  mind,  who  rejected  every  splendour  of  the 
world,  and  who  despised  gain  and  riches.'  His 
mother,  a  dressmaker  at  Haarlem,  entrusted  young 
Adriaen  to  the  tender  care  of  Hals,  who,  if  report 
speak  true,  used  him  but  ill.  He  made  him  work 
without  ceasing,  and  starved  him  for  his  pains. 
Leaving  Hals,  Brouwer  wandered  to  Amsterdam, 
where  his  talents  soon  met  with  the  recognition 
they  deserved.  From  Amsterdam  he  went  to 
Antwerp,  where  he  was  thrown  into  prison  as  a 
spy.  He  was  released  through  his  own  talents 
and  the  intercession  of  Rubens,  who  would  have 
had  him  reside  with  him.  But  his  biographers 
tell  us  that  he  considered  Rubens's  splendour 
little  better  than  the  Duke  of  Arenberg's  prison. 
In  1631-32,  Brouwer  was  received  into  the  Guild 
of  St.  Luke  at  Antwerp,  and  in  that  year  his 
portrait  was  painted  by  Van  Dyck ;  in  1634-5  he 
was  made  a  member  of  the  society  called  'The 
Violet.'  He  died  at  Antwerp  in  1638,  and  was 
buried  in  the  Church  of  the  Carmelites.  Genuine 
works  by  Brouwer  are  now  rarely  met  with  ;  they 
were  highly  esteemed  even  in  his  own  time.   Rubens 

187 


Brouwer 


A  BIOGRAPHICAL  DICTION AEY  OF 


Browne 


and  Eembrandt  both  possessed  several  of  them. 
Though  resident  for  some  time  at  Ant-werp,_he  is 
essentially  Dutch  in  character  ;  and  almost  without 
exception  his  pictures  represent  Dutch  interiors, 
with  peasants,  drinking,  smoking,  and  playing,  and 
as  often  as  not  quarrelling  ;  and  theyare  AJL 
especially  esteemed  for  their  colouring.  X\^ 
The  following  are  some  of  the  principal : 

Amsterdam.  Museum.  A  Village  Revel. 
BerUn  Museum.  The  Toilet  (engraved  in  tJie  senes 

of  '  The  Seven  Sins '   as  '  Su- 
periia ') ;  doubted. 
Brussels.         Museum.  A  Fight  in  a  Cabaret, 
„      Arenherg  Col.  Interior  of  a  Tavern. 
Cassel.  Gallery.    Peasants  Playing  Cards. 

^j  „  Peasants  in  an  Ale-house. 

Dresden         Gallery.    Two  Peasants  Fighting. 

^j  „         Two  Peasants  Sitting  at  a  Table. 

I,  „  A  Caricature  (a  study). 

Dulwich.        Gallery.    Interior  of  an  Ale-house. 
Florence.        Vffizi.       Peasants  Drinking  in  a  Tavern. 

„  „  The  Topers. 

Frankfort.     Stadel.      A  Peasant  doctoring  the  foot  of 
another  Peasant. 
„  „  A  Peasant  having  his  back  doc- 

tored.   A.  B. 
,j  ij  A  Man  taking  Medicine.    A.  B. 

London.  ^'•«|:«»«'«'- 1  Peasants  Singing. 

„  SeHford  Souse.  A  Sleeping  Peasant. 
Madrid.  Museum.  The  Comic  Trio. 

Munich.     Finahotheh.  Peasants  playing  Cards. 

„  „  Spanish  Solcfiers  playing  at  Dice. 

„  „  llree  Peasants  smoking. 

„  „  A  Peasant     playing    the    Fiddle 

while  others  sing. 
„  „  Two  Peasants  fighting  separated 

by  a  third. 
„  „  Peasants  fighting  in  an  Ale-house. 

„  „  A  Tillage  Doctor  dressing  a  Pea- 

sant's Arm. 
„  „  Peasants  Singing. 

„  „  A  Peasant  with  a  Lame  Foot. 

Paris.  Louvre.    Interior  of  a  Smoking-room. 

„  „         The  Smoker.    A.  B. 

Pesth.  Gallery.  Peasants  drinking. 

Petersburg. -ff«»';>«rt«^e.  The  Drinker  (with  monogram^. 
„  „  Peasants  in  an  Ale-house. 

„  „  Peasants  quarrelling. 

„  „  The  Flute  Player. 

Vienna.         Belvedere.  A  Peasant  sitting  on  a  Cask. 
„         Czernin  Coll.  Peasants. 

We  have  a  few  etchings  by  Brouwer,   executed 
with  great  spirit,  and  full  of  character,  as  follow  : 

A  company  of  four  Peasants ;  inscribed  F  sa  vrienden,  <^c. 

A  Woman  playing  on  the  Flageolet,  and  Peasants  danc- 
ing ;  inscribed  Lustig  spell^  S^c. 

Three  Peasants  smoking ;  Wer  aent  smoketK 

A  Peasant  sleeping,  and  others  drinking ;  Brauwer. 

Two  of  single  figures ;  signed  A.  Brower. 

A  Man  and  a  Woman,  with  a  Monkey  smoking ;  Wats 
dit,  ^c. 

A  Woman  making  Cakes  ;  a  circular. 

A  Woman  holding  a  Stove,  and  a  Man  lighting  his  Pipe. 

Six  of  Men  and  Women  Peasants. 

In  1873  Wilhelm  Schmidt  published  at  Leipsio 
a  life  of  Brouwer ;  and  Paul  Mantz,  in  the  '  Gazette 
des  Beaux- Arts'  (1879-80),  and  H.  Eaepsaet,  in  the 
'  Annales  de  la  Societe  Eoyale  des  Beaux- Arts  de 
13-and'  (1852),  have  contributed  information  con- 
cerning him. 

BEOUWBE,  Jan,  was  a  native  of  Holland,  and 
flourished  about  the  year  1680.  He  was  chiefly 
employed  in  engraving  portraits,  which  possess 
no  great  merit.  Among  others  is  that  of  the  Em- 
peror Leopold,  after  W.  Vaillant. 

BEOWN,  David,  is  known  as  a  pupil  of  George 
Morland,  whose  works  he  imitated.     He  exhibited 

188 


landscapes  at  the  Eoyal  Academy  from  1792  to 
1797. 

BEOWN,  John,  was  '  Sergeant  painter  to  Henry 
VIII.,'  and  received  a  pension  of  £10  a  year.  He 
built  Painters'  Hall  for  that  Company  in  1553  ;  his 
portrait  is  preserved  there  (Redgrave). 

BEOWN,  John,  the  son  of  a  watchmaker,  was 
born  at  Edinbuigh  in  1752,  and  became  a  pupil  of 
Alexander  Eunciman.  When  nineteen  years  of  age 
he  went  to  Eome,  whence  he  sent  drawings  to  the 
Eoyal  Academy.  He  afterwards  visited  Sicily,  and 
made  sketches  of  the  ruins  of  ancient  buildings 
there.  In  1786  he  went  to  London,  and  exhibited 
miniature  portraits.     He  died  at  Leith  in  1787. 

BEOWN,  Mather,  was  born  in  America  (?at 
Boston),  about  the  middle  of  the  18th  century; 
came  to  England  when  quite  young,  and  became 
the  pupil  of  his  fellow-countryman,  West.  He  ex- 
hibited his  first  picture  at  the  Eoyal  Academy  in 
1782,  and  continued  to  send  his  works  to  the  Exhi- 
bition constantly  until  his  death.  He  painted  the 
portraits  of  George  III.  and  Queen  Charlotte,  and 
of  many  of  the  distinguished  English  military  and 
naval  ofBcers  of  his  time,  among  whom  were 
Elliot,  Eodney,  and  Cornwallis.  He  also  painted 
subjects  from  the  events  of  the  war  in  India  with 
Tippoo  Saib,  and  from  scenes  in  Shakespeare  for 
Boydell's  Gallery.  His  art  never  reached  any  high 
standard,  and  in  his  latter  days  it  became  almost 
imbecile.     He  died  in  London  in  1831. 

BROWN,  Petee,  a  flower  painter,  exhibited  at 
the  Royal  Academy  from  1770  till  1791.  He  was 
a  member  of  the  Incorporated  Society  of  Artists 
and  Botanical  Painter  to  the  then  Prince  of  Wales. 

BROWN,  ElCHAEDjWas  an  architectural  draughts- 
man of  some  repute  at  the  beginning  of  the  nine- 
teenth century.  He  published  views  of  Chester  and 
Exeter  Cathedrals,  and  several  important  books  on 
perspective  and  architecture.  His  last  work, '  Sacred 
Architecture,'  was  printed  in  1845. 

BEOWN,  Egbert,  a  native  of  London,  was, 
according  to  Lord  Orford,  a  disciple  of  Thornhill, 
and  worked  under  him  on  the  dome  of  St.  Paul's. 
On  leaving  that  master  he  was  much  employed  in 
decorating  churches  in  the  city.  He  painted  the 
altar-piece  of  St.  Andrew  Undershaf  t ;  in  St.  Botolph, 
Aldgate, '  The  Transfiguration ; '  for  the  altar  in  St. 
Andrew's,  Holborn,  the  figures  of  St.  Andrew  and 
St.  John ;  and  two  histories  on  the  sides  of  the 
organ.  In  St.  John's  chapel,  Bedford-row  (since 
pulled  down),  he  painted  the  figures  of  St.  John 
the  Baptist  and  St.  John  the  Evangelist.  He  died 
in  1763. 

BEOWN,  William,  an  English  wood-engraver, 
was  born  at  York,  but  settled  in  Belgium,  where 
he  died  in  1877.     His  best  plates  are : 

Notre-Dame  de  Bon  Oonseil ;  after  Van  Maldeghem. 
The  Transfiguration ;  after  Raphael. 
The  Assumption ;  after  Rubens. 
The  Holy  Family ;  after  the  same. 
The  Last  Supper ;  after  the  same. 
Jesus  about  to  be  crowned  with  Thorns;   after  Van 
Dyck. 

BROWNE,  Alexander,  was  an  artist  and  en- 
graver in  the  time  of  Charles  II.,  whose  portrait  he 
painted.  He  is  known  as  the  author  of  '  Ars  Pic- 
toria,  an  Academy  treating  of  Painting,  &c.,  with 
thirty-one  copper  plates ;  with  an  Appendix  on 
Miniature  painting,'  1675  ;  and  of  '  A  Compendious 
Drawing-Book,'  with  forty  copper-plates,  1677. 

BROWNE,  John,  the  son  of  a  Norfolk  clergy- 
man, was  born  at  Finchingfield,  in  Essex,  in  1741 


Browne 


PAINTERS  AND  ENGBAVERS. 


Brueghel 


{^Redgrave).  He  was  educated  at  Norwich,  and  in 
1756  wa3  sent  to  London,  where  he  was  placed 
with  John  Tinney  the  engraver.  William  Woollett 
was  his  fellow  apprentice.  He  quickly  distinguished 
himself  in  his  art,  and  in  1768  exhibited  an  en- 
graving of  '  St.  John  Preaching  in  the  Wilderness,' 
after  Salvator  Rosa,  which  brought  him  into  much 
notice.  Two  years  afterwards  he  was  made  an 
associate  engraver  of  the  Royal  Academy,  and  he 
became  distinguished  as  an  excellent  engraver  of 
landscapes.  Many  of  his  works  were  published  by 
Alderman  Boydell.  He  died  at  Walworth  in  1801. 
The  following  are  his  principal  engravings  : 

St.  John  Preaching  in  the  Wilderness;  after  Salvator 

Rosa. 
A  Landscape,  with  a  Sportsman ;  after  G.  Poussin ;  in 

the  Houghton  Collection. 
A  Kitchen ;  after  Teniers. 
The  Cottage ;  after  Sobbema.    1773. 
The  "Waggoner ;  after  Rubens.     1776 ;  fine. 
A  Landscape';  after  the  same;  from  a  picture  in  the  col- 
lection of  the  Duke  nf  Montagu. 
The  Market;   after  the  same;   from  a  picture  in  the 

Eoyal  Collection. 
The  Milkmaid ;  after  the  same, 
Apollo  and  the  Muses  granting  Longevity  to  the  Sibyl 

of  Cuma ;  after  Salvator  Eosa. 
Landscape,  "with  a  "Waterfall ;  after  G.  Foussin. 
Landscape,  with  Prooris  and  Cephalus;  after  Claude 

Lorrain. 
Landscape,  with  the  Baptism  of  tie  Eunuch ;   after 

Jan  Both. 
Morning,  Evening,  after  Sunset,  and  Moonlight ;  from 

his  own  drawings. 

BROWNE,  J.  C,  who  was  born  at  Glasgow  in 
1805,  practised  as  a  landscape  painter  in  the  Low 
Countries,  Spain,  in  London,  in  Edinburgh,  and  in 
his  native  Glasgpw.    He  died  in  Edinburgh  in  1867. 

BRU,  MosEN  "Vicente,  according  to  Palomino 
Velasoo,  was  born  at  Valencia  in  1682.  He  was 
the  scholar  of  Juan  Oonchillos,  and  gave  promise 
of  uncommon  ability.  Before  he  was  twenty-one 
years  of  age  he  had  painted  several  pictures  for 
the  churches  in  his  native  city,  of  which  that 
author  mentions  three  in  the  church  of  San  Juan 
del  Meroado — 'St.  Francisco  de  Paula,'  'The  Bap- 
tism of  Christ  by  St.  John,'  and  a  picture  of  '  All 
the  Saints.'     He  died  in  1703. 

BRUANDET,  Lazaee,  a  French  landscape 
painter,  was  bom  in  Paris  in  1755.  He  painted 
views  of  Paris,  and  sought  to  imitate  Ruisdael. 
In  the  Louvre  there  is  by  Lim  a  'View  in  the 
Forest  of  Fontainebleau,'  signed  and  dated  1785. 
He  died  in  Paris  in  1803. 

BRUCKER.     See  Peuqqee. 

BRUCKMANN,  Alexander,  historical  and  por- 
.  trait  painter,  was  born  at  Reutlingen  in  1806,  and 
commenced  painting  in  1824  at  Stuttgart.  In  the 
following  year  he  removed  to  Munich,  and  in  1829 
to  Rome,  where  he  remained  two  years,  and  there 
produced  his  picture,  now  in  the  State  Gallery  at 
Stuttgart,  '  Barbarossa's  Body  drawn  out  of  the 
Calycadnus.'  In  1833  he  painted,  in  the  royal 
palace  at  Munich,  fourteen  pictures  from  Theocri- 
tus's  poems,  which  were  partly  his  own  concep- 
tions, and  partly  from  designs  by  H.  Hess.  In 
1835  he  received  a  concussion  of  the  brain  from 
the  upsetting  of  a  carriage,  and  this  brought  on  a 
chronic  nervous  derangement,  ending  in  delirium 
and  death  in  1852  at  Stuttgart.  In  addition  to  a 
number  of  excellent  portraits,  mention  is  made  of 
his  '  Women  of  Weinsberg,'  '  The  Sirens,'  '  Romeo 
and  Juliet,'  and  'The  Maiden  from  Afar '  (Schiller's 
'  Das  Madchen  aus  der  Fremde  '). 


BRUGGE,  RooiER  van.    See  Van  dee  Weyden. 

BRUEGHEL.  As,  from  the  alphabetical  ar- 
rangement of  this  dictionary,  the  names  of  the 
members  of  this  family  are  intermingled  with 
those  of  synonymous  painters  with  whom  they  are 
in  no  way  connected,  it  has  been  thought  advis- 
able to  append  a  genealogical  table  to  show  their 
various  relationships.  The  name  which  from 
custom  became  a  sur-name  arose  from  the  fact  of 
the  first  member  of  this  family  having  been  a 
native  of  a  "village  of  that  name  near  Breda.  The 
modern  spelling  of  which,  Breughel,  has,  in  error, 
been  assigned  by  many  to  the  painter. 

Peter  I.  (Boeren  Braeghel)  (1530—1568) 


Peeter  II.  Jan  I.  (Fluweelen  Brueghel) 

(HuUen  Brueghel)  (1568—1625),  married— 

(1564—1637-38)  1.  Isabella  de  Jode ;  2.  Gatherina  van  Marienhurg 

Peeter  m.  i ' 1  I 

(1589—1638-39)    JaD  II.     Ambrosius    Paschasie  Anua  Brueghel 
(1601—16..)   (1617-1675)    married  (married 

"VanKeaael)  David  Teniers) 

BRUEGHEL,  Abeaham,  called  Rxngrap,  was 
born  at  Antwerp  in  1672.  He  excelled  in  the 
painting  of  flowers  and  fruit,  both  in  oil  and 
water-colours.  A  flower-piece  by  him  is  in  the 
Hermitage,  St.  Petersburg,  and  another  is  in  the 
Pitti  Palace,  Florence.  He  was  called  '  II  Napoli- 
tano,'  from  his  residence  in  Naples,  in  which  city 
the  greater  part  of  his  works  are  found.  He  died 
at  Rome  in  1720.  His  brother  Jan  Baptist 
Beueohel  was  also  a  fruit  and  flower  painter ;  he 
was  b5m  at  Antwerp  in  1670,  and  died  at  Rome  in 
1719.  Caspar  BEUEaHEL  was  the  son  of  Abraham 
Brueghel.  There  was  also  an  engraver  Fbans 
HiEEONYMUS  Brueghel,  who  flourished  in  the  18th 
century,  and  likewise  painted  sea-pieces. 

BRUEGHEL,  Ambros,  was  a  flower  painter,  and 
from  1653  to  1670  director  of  the  Academy  at 
Antwerp.  Pictures  by  him  are  at  Vienna,  Cologne, 
and  Christiania. 

BRUEGHEL,  Jan,  (orBEUECjEL:  usually,  but  less 
correctly,  written  Breughel,)  was  called  '  Blumen- 
Brueghel '  or  '  Sammt-Brueghel,'  also  Fluweelen- 
Brueghel,  i.  e.  '  Velvet-Brueghel,'  it  is  said  on 
account  of  his  partiality  for  dressing  in  that 
material.  He  was  the  younger  son  of  Peeter 
Brueghel  the  elder,  and  was  born  at  Brussels  in 
1568.  His  father  dying  when  he  was  only  five 
years  old,  he  was  brought  up,  and  instructed  in  the 
art  of  painting  in  distemper,  by  Marie  de  Bes- 
semers  (the  widow  of  Pieter  Coucke  of  Alost),  who 
was  his  maternal  grandmother.  He  was  afterwards 
instructed  by  Pieter  Goetkint  in  the  use  of  oil. 
In  the  early  part  of  his  career  he  painted  flowers 
and  fruit,  in  which  branch  of  the  art  he  had  already 
become  celebrated,  when  on  visiting  Italy — going 
through  Cologne,  where  he  stayed  some  time — he 
changed  his  subjects,  and  painted  landscapes  with 
small  figures,  which  were  correctly  drawn  and 
touched  with  spirit.  On  his  return  to  Flanders  his 
works  were  regarded  with  much  esteem.  In  1597  he 
entered  the  Guild  at  Antwerp.  In  1599  he  married 
Isabella  de  Jode,  of  Antwerp,  by  whom  he  had  two 
children — Jan  Brueghel  'the  younger,'  who  fol- 
lowed his  father's  profession,  and  always  painted 
landscapes,  which  are  frequently  mistaken  for  his 
father's  work,  and  a  daughter  Paschasie,  who  mar- 
ried the  painter  Van  Kessel.  In  1605  we  find  that 
Brueghel  married  again.  His  second  wife,  Gathe- 
rina van  Marienhurg,  bore  him,  among  other  chil- 
dren, a  daughter  Anna,  who  subsequently  became 
the  first  wife  of  David  Teniers.    In  1601  Brueghel 

189 


Brueghel 


A  BIOGRAPHICAL  DICTIONARY  OF 


bought  the  freedom  of  Antwerp ;  in  1602  he  was 
dean  of  the  Guild  ;  he  was  also  a  member  of  the 
'  Violet '  Society.  He  died  at  Antwerp  in  1625. 
Though  it  is  as  a  landscape  painter  that  Brueghel 
won  most  of  his  fame,  yet  his  subject-pictures  are 
little  behind  the  works  of  his  contemporaries  in 
that  branch  of  art.  They  are  conceived  with  a, 
sense  of  humour,  and  are  carefully  executed.  His 
productions  were  so  much  admired  by  Rubens  that 
he  solicited  him  to  paint  the  landscapes  in  several 
of  his  easel-pictures.  One  of  the  most  esteemed 
specimens  of  their  united  talents  was  a  picture  of 
'  Adam  and  Eve  in  Paradise,'  in  which  the  figures 
of  Adam  and  Eve,  and  perhaps  the  horse,  were 
admirably  painted  by  Rubens  in  one  of  the  finest 
landscapes  of  Brueghel.  It  was  formerly  in  the 
collection  of  the  Prince  of  Orange,  but  was  taken 
to  Paris  by  the  French,  and  is  now  in  the  Hague 
Gallery.  Brueghel  performed  a  similar  service  for 
Van  Balen  and  Rottenhammer,  and  he  painted 
small  figures  with  so  much  neatness  and  accuracy 
that  he  was  invited  to  decorate  with  them  the 
clmrches  of  Steenwijck  and  the  landscapes  of 
Momper.  His  '  Views  of  Flanders '  are  faithful 
transcripts  of  the  scenery  of  the  country  ;  and  his 
trees,  plants,  and  even  insects  are  drawn  and 
painted  with  the  utmost  precision.  In  art  Jan 
Brueghel  was  as  superior  to  his  father  as  the  latter 
was  to  his  son  Pieter.  He  painted  scenes  from 
peasant  life,  as  well  as  demoniacal  subjects,  with 
much  success.  His  works  display  a  sound  know- 
ledge of  chiaroscuro.  The  following  are  BCfme  of 
his  principal  paintings :     • 

Amsberdam.   Museum,  Townonthebanksof  a  river.  1624. 

„  „         Four  others. 

Antwerp.        Jiluseum.  A  Keti  {with  Buhens). 
Augsburg.       Gallery.    Landscape  and  figures  (wjWiJwieM). 
Berlin.  Gallery.    The  Forge  of  Vulcan  {figures  by 

Van  Balen). 
„  „        Feast  of  Bacchus  (figures  hy  Rotten- 


Brussels. 
» 

Cassel. 
» 

Dresden. 

Florence. 
Hague. 


Lyons. 
Madrid. 


„        Still-life  {a  red  vase  withfiowers). 
„         Paradise. 

„        Landscape  with  St.  Hubert  {figures 
hy  }luhens). 
Museum.  Fecundity  (figures  liy  Van  Balen). 
„  St.  Norbert  preaching. 

„  Autumn. 

Gallery.  Winter  Landscape. 
„         Sea-piece. 
„         Landscapes. 
Gallery.   Landscapes  {fourteen,  all    signed 
Bbtjeghei.,    and    hearing    dates 
from  1604—1642). 
„         Landscapes  with    figures   {sixteen 
unsigned). 
Landscape. 
The  four  Elements. 
The  Terrestrial  Paradise. 
Adam  and  Eve  in  Paradise  {figures 

hy  Rubens). 
The  four  Elements. 
The  four  Elements. 


Uffizi. 
Museum. 


Museum. 
Museum. 


„  „         Hustic  Feasts. 

And  others. 
Munich.      PinoAoiAel;.  Landscapes   and   figures  {twenty- 
seven  :  nine  have  figures  hy  Van 
Balen). 
Paris.  Louvre,     The  Terrestrial  Paradise. 

„  „         Air  {figures  by  Van  Balen).    1621. 

J,  „         Battle  of  Arbela. 

»  „         The  Bridge  of  Talavera.    1610. 

»  ,,  Landscape.     1600. 

And  others. 
Petersburg.  Hermitage.  Landscape  with  a  Forest.    1607. 

Ten  other  landscapes, 
Eome.  Doria  Pal.  The  four  Elements, 

190 


Vienna.      Boyal  Acad,  Ooast  scene. 
„  Belvedere.  Flowers. 

The  four  Elements. 


Bruegliel 


„  Liechtenstein  Coll.  Landscape. 
We  have  four  small  etchings  by  Jan  Bruegliel-; 
they  are  marked  J.  Sadeler  exc. 

BRUEGHEL,  Peetbr,  '  the  elder,'  (Bruegel  or 
less  correctly  Beeughbl,)  called  '  Boeren-Brueghel' 
(Peasant-Brueghel),  and  also  '  the  Droll,'  was  born 
in  the  village  of  that  name,  near  Breda,  about  the 
year  1630.  He  was  the  son  of  a  peasant,  and  was 
instructed  in  painting  by  Pieter  Coucke;  but  he 
seems  to  have  paid  more  attention  to  the  eccen- 
tricities of  Jerom  Bosch  than  to  the  works  of  his 
instructor.  He  became,  in  1551,  a  member  of  the 
Guild  at  Antwerp,  and  travelled  soon  afterwards 
in  France  and  Italy,  devoting  particular  study  to 
the  wildest  and  most  romantic  parts  of  the  Alps. 
On  his  return  to  Flanders,  in  1553,  he  settled  for  a 
time  at  Antwerp,  where  his  works  met  with  much 
admiration.  In  1563  he  removed  to  Brussels,  where 
he  died  in  1569.  His  best  pictures  represent  village 
feasts  and  merry-makings,  and  it  is  said  that  he 
frequently  disguised  himself  as  a  boor,  to  mix  in 
those  rural  amusements,  to  observe  with  more 
accuracy  their  various  characters,  which  he  personi- 
fied with  great  humour  and  pleasantry.  He  also 
painted  attacks  of  banditti  in  wild  landscapes, 
gipsies  telling  fortunes,  and  other  drolleries.  In 
these  subjects  he  has  only  been  surpassed  by 
Teniers.  The  following  are  some  of  his  best  paint- 
ings : 

Massacre  of  the  Innocents. 

Landscape. 

Christ  bearing  the  Cross. 

Triumph  of  Death. 
Pinakothelc.  Preaching  of  John  the  Baptist. 


Brussels. 

Darmstadt, 

Florence. 

Madrid. 

Munich. 

Paris. 


Gallery. 
Uffizi. 


Lou/ore. 


Vienna. 


View  of  a  Village. 

Peasants  dancing. 

Fight  between  Carnival  and  Lent. 
1559. 

„  „  Massacre  of  the  Innocents. 

„  „  Christ  carrying  the  Cross.    1563. 

„  „  The  Tower  of  Babel.    1563. 

„  „  Peasant  "Wedding. 

Peeter  Brueghel  has  etched  a  few  plates  of  similar 
subjects  to  his  pictures : 
A  large  plate  of  a  Eermess,  or  Village  Festival. 
Another  subject  of  Peasants  regaling;  inscribed  JTjV.-A- 

mess  Barth.  Mumper  exc. 
The  Feast  of  the  Archers,  with  their  Banner  flying  from 

the  "Window  of  an  Alehouse;  inscribed  Bit  is  de 

Guide,  &o. 
A  Masquerade,  known  by  the  name  of  Valentine  and 

Orson,  with  his  name,  and  dated  1566 ;  scarce. 
A  View  on  the  Ehine,  with  the  subject  of  Daedalus  and 

Icarus ;  Petrus  Brueghel  fecit ;  Momce,  1553.    Excui. 

Sondius, 
Another  View  on   the    Ehine,  with   the  subject  of 

Mercury  and  Psyche ;  same  mark. 

BRUEGHEL,  Peetbr,  'the  younger,'  called, 
from  the  frightful  and  eccentric  subjects  he  painted, 
'HoUen  Brueghel '(' Hell  Brueghel'),  was  born  at 
Brussels  in  1564.  He  studied  under  Gillis  van 
Coninxloo  at  Antwerp.  As  a  painter  he  is  much 
inferior  to  his  father,  the  elder  painter  of  the 
same  name,  and  there  is  not  much  in  the  subjects 
of  his  pictures  to  recommend  them  to  one's  notice. 
He  was  registered  as  a  master  at  Antwerp  in  1585; 
married  three  years  later,  and  died  also  at  Antwerp 
in  1637-38.  A  '  Christ  bearing  the  Cross,'  signed 
and  dated  1606,  in  the  Berlin  Museum,  is  a  good 
specimen  of  his  art ;  a  replica  of  the  same  subject 
is  in  the  Antwerp  Gallery.    In  the  Brussels  Gallery 


Bruges 


PAINTEES  AND  ENGRAVERS. 


Brunn 


there  is  a  '  Pall  of  the  Rebel  Angels '  by  him.  His 
works  are  seen  in  many  of  the  continental  galleries. 
He  had  a  son,  Pebtek  Bbueghel  III.,  who  was 
bom  at  Antwerp  in  1589,  was  free  of  the  Guild  in 
1608,  and  died  in  1638-39,  and  was,  it  is  thought, 
instructor  of  Gonzales  Cocx. 

BRUGES,  Jean  db,  was  the  author  of  the 
illuminations  in  a  translation  of  the  Vulgate 
which  was  presented  to  Charles  V.  of  France  by 
one  Jehan  Vaudetar.  It  is  now  in  the  Westreen 
Museum  at  the  Hague,  a  museum  which  contains 
many  interesting  missals  of  a  similar  character. 
These  illuminations  were  executed  in  the  year 
1371,  a  period  when  art  in  the  Netherlands  was 
making  rapid  advances  beyond  the  conventionality 
of  the  early  14th  century,  and  the  work  of  Jean 
de  Bruges  is  by  no  means  behind  that  of  his 
contemporaries. 

BRUGES,  Marco  db.    See  Gaekabd. 

BRUGES,  RoGEK  OF.     See  Van  dee  WBifDEN. 

BRUGGEN,  J.  TBK.     See  Tee  Beuggen. 

BEUGGEN,  J.  van  dee.    See  Van  dee  Bruggen. 

BRUIN  (Bbutn).     See  DE  Beuyn. 

BRUN,  Le.     See  Le  Betjn. 

BRUN,  AnGUSTiN.    See  Bbadn. 

BRUN,  P.,  a  Prench  engraver,  was  probably  of 
the  same  family  with  Charles  and  Gabriel  Le  Brun. 
He  engraved  a  few  plates,  which  are  executed  en- 
tirely with  the  graver,  in  a  neat  style,  but  without 
taste ;  among  which  are  the  following  portraits  : 

The  King  and  Queen  of  Bohemia;  in  one  plate. 

Leopold,  Archduke  of  Austria. 

Frederick  Henry,  Prince  of  Orange. 

BRUNAUD,  Michel,  was  a  Prench  engraver 
on  wood,  who  flourished  at  Lyons  in  the  16th 
century.  There  is  by  him  a  fine  engraving  of 
Henry  IV.,  King  of  France  and  Navarre,  signed 
and  dated  1595. 

BRUNE,  Adolphe,  who  was  bom  at  Paris  in 
1802,  studied  under  Gros,  and  made  his  debut  at 
the  Salon  in  1833  with  an  'Adoration  of  the  Magi.' 
He  was  subsequently  employed  on  various  public 
buildings.  He  decorated  the  '  Salle  des  Seances ' 
of  the  Senate  in  the  Luxembourg,  and  the  ceiling 
of  the  Bibliotheque  of  the  Louvre.  Brune  died  in 
1880. 

BRUNEAU,  Louis,  a  Prench  engraver,  flourished 
about  the  year  1750.  He  etched  several  plates  of 
landscapes,  some  of  which  are  from  his  own  de- 
signs. They  are  executed  in  a  very  pleasing  style. 
It  is  most  probable  that  he  resided  some  time  in 
London,  as  some  of  them  were  published  by  J. 
Tinney,  in  Fleet  Street. 

BRUNBTTI,  Sebastiano,  was  a  native  of  Bo- 
logna, and  was  first  a  scholar  of  Lucio  Massari ; 
but,  according  to  Malvasia,  he  afterwards  was 
instructed  in  the  school  of  Guido,  of  whom  he  was 
one  of  the  ablest  disciples.  He  painted  in  the 
graceful  manner  of  his  instructor,  but  his  colour- 
ing is  rather  cold  and  heavy.  In  the  church  of 
Santa  Maria  Maggiore,  at  Bologna,  he  painted  a 
picture  of  '  The  Guardian  Angel ; '  in  San  Giuseppe, 
a 'Holy  Family,'  entirely  in  the  style  of  Guido  ; 
and  in  Santa  Margherita,  '  Mary  Magdalen  pray- 
ing in  the  Desert.'  This  last  is  now  in  the  Pina- 
coteca  at  Bologna.     He  died  young  in  1649. 

BRUNI,  Domenico,  was  born,  according  to 
Averoldi,  at  Brescia  in  1591,  and  was  a  scholar  of 
Tommaso  Sandrini.  He  was  a  reputable  painter 
of  architectural  views  and  perspective.  Several 
of  his  works  are  in  the  churches  and  public  edifices 
at  Brescia,  where  he  died  in  1666. 


BRUNI,  Fedob  Antonovitch,  bom  in  1801,  was 
the  son  of  Italian  parents  domiciled  in  Russia. 
He  studied  at  Rome,  but  returned  to  St.  Peters- 
burg, where  he  eventually  became  director  of  the 
Academy  of  Pine  Arts.  His  principal  works  are 
'  The  Death  of  Camilla,'  '  Christ  in  the  Garden  of 
Gethsemane,'  '  The  Brazen  Serpent,'  and  various 
figures  in  the  cathedral  of  St.  Isaac.  Prom  1866 
till  his  death,  in  1874,  he  superintended  the  School 
of  Mosaics  at  St.  Petersburg. 

BRUNI,  Pbancesco,  an  Italian  engraver,  was 
born  at  Genoa  about  the  year  1660.  We  have  by 
him  a  plate  of  'The  Assumption  of  the  Virgin,' 
after  Guido. 

BRUNI,  Gebonimo,  a  famous  painter  of  battle 
scenes  and  an  etcher,  was  a  pupil  of  Bourguignon, 
and  was  working  at  Naples  in  1660-70. 

BRUNI,  GiULio,  was  a  Piedmontese  painter,  who 
was  educated  at  Genoa  under  Lazzaro  Tavarone  ; 
but  preferring  the  more  pleasing  manner  of  Gio- 
vanni Battista  Paggi,  he  became  his  scholar,  and 
pioved  a  very  reputable  painter  of  historical  sub- 
jects. According  to  Soprani,  he  flourished  about 
the  year  1625,  and  was  at  that  period  in  great 
repute  in  Savoy,  when  the  wars  in  that  country 
obliged  him  to  leave  it  and  return  to  Genoa,  where 
he  died  soon  after. 

BRUNI,  Oeazio,  an  Italian  engraver,  was  born 
at  Siena  about  the  year  1630.  He  is  one  of  the 
few  Italians  who  worked  entirely  with  the  graver, 
and  appears  to  have  imitated  the  style  of  P.  de 
Poilly.  He  engraved  some  plates  from  his  own 
designs,  and  others  from  Eutilio  Manetti,  &o.  The 
following  are  "among  his  plates  : 

The  Prodigal  Son. 
The  Golden  Age. 
A  set  of  the  Four  Seasons. 
A  set  of  various  Animals. 

A  Warrior  and  a  Female  in  a  Triumphal  Oar,  with 
Minerva  presenting  a  Sceptre. 

BRUNN,  A.  P.,  was  a  native  of  Germany,  and 
flourished  about  the  year  1580.  He  engraved 
some  plates,  which  are  neatly  executed,  but  in  a 
stiff,  Gothic  style.  Among  others  is  a  print  repre- 
senting Christ  standing  on  a  mountain,  accompanied 
by  an  angel,  with  a  female  figure,  emblematical 
of  the  Church,  and  Satan  and  his  accomplices 
appear  below.  It  is  inscribed  A.  F.  Brunn  fecit, 
by  which  it  may  be  presumed  to  be  from  his  own 
design. 

BRUNN,  D.,  was  probably  a  relative  of  Isaac 
Brunn.  He  worked  entirely  with  the  graver,  in  a 
style  that  has  some  resemblance  to  that  of  Paul 
Pontius,  but  very  inferior.  Among  other  plates  by 
him  we  have  a  Bacchanalian  subject,  after  Rubens, 
and  a  similar  subject  with  boys,  after  Van  Dyck  ; 
signed  D-  Brunn,  Arg^'  sculp.  1628. 

BRUNN,  Peanz,  was  an  engraver  of  Strassburg, 
who  was  working  from  1659  to  1596,  and  chiefly 
devoted  to  animals  and  to  ecclesiastical  and 
humorous  figures.  There  are  many  of  his  pro- 
ductions in  the  Louvre.  He  is  supposed  to  have 
died  in  1620. 

BRUNN,  Isaac,  who  was  bora  at  Pressburg  about 
the  year  1591,  was  an  engraver,  designer,  and 
printseller  of  Strassburg.  He  engraved  in  the 
manner  of  Theodor  de  Bry,  and,  on  account  of 
the  small  size  of  his  prints,  is  ranked  among  the 
Little  Masters.  There  is  a  neatly-engraved  plate 
by  him  of  '  The  Church  at  Strassburg.'  It  is  signed 
Isaax:  Brunn,  Argentiends,  x<'^i">yp<^'po«e>  a.d.  1615. 
Several  others  are  mentioned  by  BruUiot  in  his 

191 


Brunner-Iiacoste 


A  BIOGEAPHICAL  DICTIONARY  OF 


BucUiorn 


'DictionnairedesMonogrammes.'  He  signed  _^ 
his  portraits  with  the  initials  J.B.,  or  the  M-j-J 
annexed  cipher. 

BRUNNJ5R-LAC0STE,  Hbnei  Emile,  a  painter 
of  fruit,  flowers,  and  game,  and  of  landscape,  genre, 
and  decorative  subjects,  exhibited  frequently  at 
the  Paris  Salon.     He  died  in  1881,  aged  43. 

BRUNNER,  Leopold,  a  pupil  of  Dreohsler,  and 
painter  to  the  Austrian  Court,  was  bom  at  Vienna 
in  1788.  He  devoted  himself  especially  to  the 
production  of  landscapes  on  a  large  scale,  and  also 
flower-pieces.  He  died  at  Vienna  in  1866.  His 
son,  Leopold  Bbunnbe,  who  was  born  at  Vienna 
in  1822,  died  in  the  same  city  in  1849,  was  a 
painter  of  landscapes  and  animals  in  oil  and 
water-colour ;  he  also  lithographed  after  Q-auer- 
mann.  An  Interior  of  Groat-shed,  by  him,  signed 
L.  Brunnbb,  1849,  is  in  the  Belvedere,  Vienna. 

BRUNO,  Antonio,  a  native  of  Modena  or  Cor- 
reggio,  painted  at  Parma  in  the  manner  of  AUegri, 
of  whom,  if  he  was  not  a  scholar,  he  was  a  great 
imitator.  He  emulated  him  in  his  grace,  his  nature, 
his  foreshortenings,  and  his  broad  lights  ;  but  with 
a  far  less  correct  pencil.  He  was  a  oontemporaiy  of 
that  great  genius,  as  one  of  his  works  bears  the 
date  of  1530. 

BRUNORI,  Federigo,  (or  Beunoeini,)  a  pupil  of 
Damiani,  followed  the  Venetian  style  oJE  painting. 
His  portraits  are  natural ;  he  was  fond  of  foreign 
drapery,  and  coloured  with  a  strong  efiect.  In 
some  of  his  compositions  he  availed  himself  of 
the  prints  of  Albrecht  Durer.  He  was  living  in 
1600. 

BEUSASORCI.    See  Del  Eicci. 

BRDSCO.     See  Poelenbueg. 

BRUSSEL,  Barbnd  van.     See  Oelet. 

BRUSSEL,  Heemanus  van,  a  landscape  painter 
and  etcher,  was  born  at  Haarlem  in  1763,  and  died 
at  Utrecht  in  1815.  Among  his  best  etchings  is 
mentioned  a  set  of  twenty-one  landscapes  with 
figures. 

BRUSSEL,  Paulus  Thbodoeus  van,  a  flower 
painter,  born  at  Zuid-Polsbroek,  near  Sohoonho- 
ven,  in  1754,  was  a  scholar  of  Jean  Augustin,  and 
of  H.  Meyer  of  Haarlem.  He  was  first  employed 
in  the  manufacture  of  tapestry,  but  afterwards 
devoted  his  attention  entirely  to  nature,  and  be- 
came one  of  the  best  fruit  and  flower  painters  of 
his  time.  His  later  pictures  are  his  best,  and  are 
to  be  found  in  some  of  the  richest  collections.  He 
died  at  Amsterdam  in  1795. 

BRUSSELS,  Beenaed  of.    See  Oeley. 

BRUSSELS,  RoGEE  of.    See  Van  dee  Weyden. 

BRUYN,  Abraham  de.    See  De  Bruyn. 

BRUYN,  Baetholomaus,  was  born  at  Cologne 
in  the  beginning  of  the  16th  century.  His  early 
works  resemble  those  of  the  '  Master  of  the  Death 
of  the  Virgin,'  whose  pupil  he  is  said  to  have 
been  ;  but  the  paintings  executed  towards  the  close 
of  his  life  show  a  tendency  towards  copying  the 
Italians.  Bruyn  died  in  1656.  His  masterpiece  is 
the  wings  of  a  Shrine  in  the  church  of  Xanten, 
which  were  completed  in  1536.  They  represent 
on  the  inside  the  '  Lives  of  SS.  Victor,  Sylvester, 
and  Helena ; '  and  on  the  outside  the  '  Virgin  and 
Child,  with  Saints.'  Portraits  and  historical  pic- 
tures by  this  artist  are  in  the  following  Galleries  : 


Berlin.         Gallery. 


Brunswick.  Gallery. 
192 


Portrait  of  Johannes  von  Eyht, 
Burgomaster  of  Cologne.   1525. 
Madonna  and  Child. 
The  Incredulity  of  St.  Thomas. 
Two  portraits,     (Dated  1539.) 


Brussels.      Museum. 

Cologne.  Museum. 
Darmstadt.  Gallery. 
Dresden.  Gallery. 
Frankfort.  Stddel. 


Munich. 


Male  portrait.    1543 
Female  portrait.    1537. 
Male  portrait.    1535. 
Female  portrait.    1539, 
Descent  from  the  Cross. 
Male  portraits  (two). 
„  Female  portrait. 

Finakathek.  St.  Benedict,  St.  Catharine,  St. 
Maurice,  and  St.  Barbara. 
„  Descent  from  the  Cross  {on  the 

wings  are  various  saints), 
„  „  .And  several  others. 

Petersburg.  Sendtage.   Portraits  of  a  man  and  his  three 
sons. 
„  „  Portraits  of   the  wife   and  one 

daughter  {the  lady  is  the  saine 
as  that  in  a  portrait  by  Bruyn 
in  the  Museum  at  Cologne). 

BRUYN,  Coenelis  db.    See  De  Bbutn 

BRUYN,  NiooLABS  de.     See  De  Beutn. 

BRUYN,  Th^odoeb  de,  was  a  Swiss  landscape 
and  cattle  painter,  who  settled  in  England  in 
1760.  He  exhibited  for  several  years  in  the  Royal 
Academy,  and  decorated  the  chapel  of  Greenwich 
Hospital.     He  died  in  London  in  1804. 

BRY.     See  De  Bey. 

BRYER,  Hbney,  was  a  pupil  of  Wynne  Ryland, 
and  became  his  partner  as  a  printseller  in  CornhiU. 
He  engraved  a  few  plates,  chiefly  from  the  designs 
of  Angelica  KaufEmann.  Among  other  prints  by 
him  we  have  a  '  Bacchus  and  Ariadne,'  and  a  large 
plate  of  '  Mars  and  Venus  discovered  by  Vulcan.' 
For  the  last  he  obtained  a  premium  from  the 
Society  of  Arts.    He  died  in  1799. 

BRYSAKIS,  Petros,  a  Greek  historical  painter, 
was  born  at  Thebes  in  1814.  He  went  to  Munich 
in  1832,  and  studied  in  the  Academy  there.  In  his 
later  years  he  ceased  to  paint,  owing  to  an  affec- 
tion of  the  eyes.  He  died  at  Munich  in  1878. 
Amongst  his  works  are  : 

Apotheosis  of  the  Greek  War  of  Independence. 

The  Metropolitan  blessing  the  Greek  Banners  {Munich 
Pinakothek). 

The  Camp  of  Karaiskakis. 

Episode  of  the  Siege  of  Missolonghi. 

Greece  assembling  her  Sons. 

Lord  Byron  at  Missolonghi. 

BRYULOV,  Kael  Pavlovitch,  an  historical 
painter,  was  born  at  St.  Petersburg  in  1799.  He 
received  his  first  instructions  at  the  Academy  there 
under  Ivanov,  and  obtained  notice  in  1819  by 
a  'Narcissus.'  In  1823  he  proceeded  to  Rome, 
where  he  copied  for  the  Czar  Raphael's  '  School 
of  Athens,'  and  produced  his  own  picture  'The 
Last  Day  of  Pompeii,'  now  in  the  Hermitage 
Gallery,  which  was  followed  by  'The  Murder  of 
Ines  de  Castro.'  He  bow  became  court  painter, 
as  well  as  member  of  the  Academies  of  St.  Peters- 
burg, Milan,  and  Bologna.  After  his  return  he 
executed  a  number  of  genre  pictiires  and  portraits 
in  oil  and  aquarella.  In  1835  he  travelled  in 
Greece,  Turkey,  and  Palestine,  where  he  painteda 
number  of  landscapes  which  were  included  in 
Davidov's  'Travels.'  Further  on  he  executed  an 
'  Ascension  of  Christ '  in  the  cathedral  of  St. 
Petersburg.  He  died  in  1853  at  Marciano,  near 
Rome. 

BUCHAN,  Henry  David  Eeskine,  Earl  of, 
who  was  born  in  1710,  and  died  in  1767,  practised 
engraving  as  an  amateur  with  some  success.  He 
engraved  various  views  and  portraits. 

BUCHHORN,  Kael  Ludwig  Beenhaed  Chris- 
tian, was  an  engraver  born  at  Halberstadt  in  1770. 
He  was  a  professor  of  the  art  of  engraving  in 
Berlin.     He  died  in  1856.     Among  his  best  en- 


Buck 


PAINTERS  AND  ENGRAVERS. 


Bugatti 


gravings  are  those  of  '  Christ  blessing  the  Bread,' 
after  Dolci ;  '  Martin  Luther,'  after  Cranaoh  (1806) ; 
and '  Psyche  and  Cupid,'  after  Angelica  KaufEmann 
(1801). 

BUCK,  Adam,  who  was  born  at  Cork,  exhibited 
portraits  in  crayon  and  oil,  as  well  as  nfiiniatures, 
at  the  Royal  Academy  very  frequently  between 
1795  and  1833.  He  is  best  known  by  his  work, 
'Paintings  on  Greek  Vases,'  containing  100  plates 
drawn  and  engraved  by  himself,  and  published 
in  1812. 

BUCK,  Samuel,  and  Nathaniel.  These  brothers 
are  known  by  the  great  number  of  plates  they 
engraved  of  views  of  the  antiquities,  ruins  of 
churches,  castles,  &c.,  in  England  and  Wales.  The 
number  of  their  plates  is  near  500.  Samuel  Buck 
died  in  1779  aged  83;  his  brother  some  years 
before  him. 

BUCKLER,  John  Chessel,  a  painter  of  land- 
scapes and  topographical  subjects,  was  bom  at  Cal- 
bourne  in  the  Isle  of  Wight  in  1770.  Early  in  life 
he  was  articled  to  an  architect  and  surveyor  in 
Southwark,  and  afterwards  practised  those  pro- 
fessions on  his  own  account  until  1826,  when  he 
resigned  them  to  his  eldest  son.  In  1797  he  pub- 
lished two  aquatint  engravings  of  Magdalen  Col- 
lege, Oxford,  and  in  1799  a  'View  of  Lincoln 
Cathednd  from  the  South-east,'  and  thus  originated 
the  publication  of  the  series  of  English  cathedrals 
(in  plates  twenty-four  inches  by  seventeen),  which 
occasioned  their  author  a  considerable  share  of  pro- 
fessional credit  and  public  reputation.  Contempora- 
neously with  these,  and  at  intervals  until  the  year 
1819,  he  published  views  of  many  of  our  finest  col- 
legiate and  abbey  churches,  complete  sets  of  which 
are  now  rare  and  valuable.  In  1827  he  published 
'  Sixty  Views  of  Endowed  Grammar  Schools,'  and 
ia  1847  'A  History  of  the  Architecture  of  St. 
Alban's  Abbey.'  He  exhibited  water-colour  draw- 
ings at  the  Royal  Academy  almost  every  year 
from  1790  till  1840.  Examples  are  in  the  South 
Kensington  Museum.  His  death  occurred  in  Lon- 
don in  1851. 
BUCKSHORN,  Joseph.  See  Bokshooen. 
BUCOURT,  Philibekt  Loum  de,  a  French 
painter  and  engraver,  was  born  in  Paris  in  1765, 
and  became  a  pupil  of  Vien.  He  executed  a 
few  plates  in  mezzotint ;  the  '  Heureuse  famille,' 
the  '  Benediction  de  la  inariee,'  and  the  '  Cruche 
casB^e,'  after  his  own  designs.  But  his  attention 
WHS  chiefly  given  to  engraving  in  aquatint,  in 
which  he  produced  his  chefs-d'oeuvre  after  Carle 
Vernet,  the  '  Horse  frightened  by  a  Lion,'  the 
'  Horse  frightened  by  Lightning,'  the  '  Strayed 
Huntsman,'  and  other  subjects.  Bucourt,  who 
was  for  some  years  assisted  by  his  pupil  and 
nephew,  M.  Jazet,  died  at  Belleville  in  1832. 

BUDD,  George,  was  an  English  artist  of  whom 
little  is  known.  He  painted  portraits,  landscapes, 
and  still-life.  There  is  a  portrait,  engraved  after 
him  by  McArdell,  of  Timothy  Bennett,  the  so-called 
patriotic  shoemaker  of  Hampton  Wick,  who  suc- 
cessfully opposed  the  Princess  Amelia  in  obtaining 
a  passage  through  Bushey  Park  ;  it  was  published 
iu  1756. 

BUECKELAER,  Joachim,  (Beukblaar,  or 
Beucklaeb,)  was  born  at  Antwerp  in  1530.  He 
was  the  nephew  of  Pieter  Aartszen,  by  whom  he  was 
instructed .  His  pictures,  like  those  of  his  uncle, 
represent  market-places,  fairs,  and  the  interiors  of 
kitchens,  with  figures,  dead  game,  fish,  fruit,  &c. 
They  were   much   admired,   although    Descamps 


states  that  he  was  bo  poorly  paid  for  them  that 
he  lived  in  poverty.  He  is  registered  in  the  Guild 
at  Antwerp  as  early  as  1560,  and  he  was  still 
living  in  1573,  and  if  the  date  on  a  '  Christ  healing 
the  Sick '  by  him  in  the  Hermitage  at  St.  Peters- 
burg is  genuine,  he  was  still  living  in  1575.  The 
Munich  Gallery  has  by  him  a  'Fish-market'  and 
a  '  Christ  before  Pilate,'  in  which  the  persons  wear 
the  costume  of  the  time  of  the  painter  ;  it  is  signed 
with  a  B  and  dated  1561,  and  in  the  Belvedere, 
Vienna,  is  a  '  Market-place  '  of  the  year  1567. 

BURI,  Feiedeich,  who  was  born  at  Hanau  in 
1763.  studied  first  under  his  father,  who  was  a 
goldsmith  and  professor  in  the  Academy  of  Design 
in  Hanau,  and  then  with  Tischbein.  In  1780  he 
visited  Dusseldorf,  and  two  years  later  went  to 
Rome ;  thence  to  Dresden,  and  finally  settled  at 
Berlin,  where  he  was  patronized  by  the  Queen  of 
Prussia.  He  painted  historical  pictures  and  por- 
traits. A  '  Cupid  triumphant '  by  him  is  in  the 
Hague  Gallery. 

BURKEL,  Heineioh,  a  genre  and  landscape 
painter,  was  born  in  1802  at  Pirmasens,  in  Rhenish 
Bavaria.  He  was  designed  for  trade,  but  devoted 
every  spare  minute  to  drawing.  His  father's 
house,  being  an  irm,  presented  him  with  subjects 
in  great  variety,  and  so  early  as  his  eleventh 
year  he  came  into  conflict  with  the  police  on  ac- 
count of  a  caricature  of  Napoleon.  At  fifteen  he 
entered  the  law,  but  at  twenty  he  was  incited  to 
turn  to  art,  and  learned  the  technicalities  of  oil- 
painting  among  friends  at  Munich,  Schleissheim, 
and  in  the  Netherlands.  In  time  he  took  to  depict- 
ing popular  and  military  scenes,  cattle,  and  land- 
scapes, especially  winter  landscapes.  He  spent 
from  1823  to  1832  in  Rome,  and  became  on  his 
return  a  popular  artist,  famous  for  imagination 
and  humour.  He  was  an  honorary  member  of 
the  Academies  of  Munich,  Dresden,  and  Vienna. 
His  death  occurred  at  Munich  in  1869.  Among  his 
best  productions  may  be  noted: 

Twenty  Winter  Landscapes  in  the  Tyrol  (Paris  Ex- 
hibition, 1867). 

Eighteen  Views  of  the  Environs  of  Home  (Paris  Ex- 
hibition, 1867). 

A  Troop  of  Bandits  in  the  Campagna. 

The  Overturned  Hay-Waggon. 

Eetum  from  the  Bear-Hunt. 

The  Mule-Driver's  Kest. 

The  Reception  of  the  Eifle-Winner. 

Italian  Landscape  and  others  (in-  the  Nem  Pinahotheh, 
Munich). 

A  Tirolese  Fair  (in  the  Berlin  Gallery). 

Landscape  near  Velletri  {in  the  Berlin  Gallery). 

BUFF,  Sebastian,  a  Swiss  portrait  painter,  wag 
born  about  1828.  He  studied  at  Munich  and  Paris, 
and  besides  portraits  painted  genre  pictures  which 
are  much  sought  after.    He  died  at  Herisau  in  1880. 

BUFFAGNOTTI,  Caelo  Antonio,  was  a  painter 
of  perspective  and  theatrical  decorations  at  Bologna 
and  Genoa  about  1690.  He  engraved  a  series 
of  architectural  subjects,  and  decorations  for  the 
theatre,  after  F.  Bibiena,  and  others  of  the  same 
kind  after  M.  A.  Chiarini. 

BUFPALMACCO.     See  Buonamico. 

BUFFORD,  Robeht.     See  Buefoed. 

BUGATTI,  Zanetto,  was  living  in  the  15th 
century,  and  painted  the  portraits  of  IppoHta 
Sforza,  sent  to  France  in  1460 ;  and  of  Bona  of 
Savoy,  painted  for  Galeazzo  Maria  Sforza  in  1467. 
In  1473  he  painted  the  portraits  of  Galeazzo,  his 
wife,  and  his  child  that  are  placed  in  the  choir  of 
San  Celso,  Milan.     His  latest  known  work  was  the 

193 


Bugey 


A  BIO&RAPHICAL  DICTIONARY  OF 


Bunel 


frescoes  in  Sanla  Maria  (ielle  Grazie,  Vigevano. 
Records  leniain  of  him  up  to  1476,  but  the  date  of 
his  death  is  uncertain. 

BUGEY,  — ,  a  French  engraver  who  flourished 
about  the  middle  of  the  ISth  century,  was  princi- 
pally employed  in  engraving  portraits  for  the 
booksellers.  There  is  by  him  a  portrait  of  Marshal 
de  Broglie,  on  horseback,  after  Alexis  Loir,  dated 
1761. 

BU6IARDINI,  GiDLlANO,  who  was  born  near 
Florence  in  1475,  iirst  studied  in  the  garden  of 
the  Medici,  where  he  made  the  acquaintance  of 
Michelangelo,  with  whom  he  continued  an  intimacy 
throughout  his  life,  and  with  him  he  entered  the 
atelier  of  Ghirbindajo ;  he  afterwards  became  an 
assistant  of  Albertinelli,  and  was  employed  ,  by 
Michelangelo  in  the  Sistine  Chapel  at  Rome  in 
1508.  Owing  to  the  fact  that  he  worked  much 
■  for  other  artists,  and  sometimes  completed  de- 
signs by  them,  there  is  but  little  originality  in 
the  works  of  Bugiardini,  though  they  possess  many 
excellent  qualities,  which  have  led  to  their  being, 
in  some  cases,  classed  under  the  names  of  greater 
artists.  They  display  a  careful  study  of  the  works 
of  Raphael,  Michelangelo,  Albertinelli,  and  Leo- 
nardo. Bugiardini  died  at  Florence  in  1554.  The 
following  is  a  list  of  a  few  of  his  most  import- 
ant works,  which  are  usually  signed  Jul.  Flou. 
(Florentinus)  : 

Berlin.  Museum.      Madonna  and  Child,  with  Saints 

{signed  Jtl.  Floe.  Fac). 
Bologna.        Finacoteca.  Marriage  of  St.  Catharine  {signed). 
Dulwich.       Gallery.        Holy  Family   {formerly  called  a 

iSassoferrato). 
Florence.        tPffizi.  Madonna    and    Child    {formerly 

ascHhed  to  Leonardo). 
„   Coy^e/^a  P!(«i!-'J  Martyrdom  of  St.  Catharine.    His 
lai  in  S.  Maria  >     most  important  work   {from   a 
Novella.  }      design  In/  Michelangelo). 

Leipsic.  Museum.     Virgin  and    Child    and    Baptist. 

The  inscription    Jul.  Flor.  f. 
has  been  altered  to  Jul.  Eo.  f., 
and    the  work  given  to   Giulio 
Rom,ano. 
Lucca.  Mansi  Collection.  Holy  Family   {signed  and   dated 

1520;. 
Petersburg.   Hermitage.  Virgin  and   Child  {falsely  given 
to  Pacchia.) 

(See  Crowe  and  Cavalcaselle, 
III.  p.  493,  et  seg.) 

BUGUET,  Henrj,  a  French  historical  and  por- 
trait painter,  was  born  at  Fresne  (Seiiie-et-Marne) 
in  1761.  He  was  a  pupil  of  David,  and  painted  in 
1817  for  the  chteau  of  Pau  'Francis  I.  knighted 
by  Bayard.'  His  portraits  of  Louis  XVIII.  and 
Charles  X.  have  been  engraved  by  Bertrand.  He 
died  in  Paris  about  1833. 

BUISEN,  A.  VAN,  (or  Buysen,)  was  a  native  of 
Holland,  and  flourished  from  1700  till  about  1725. 
He  was  chiefly  employed  in  engraving  for  the 
booksellers,  and  appears  to  have  resided  some  time 
in  England,  as  he  engraved  a  plate  represenitng 
'David  playing  on  the  Harp,'  for  the  octavo 
edition  of  Cowley's  'Poems,'  published  in  1700. 
He  also  engraved  some  of  the  plates  for  the  work 
entitled  '  Figures  de  la  Bible,'  from  the  designs  of 
Picart  and  others,  published  at  Amsterdam  in 
1720. 

BULARCHUS.  The  earliest  picture  of  which 
the  ancient  writers  have  given  a  description  is 
'The  Battle  of  the  Magnesians,'  painted  by  this 
artist,  who  appears  to  have  flourished  about  720 
years  before  the  Christian  era,  as,  according  to 
Pliny,  this  picture  was  purchased  for  as  much  gold 

194  ^ 


as  would  cover  its  surface  by  Candaules,  King  of 
Lydia,  who  died  about  700  years  before  Christ. 
After  Bularchus  we  encounter  a  gap  of  upwards 
of  two  centuries  and  a  half  in  the  history  of  paints 
ing.  It  appears,  however,  that  it  was  practised 
with  success  in  the  island  of  Rhodes,  at  the  time 
of  Anacreon,  who  lived  about  600  years  before  our 
era.  That  poet,  in  his  twenty-eighth  and  twenty- 
ninth  Odes,  mentions  the  practice  of  the  art  called 
encaustic  .painting,  and  that  it  was  effected  by 
mixing  wax  with  the  colours. 

BULLINGEli,  JoHANN  Balthasae,  a  Swiss  land- 
scape painter,  was  born  at  Langnau,  in  the  canton 
of  Zurich,  in  1713.  He  was  .first  a  scholar  of  John 
Simler,  but  afterwards  went  to  Venice,  where  he 
studied  two  years  under  Giovanni  Battista  Tiepolo. 
He  fiist  attempted  historical  painting,  but  his 
natural  genius  led  him  to  landscapes,  and  he  be- 
came very  eminent  in  that  branch  of  the  art.  He 
afterwards  passed  some  time  at  Amsterdam,  where 
he  appears  to  have  studied  with  attention  the 
works  of  the  best  artists  of  the  Dutch  school,  par- 
ticularly Both  and  Berohem,  whose  manner  he 
imitated.  He  died  at  Zurich  in  1793.  He  etched 
several  plates  in  a  free,  painter-like  style,  the  fol- 
lowing being  the  principal : 

The  Portrait  of  J.  B.  Bullinger ;  se  ipse  fee, 
'  A  Frontispiece,  with  a  number  of  G-enii. 
Two  Mountainous  Landscapes,  with  figures. 
A  set  of  fifty  Landscapes  ;  some  from  his  own  designs, 

and  the  others  after  J.  F.  Ermels  and  F.  Meyer. 
A  Head ;  after  Le  Brun  ;  engraved  for  Lavater's  "Work. 

BUMBL,  Michael,  (or  Bimel,)  was  a  German 
engraver  of  little  celebrity.  He  engraved  several 
plates,  representing  Saints,  and  other  devotional 
subjects,  which  are  executed  with  the  graver,  with 
sufScient  neatness,  but  in  a  stiff,  tasteless  style. 

BDMOT, ,  was  a  French  historical  painter, 

who  was  called  '  'The  Apelles  of  Nevers.'  He  was 
a  native  of  Nevers,  and  worked  at  Bourges  in  1676, 
for  the  fetes  held  upon  the  occasion  of  the  entry 
of  the  Duke  of  Alenjon. 

BDNBUEY,  Heney  William,  a  designer  of 
humorous  subjects  and  caricatures,  was  the  eon 
of  Sir  William  Bunbury  of  Mildenhall,  Suffolk. 
He  was  born  in  1760,  and  was  an  occasional  exhibitor 
at  the  Royal  Academy,  and  contributed  to  Boy- 
dell's  '  Shakespeare.'  His  'Florizel  and  Autolycus 
changing  garments  '  is  in  the  South  Kensington 
Museum.  His  '  Hints  to  Bad  Horsemen  '  obtained 
for  him  great  popularity,  and  the  praise  of  Sir 
Joshua  Reynolds.     He  died  at  Keswick  in  1811. 

BUNDSEN,  Jess,  architectural  and  landscape 
painter  and  etcher,  was  born  at  Assens  in  1766. 
He  attended  the  Academy  of  Copenhagen  in  17B6, 
and  studied  also  in  Dresden,  after  which  he  became 
a  teacher  of  drawing  and  a  painter  in  Hamburg 
and  Altona.  He  died  at  the  latter  town  in  1829. 
He  chiefly  painted  views  in  the  vicinity  of  these 
places,  as  well  as  interiors  of  churches.  He  etched 
several  plates  in  outline,  and  also  practised  litho- 
graphy to  some  extent. 

BDNEL,  FEANgois,  a  French  historical  pamter, 
flourished  at  Blois  in  1660.  He  was  a  distinguished 
artist,  who  painted  many  religious  subjects  for 
churches. 

BUNEL,  Jacques,  son  and  pupil  of  Francois 
Bunel,  was  born  at  Blois  in  1568.  He  studied  at 
Rome  under  Federigo  Zuccaro,  and  on  returning  to 
France  was  made  painter  to  the  king,  and  worked 
wi(h  Pourbus  and  Toussaint  dii  Breuil  in  the  small 
gallery  of  the  Louvre,  burnt  in  1661.     He  was  an 


Bunnlck 


PAESITERS  AND  ENGRAVERS. 


Buonamlco 


artist  of  great  merit,  and  held  in  much  esteem  by 
Henri  IV.,  who  employed  him  at  Pontainebleau 
and  other  royal  residences.  He  painted  'The 
Descent  of  the  Holy  Ghost '  for  the  chapel  of  that 
order  in  the  church  of  the  Grands  Augustins  at 
Paris,  and  for  the  church  of  the  Feuillants  an 
'  Assumption  of  the  Virgin,'  now  in  the  Museum 
at  Bordeaux,  both  of  which  pictures  have  been 
highly  praised.  Philip  II.  of  Spain,  by  whom 
likewise  he  was  esteemed,  commissioned  him  to 
paint  for  the  cloister  of  the  Escorial  forty  pictures, 
all  of  which  have  now  disappeared.  He  died  in 
Paris  in  1614. 

BUNNICK,  Jacob  van,  was  the  brother  of  Jan 
van  Bunnick,  and  painted  battle-pieces  with  some 
repiifntion,  hut  was  greatly  inferior  to  his  brother. 
He  died  in  1725. 

BUNNICK,  Jan  van,  a  Dutch  landscape  painter, 
was  born  at  Utrecht  in  1654.  He  was  a  scholar  of 
Hermann  Saf  lleven,  under  whom  he  studied  three 
years ;  he  afterwards  visited  Italy.  He  passed 
some  time  at  Genoa,  where  he  formed  an  acquaint- 
ance with  Tempesta,  by  whom  he  was  assisted  in 
his  studies.  On  his  arrival  at  Rome  he  found 
several  of  the  artists  of  his  country,  who  received 
him  with  kindness,  particularly  Abraham  Genoels 
and  Ferdinand  Voet,  and  in  their  society  he  greatly 
improved  himself,  by  designing  the  fine  scenery  in 
the  environs  of  Rome.  On  leaving  Rome  he  went 
to  Modena,  where  his  works  were  so  admired  that 
the  duke  appointed  him  his  principal  painter,  and 
he  passed  eigiit  years  in  his  service.  On  his  return 
to  Holland  he  was  employed  by  King  William 
III.,  then  Prince  of  Orange,  to  ornament  his  palace 
at  Loo.     He  died  in  1727. 

BUONACCORSI,  Pietbo,  (called  Peeing  del 
Vaga,  lifter  one  of  his  instructors  in  art,)  was  born 
at  a  village  near  Florence  in  1500  of  very  indigent 
parents,  whom  he  lost  while  he  was  still  young. 
He  was  taken  under  the  protection  of  an  artisan 
named  Andrea  de'  Geri,  whose  house  was  frequented 
by  several  young  artists  of  Florence.  At  an  early 
age  Perino  showed  a  decided  inclination  for 
art,  and  when  he  was  eleven  years  old  was  placed 
under  the  tuition  of  Ridolfo  Ghirlandaio,  by  whose 
instruction  he  became  an  expert  and  correct  de- 
signer. He  had  made  considerable  progress,  when 
his  talents  were  noticed  by  Vaga,  who  conducted 
hiiu  in  1515  to  Rome,  where  he  had  an  opportunity 
of  studying  after  the  antique,  and  the  works  of 
Michelangelo.  His  merit  became  known  to  Giulio 
Romano  and  Penni,  by  whom  he  was  recommended 
to  Raphael,  who  employed  him  in  the  execution  of 
his  dfsigns  in  the  Loggie  of  the  Vatican.  Such 
was  the  force  and  variety  of  his  powers,  that  he 
was  equally  successful  in  assisting  Giovanni  da 
Udine  in  the  stucco  and  grotesque  ornaments, 
Polidoro  da  Garavaggio  in  his  antique  subjects  in 
chiaroscuro,  and  in  executing  the  Biblical  subjects 
from  the  designs  of  Raphael.  Of  these  the  most 
remarkable  are  '  Joshua's  great  Battle,'  '  The  Israel- 
ites passing  the  Jordan,'  '  The  Taking  of  Jericho,' 
'  Abraham  preparing  to  sacrifice  Isaac,'  '  Jacob 
wrestling  with  the  Angel,'  and  'Joseph  and  his 
Brethren.'  He  is  rajiked  by  Vasari  as  the  greatest 
designer  of  the  Florentine  school  after  Michel- 
angelo ;  and  the  partiality  of  that  biographer  does 
not  hesitate  to  pronounce  him  the  most  distin- 
guished of  the  disciples  of  Raphael.  After  the 
death  of  that  master  he  was  employed  by  Leo  X. 
and  Clement  VII. ,  in  conjunction  with  Giulio  Ro- 
mano and  Penni,  to  finish  the  great  works  in  the 
0  2 


Vatican.  One  of  the  earliest  productions  he  ex- 
hibited at  Rome,  of  his  own  romposition,  was  a 
picture  he  painted  for  the  church  of  San  Marcello, 
representing  the  'Creation  of  Eve,'  in  which  he 
shows  with  what  success  he  had  studied  the  works 
of  Michelangelo. 

On  the  sacking  of  Rome  in  1527,  compelled  to 
flee  from  the  capital,  and  plundered  of  all  he  pos- 
sessed, Perino  took  refuge  in  Genoa,  where  he  was 
graciously  received  by  Prince  Doria,  who  employnd 
him  to  decorate  his  palace,  near  the  gate  of  St. 
Thomas.  It  was  upon  this  occasion  that  Perino 
displayed  the  extent  of  his  powers  and  the  f'-cuii- 
dify  of  his  invention  ;  and  it  has  been  niaii;  a 
matter  of  dispute  whether  the  decoraticms  of  tli  ■ 
Palazzo  del  Te  at  Mantua,  by  Giulio  Romano,  or 
those  of  the  Doria  Palace  at  Genoa,  by  Dei  Vaga, 
do  more  honour  to  the  great  school  in  which  they 
were  educated.  In  one  of  the  apartments  Perino 
represented  Jupiter  destroying  the  Giants  ;  and  in 
others,  several  subjects  from  Roman  history  a'd 
the  Metamorphoses  of  Ovid.  He  also  designed  a 
series  of  cartoons  of  the  History  of  jEneas.  Tliess 
frescoes,  which  were  in  a  great  measure  executid 
from  his  designs  by  his  assistants,  have  neaily 
perished  owing  to  time  and  whitewash.  After  a 
stay  of  some  years  at  Genoa,  Perino  returned  to 
Rome,  where  he  was  employed  by  Pope  Paul  III. 
Towards  the  close  of  his  life,  his  pictures  were  in 
such  request  that  he  merely  made  the  designs,  leav- 
ing the  execution  of  them  to  his  pupils,  aniorg 
whom  may  be  mentioned  Pantaleo  Calvi  and  Laz- 
zaro,  painters  of  no  great  merit.  Perino  died  at 
Rome  in  1547 — it  is  said  that  he  hastened  his  end 
by  intemperance — and  was  buried  by  the  side  nf 
Raphael  and  other  great  masters  in  the  old  Pan- 
theon. His  pictures  are  occasionally  seen  in  the 
Galleries  of  Europe,  but  they  are  not  very  import- 
ant. The  Duke  of  Devonshire  has  drawings  by 
him,  and  a  portrait  of  Cardinal  Pole  is  at  Althorp. 

BUONAMICI,  Agostino,  called  A.  Tassi  (or 
Tassy),  was  born  at  Perugia  in  1565,  and  studied 
at  Rome  under  Paul  Bril,  although  he  was  desirous 
of  being  considered  a  disciple  of  the  Carracci.  He 
painted  landscapes  in  the  style  of  his  instructor, 
and  of  Donducci,  and  was  considered  one  of  the 
ablest  artists  of  his  time.  Lanzi  informs  us  that 
for  some  crime,  which  is  not  mentioned,  he  was 
sent  to  the  galleys  at  Leghorn.  During  the  term 
of  his  confinement  he  occupied  himself  in  design- 
ing the  maritime  objects  with  which  he  was  sur- 
rounded, and  after  his  liberation  they  became  the 
favourite  subjects  of  his  pictures.  He  painted 
with  great  success  sea-ports  and  calms,  with  ship- 
ping and  fishing -boats.  His  tempests  and  storms 
at  sea  were  not  less  happily  represented,  and  were 
touched  with  unusual  spirit  and  energy.  He  also 
excelled  in  architectural  and  perspective  views,  in 
which  he  distinguished  himself  by  some  admirable 
productions  in  the  pontifical  palace  of  Monte  Ca- 
vallo,  and  in  the  Palazzo  Lancellotti.  He  was  one 
of  the  first  to  copy  arabesques  from  the  antique, 
and  employ  them  as  borders.  Agostino  Tassi  has 
the  credit  of  having  been  the  instructor  of  Claude 
Lorrain.  He  died  at  Rome  in  1644.  We  have  a 
few  slight  but  spirited  etchings  by  this  artist,  repre- 
senting storms  at  sea  and  shipwrecks. 

BUONAMICO,  Ceistofani,  (called  Buf/al- 
macco,)  who  was  born  in  1262,  was  a  pupil  of 
Andrea  Tafi.  Bumohr  and  Kugler  and  many 
other  writers  have  doubted  his  existence,  but  his 
name  has  been  discovered  in  the  register  of  tha 

196 


BuonaiToti 


A  BIOGRAPHICAL  DICTIONARY  OF 


Buonarroti 


Florentine  Company  of 'Painters,  witli  the  date 
1351  ('  Crowe  and  Cavalcaselle,'  vol.  i.  p.  387, 
note).  Bocoaocio  nicknames  liim  Buffialmacco, 
and  some  suppose  that  the  Buonamico,  used  by 
Ghiberti,  is  a  nickname  also.  Vasari  mentions 
many  works  by  Buffalmaoco,  few  of  which  still 
remain,  and  of  these  the  majority  are  said  to  be  by 
other  artists.  He  adds  that  Buffalmaoco,  when  he 
chose,  could  paint  as  well  as  anj'  of  his  contempor- 
aries. Most  absurd  stories  have  been  related  of 
this  artist  by  Vasari,  and  by  Boccaccio  in  his 
'  Decameron.'  He  seems  to  have  been  a  man  with 
a  keen  sense  of  humour.  Vasari  states  that  he 
died  in  1340,  but  Baldinuoci  says  that  he  was  still 
living  in  1361,  as  indeed  the  entry  in  the  register 
of  the  Florentine  Painters  proves. 

BUONARROTI,  Michelangelo.  Michelangelo, 
the  supreme  master  of  Italian  art,  was  born  at 
Castel  Oaprese,  a  small  fortified  town  near  Florence, 
on  March  6,  1475.  The  family  of  Buonarroti  was 
an  old  one  in  Italy,  but  Condivi's  statement  as  to 
Michelangelo's  descent  from  the  Counts  of  Canossa 
is  not  found  to  be  supported  by  genealogical 
evidence,  though  Michelangelo  pleased  himself 
with  believing  it.  His  father  Lodovico,  son  of 
Leonardo  Buonarroti  Simoni,  was  acting  at  the 
time  of  his  son's  birth  as  Podesta,  or  chief  magis- 
trate of  Capreae,  but  he  was  soon  after  recalled 
to  Florence,  where,  after  a  babyhood  spent  at 
Settignano  under  the  care  of  a  stone-mason's  wife, 
the  little  Michelangelo  was  brought  up,  receiving- 
education  at  a  grammar  school  kept  by  a  certain 
Francesco  da  Urbino. 

His  passion  for  art  was  early  evinced.  He  had 
imbibed  it,  he  was  wont  to  declare,  "with  his 
nurse's  milk ; "  at  all  events  it  could  not  be  over- 
come even  by  blows,  which  it  is  said  were  some- 
times tried,  and  by  the  time  he  was  thirteen  his 
father,  giving  up  all  hope  of  inducing  him  to 
follow  the  more  profitable  woollen  trade,  wisely 
acceded  to  his  desire  for  art,  and  no  doubt  did  the 
best  he  could  for  him  by  apprenticing  him  for 
three  years  from  the  1st  of  April,  1488,  to  the 
painters  Domenico  and  David  Ghirlandaio,  whose 
school  was  at  that  time  the  best  in  Florence. 

It  appears  by  the  terms  of  his  apprenticeship 
that  the  young  Michelangelo  must  even  then  have 
known  sufficient  to  be  useful  to  his  masters,  for 
they  undertook  to  pay  him  a  small  sum  during  the 
first  year  of  his  apprenticeship,  which  was  not  usual. 
Very  soon  his  progress  was  so  great  that,  accord- 
ing to  Vasari,  it  excited  his  master's  envy,  who 
exclaimed  once  on  seeing  a  drawing  made  by 
Michelangelo  of  some  scaffolding  in  Santa  Maria 
Novella,  "This  boy  knows  more  than  I  do;" 
"  standing  in  amaze,"  adds  Vasari,  "  at  the  origin- 
ality of  manner  which  heaven  had  bestowed  on 
such  a  mere  child."  His  first  painting  is  said  to 
have  been  an  excellent  copy  of  Martin  Schongauer's 
celebrated  print  of '  The  Temptation  of  St.  Anthony,' 
and  he  probably  copied  other  prints  with  equal  skill. 

But  although  educated  in  a  school  of  painting, 
it  is  probable  that  he  early  showed  some  im- 
pulse towards  sculpture,  or  Domenico  Ghirlandaio 
would  scarcely  have  presented  him,  as  he  did 
before  his  apprenticeship  was  out,  to  Lorenzo  de' 
Medici,  who  at  that  time  had  just  founded  a  school 
of  sculpture  in  the  garden  of  his  villa.  Michel- 
angelo was  admitted  to  this  Medioean  school  or 
Academy  of  Art  in  1489,  and  achieved  as  one  of 
his  first  works  in  marble  the  remarkable  'Mask 
of  a  Faun,;  a  copy  from  the  antique,  concernins; 

1-96  -i     ,  o 


which  Vasari  relates  the  story  of  Lorenzo  pointing 
out  to  the  young  sculptor  that  old  people  seldom 
retain  all  their  teeth,  and  Michelangelo  promptly 
acting  upon  the  suggestion.  Whatever  may  be 
the  truth  of  this  story,  it  is  certain  that  Michel- 
angelo early  attracted  the  notice  of  the  magnificent 
Lorenzo,  who  saw  in  him  so  much  promise  that 
he  proposed  to  his  father  that  he  should  become 
an  inmate  of  the  Medici  Palace,  offering  to  charge 
himself  with  his  education  and  to  make  him  an 
allowance  of  five  ducats  a  month.  The  offer  was 
too  good  to  be  refused,  and  Michelangelo  passed 
four  happy  years  in  the  service,  or  rather  we  may 
say  in  the  society,  of  Lorenzo,  perfecting  himself 
in  his  art  and  gaining  a  valuable  education  by  his 
association  with  some  of  the  great  men  whom 
Lorenzo  gathered  around  him.  Agnolo  Poliziano 
was  one  of  these,  who  took  especial  notice  of  the 
young  artist,  and  it  was  by  his  advice  and  in- 
struction, according  to  Vasari,  that  Michelangelo 
executed  his  relief  in  marble  of  '  Hercules  and  the 
Centaurs,'  an  early  work  still  preserved  in  the 
Casa  Buonarroti.  It  was  at  this  time  also  that 
he  had  his  nose  broken  by  his  fellow-stiideiit 
Pietro  Torregiani,  an  injury  which  marked  hun 
for  life. 

In  1492  this  pleasant  period  of  instruction  under 
the*Medici  was  brought  to  an  end  by  the  death 
of  his  munificent  patron  Lorenzo,  and  Michelangelo, 
then  seventeen,  returned  to  his  father's  house  and 
set  up  a  studio  for  himself,  his  first  work  being  a 
statue  of  '  Hercules,'  bought  by  one  of  the  Strozzi 
family,  and  afterwards  sent  into  France,  but  since 
lost  to  knowledge. 

Piero  de  Medici,  who  succeeded  his  father 
Lorenzo,  was,  as  history  records,  a  man  of  totally 
different  powers.  He  extended  his  friendship  to 
Michelangelo,  it  is  true,  but  he  employed  him  only 
on  unworthy  commissions,  on  one  occasion  even 
directing  him,  it  is  said,  to  make  a  statue  of  snow. 
Piero,  however,  by  his  vices  and  misgovernraent 
soon  disgusted  Florence,  and  Michelangelo  per- 
ceiving his  downfall  was  at  hand  wisely  left  his 
protection  and  took  his  way  to  Bologna,  tliere  to 
wait  till  the  Florentine  storm  which  he,  or  perhaps 
his  father,  noted  as  coming,  was  over. 

When  peace  was  restored  Michelangelo  returned 
to  Florence,  where  he  executed  a  figure  of  a 
'  Sleeping  Cupid,'  to  which  he  gave  an  appearance 
of  antiquity,  so  that  it  was  sold  by  a  dealer  in 
Rome  to  the  Cardinal  San  Giorgio  as  a  genuine 
antique.  This  deceit,  innocently  undertaken  on 
the  part  of  Michelangelo,  being  afterwards  dis- 
covered by  the  Cardinal,  led  to  his  inviting  the 
young  artist  to  Rome  and  assuring  him  of  his 
protection. 

Michelangelo  entered  Rome  on  the  25th  of  June, . 
1496.  His  first  work  in  the  capital  is  supposed  by 
his  latest  biographer,  Mr.  Heath  Wilson,  to  have 
been  the  beautiful  statue  of  '  Cupid,'  now  the  chief 
treasure  of  the  South  Kensington  Museum.  His 
next  work  was  probably  the  'Bacchus,'  now  in 
the  National  Museum  in  the  Bargello,  and  soon 
after  the  noble  '  Pieta '  of  St.  Peter's,  executed 
between  the  years  1499  and  1500.  These  works 
raised  him  to  tho  position  of  the  greatest  sculptor 
in  Italy,  and  when  in  1501  he  returned  to  Florence, 
he  received  a  commission  for  a  great  national 
work,  namely,  the  colossal  statue  of  David.  In 
this  grand  statue,  typical  of  the  Deliverance  of 
Florence  from  her  enemies,  Michelangelo,  now 
arrived   at    his   full   strength,   put  forth  all   his 


Buonarroti 


PAINTERS  AND  ENGRAVEBS. 


Buonarroti 


powers.  The  moment  chosen  for  representation 
is  that  in  which  the  youtMul  Deliverer  replies  to 
the  taunts  of  the  Philistine  in  the  words,  "  I  come 
to  thee  in  the  name  of  the  Lord  of  Hosts,"  and 
the  whole  bearing  of  David  is  expressive  of  un- 
shrinking resolution  and  patriotic  desire.  Well 
may  Florentines  be  proud  of  such  a  possession.  It 
stood  grandly  before  their  Palazzo  Vecchio,  where 
it  was  first  erected,  for  more  than  three  centuries 
and  a  half,  until  in  1873  it  was  deemed  necessary 
to  remove  it  under  cover  for  protection  from 
weather  and  decay.  It  now  stands  in  the  Academy 
of  Fine  Arts  in  Florence.  Other  works  of  about 
this  time  are  the  beautiful  round  relief  in  marble 
in  the  possession  of  the  Royal  Academy,  an  un- 
finished relief  of  the  same  subject,  and  the  group 
of  Victory  in  the  Bargello  Museum. 

Soon  after  the  triumphant  erection  of  the  'David' 
in  1504,  Michelangelo  received  the  commission 
for  another  national  work — the  painting  of  one 
wall  of  the  Palazzo  Vecchio.  Leonardo  da  Vinci 
was  employed  for  the  other  wall  and  had  already 
begun  his  cartoon.  The  subject  chosen  by  Michel- 
angelo was  an  incident  in  the  Pisan  war,  and 
represented  Florentine  soldiers  surprised  by  the 
enemy  while  bathing,  but  he  never  completely 
finished  even  the  cartoon  for  this  great  work,  for 
before  he  could  do  so  he  was  summoned  back  to 
Rome  in  great  haste  by  Julius  IL,  who,  learning 
that  Michelangelo  was  the  greatest  sculptor  living, 
forthwith  conceived  a  desire  to  secure  his  services, 
and  especially  to  employ  him  on  a  great  tomb 
which  he  contemplated  having  built  for  himself. 
It  is  diflScult  to  understand  why  Michelangelo  did 
not  finish  the  commission  given  him  by  his  friend 
Soderini,  then  Gonfaloniere  of  Florence,  for  the 
painting  in  the  great  Hall  of  Council  in  the  Palazzo 
Vecchio  of  his  beloved  Florence.  None  of  his 
biographers  explains  his  reasons,  but  it  must  be 
remembered  he  always  regarded  himself  as  a 
sculptor  and  not  as  a  painter,  and  probably  he  far 
preferred  going  to  Rome  to  execute  a  grand  work 
of  sculpture,  to  staying  in  Florence  to  carry  out 
a  work  in  painting  in  rivalry  with  such  a  master 
as  Leonardo  da  Vinci.  However  this  may  be, 
early  in  1505,  throwing  up  all  his  work  in  Florence, 
he  returned  to  Rome  and  began  his  irritating  rela- 
tions with  Julius  II.  That  imperious  potentate 
decided  to  employ  him  first  on  his  monument,  and 
the  design  for  it  being  completed  to  his  satisfaction 
he  sent  the  sculptor  to  Carrara  to  arrange  for  the 
necessary  blocks  of  marble.  Here  he  was  occupied 
for  eight  months,  and  for  some  time  afterwards  in 
Rome,  whither  he  brought  huge  masses  of  marble 
for  the  work.  Before  anything  could  be  achieved, 
however,  the  ardour  of  Julius  for  this  undertaking 
had  greatly  abated,  and  it  was  with  difficulty  that 
Michelangelo  obtained  the  money  from  him  to  pay 
the  marble-cutters. 

In  terrible  anger  at  this,  and  also  at  not  being 
able  to  obtain  access  to  his  Holiness,  who  had 
previously  been  most  gracious  and  friendly,  Michel- 
angelo suddenly  took  flight  from  Rome,  being 
alarmed  it  is  said  by  threats  from  his  enemies  of 
personal  danger.  The  pope  sent  five  couriers 
after  him  commanding  him  to  return,  but  he  rode 
on  without  stopping  until  he  was  safe  on  Florentine 
territory.  "If  you  require  me  in  future,"  wrote 
the  haughty  artist  to  the  haughty  pope,  "  you  may 
seek  me  elsewhere  than  in  Rome."  Julius  II.  was 
not  a  man  to  submit  to  be  thus  braved  by  a 
refractory  artist,  and  at  last,  finding  his  requests 


and  commands  unavailing,  he  wrote  to  the  Signory 
of  Florence  requesting  that  he  should  be  sent  back 
to  Home,  promising  at  the  same  time  that  he 
should  go  "free  and  untouched,"  for  "we  entertain 
no  anger  against  him,  knowing  the  habit  and 
humour  of  men  of  this  sort."  Even  then  Michel- 
angelo, who  seems  to  have  had  some  fear  of 
assassinatioii,  refused  to  trust  the  pope's  fair  pro- 
mises, and  it  was  not  until  the  Gonfaloniere  Sode- 
rini told  him  plainly  that  the  State  would  not  risk 
going  to  war  on  his  account  that  he  at  last 
returned  to  his  allegiance  to  the  pope. 

It  was  at  Bologna,  which  town  Julius  II.  had 
entered  in  triumph  in  November,  1506,  that  the 
interesting  interview  between  the  pope  and  the 
artist  took  place  in  which  the  latter  graciously 
submitted  to  be  pardoned,  telling  the  pope,  how- 
ever, at  the  same  time,  that  he  "felt  he  had  not 
merited  the  treatment  he  had  received." 

Julius  II.  who,  as  we  have  seen,  "  knew  the 
habit  and  humour  of  men  of  this  sort,"  and  who 
felt,  no  doubt,  that  though  he  had  twenty-four 
cardinals  in  his  train  he  had  but  one  Michelangelo, 
took  no  notice  of  his  sulky  discontent,  but  imme- 
diately employed  him  on  a  great  bronze  statue  of 
himself  to  be  set  up  over  the  church  door  at 
Bologna.  This  laborious  work,  which  occupied 
Michelangelo  two  years,  and  cost  him  much 
trouble  and  vexation,  was  soon  after  thrown  down 
by  the  enemies  of  Julius,  and  a  huge  cannon  made 
of  its  metal. 

After  this  work  was  accomplished  Michelangelo 
went  back  to  Florence  in  March,  1508,  hoping 
probably  to  be  allowed  to  settle  there,  but  Julius 
II.  again  summoned  him  to  Rbme,  though  not  to 
work  on  the  monument  he  had  before  undertaken, 
but  instead  to  begin  no  less  a  work  than  the  paint- 
ing in  fresco  of  the  vault  of  the  Sixtine  Cliapel 
in  the  Vatican.  Every  one  knows  how  Michel- 
angelo accomplished  this  stupendous  task,  but  it 
was  not  without  considerable  remonstrance  that 
he  began  it,  telling  the  pope  that  "  painting  was 
not  his  Art,"  and  advising  him  to  give  the  com- 
mission to  Raphael.  But  Julius  II.,  who  was 
probably  aware  of  Michelangelo's  achievement 
of  the  cartoon  for  the  painting  in  the  Palazzo 
Vecchio,  would  hear  of  no  excuses  or  delay,  and 
the  artist  was  made,  as  we  may  say,  to  begin 
forthwith. 

Vasari's  account  of  the  painting  of  these  frescoes 
of  the  Sixtine  is  very  graphic  and  circumstantial, 
and  is  no  doubt  true  in  many  of  its  details,  though 
in  others  it  is  transparently  inaccurate.  It  has, 
however,  been  followed  submissively  by  all  writers 
on  the  subject  until  modern  research  began  to 
throw  doubt  upon  its  exactness.  Mr.  Heath  Wilson 
in  particular,  who  has  recently  submitted  the  fres- 
cos of  the  vault  of  the  Sixtine  to  the  most  careful 
examination,  having  been  allowed  to  raise  a  scaf- 
folding five  stages  high  for  the  purpose,  and  who 
also  has  made  their  history  the  subject  of  profound 
study,  proves  by  a  conclusive  chain  of  reasoning 
that  Michelangelo  could  not  possibly  have  painted 
these  works  in  the  short  space  of  time — twenty 
months — that  Vasari  assigns.  This,  if  the  amount 
of  labour  is  once  fairly  considered,  is  indeed  self- 
evident,  but  Mr.  Heath  Wilson  shows  from  docu- 
mentary testimony  that  Michelangelo  began  this 
work  in  the  summer  of  1508,  and  did  not  finish 
it  until  late  in  the  autumn  of  1512,  thus  giving 
a  period  of  four  years  and  some  months,  little 
enough  even  so  for  the  accomplishment  of  such 

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A  BIOGRAPHICAL  DICTIONARY  OF 


Buonarroti 


a  vast  amount  of  work.  The  story  of  liis  working 
entirely  without  assistants,  "without  even  a  man 
to  grind  his  colours,"  must  also  be  given  up, 
though  it  would  seem  that  the  amount  of  assist- 
ance he  received  was  small.  He  worked,  however, 
with  marvellous  celerity,  "  painting  a  nude  figure 
considerably  above  life-size  in  two  working  days, 
the  workmanship  being  perfect  in  every  part.  The 
colossal  nude  figures  of  young  men  on  the  cornice 
of  the  vault  at  most  occupied  four  days  each." 

Julius  II.  as  usual  was  extremely  anxious  to  see 
the  work  he  had  commissioned  finished,  and  got 
so  impatient  that  on  the  1st  of  November,  1609, 
the  scaffolding  had  to  be  removed  and  the  portion 
of  the  work  that  was  then  finished  exhibited  to  the 
public.  His  enemies,  and  Bramante  in  particular, 
who  had  hoped  to  behold  a  failure,  were  completely 
overpowered  by  the  universal  admiration,  and 
Michelangelo  received  the  commission  to  continue 
the  work  he  had  begun. 

No  description  of  this  marvellous  work,  in 
whif'li  Michelangelo  set  forth  in  one  great  poem 
the  history  of  the  world  in  its  early  prime  as 
told  in  the  book  of  Genesis,  can  be  given  here. 
The  reader  will  find  an  ample  account  by  Sir 
Charles  Eastlake  in  his  'Contributions  to  the 
Literature  of  the  Fine  Arts,'  and  graphic  descrip- 
tions by  Vasari  and  numerous  other  writers.  The 
Sixtine  frescos  have  also  been  adniiiably  photo- 
graphed of  late  years.  The  present  condition  of 
these  frescos  is  most  lamentable.  "  Cobwebs 
hapg  from  every  part,  nails  have  been  driven 
through  them  without  remorse,  and  they  are  so 
daikened  by  the  constant  smoke  from  tapers  that 
seen  from  the  floor  their  real  colours  are  im- 
perceptible. Altogether,"  adds  Mr.  Heath  Wilson, 
who  is  quite  pathetic  on  the  subject,  "  they  are  the 
greatest  existing  examples  of  barbarous  maltreat- 
ment and  neglect." 

With  Leo  X.,  who  succeeded  Julius  II.  in  1613, 
Raphael  was  the  favoured  artist.  Michelangelo 
wished  for  nothing  better  than  to  be  allowed  to  go 
on  with  the  monument  to  Julius,  for  which  he  had 
already  executed  the  great  figure  of  Moses,  and 
the  two  well-known  statues  of  'The  Captive,'  now 
in  the  Louvre,  and  reckoned  among  his  finest  works. 
But  although  he  received  a  fresh  commission  for 
this  work  from  the  executors  of  Julius,  ditficulties 
were  always  thrown  in  his  way,  and'finally  he  was 
Bent  by  Leo  X.  to  Florence  and  employed  upon  the 
front  of  San  Lorenzo,  which  the  pope  had  deter- 
mined to  build  in  a  magnificent  style.  This  was 
certainly  an  important  work,  and  Michelangelo 
determined  to  make  it  "  whether  in  respect  of 
architecture  or  sculpture  the  masterpiece  of  all 
Italy,"  as  he  says  in  one  of  his  letters,  but  he  was 
kept  so  long  superintending  in  the  quarries,  and  so 
many  hindrances  seem  to  have  been  purposely  put 
in  his  way,  that  in  the  end  nothing  was  accom- 
plished. Indeed  the  ten  years  of  Leo's  pontificate 
were  almost  wasted  years  in  the  life  of  Michel- 
angelo. 

Nor  was  much  accomplished  during  the  short 
reign  of  Adrian,  though  Michelangelo  for  a  time 
went  on  working  at  the  monument  to  Julius,  often 
at  his_  own  cost.  But  when  Clement  VII.  became 
pope  in  1523  a  change  took  place,  and  Michel- 
angelo was  once  more  in  request,  chiefly,  however, 
for  the  superintendence  of  various  architectural 
works,  which  Michelangelo,  who  always  regarded 
himself,  as  a  sculptor,  had  little  wish  to  undertake. 

In  1627  the  terrible  sack  of  Rome  under  the 

198 


Constable  de  Bourbon  took  place.  Michelangelo 
was  away  in  Florence  at  this  time,  where  the 
popular  party  had  again  risen  and  driven  out  the 
Medici.  This  being  the  case,  Michelangelo's  com- 
missions for  the  Medicean  pope  remained  for  a 
time  in  abeyance,  while  he  with  patriotic  energy 
undertook  the  charge  of  fortifying  the  city  against 
his  patron,  the  Signory  having  appointed  him 
director  and  provider  over  the  works  of  defence. 
The  new  knowledge  supplied  by  the  recent  publi- 
cation of  the  Buonarroti  letters  clears  up  much 
that  formerly  seemed  inexplicable  in  his  conduct 
at  this  time.  It  is  evident  that  he  was  greatly 
trusted  by  the  Signory,  acting  for  them  not  only  as 
military  engineer,  but  likewise  being  entrusted 
with  private  missions.  One  of  these  missions  it 
appears  took  him  to  Venice  before  what  must  be 
called  his  flight  thither  in  1529.  When  in  1530 
Clement  VII.,  with  the  aid  of  the  imperial  cannon, 
gave  the  last  blow  to  the  liberties  of  Florence,  or 
rather  when  the  city  which  fire  and  famine  had 
been  unable  to  subdue  was  treacherously  yielded 
to  the  Medici,  Michelangelo,  who  had  returned 
from  Venice,  was  in  great  danger,  and  was  obliged 
to  lie  concealed  for  a  time  in  the  house  of  a  friend. 
The  pope,  however,  who,  like  his  predecessor 
Julius  II.,  seems  to  have  known  the  value  of  a  man 
of  genius,  gave  him  his  pardon,  and  ordered  him 
to  resume  his  work  in  the  Medici  Chapel  in 
San  Lorenzo,  upon  which  he  had  been  employed 
before  the  siege.  He  accordingly  came  forth 
from  his  hiding-place,  and  worked,  as  he  says, 
with  "  morbid  hast^,"  but  with  saddened  lieart, 
on  the  four  great  recumbent  figures  of  Night, 
Morning,  Dawn,  and  Twilight,  for  the  toinbs 
of  Lorenzo  and  Giuliano  de'  Medici.  These  are 
generally  considered  to  be  his  greatest  works  in 
sculpture. 

In  1634  Michelangelo  lost  his  father,  to  whom 
and  to  his  brothers  most  of  his  letters  are  written. 
He  is  seen  by  these  letters  to  have  been  always  a 
most  dutiful  and  affectionate  son,  ever  considerate, 
patient,  and  generous  towards  his  family,  though 
too  often  impatient  and  overbearing  with  others. 
Both  his  father  and  his  brothers  constantly  de- 
pended upon  him  fur  help,  which  was  given  even 
at  a  time  when  he  had  to  deny  himself  to  send  it. 
Indeed  the  sardonic  old  Titan  who  was  so  inac- 
cessible to  the  rest  of  the  world,  and  who  braved 
even  the  anger  of  popes,  stands  forth  in  his  letters 
as  a  singularly  obedient  and  tender  son,  who  bore 
with  exemplary  patience  the  very  irritating  conduct 
of  father  and  brothers,  who  were  perpetually  worry- 
ing him  about  trivial  family  disputes  and  debts. 
On  the  death  of  Clement  VII.  in  1534,  Michel- 
angelo's work  in  San  Lorenzo,  though  unfinished, 
came  to  an  end.  He  now  again  thought  that  be 
migjjt  be  permitted  to  work  on  the  tomb  of  Ju'ius 
II.  for  which  he  had  contracted,  and  which  had 
caused  him  endless  worry  and  regret.  But  the 
new  pope,  Paul  III.,  was  possessed  of  another 
idea,  and  was  determined,  now  he  was  pope,  to 
realise  it;  and  Michelangelo,  in  furtherance  of 
this  idea,  was  again  obliged  to  lay  aside  sculpture 
for  painting. 

The  world-famous  '  Last  Judgment,'  which 
Michelangelo  now  undertook  as  the  completion  of 
the  Sixtine  frescoes,  may  be  regarded  as  the  final 
expression  of  his  art.  In  this  work  all  traditionary 
types  were  cast  aside,  and  Michelangelo's  daring 
Paganism  triumphed.  Christ  is  represented  as  the 
Avenger,  and  the  lost  souls  fail  before  his  wrath 


Buonari'Oti 


PAINTEES  AND  ENGEAVEES. 


Buonarroti 


into  the  abyss,  drawn  in  every  possible  contortion 
of  nudity  ;  the  joys  of  the  blessed  being  far  less 
apparent  than  the  convulsive  struggles  of  the 
diimned.  The  subject  indeed,  which  had  been 
treated  with  grotesque  asceticism  by  the  early 
religious  painters,  ofEered  a  marvellous  opportunity 
for  the  display  of  naked  human  form,  and  as  such 
Michelangelo  seized  upon  it,  and  turned  the  old 
Christian  idea  of  a  Dies  irce  into  a  heathen 
tragedy. 

The  'Last  Judgment'  has  suffered  even  more 
fatally  from  neglect  than  the  other  frescos  in  the 
Sixtine  Chapel,  and  moreover  it  has  been  injured 
by  repainting,  from  which  the  others  have  been 
preserved  by  their  inaccessible  position.  It  contains 
314  figures,  and  occupied  Michelangelo  from  1635 
to  1541.  But  Michelangelo  was  now  an  old  man, 
and  worked,  as  he  himself  says,  "unwillingly, 
working  for  one  day,  and  resting  for  four." 

This  was  almost  the  last  great  work  in  painting 
tliat  he  was  called  to  undertake :  though  he  after- 
wards consentpd  to  paint  two  frescos  in  the  Pauline 
Chapel  of  the  Vatican  representing  the  Conversion 
of  St.  Paul  and  the  Martyrdom  of  St.  Peter.  In 
1546,  at  the  age  of  seventy-one,  he  was  appointed 
by  Paul  III.  chief  architect  of  St.  Peter's,  an  ofEce 
which  he  continued  to  hold  under  four  other  popes. 
The  great  dome  of  St.  Peter's  was  raised  from  his 
plan. 

All  his  poems,  for  he  was  a  poet  as  well  as  a 
sculptor,  painter,  architect,  and  engineer,  express 
a  longing  for  the  release  of  death,  but  it  was  not 
until  he  had  reached  his  ninetieth  year  that  this 
release  came  to  him.  He  died  at  Eome  on  the 
18th  of  February,  1664,  and  was  buried  by  his  own 
desire  at  Florence. 

Michelangelo  was  a  man  of  melancholy  tempera- 
ment, and  subject  to  violent  outbursts  of  anger 
which  made  him  more  feared  than  loved  by  those 
with  whom  he  associated.  Dwelling  alone  with 
his  own  great  thoughts,  he  became  impatient  of 
interruption  and  contradiction,  and  ofttimes  ex- 
pressed himself  with  a  bitterness  which  made  him 
many  enemies.  No  woman's  name  is  in  any  way 
associated  with  his,  with  the  exception  of  that  of 
the  noble  Princess  Vittoria  Colonna,  whose  sympa- 
thetic friendship  cheered  the  later  years  of  his  life. 
His  life  was  a  stormy  one,  no  less  from  miserable 
personal  disputes  than  from  the  stirring  times  in 
which  he  lived  and  took  part.  He  felt  deeply  the 
ruin  of  the  liberties  of  Florence,  as  evinced  by  his 
reply  to  some  verses  afSxed  to  his  statue  of  '  Night,' 
in  which  he  makes  the  statue  say,  "  Sleep  is  dear  to 
me,  and  still  more  that  I  am  of  stone,  so  long  as 
dishonour  and  shame  last  among  us.  The  hap- 
piest fate  is  to  see  and  feel  nothing.  Therefore 
waken  me  not.     Pray  speak  gently." 

Of  the  art  of  Michelangelo  few  are  competent  to 
judge.  It  needs  a  long  study  before  its  masterly 
power  is  perfectly  comprehended.  All  that  the 
progressive  artists  of  Florence  had  been  striving 
after  since  the  time  of  Masaocio  was  attained  by 
him.  He  was  influenced  but  not  dominated  by 
classic  art.  Like  the  great  Greek  artists  before  him, 
he  seized  on  the  nude  human  body  as  the  best 
means  of  displaying  the  highest  perfection  of 
artistic  beauty.  While  Titian  and  Correggio  were 
seeking  this  perfection  in  sensuous  loveliness, 
Michelangelo  sought  it  in  physical  force,  and  by  a 
daring  and  a  knowledge  such  as  no  artist  had  ever 
before  displayed,  achieved  his  aim  to  the  admiration 
of  all  succeeding  ages.     Power  and  intellect  are 


the  two  qualities  that  mark  his  style,  a  profound 
knowledge  of  nature,  and  careful  study  of  the 
living  model,  yet  no  servile  copying  even  of  nature, 
for  he  often  violated  rules  of  proportion,  placed 
his  figures  in  constrained  and  impossible  positions, 
and  in  other  ways  rejected  the  teachings  of  science, 
if  this  was  necessary  for  the  expression  of  his 
idea.  For  Michelangelo  was  perhaps  the  greatest 
of  idealists.  His  figures  live  by  virtue  of  the  life 
he  has  infused  into  them,  and  remain  as  the  grandest 
creations  of  Italian  art. 

It  does  not  come  within  the  scope  of  this  work 
to  enumerate  all  his  great  works  in  sculpture  and 
in  architecture,  many  of  them  have  however  been 
mentioned  in  this  article.  Of  those  he  executed 
in  painting,  the  principal  are  : 

Copy  of  Martin  Schongauer's  St.  Anthony.  His  first 
reputed  picture. 

Circular  Madonna  and  Child,  painted  for  Angelo  Doni 
in  1504;  noxo  in  the  Uffizi  at  Florence.  The  best 
known  perhaps  of  all  his  pictures,  having  been  con- 
stantly reproduced. 

The  Madonna  and  Saints ;  in  the  National  Gallery , 
Early  work.     Unfinished. 

The  Entombment ;  in  the  National  Gallery,  Unfinished, 
and  of  doubtful  authenticity. 

Cartoon  of  Pisa ;  an  incident  in  the  battle  of  Cascina. 
1504.  This  noble  work,  which  was  never  completely 
finished,  was  destroyed  by  some  means  at  an  early 
date,  and  the  fragments  scattered  in  various  collec- 
tions ;  but  the  story  Tasari  tells  of  its  having  been 
torn  to  pieces  by  Baccio  Bandmelli  is  unworthy  of 
credit.  Portions  of  it  ware  early  engraved  by  Marc- 
Antonio  and  Agostino  da  Venezla,  aud  in  later  years 
the  central  part  of  the  composition  has  been  engraved 
by  Schiavonetti,  from  an  excellent  copy  in  grisaille, 
which  still  exists  in  the  possession  of  the  Earl  of 
Leicester  at  Holkham.  It  is  from  this  that  the 
numerous  reproductions  of  this  subject  are  taken. 

Fresco  paintings  in  the  Vault  of  the  Sixtine  Chapel, 
representing  the  various  acts  of  creation  ;  the  Tempt- 
ation and  Fall  of  our  first  parents ;  the  Deluge,  and 
the  Sacrifice  and  Drunkenness  of  Noah ;  also  the 
Genealogy  of  the  Virgin  in  the  spandrels  above  the 
windows,  and  four  historical  subjects  from  the  history 
of  the  Jews,  in  the  corner  sofBts  of  the  ceiling.  The 
seven  figures  of  the  Prophets,  and  the  five  Sibyls  who 
sit  enthroned  in  niches  round  the  vault,  are  generally 
regarded  as  the  highest  conceptions  of  Michelangelo's 
art. 

The  Leda,  painted  about  1530  for  the  Duke  of  Ferrara, 
but  not  taken  by  him.  The  history  of  this  picture  is 
very  confused.  Vasari  atates  that  Michelangelo  pre- 
sented it  to  his  pupil  Antonio  Mini  because  "  he  had 
two  sisters  to  marry,"  but  this  generosity  is  contra- 
dicted by  certain  circumstantial  evidence.  It  seems 
to  have  been  sold  by  agents  to  Francis  I.,  and  to  have 
remained  at  Fontainebleau  until  the  reign  of  Louis 
XII.,  when  it  is  said  to  have  been  destroyed  by  order 
of  the  Confessor  of  Desnoyers.  Its  destruction,  how- 
ever, is  by  no  means  certain,  and  it  is  probable  that  it 
passed  in  a  mutilated  condition  into  England.  A 
painting  of  this  subject  is  now  in  the  National  Ga'- 
lery,  and  is  considered  by  M.  Eeiset,  the  learned 
director  of  French  museums,  to  be  the  one  actually 
painted  by  Michelangelo,  but  greatly  restored.  A 
Cartoon  of  the  Leda,  probably  a  copy,  but  a  very  fine 
work,  is  in  the  possession  of  the  Royal  Academy. 

The  Last  Judgment :  fresco  in  the  Sixtine  Chapel  of 
the  Vatican. 

Two  frescos  in  the  Pauline  Chapel  in  the  Vatican — 
The  Conversion  of  St.  Paul  and  the  Crucifixion  of  St. 
-  Peter.     1549—1550. 

Other  works  in  painting  were  doubtless  executed 
by  Michelangelo,  but  no  others  are  known  to  be 
certainly  by  him,  the  pictures  that  pnss  with  his 
name  in^galleries  being  generally  executed  by 
pupils  and  followers  from  hi-i  designs,  which  he 
was  very  liberal  in  bestowing  upon  good  painters. 

199 


Buonasoue 


A  BIOGRAPHICAL  DICTIONAKY  OF 


Burch 


Numerous  drawings  by  Michelangelo  are  to  be 
found  in  various  collections,  especially  in  England. 
There  are  fifteen  in  the  British  Museum,  thirty 
at  Windsor,  and  seventy  at  Oxford,  the  largest 
collection  extant. 

The  works  that  have  been  written  on  Michel- 
angelo are  too  many  to  enumerate  here,  but  a  few 
among  the  most  important  are  : 

Vasari.  Vita  del  gran  Michelangelo  Buonarroti.  156S. 
Milanesi  edition  of  the  Lives,  in  1880. 

Condivi.  Vita  di  Michelangelo.  Both  these  were  con- 
temporary biographies  by  pupils. 

Vignali.    Vita  di  M.  A.  Buonarroti.     1753. 

Hauchecorne.     Vie  de  Michelange,  etc.     1783. 

Duppa.     Life  of  Michael  Angelo.     1806. 

Linnell.     Frescos  in  the  Sistine  Chapel.     1834. 

J.  E.  Taylor.  Michelangelo  considered  as  a  philo- 
sophic poet.     1840. 

Hermann  Grimm.  Lebeu  Michel  Augelos.  1860.  Trans- 
lated into  English  in  1865. 

Aurelio  Ootti.  Vita  di  Michelangelo  Buonarroti,  nar- 
rata  eon  I'aiuto  di  nuovi  documenti.     1875. 

Gaetano  Milanesi.  Le  Lettere  di  Michelangelo  Buon- 
arroti.    1875. 

Ch.  Heath  Wilson.  Life  and  Letters  of  Michelangelo 
Buonarroti. 

These  lasb  three  works,  by  the  publication  of  the  docu- 
ments and  letters  in  the  Casa  Buonarroti,  have  added 
materially  to  our  knowledge  of  Michelangelo's  history. 

liI.M.H. 

BUONASONE.     See  Bonasone. 

BUONAVENTUEA.     See  Segna. 

BUONCONSIGLIO,  Giovanni,  called  II  Makes- 
CALCO,  a  native  of  Vicenza,  painted  in  tempera, 
in  the  first  part  of  his  career,  in  the  style  of  Mon- 
"  tagna ;  but  afterwards  he  turned  his  attention 
towards  oil-colours,  and  became  a  disciple  of  Anto- 
nello  da  Messina,  whom,  it  is  said,  he  assisted  in 
several  of  his  works.  He  subsequently  became 
almost  Titianesque  in  warmth  of  colour.  Buon- 
consiglio  laboured  chieily  at  Vicenza,  Venice,  and 
the  neighbourhood.  He  was  living  as  late  as 
1530  at  Venice,  for  the  churches  of  which  city  he 
painted  numerous  altar-pieces,  many  of  which 
have  unfortunately  perished.  The  following  are 
his  principal  works  now  extant : 

Montagnana.  Cathedr.  Virgin  and  Child  (signed  and  dated 
1511). 
„  „      St.  Catharine  (signed  and  dated 

1513V 

„  Comiine.    Madonna  with  six  Saints  {signed). 

Paris.  Louvre.      Portrait  of  a  'Woinan  (No.  522) ; 

catalogued  as  '  Unknown  master 

of  the    Venetian    School ; '    by 

some  writers  ascribed    to    Car- 

paccio.      Attributed    by    Crowe 

and    Cavaleaselle   to    Buoncon- 

siglio. 

Venice.         Academy.  Fragments  of  a  work  painted  in 

oil  for   SS.  Cosmo  e  Damiano 

alia  Giudecca,  representing  SS. 

Benedict,     Tecla,    and     Cosmo 

(signed  and  dated  1497). 

,,  Oesuati.     Christ  between  SS.  Jerome  and 

Secondo    {signed   *  Joanes    bo- 

NICHOSILIJ      DITO       MAEESOHAL- 
CHO.  P.' 

„  S,  Giac.  dell'  Orio.  St.  Sebastian  {signed). 
Vicenza.       Gallery.     Virgin  and  Saints  mourning  over 

the  dead  body  of  Christ.  Signed. 

Tempera  {painted  for  San  Bar- 

folommeOj  Vicenza). 
„  S.  Socco.    Virpn    and    Child,   with    Saints 

{signed  and  dated  1502). 

BUONFIGLIO.     See  BoNriGLl. 
BUONFEATELLI,     Apollonio,    a    miniature 
painter  of  Florence  in  the  15th  century.- 
BUONI,  B.  and  S.  de'.     See  De'  Buoni. 
200 


BUONI,  Floeiano,  (or  Bonis,)  an  engraver,  was 
a  native  of  Bologna,  and  flourished  about  the  year 
1670.  Among  other  prints  he  produced  a  plate 
representing  a  '  Dead  Christ,  with  the  Virgin  Mary 
and  St.  John,'  after  Guercino.  It  is  executed  with 
the  graver  in  a  dark,  heavy  style.  His  name  is 
also  afiSxed  to  a  portrait  of  Guido  Eeni. 

BUONINSEGNA,  Duooio  di,  was  born  at  Siena 
about  1260.  He  was  the  first  of  his  school  to 
throw  aside  the  Byzantine  style  and  to  strive  to 
imitate  nature.  In  1285  he  entered  into  a  contract 
to  paint,  for  150  florins,  an  altar-piece  for  the 
chapel  of  the  Virgin  in  Santa  Maria  Novella  at 
Florence,  but  no  record  of  the  picture  exists  ;  and 
in  the  autumn  of  that  year  he  was  in  Siena.  His 
master-piece,  which  still  exists,  is  the  high  altar- 
piece  in  the  Cathedral  of  Siena.  It  occupied  him 
from  the  9th  of  October,  1308,  till  the  9th  of  June, 
1310,  when  it  was  carried  with  great  pomp — like 
the  Madonna  of  Cimabue — to  the  cathedral. 

For  this  great  work  Duccio  received  only  sixteen 
soldi  (or  pence)  a  day,  but  the  materials,  which 
were  very  costly,  owing  to  the  amount  of  gold 
and  ultramarine  used,  amounting  to  upwards  of 
3000  gold  florins,  were  supplied  for  him.  As  the 
high  altar  was  open  all  round,  Duccio  painted 
pictures  on  both  sides.  The  front  represented  the 
'  Virgin  and  Child,'  with  numerous  saints  and 
angels,  and  four  bishops  kneeling  in  front.  On 
the  back  were  twenty-six  scenes  from  the  life  of 
our  Lord,  from  the  '  Entry  into  Jerusalem  '  to  the 
'  Meeting  at  Emraaus.'  It  was  removed  from  the 
altar,  in  the  early  part  of  the  sixteenth  century,  to 
make  room  for  a  tabernacle,  and  then,  after  having 
been  divided,  the  halves  were  placed  at  either  end 
of  the  transept,  where  they  still  remain.  A 
'  Madonna  and  Child,  with  saints  and  angels,'  by 
him  is  in  the  National  Gallery ;  and  two  pictures 
of  similar  subjects  by  him  are  in  the  Academy  at 
Siena.  We  have  no  record  of  Duccio  later  than 
13-20. 

BUONTALENTI,  Beknahdo,  called  Delle  Gi- 
randole, was  a  painter,  sculptor,  and  architect 
who  was  born  at  Florence  in  1536.  When  he  was 
eleven  years  of  age  his  parents  were  ruined  by  a 
sudden  inundation  of  the  Arno,  and  he  was  taken 
under  the  protection  of  Cosmo  I.,  Grand  Duke  of 
Tuscany,  who  caused  him  to  be  educated  in  the 
best  manner.  He  is  said  to  have  been  instructed 
in  painting  by  Salviati  and  Bronzino,  in  sculpture  by 
Buonarroti,  in  architecture  by  Giorgio  Vasari,  and 
to  have  learned  miniature  painting  under  Giulio 
Clovio.  With  such  advantages  it  is  not  surprising 
that  he  became  eminent.  He  executed  a  number 
of  miniatures  for  Francesco,  the  son  of  Cosmo  I. 
He  was  more  celebrated  as  an  architect  than  a 
painter,  and  was  much  employed  in  fortification. 
He  was  also  a  great  mechanic,  and  an  excellent 
mathematician.  His  own  portrait,  by  himself,  is 
in  the  Uffizi  at  Florence.     He  died  in  1608. 

BURANI,  Fkanoesco,  was  an  Italian  designer  and 
engraver,  born  at  Reggio,  by  whom  we  have  an 
etching  of  '  Bacchus  sitting  near  a  Tun,  with  three 
Satyrs,'  executed  in  the -style  of  Spagnoletto. 

BURATTI,  GiKOLAMO,  a  painter  of  Ascoli,  lived 
about  1580.  He  painted  the  beautiful  picture  of 
the  '  Presipio,'  at  the  Carita,  in  Ascoli,  and  some 
subjects  in  fresco,  which  have  been  highly  com- 
mended. 

BURCH,  Aklbert   van    den.      See  Van  den 

BUBCH. 

BURCH,  J.  H.  VAN  DER.     See  Van  dee  Bubch. 


Burchard  Doerbeck 


PAINTERS  AND  BNGEAVEES. 


Burghers 


BUBCHARD  DOERBECK,  Franz,  who  was 
born  at  Fellin  in  1799,  had  a  great  talent  for  comic 
pieces,  iind  commenced  by  drawing  for  the  '  Ber- 
liner Witze,'  ('Berlin  Wit'),  —  depicting  scenes 
from  the  life  of  the  lower  classes  at  Berlin.  There 
are  some  valuable  plates  by  him.  He  died  at 
Berlin  in  1835. 

BUBCHETT,  Richard,  was  born  at  Brighton 
in  1817.  He  entered  the  School  of  Design  at 
Somerset  House  about  1841,  and  was  one  of  the 
students  who  headed  the  movement  which  led 
to  the  establishment  of  the  Department  of  Prac- 
tical Art.  He  was  appointed  an  assistant  master 
in  the  school  in  1845,  and  head  master  in  1851. 
As  such,  he  saw  the  migration  of  the  school  to 
Marlborough  House,  and  superintended  its  estab- 
lishment at  South  Kensington.  Amongst  his 
pictures,  which  are  of  a  scriptural  and  historical 
nature,  may  be  cited,  'Edward  IV.  withheld  by 
Ecclesiastics  from  pursuing  Lancastrian  fugitives 
into  a  Church,'  scene  from  '  Measure  for  Mea- 
sure,' and  '  Expulsion  of  Peasants  by  William 
the  Conqueror  in  laying  out  the  New  Forest.' 
Mention  should  also  be  made  of  the  portraits 
of  the  Tudor  family,  executed  by  himself  and  his 
pupils,  which  decorate  the  Houses  of  Parliament, 
and  of  his  text-books  of  'Geometry'  and  'Per- 
spective.' He  died  at  Dublin  in  1875.  Amongst 
his  pupils  at  South  Kensington  may  be  named 
Miss  Elizabeth  Thompson  (Mrs.  Butler),  S.  L. 
Fildes,  A.R.A.,  and  W.  W.  Ouless,  R.A. 

BUBCKER,  Gaetano,  of  Bologna,  laboured  in 
Milan  in  the  first  quarter  of  the  nineteenth  century. 
Ho  died  in  1828.  A  Landscape  by  him  is  in  the 
Milan  Gallery. 

BURCKMAIB,  Hans.    See  Burgkmair. 

BOBFOED,  Robert,  a  painter  of  panoramas, 
was  born  in  1792.  The  subjects  treated  of  by  him, 
or  under  his  direction,  many  of  which  were  from 
sketches  taken  on  the  spot  by  himself,  included 
almost  every  part  of  the  habitable  globe,  and  were 
often  heightened  in  interest  by  the  representation 
ol:  battles  or  other  important  events.  He  had  the 
management  of  the  Royal  Panorama  in  Leicester 
Square  from  1827  till  his  death  in  1861. 

BURFORD,  Thomas,  an  English  mezzotint  en- 
graver, was  born  about  the  year  1710.  Heexeouted 
a  few  plates  of  landscapes  and  huntings,  but  was 
best  known  as  an  engraver  of  portraits.  He  died 
in  London  about  1770.     We  have  by  him  : 

Dr,  Warbnrton ;  after  Philips. 

The  Eev.  Roger  Pickering,  F.E.S.    1747. 

Mr.  Charles  Ohurohill ;  J.  H.  Schaack  pin,    1765. 

Vice-Admiral  John  Norris. 

BDBG,  Adriaan  van  dee.     See  Van  der  Bdrq. 

BUBG,  Dirk  van  den.     See  Van  den  Burg. 

BURGAU,  P.,  who  flourished  at  Vienna  about 
1750,  was  a  painter  of  birds  and  flowers.  Two 
pictures  of  birds  by  him  are  in  the  Belvedere, 
Vienna.  His  brother,  J.  M.  Burgau,  who  resided 
at  Linz  about  1743,  painted  hunting  scenes  and 
birds. 

BURGESS,  John  Cart,  a  painter  in  water- 
colours,  exhibited  at  various  intervals  flower-pieces 
nnd  landscapes  at  the  Academy  and  the  Suffolk 
Street  Gallery,  and  published,  in  1811, '  A  Practical 
Treatise  on  the  Art  of  Flower  Painting.'  He  died 
at  Leamington  in  1863. 

BURGESS,  Thomas,  who  learned  his  art  in  the 
St.  Martin's  Lane  Academy,  sent  pictures  to  the 
exhibitions  of  the  Incorporated  Society,  of  which 
he  was  a  member,  and  to  the  Royal  Academy.    His 


works  date  from  1766  till  1786  ;  they  are  conversa- 
tion pieces,  historic  works,  portraits,  and  landscapes. 
He  kept  for  some  years  an  Art  School  in  Maiden 
Lane. 

BURGESS,  Thomas,  a  landscape  painter,  exhib- 
ited at  the  Royal  Academy  from  1802  till  1806. 
He  died,  in  the  following  year,  in  London,  at  the 
early  age  of  twenty-three. 

BURGESS,  William,  a  son  of  Thomas  Burgess 
(of  the  Maiden  Lane  Academy),  and  also  a  teacher 
of  _art,  exhibited  portraits  and  conversation  pieces 
at  the  Free  Society  of  Artists  and  the  Royal  Acad- 
emy from  1769  till  1799.  He  died  in  London  in 
1812,  aged  63.  His  son,  H.  W.  Burgess,  was 
landscape  painter  to  William  IV. 

BURGESS,  William,  an  engraver,  practised  his 
art  about  the  end  of  the  eighteenth  century.  He 
executed  a  set  of  plates  of  Lincolnshire  churches, 
and  of  the  cathedrals  of  Lincoln  and  Ely.  He  died 
in  1813,  aged  68,  at  Fleet,  Lincolnshire. 

BURGESS,  William  Oaklet,  an  engraver, 
became  early  in  life  a  pupil  of  Lupton,  the  well- 
known  mezzotint  engraver,  under  whose  instruc- 
tion he  remained  until  twenty  years  of  age.  Some 
of  his  best  productions  are  plates  'after  the  works 
of  Sir  Thomas  Lawrence,  published  in  the  '  Law- 
rence Gallery.'  He  also  engraved  a  large  plate 
after  Lawrence's  portrait  of  the  Duke  of  Welling- 
ton, remarkable  for  its  admirably  graduated  tones, 
and  the  last  works  on  which  he  was  employed 
were  three  other  portraits  after  Lawrence  —  Sir 
John  Moore,  the  Duchess  of  Northumberland,  and 
the  Archbishop  of  Canterbury.  The  extraordinary 
delicacy  which  characterizes  the  work  of  this  artist 
must  have  acquired  for  him  the  highest  reputation 
in  his  art,  had  his  life  been  spared.  His  death, 
which  took  place  in  1844,  whilst  in  the  prime  of 
life,  was  occasioned  by  an  abscess  in  the  head,  sup- 
posed to  have  arisen  from  a  blow  of  a  skittle-ball 
some  years  before. 

BURGH,  H.,  was  an  English  engraver,  who  lived 
in  London  about  the  year  1760.  He  worked  prin- 
cipally for  the  booksellers,  and  was  chiefly  em- 
ployed in  engraving  portraits,  among  which  is 
that  of  '  Thomas  Bradbury,  Minister  of  the  Gospel,' 
from  his  own  design :  it  is  inscribed  H.  Burg, 
del.  et  sculp. 

BUBGHEBS,  Michael,  was  a  Dutch  engraver, 
who  settled  in  England  on  the  taking  of  Utrecht 
by  Louis  XIV.  He  resided  chiefly  at  Oxford ; 
and  on  several  of  his  plates  he  added  to  his  name 
Academim  Oxon.  calcographus.  From  the  great 
number  of  his  prints,  it  is  probable  he  was  em- 
ployed by  the  booksellers,  as  well  as  for  the 
University.  He  worked  almost  wholly  with  the 
graver,  in  a  stiff,  tasteless  style.  He  has  the  merit, 
however,  of  having  preserved  to  us  many  remains 
of  antiquity  which  would  otherwise  have  been 
lost.  He  engraved  the  plates  for  the  Almanacks  of 
the  University,  the  first  of  which,  by  him,  was  in  the 
year  1676.  His  most  esteemed  prints  are  his  anti- 
quities, ruins  of  abbeys,  and  other  curiosities.  He 
engraved  also  several  portraits  and  plates  tyQ 
for  the  classics.  He  sometimes  marked  his  j/ JJ 
prints  with  the  annexed  monogram.  The 
following  are  the  principal : 

Illustrations  to  Dr.  Plot's  '  Hist,  of  Staffordshire.'   1686. 
Illustrations  to  Dr.  "White  Kennet's  '  History  of  Am- 

broseden.' 
William  Somner,  the  antiquary  ;  after  Van  Dyck 
Franciscus  Junius  ;  after  the  same. 
John  Barefoot,  letter  doctor  to  the  University.    1681. 

2U1 


Burgkmair 


A  BIOGRAPHICAL  DICTIONARY  OF 


Burkhardt 


Head  of  JameE  11. ;  for  an  Almanack.     1686. 

Anthony  i  'Woocl ;  in  a  niche ;  his  only  mezzotint. 

King  Alfred ;  from  a  MS.  in  the  Bodleian  Lilrary. 

Sir  Thomas  Bodley;  in  the  Corners  of  the  plate  are 
the  Heads  of  the  other  Benefactors  of  the  Library ; 
■William,  Earl  of  Pembroke,  Archbishop  Laud,  Sir 
Kenelm  Digby,  and  John  Selden. 

Timothy  Hatton.  provost  of  Queen's  College. 

Dr.  Wallis.     1699. 

Sir  Thomas  Wyat. 

John  Baliol. 

Devorguilla,  his  spouse. 

Dr.  Eatcliff. 

The  Visage  of  Christ ;  engraved  in  the  manner  of  Mel- 
Ian,  with  one  stroke. 

BURGKMAIR,  Hans,  a  German  painter  and  en- 
graver, was  born  at  Augsburg  in  1743.  He  was  the 
son  of  Thomas  Burgkmair,  a  painter,  to  whom  he 
owed  his  education  as  an  artist,  and  was  followed 
in  Ihe  same  profession  by  his  son  Hans.  Hans  the 
elder  was,  however,  the  great  artist  ol  the  family, 
the  friend  and  fellow-labourer  of  Albreoht  Diirer  in 
the  service  of  the  Emperor  Maximilian  I.  In  his 
native  city  are  preserved  several  of  his  pictures, 
which  possess  considerable  merit.  His  prints  are 
principally,  if  not  entirely,  on  wood,  and  are  de- 
signed with  extraordinary  spirit  and  fire.  Indeed 
the  endless  imagination,  and  richness  of  sugges- 
tion, as  well  as  truth  to  the  life  of  his  time,  and 
dramatic  value  to  be  found  in  many  works,  place 
him  in  the  highest  rank  of  the  illustrative  artists 
of  the  world.  His  cut  in  chiaroscuro  of  the  Em- 
peror Maximilian  I.  on  horseback  is  dated  in  1518  ; 
and  it  has  been  very  probably  supposed  by  Pro- 
fessor Christ  that  the  fine  wood-outs  marked  /.  B., 
dated  1510,  in  the  old  edition  of  the  works  of  Geyler 
de  Keyserberg,  are  designed  by  this 
artist.  His  prints  are  very  numerous. 
He  sometimes  marked  them  with  the 
initials  H.  B.,  in  capitals  ;  sometimes 
thus : 

The  following  is  a  general  list  of  his  prints  : 

The    Emperor    Maximilian    on    Horseback ;    with  his 

name. 
The  same  print  in  chiaroscuro  ;  dated  1518  ;  scarce. 
Hans  Baumgartner,  Counsellor   of   the  Emperor.    A 

chiaroscuro  of  rare  excellence. 
St.  George   on    Horseback;   in  chiaroscuro,  with  the 

name  of  Negker, 

His  greatest  work  is '  The  Triumph  of  Kaiser  Max,' 
in  135  successive  prints,  showing  all  the  various 
countries  and  princes  subject  to  the  emperor,  with 
their  heraldry ;  all  the  different  corps  of  cavalry 
and  foot  in  his  service,  the  guilds  with  their  office- 
bearers, &c.,  &c.,  a  most  interesting  series  of  his- 
torical designs.  His  work  next  in  importance  to 
the  'Triumph '  is  '  Der  Weiss  Kunig.  Ein  Erzahling 
von  den  Thaten  Kaiser  Max  des  ersten.'  This  con- 
sists of  237  pieces,  nearly  all  of  thera  admirably 
invented  and  drawn.  Third,  'The  Genealogy 
of  the  Emperor,'  a  set  of  separate  figures  of  the 
ancestral  princes  and  others.  The  saints,  male 
and  female,  related  to  the  imperial  family  may  be 
considered  fourth  in  importance,  in  number  119 
prints.  Besides  these,  he  did  68  of  the  illustrations 
(71  in  number)  to  the  '  Chronicle  of  the  Family  of 
the  Counts  Truchsees  de  Waldburg  ;  '  33  of  those 
for  the  '  Schimpff  und  Ernst,'  a  book  containing 
40  engravings  ;  104  admirable  designs  for  a  German 
translation  of  the  'Offices'  of  Cicero  published  in 
Augsburg  by  Heinrich  Stayner,  1531 ;  six  for  the 
'  Lives  of  SS.  Ulrich,  Symprecht,  and  Afra,'  Augs- 
burg, Silvanus  Ottmar,  1516.  Above  all  these  in 
varied  interest  are  his  designs,  260  in  number,  for 

202 


%^I)^ 


the  German  translation  of  Petrarch's  prose  treatise 
on  Fortune,  '  Glucksbuch,  beydes  dess  Guten  und 
Bozen,'  published  first  in  Augsburg  and  a  few 
years  later  in  Frankfort.  His  single  prints  are 
also  numerous,  so  that  he  must  be  considered  one 
of  the  most  prolific  as  well  as  able  of  the  early 
German  school.  Bartsch  mentions  only  one  etching 
by  him, '  Venus  and  Mercury,'  a  small  print  on  iron. 
For  lists  and  comments  on  his  works  see  Nagler's 
'Kiinstler  Lexicon  ' ;  Bartsch,  Le  '  Peintre-Graveur,' 
vol.  vii.  ;  Passavant,  vol.  iii.  W.  B.  S. 

BURGKMAIR,  Thoman,  or  Thomas,  the  father 
of  Hans  Burgkmair,  and  the  father-in-law  of  Hans 
Holbein  the  elder,  is  mentioned  in  the  records  of 
the  Painters'  Guild  at  Augsburg  in  1460,  and  in 
public  documents  there  in  1479.  He  painted  in 
1480  a  '  Christ  with  St.  Ulric  '  and  a  '  Virgin  with 
St.  Elizabeth  of  Thuringia,'  both  in  the  cathedral 
at  Augsburg  ;  the  gallery  of  that  city  also  possesses 
a  picture  by  him  of  the  '  Martyrdom  of  St.  Stephen, 
St.  Lawrence,  and  scenes  from  the  Passion.'  Burgk- 
mair died  at  Augsburg  in  1523. 

BURGOS  Y  MANTILLA,  Francisco,  the  son 
of  a  lawyer,  studied  painting  under  Pedro  de  las 
Cuevas,  and  afterwards  with  Velazquez.  Dis- 
tinguished for  his  portraits,  he  painted  many 
persons  of  rank  at  Madrid  about  1668.  Isidoeo 
DE  Burgos  y  Mantilla,  probably  a  relative  of 
Francisco,  painted  in  16'71  a  series  of  portraits  of 
the  Kings  of  Spain,  from  Henry  II.  to  Charles  II. 
inclusive,  for  the  guest-chamber  of  the  Chartreuse 
of  Paular,  according  to  Cean  Bermudez,  of  grace- 
ful design  and  agreeable  colour.  He  was  also  a 
poet,  and  printed  a  romance  in  honour  of  the 
statue  of  San  Miguel  in  the  Esoorial  by  Luisa 
Koldau. 

BURGT.     See  Van  der  Burgt. 

BURINO,  Antonio,  who  was  bom  at  Bologna  in 
1656,  was  a  scholar  of  Domenico  Canuti,  and  also 
devoted  much  time  to  the  study  of  Paolo  Veronese. 
He  proved  a  very  reputable  historical  painter. 
Many  of  his  works  were  in  the  churches  and 
palaces  at  Bologna,  the  following  among  them : 
'  The  Crucifixion '  in  San  Tommaso  dal  Mercato  ; 
'  David  with  the  Head  of  Goliath  '  in  the  sacristy 
of  San  Salvatore ;  and  '  The  Martyrdom  of  St. 
Catharine '  in  Santa  Caterina  de  Saragozza.  He 
also  painted  a  saloon  for  the  Palazzo  Legnani,  and 
this  has  been  very  highly  spoken  of.  He  died 
in  1737.  His  Portrait  by  himself  is  in  the  Dffizi, 
Florence. 

BURKE,  Thomas,  an  engraver,  who  was  born 
in  Dublin  in  1749,  adopted  the  style  of  Bartolozzi, 
in  the  chalk  manner,  and  occasionally  that  of 
Earlom.  He  was  a  pupil  of  Dixon,  and  engraved 
chiefly  after  the  works  of  contemporary  artists, 
particularly  Cipriani  and  Angelica  Kauifmann.  He 
died  in  London  in  1815.  His  engravings  are  gen- 
erally printed  in  red  or  brown  colours,  and  are 
dated  from  1772  tol791.  The  following  are  the 
principal : 

Telemachus  at  the  Court  of  Sparta ;  afier  Ang.  Kauff- 

mann,     1778. 
Andromache  at  Hector's  Grave ;  after  the  satne. 
The  Battle  of  Agincourt ;  after  Mortimer. 
King  John  signing  the  Magna  Charta ;  after  (he  same. 
The  Nightmare  ;  after  Fuseli. 
Portrait  of  Mrs.  Siddons  ;  after  Dance. 
Portrait  of  Lord  North ;  after  the  same. 

BURKHARDT,  Jacques,  studied  at  Munich  ard 
in  Rome.  He  accompanied  Agassiz  in  his  cele- 
brated researches  on  the  glaciers  of  the  Aar,  and 


Burnet 


PAINTERS  AND  ENGRAVERS. 


Burnet 


illustrated  many  of  the  works  of  that  professor. 
He  died  at  Montreal  in  1867. 

BUKNET,  James  M.,  a  younger  brother  of  John 
Burnet,  was  born  at  Musselburg  in  1788.  At  an 
early  age  he  showed  a  predilection  for  painting, 
and  frequented  the  evening  academy  of  Graham 
to  obtain  a  knowledge  of  the  elements  of  art. 
He  went  to  London  in  1810,  and  renewed  his 
studies.  He  found  in  Cuyp  and  Paul  Potter  much 
after  his  own  heart,  but  in  nature  more.  "The 
fields  were  his  study,  nature  was  his  book.''  In 
his  sketch-book  he  noted  down  beautiful  bits  of 
landscape,  cattle,  and  rustic  figures  pursuing  their 
avocations.  These  he  afterwards  embodied  in  his 
works,  and  produced  'Cattle  going  out  in  the 
Morning,'  'Cattle  returning  Home  in  a  Shower,' 
'  Crossing  the  Brook,'  '  Breaking  the  Ice,'  '  Milking 
Time,'  '  The  Ploughman's  Return,'  and  other  pic- 
tures, full  of  high  promise.  Unfortunately  for  art, 
his  life  was  but  short ;  he  died  at  Lee  in  1816  in 
the  twenty-eighth  year  of  his  age,  to  the  regret  of 
all  who  could  appreciate  his  excellence.  He  was 
buried  in  the  churchyard  of  Lewisham  in  Kent,  a 
spot  in  which  he  delighted  during  his  life.  _'  Taking 
Cattle  to  Shelter  during  a  Storm '  by  him  is  in  the 
Edinburgh  Gallery. 

BURNET,  John,  was  born  near  Edinburgh,  in 
1784.  His  parents  placed  him  with  Robert  Scott, 
the  engraver,  at  Edinburgh,  and  from  him  he 
learned  the  practical  part  of  etching  and  en- 
graving. Concurrently  with  this  he  attended 
daily  at  the  Trustees'  Academy,  where  he  was  a 
fellow-pupil  with  William  Allen  and  David  Wilkie. 
Burnet  himself  says  of  this  period  of  his  career, 
"  I  have  often  thought  that  my  following  the 
profession  of  an  engraver  and  painter  at  the  same 
time  cramped  the  greater  extension  of  either,  as 
both  are  of  sufBcient  difficulty  to  require  the  un- 
divided attention  to  arrive  at  a  high  degree  of 
excellence."  In  1806  he  paid  his  first  visit  to 
London.  "Wilkie  having  preceded  me,"  Burnet 
says,  "  by  twelve  months,  the  fame  created  by 
his  picture  of  the  '  Village  Politicians '  produced 
such  a  sensation  in  Scotland  that  I  hastily  finished 
my  engraving,  and  set  sail  for  London  in  a  Leith 
smack.  On  my  arrival  on  Miller's  Wharf,  I  seemed 
to  feel  what  most  Scotchmen  feel,  '  ample  room 
and  verge  enough,'  and  though  with  only  a  few 
shillings  in  my  'pocket,  and  a  single  impression 
from  one  of  my  plates  for  Cooke's  'Novelists,'  I 
felt  myself  in  the  proper  element,  having  all  that 
proper  confidence  peculiar,  I  believe,  to  my  country- 
men. I  went  instinctively  toward  Somers  Town, 
where  many  of  my  brother  artists  resided,  and 
next  morning  to  No.  10,  Sol's  Row,  Hampstead 
Road,  to  call  on  Wilkie.  He  was  delighted  to  see 
me,  and  exclaimed,  '  I  am  glad  you  are  come,  for 
London  is  the  proper  place  for  artists.'  On  his 
easel  was  the  picture  of  the  '  Blind  Fiddler,'  which 
struck  me  as  a  wonderful  work  for  one  who  had 
seen  so  little  of  such  paintings  in  his  youth.  My 
first  engravings  after  settling  in  London  were  for 
Cooke's  '  Novelists,'  Britton  and  Bayley's  'England 
and  Wales,'  Mrs.  Inchbald's  '  British  Theatre,'  &c., 
but  I  longed  for  some  larger  work  upon  which  to 
employ  my  graver,  and  bespoke  the  engraving  of 
'The  Jew's  Harp,'  of  the  same  size  as  the  paint- 
ing." This  was  the  first  picture  by  Wilkie  that 
was  engraved,  and  formed  the  commencement  of 
the  long  series  of  prints  after  his  admirable  works 
now  so  well  known  to  the  public.  The  engraving 
of  '  The  Jew's  Harp '  brought  Burnet  into  acquaint- 


ance with  William  Sharp,  the  celebrated  historical 
engraver,  and  "  the  great  founder  of  the  English 
school  in  this  department,"  and  its  success  led  to 
the  publication  of  others,  and  the  picture  of  'The 
Blind  Fiddler '  was  fixed  upon  to  be  engraved,  of 
a  large  size,  more  like  'The  Battle  of  La  Hogue,' 
by  Woollett.  As  '  The  Jew's  Harp  '  was  executed 
more  in  the  style  of  Le  Bas,  Burnet  tells  us  he 
executed  '  The  Blind  Fiddler '  in  the  manner  of 
Cornells  Visoher ;  it  exhibits  more  graving  than 
etching,  and,  as  far  as  the  approbation  of  the 
public  went,  was  highly  popular  from  the  begin- 
ning. It  also  received  the  approbation  of  his 
brother  engravers.  Wilkie,  on  the  other  hand,  did 
not  greatly  approve  it ;  the  consequence  was  that 
Burnet  retouched  the  plate,  and  it  was  agreed  that 
the  whole  of  the  original  proofs  were  to  be  de- 
stroyed, and  fresh  ones  with  the  alterations  printed. 
This  gave  rise  to  two  sets  of  proofs  now  being  in 
existence.  The  first  proofs  have,  amongst  other 
peculiarities,  the  hat  of  the  boy  with  the  bellows 
in  single  line.  The  success  which  attended  the 
production  of  'The  Blind  Fiddler'  led  to  the  pro- 
duction of  a  companion  print,  and  '  The  Village 
Politicians '  was  the  one  fixed  upon  ;  but  Burnet 
eventually  threw  up  the  engraving  (which  was 
undertaken  by  Raimbach),  in  consequence  of  dis- 
agreeing with  the  terms  proposed,  which  were, 
that  "  the  engraving  was  to  be  executed  entirely  at 
his  (Burnet's)  own  expenses,  and  the  proceeds  of 
the  prints  divided  equally  between  the  painter  and 
engraver."  After  the  plate  of  'The  Blind  Fiddler' 
other  prints  from  Sir  David  Wilkie  were  '  The 
Reading  of  the  Will,'  '  The  Chelsea  Pensioners 
reading  the  Gazette  of  the  Battle  of  Waterloo,' 
'  The  Rabbit  on  the  Wall,'  '  The  Letter  of  Intro- 
duction,' '  The  Death  of  Tippoo  Saib,'  'The  Village 
School.'  After  the  peace  of  1813,  Burnet  took  the 
opportunity  to  visit  Paris ;  and  for  five  months 
was  a  constant  visitor  to  the  Louvre,  copying  and 
studying  from  the  magnificent  collection  that  had 
been  brought  from  all  parts  of  Europe  to  that 
gallery.  Shortly  afterwards  he  engraved'  several 
plates  for  Foster's  '  British  Gallery  ; '  of  these  '  The 
Letter  Writer,'  after  Metsu,  and  '  The  Salutation 
of  the  Virgin,'  after  Rembrandt,  are  considered  the 
best.  He  then  joined  the  Associated  Engravers, 
and  produced  the  well-known  plates  of  '  The  Jew,' 
'  The  Nativity,'  and  '  The  Crucifixion,'  after  Rem- 
brandt. 

Burnet  occasionally  prastised  painting,  and  with 
a  success  which  would  have  warranted  hira  in 
devoting  himself  entirely  to  this  branch  of  art, 
had  his  destiny  not  been  already  set  in  another 
path.  His  principal  work  was  '  Greenwich  Hos- 
pital and  Naval  Heroes,'  painted  for  the  Duke  of 
Wellington,  and  intended  as  a  companion  picture 
to  Wilkie's  '  Chelsea  Pensioners '  and  which  he  bad 
engraved.  The  Sheepshanks  Collection  contains 
two  of  his  works,  'Cows  Drinking,'  painted  on 
panel  in  1817,  and  the  '  Fish  Market  in  Hastings.' 
His  other  best  known  paintings  were  '  The  Draught 
Players'  in  1808,  '  The  Humorous  Ballad '  in  1818, 
'The  Valentine'  in  1820.  Burnet  will  long  be 
remembered  as  a  writer  on  art.  His  first  work,  'A 
Practical  Treatise  on  Painting,'  published  in  1827, 
brought  him  much  fame,  and  was  followed  by  'An 
Essay  on  the  Education  of  the  Eye,'  1837  ;  '  Prac- 
tical Hints  on  Light  and  Shade,'  1838  ;  '  On  Colour 
in  Painting '  in  1843  ;  '  Rembrandt  and  his  Works  ' 
in  1849  ;  '  Turner  and  his  Works'  in  1852  ;  as  well 
as  other  essays  of  minor  importance.    In  1 860  he 

203 


Barney 


A  BIOGRAPHICAL  DICTIONARY  OP 


Buss 


received  a  pension  from  the  Civil  List,  and  retired 
to  Stoke  Newington,  where  he  passed  in  narrow 
means  the  few  remaining  years  of  his  life.  He 
died  in  April,  1858,  aged  84. 

BURNEY,  Edward  Francis,  a  relation  of  the 
celebrated  musician  Dr.  Burney,  was  born  at  Wor- 
cester in  1760.  He  entered  the  Academy  school  at 
an  early  age,  and  gained  the  friendship  of  Sir 
Joshua  Reynolds.  He  exhibited  in  1780  three 
drawings  illustrating  '  Evelina,'  and  afterwards  a 
few  portraits.  He  is  best  I?nown  by  his  book 
illustrations  (of  which  an  example  is  in  the  South 
Kensington  Museum),  and  by  a  portrait  of  Fanny 
Burney  (afterwards  Madame  d'Arblay),  which  v?-as 
engraved  as  a  frontispiece  to  her  works.  He  died 
in  London  in  1848. 

BURNFORD,  — ,  an  obscure  English  engraver, 
was  employed  in  engraving  portraits,  frontis- 
pieces, and  other  book  plates,  for  the  publishers. 
Among  his  portraits  is  that  of  William  Salmon, 
M.D.,  preiixed  to  his  'Synopsis  Medicines.' 

BURON,  ViRGlLE,  a  French  historical  painter, 
worked  at  Fontainebleau  under  the  direction  of 
Primaticcio  and  Maitre  Roux  in  1528.  He  was 
distinguished  also  as  a  painter  of  ornaments. 

BUS,  CoRNELis  VAN.     See  Bosch. 

BUS  ATI,  Andrea,  an  unimportant  follower  of 
the  Bellini,  is  the  author  of  a  signed  '  St.  Mark 
enthroned  between  SS.  Francis  and  Andrew,' 
painted  about  1510,  and  now  in  the  Venice 
Academy.  A  figure  of  a  Saint  in  the  Vicenza 
Gallery  is  also  ascribed  to  him. 

BUSC,  — ,  an  amateur  engraver,  is  reported 
by  Basan  to  have  etched  several  plates,  among 
which  were  twenty-eight  after  Rembrandt,  and 
twenty  of  heads,  &c. 

BUSCA,  Antonio,  was  born  at  Milan  in  1625, 
and  was  a  scholar  of  Ercole  Prooaccini.  In  the 
church  of  San  Marco  he  painted,  in  competition 
with  his  master,  a  picture  of  '  The  Crucifixion, 
with  the  Virgin,  Mary  Magdalen,  and  St.  John,' 
which  picture  is  quite  worthy  of  comparison  with 
the  works  of  Procaccini.  This  performance,  how- 
ever, he  never  afterwards  equalled.  Being  much 
afflicted  with  the  gout,  he  appears  to  have  been 
unable  to  undertake  anything  with  vigour ;  he 
sank  into  a  mannerist,  and  contented  himself  with 
frequently  repeating  the  same  subjects.  He  died 
in  1686. 

BUSCATI,  LuoA  Antonio,  (or  Busscat,)  was  a 
Bolognese  painter  of  the  15th  century.  A  '  Descent 
from  the  Cross  '  by  him  is  in  the  Ercolani  Gallery 
at  Bologna,  an  outline  of  whicli  is  given  by  Rosini. 
Zani  considers  him  among  the  eminent  artists  of 
the  period,  and  the  print  justifies  the  opinion. 

BDSCH,  Friedeich,  a  genre  painter  in  Dusse]- 
dorf,  was  born  in  1808.  He  died  in  1875.  He 
painted  many  charming  pieces,  amongst  them, 
'The  Spinner,'  'The  Huntsman  and  his  Sweet- 
heart,' and  'The  Weeping  Girl  at  the  Well.' 

BUSI  CARIANI,  Giovanni,  was  born  at  Fuipiano 
on  the  Brembo  in  the  latter  part  of  the  15th 
century.  His  first  recorded  painting  with  the 
date  of  1514,  and  his  last  with  the  date  of  1541, 
are  both  now  lost.  He  must  have  possessed 
considerable  skill  in  imitating  the  styles  of  the 
great  Venetian  masters,  for  many  galleries  pos- 
sess paintings  attributed  to  Bellini,  Giorgione, 
Palma  Vecohio,  and  Pordenone  which  are  really 
by  Busi  Cariani.  Crowe  and  Cavalcaselle  ascribe 
to  him  the  two  well-known  Heads  in  the  Louvre, 
formerly  thought  to  be  portraits  of  the  Bellini, 

204 


and  still  assigned  to  the  hand  of  Gentile  Bellini. 
He  painted  at  both  Venice  and  Bergamo,  and  in 
the  latter  city  executed  frescoes  on  the  front  of 
the  Palace  of  the  Podesta,  a  Madonna  with  Sair:t3 
above  the  side  portal  of  the  church  of  Santa  Maria 
Maggiore,  and  some  subjects  in  the  Piazza  Niiova, 
of  which  fragments  only  now  remain.  Only  two 
paintings  by  him  with  dates  afExed  are  known  to 
exist:  Seven  Portraits  in  a  landscape,  dated  1519, 
in  the  Roncalli  collection,  and  a  Madonna  and  Child 
with  patron,  dated  1520,  in  the  Casa  Baglioni, 
both  at  Bergamo.  The  Lochis-Carrara  gallery  at 
Bergamo  contains  seven  fine  paintings  by  Busi 
Cariani  ;  besides  which  there  are  examples  at 
Brescia  and  Berlin,  and  the  following : 
Dresden.  Gallery.  Eachel  and  Jacob. 
Milan.  Brera,  Virgin  and  Child,  with  Angels 

and  seven  Saints. 

BUSINCK,  LuDWiG,  a  G-erman  wood-engraver, 
was  born  at  Minden  about  the  year  1590,  and  was 
working  in  Paris  in  1640.  He  was  the  first  artist 
in  France  who  executed  woodcuts  in  chiaroscuro, 
and  his  productions  were  distinguished  by  a 
spirited  and  masterly  style.  Many  of  his  plates 
are  after  L'AUernand,  others  from  his  own  designs, 
as  under: 

FROM   HIS   OWN  DESIGNS. 
Fidelity,  an  allegorical  piece.    1630. 
A  half-length  figure  playing  on  the  Flute.    1630. 
A  Cavalier  ;  full-length.     1630. 
Two  of  Peasants. 

IN   OHIAROSOaEO  ;    AFTER   6.    L'ALLBMAND. 
St.  Peter  holding  the  Keys ;  half-length. 
St.  John  and  St.  Matthew. 
Judith,  with  the  Head  of  Holofernes. 
Moses,  with  the  Tables  of  the  Law. 
A  Family  of  Beggars. 
A  young  Man  playing  on  the  Flute, 
.ffineas  saving  Anchises  from  the  Burning  of  Troy. 
A  Holy  Family,  on  three  blocks  of  wood ;  one  for  the 

outline,  the  other  for  the  deep  shadows,  and  another 

for  the  demi-tints. 

BUSO,  AuEELio,  was  a  native  of  Crema,  and 
flourished  about  the  year  1520.  He  studied  under 
Polidoro  da  Caravaggio  and  II  Maturino,  and 
assisted  them  in  several  of  their  works  at  Rome. 
He  ornamented  the  palace  of  the  noble  family  of 
Benzoni,  at  Venice,  with  some  friezes  and  other 
works  in  the  style  of  Polidoro,  and  also  produced 
many  historic  pictures  in  his  native  city,  in  the 
manner  of  his  master. 

BOSS,  Robert  William,  was  born  in  the  parish 
of  St.  Luke,  London,  in  1804.  His  father,  who 
was  an  engraver  and  enameller,  took  him  as  an 
apprentice,  and  he  remained  in  the  business  six 
years.  From  the  strong  love  which  he  evinced  for 
drawing,  he  was  next  placed  in  the  studio  of 
George  CUnt,  A.R.A.,  who  taught  him  portrait 
and  subject  painting,  especially  for  the  production 
of  theatrical  scenes.  A  large  collection  of  works 
of  this  class  which  he  executed  for  Cumberland, 
mostlj'  as  illustrations  for  his  '  British  Drama,' 
were  in  after  years  exhibited  at  the  Coliseum  in 
Regent's  Park.  Buss  also  painted  a  great  number 
of  pictures  of  a,  more  original  character,  which 
met  with  much  success.  Amongst  these  were 
many  humorous  subjects,  but  he  also  produced 
several  that  evinced  a  study  of  antiquities  and  old 
customs,  especially  a  large  painting  of  'Christmas 
in  the  time  of  Queen  Elizabeth,'  which  was  ex- 
hibited at  the  Society  of  British  Artists,  and  the 
merit  of  which  procured  for  the  artist  his  engage- 
ment with  Charles  Knight  for  the  illustration  of 


Busscat 


PAINTERS  AND  ENGRAVERS. 


Buttura 


his  '  Shakespeare,'  '  London,'  '  Old  England,' 
'  Chaucer,'  and  '  The  Penny  Magazine,'  for  all 
of  which  he  prepared  numerous  original  designs 
oil  wood.  These  were  followed  by  a  number  of 
etchings  upon  steel,  also  original,  in  illustration  of 
the  works  of  Marryat,  Mrs.  Trollope,  Harrison 
Ainsworfh,  and  others.  His  largest  works,  painted 
for  the  Earl  of  Hardwicke,  are  now  in  the  Music 
Saloon  at  Wimpole,  in  Cambridgeshire.  They  are 
twenty  feet  wide  by  nine  high,  and  are  entitled 
respectively  '  The  Origin  of  Music '  and  '  The 
Triumph  of  Music'  For  Mr.  James  Haywood, 
M.P.,  he  executed  an  interesting  series  of  draw- 
ings, illustrative  of  '  College  Life  at  the  Universi- 
ties.' Buss  also  prepared  a  series  of  four  lectures 
on  '  Satire,  Art,  and  Caricature,'  illustrated  by  300 
examples,  and  these  lectures  he  delivered  with 
STiccess  at  most  of  the  literary  institutions  of  the 
kingdom.  He  d:ed  in  London  in  1875.  A  com- 
plete list  of  his  works  was  published  in  '  Notes  and 
Queries'  for  1875.  Series  V.,  vol.  iii.  Among  his 
pictures  the  following  may  be  mentioned,  which 
have  been  engraved,  and  several  of  which  have 
achieved  considerable  popularity : 

The  Bitter  Morning.  The  Old  Commodore. 

The  Stingy  Traveller.  Watt's  first  experiment  with 

The  Wooden  Walls  of  Old  Steam . 

England.  The  First  of  September. 

Soliciting  a  Vote.  The    Introduction    of    To- 

The  Musical  Bore.  bacco. 

The  Frosty  Reception.  The  Biter  Bit. 

Master's  Out.  The  Eomanoe. 

Time  and  Tide  wait  for  Satisfaction! 

no  Man. 

BUSSCAT.    See  Busoati. 

BUSSB,  Georg,  a  landscape  painter  and  en- 
graver, was  born  in  1810  at  Bennenmiililen,  near 
Hanover.  He  studied  drawing  under  Giesewell, 
and  then  proceeded,  with  royal  assistance,  to  Dres- 
den, where  he  learnt  engraving  under  Stolzel,  and 
obtained  the  first  prize  for  that  art  in  1834.  For 
the  next  ten  years  he  was  studying  from  nature  in 
Italy  under  Poussin.  Claude,  and  Koch,  visiting 
Greece,  however,  in  1843.  On  his  return  he  was 
appointed  engraver  to  the  Hanoverian  court  and 
library,  but  pursued  painting  also  from  1847.  In 
1858  he  went  on  a  tour  of  study  through  Paris  to 
Algiers  and  Tunis,  in  the  course  of  which  he 
painted  a  large  number  of  flowers.  He  died  in 
Hanover  in  1868.  In  addition  to  sixty  plates  of 
etchings,  the  following  views  are  by  him : 

Euius  of  the  Imperial  Palace.    1850. 

Monte  Aventino.     1852. 

Lago  d'Agnano.     1857. 

The  Ear  of  Diouysius.     1862. 

Lake  Trasimene.    1863. 

BUSSE,  JoHANN,  a  German  engraver,  flourished 
about  the  year  1528.  He  may  be  ranked  in  the 
class  of  tlie  Little  Masters,  and  was  probably  a 
disciple  of  Heinrich  Aldegrever,  as  he  copied  some 
of  the  prints  of  that  master.  He  engraved  a  set 
of  small  plates  of  'The  Seven  Planets,'  which  are 
marked  with  the  initials  of  his  name,  J.  B.,  with 
the  date  1528.  Strutt  also  attributed  to  him  a 
small  plate,  lengthways,  representing  a  man  and  a 
woman  dmoing,  with  two  men  playing  on  musical 
instruments,  on  which  the  name  is  signed  at  lengfh, 
Joliann  Busse 

BCJSSEMACHER,  Johann,  was  an  engraver  at 
Cjlogne,  as  we'.l  as  a  printer  and  a  dealer  in  works 
of  art,  from  about  1580  to  1613.  Besides  several 
pictures  of  saints  and  numerous  other  copper-plate 
works,  he  produced  the  striking  plate  of  '  Frau 


Richmuth  rising  up  from  a  Trance,'  taken  from  a 
wall  painting  in  the  Church  of  the  Apostles,  pulled 
down  in  1785.  His  plates  are  signed,  Jans. 
Busse,  J.  Bussm.,  Jo  Buss,  Johan  Bussemec,  I. 
Busem.,  &o. 

BUSSLEK,  Ernst  Feiedeich,  was  born  at 
Berlin  in  1773.  He  studied  several  years  at  the 
Academy,  and  at  length  painted  some  miniatures 
and  worked  with  the  etching  needle  and  the  burin. 
Later  on  he  published  a  work  '  On  the  Ornaments 
of  Antiquity,'  comprising  126  engravings.  Another 
work  on  '  The  Costumes  of  the  Middle  Ages '  was 
interrupted  by  the  events  of  1806 ;  most  of  his 
paintings  are  historical. 

BUSTAMANTE,  Francisco,  who  was  born  at 
Oviedo  about  1680,  studied  painting  with  Miguel 
Jacinto  Menendez  at  Madrid.  On  the  ceiling  of 
the  sacristy  of  Oviedo  Cathedral  he  painted  a 
fresco  representing  '  The  Asumption  of  the  Blessed 
Virgin,'  from  a  sketch  sent  from  Rome  ;  also  a 
series  for  the  cloister  of  the  Franciscans.  He 
excelled  in  portraiture  ;  his  likenesses,  executed 
with  fidelity  and  skill,  are  to  be  met  with  in  the 
best  houses  of  the  Asturias.  He  died  in  Oviedo 
in  1737. 

BUSTINO.     See  Ceespi. 

BUTAVANDj  Lucien,  a  French  engraver,  was 
bom  at  Vienne  in  1808.  He  studied  under  Orsel, 
Ricliomrae,  and  Ingres,  and  died  in  Paris  in  1853. 
His  best  works  are  : 

La  Vierge  au  coussin  vert ;  after  A.  Solaria. 

The  Dismissal  of  Hagar ;  after  Dumas. 

Jesus  Christ  before  Caia'phas ;  after  Overleck. 

The  Ascension ;  after  the  same. 

The  two  last  form  part  of  a  set  of  twelve  plates 
after  Overbeck,  engraved  by  Butavand,  Keller,  and 
Steifensand. 

BUTERWECK.     See  Bouteeweck. 

BUTI,  LoDOVino,  a  Florentine  painter,  flourished 
about  the  year  1600.  He  was  a  scholar  of  Santo 
di  Titi,  under  whom  he  showed  early  marks  of 
ability.  On  leaving  that  master,  he  applied  him- 
self to  imitate  works  of  Andrea  del  Sarto,  whose 
manner  he  adopted  with  success.  Baldinucci  men- 
tions several  of  the  productions  of  this  master  in 
the  churches  and  palaces  at  Florence  ;  and  particu- 
larly commends  his  picture  of  '  The  Ascension '  in 
the  Ognissariti.  But  perhaps  his  most  creditable 
performance  is  his  picture  of  '  The  Miracle  of  the 
Loaves,'  in  the  Gallery  at  Florence. 

BUTTERI,  Giovanni  Maria,  was,  according  to 
Baldinucci,  a  native  of  Florence,  and  a  scholar  of 
Agnolo  Bronzino.  Although  he  painted  history 
with  some  success,  his  drawing  is  much  less 
correct  than  that  of  his  master,  and  his  colouring 
rather  harsh  and  crude.  There  are  several  of  his 
works  in  the  churches  and  convents  at  Florence, 
where  he  died  in  1606. 

BUTTINONE  (or  Butinone).  See  Jacobi, 
Bernardino. 

BUTTS,  John,  who  was  born  and  educated  at 
Cork,  spent  most  of  his  life  at  Dublin.  He  painted 
landscapes  somewhat  in  the  style  of  Claude  Lor- 
rain  :  he  also  practised  as  a  scene-painter.  He 
died  in  1764. 

BUTTURA,  EnoiNE  Ferdinand,  a  French  his- 
torical landscape  painter,  son  of  the  poet,  was 
born  in  Paris  in  1812.  He  commenced  his  studies 
in  the  atelier  of  Bertin,  from  which  he  went  to 
that  of  Delaroohe.  He  carried  ofE  the  great  prize 
of  Rome  for  landscape,  in  1837,  with  his  picture 
of  '  Apollo  inventing  the  seven-stringed  Lyre.'    On 

205 


Buys 


A  BIOGRAPHICAL  DICTIONAEY  OF 


Cabrera 


his  return  from  Eorae  in  1842,  he  exhibited  'The 
Ravine,'  and  in  1848,  '  Daphne  and  Chloe  at  the 
Fountain  of  the  Nymphs,'  for  each  of  which  he 
was  rewarded  with  a  gold  medal.  Amongst  his 
other  more  important  works  are  'Nausicaa  and 
Ulysses,'  '  Saint  Jerome  in  the  Desert,'  and  '  A 
View  of  Tivoli.'  He  also  produced  some  small 
pictures,  in  the  style  of  the  realistic  school,  such 
as  '  Campo  Vicino '  (1845),  which  was  lithographed 
by  Anastasi;  'The  Temple  of  Antoninus  and 
Faustina'  (1846),  a  'View  of  the  Cascades  of 
Tivoli,'  and  a  '  Park  Interior,'  which  by  their 
neatness  and  sharpness  of  effect  and  minuteness 
of  detail  rival  the  productions  of  photography. 
He  died  in  Paris  in  1852. 

BUYS,  Jacobus,  a  Dutch  painter  and  engraver, 
was  born  at  Amsterdam  in  1724.  He  studied  un- 
der C.  Pronk,  Jacob  de  Wit,  and  C.  Troost,  and 
ultimately  became  director  of  the  Drawing  Acad- 
emy of  liis  native  city,  where  he  died  in  1801.  He 
painted  portraits,  bas-reliefs,  and  tapestry,  designed 
book-illustrations,  and  made  copies  of  the  works 
of  the  best  masters  of  the  seventeenth  century. 

BUYSEN.     See  Bhisen. 

BUYTENWEG.     See  De  Buytenweg, 

BYE.     See  De  Bye. 

BYER,  Nicholas,  born  at  Drontheira  in  Norway, 
painted  historical  subjects  and  portraits.  He  was 
employed  by  Sir  William  Temple  for  three  or  four 
years,  at  his  house  at  Sheen,  near  Richmond.  He 
died  at  Sheen  in  1681. 

BYFIELD,  John,  a  wood  engraver  of  repute, 
obtained  much  credit  for  "his  copies  of  Holbein's 
'  Icones  Veteris-  Testamenti,'  published  by  Picker- 
ing in  1830,  and  the  '  Dance  of  Death,'  published 
in  1833.  His  sister  Mary,  who  survived  him, 
was  likewise  an  excellent  engraver,  and  executed 
most  of  the  book  ornaments  designed  by  Charlotte 
Whittingham  for  the  Chiswick  press. 

BYLAERT.     See  Bijlaert. 

BYNG,  Edward.    See  Bing. 

BYRNE,  Anne  Fiunces,  who  was  born  in  1775, 
was  a  daughter  of  William  Byrne,  and  was  elected 
in  1806  a  member  of  the  Water-Colour  Society:  she 
became  celebrated  as  a  painter  of  flowers  and  fruit. 
She  died  in  1837.  Her  sister  Letitia  Byrne  like- 
wise turned  her  attention  to  art,  and  practised 
etching  and  engraving  for  book  illustrations  with 
much  success.     She  died  in  1849. 

BYRNE,  John,  the  only  son  of  William  Byrne, 
was  born  in  1786,  and  for  some  time  followed  his 
father's  profession  ;  but  subsequently  directed  his 
attention  toward  landscape  painting  in  water- 
colours.  He  sent  pictures  to  the  exhibitions  of 
the  Water-Colour  Society  and  the  Royal  Academy  ; 
and  spent  some  years  (about  1832-37)  in  Italy.  He 
died  in  1847.  In  the  South  Kensington  Museum 
are : 

The  Ferry  at  Twickenham  {exhibited  in  1830). 

Italian  Landscape,  with  Monastery. 

BYRNE,  William,  an  engraver,  was  born  in 
London  in  1743.  After  studying  some  time  under 
his  uncle,  an  artist  little  known,  he  went  to  Paris, 
where  he  became  a  pupil  of  Aliaraet,  and  after- 
wards of  Wille.  He  died  in  London  in  1805,  and 
was  buried  in  Old  St.  Pancras  churchyard.  Byrne 
may  be  justly  ranked  among  our  eminent  en- 
gravers of  landscape.  His  works  are  considerable  ; 
the  following  are  the  most  deserving  of  notice: 

Villa  Madama :  after  S.  Wilson  (Society  of  Arts  tnedal, 
1765).  \         V  J  , 

Antiquities  of  Britain  ;  from  drawings  by  Thos.  Hearne. 
:i06 


Views  of  the  Lakes  of  Cumberland  and  'Westmoreland  ■ 

after  Farrinyton. 
Scenery  of  Italy ;  after  the  fine  designs  of  Francis 

Smith, 
Apollo  watching  the  Flocks  of  King  Admetus ;  after 

Filippo  Lauri ;  the  companion  to  Wooilett's  print  of 

Diana  and  Actaeon. 
The  FUght  into  Egypt ;  a  landscape ;  after  Domeniahijw. 
Evening ;  a  landscape ;  after  Ctaude  Lorrain. 
Abraham  and  Lot  quitting  Egypt ;  after  Zuccarelli;  the 

figures  by  BaHolozzi. 
A  Sea-piece  ;  after  Vernet. 
Evening;  a.fter  Both;  the  landscape  by  Byrne,  the 

figures  by  Bartolozzi. 
Two  Views  of  Leuben,  in  Saxony ;  a/ier  Dietrich. 
The  Death  of  Captain  Cook ;  the  figures  by  Bartolozzi. 
The  Falls  of  Niagara ;  after  S.  Wilson. 

BYSS,  JoHANN  Rudolph,  a  Swiss  painter,  was 
born  at  Soleure  in  1660.  He  painted  easel  pic- 
tures of  historical  subjects  in  landscapes,  and  was 
especially  successful  in  representing  animals  and 
birds.  He  is  also  stated  by  his  countryman  and 
biograpner  Fiissli  to  have  painted  flower  pieces,  in 
which  lie  equalled  Jan  van  Huysum.  In  the  castle 
at  Pommersfelden  are  several  frescoes  by  him, 
and  in  the  Picture  Gallery  of  that  town  an  alle- 
gorical '  Panegyric  upon  the  Erection  of  the  Castle,' 
and  two  pictures  of  '  Paradise,'  with  many  beasts 
and  birds.  Other  frescoes  and  paintings  by  him 
are  in  the  castle  at  Wiirzburg,  where  he  died, 
while  holding  the  post  of  court  painter,  in  1788. 
An  '  Interior  of  a  Dining  Room'  by  him  is  in  the 
Pinakothek  at  Munich. 


c 

CABBL,  Adriaen  van  der.    See  Van  der  Cabel. 

CABEZA  DE  VACA,  Francisco  Vera,  was  born 
about  1637  of  a  distinguished  family  at  Calatayiid, 
and  began  life  as  page  to  Don  Juan  of  Austria  at 
Saragossa.  With  the  example  of  this  master,  and 
some  instruction  from  Josef  Martinez,  he  became 
a  skilful  amateur  painter,  especially  of  portraits. 
Cabeza  de  Vaca  did  not  accompany  his  master, 
Don  Juan,  to  the  seat  of  government,  but  settled 
at  his  native  Calatayud,  where  he  spent  a  life  of 
piety  and  almsgiving,  preparing  himself  for  work 
by  confession  and  the  Eucharist,  and  thus  gaining 
high  repute  for  holiness.  He  is  the  last  Spanish 
painter  of  whom  it  is  said  that  the  Blessed  Virgin 
herself  stood  by  his  easel  and  unveiled  her  celes- 
tial charms,  that  he  might  portray  them  in  the 
picture  of  '  'The  Holy  Family,'  which  was  jealously 
preserved  and  fervently  adored  in  the  convent  of 
the  Holy  Sepulchre.  The  favoured  artist  died  at 
Calatayud  in  1700. 

CABEZAI;ERO,  Juan  Martin,  a  Spanish  painter, 
was  born  at  Almaden,  near  Cordova,  in  1633.  He 
was  a  disciple  of  Juan  Carreiio  de  Miranda,  and 
gained  considerable  reputation  by  his  historical 
paintings.  His  principal  works  are  at  Madrid,  two 
of  the  most  esteemed,  representing  '  The  Assump- 
tion of  the  \"irgin '  and  '  St.  Udef  onso,'  being  in 
the  church  of  San  Nicolas.  He  also  painted  for  the 
church  of  the  Franciscans  an  'Ecce  Homo'  and  'The 
Crucifixion.'  His  '  Judgment  of  a  Soul '  is  in  the 
Museo  Nacional  at  Madrid.  He  died  at  Madrid  in 
1673. 

CABRERA,  Geronimo,  a  Spanish  painter  of  con- 
siderable merit,  was  a  pupil  of  Gasparo  Becerra. 
He  painted  a  large  number  of  religious  subjects 
for  churches  and  convents,  but  excelled  especially 
in  fresco,  in  which  he  executed  some  decorations 


Cacault 


PAINTERS  AND  ENGRAVERS. 


Cades 


for  the  royal  shooting-box  of  El  Pardo,  near  Madrid, 
about  1670,  but  these  perished  by  fire  in  1604.  His 
name  is  now  almost  unknown,  doubtless  by  reason 
of  his  works  passing  as  those  of  his  master.  There 
is  no  record  of  his  birth  or  death. 

CACAULT,  PiEERE  Reni5,  a  French  historical 
painter,  was  born  at  Nantes  in  1744.  He  was  a 
pupil  of  Vien,  but  he  never  rose  above  mediocrity. 
He  died  at  Clisson  in  1810.  The  Museum  of  Nantes 
has  by  him  'A  Man  seated  on  a  Tiger's  Skin.' 
He  was  the  brother  of  Fran9ois  Cacault,  ambas- 
sador of  France  at  Rome,  whose  fine  collection  of 
works  of  art  was  acquired  by  the  city  of  Nantes  in 
1810. 

CACCIA,  GuGLiELMO,  called  Moncalvo,  was  a 
Piedmoiitese,  born  at  Montabone,  in  Monferrato, 
in  1568.  He  was  named  Moncalvo  from  his  long 
residence  at  that  place.  Although  he  is  believed 
to  have  been  a  pupil  of  Soleri,  it  has  not  been 
definitely  ascertained  under  whom  he  studied. 
He  first  settled  at  Milan,  where  he  painted  some 
pictures  for  the  churches,  but  afterwards  resided 
for  some  time  at  Pavia,  where  he  was  made  a 
citizen.  He  also  visited  Novara,  Vercelli,  Alessan- 
dria, and  Turin,  and  Genoa  is  not  without  some  of 
his  paintings.  His  style  has  something  of  the 
energy  of  the  Carracoi ;  but  it  has  been  observed 
by  Lanzi,  that  if  he  had  been  educated  in  the 
school  of  the  Carracci,  it  is  probable  that  he 
would  have  left  some  of  his  works  at  Bologna, 
and  that  in  his  landscapes  he  would  have  shown 
more  of  the  taste  of  Annibale  than  of  Paulus 
Bi'il.  His  manner  partakes  altogether  more  of 
the  Roman  than  of  the  Bulognese  school.  There 
is  a  'Madonna'  by  him  in  the  Gallery  at  Turin, 
which,  were  the  colour  a  trifle  brighter,  might  well 
pass  for  a  work  of  Andrea  del  Sarto.  As  a  fresco 
painter  his  ability  was  considerable.  In  the  church 
of  Sant'  Antonio  Abbate,  at  Milan,  he  painted  in 
fresco  the  titular  Saint,  with  St.  Paul,  the  first 
hermit,  a  work  which  is  able  to  sustain  its  posi- 
tion in  proximity  to  some  of  the  best  productions 
of  the  Carloni.  Another  distinguished  perform- 
ance in  fresco  by  Caccia  is  the  cupola  of  San 
Paolo  at  Novara.  Of  his  oil  paintings,  the  most 
effective  are  '  St.  Peter,'  in  the  Chiesa  della  Croce, 
•  '  St.  Theresa,'  in  the  church  of  the  Trinity,  both 
in  Turin,  and  the  'Taking  down  from  the  Cross,' 
in  the  church  of  San  Gaudenzio  at  Novara,  which 
is  considered  by  many  to  be  his  chef-d' oeuwe.  At 
Moncalvo,  the  church  of  the  Conventuali  may  be 
considered  as  a  gallery  of  his  works.  At  Chieri 
also  are  two  fine  pictures  by  this  master,  the 
'  Raising  of  Lazarus '  and  the  '  Miracle  of  the 
Loaves,'  admirably  composed,  and  of  the  finest 
expression.     He  died  about  1625. 

CACCIA,  Orsola  Maddalbna,  was  a  daughter 
of  Guglielmo  Caccia,  who,  in  common  with  her 
sister  Fbancesca,  assisted  in  producing  the  paint- 
ings in  the  monastery  at  Moncalvo.  Other  paint- 
ings by  the  sisters  are  to  be  found  in  the  vicinity. 
They  partake  of  the  character  of  the  works  of  their 
father,  but  lack  their  animation.  Orsola  died  in 
1678,  and  Francesca  at  the  age  of  57. 

CACCIANEMICI,  Feancesco,  was  a  Bolognese 
painter,  educated  in  the  school  of  Primaticcio,  who 
was  considered  by  that  master  so  promising  a 
scholar  that  he  made  choice  of  him  as  one  of 
the  young  artists  who  should  accompany  him  to 
Fiance,  when  he  was  invited  to  the  Court  of 
Fianois  I.  He  assisted  Primaticcio  in  his  great 
.Work  at  Fontainebleau,  and  was  employed)  in  con- 


junction with  II  Rosso,  in  several  other  important 
works.  He  died  in  1542.  For  another  Fhanoesco 
Caccianemici  see  Capelli,  Feancesco. 

CACCIANEMICI,  Vinoenzo,  was  a  Bolognese 
gentleman,  who  was  instructed  in  the  art  of  paint- 
ing by  Parmigiano.  Vasari  mentions  a  picture  by 
this  amateur  artist  in  the  chapel  of  the  family  of 
Elefantuzzi,  in  San  Petronio  at  Bologna,  represent- 
ing '  The  Decollation  of  St.  John  ; '  and  another 
picture  of  the  same  subject,  differently  treated,  in 
the  Cappelia  Macchiavelli  in  San  Stefano.  He 
flourished  about  the  year  1530.  There  are  a  few 
etchings,  marked  F.  C.  F.  (and  in  one  case  with 
F.  C.  reversed),  which  are  attributed  to  this  painter, 
and  which  are  executed  with  much  spirit  in  a  style 
resembling  that  of  .S^lneas  Vico.  Amongst  thera 
are: 

Diana  returning  from  the  Chase. 

A  Landscape,  with  a  Nymph  and  Dugs. 

The  Adoration  of  the  Shepherds ;  probahly  after  a  design 

by  Parvviyiano. 
The  Death  of  Abel. 
St.  Jerome  in  a  Grotto. 

CACCIANIGA,  Feancesco,  was  a  painter  and 
engraver,  born  at  Milan  in  1700,  who  studied  at 
Bologna  in  the  school  of  Marc  Antonio  Frances- 
chini.  He  afterwards  visited  Rome, .where  he 
established  himself,  under  the  patronage  of  Prince 
Borghese,  for  whom  he  executed  some  consider- 
able "works  in  the  Palazzo  and  the  Villa  Bor- 
ghese. His  principal  works  are  at  Ancona,  where 
he  painted  several  altar-pieces  and  pictures  for  its 
churches  and  public  buildings,  of  which  the  most 
esteemed  are  'The  Marriage  of  the  Virgin'  and 
'  The  Last  Supper.'  Some  few  engravings  by  him 
are  known,  one  being  'The  Death  of  Luoretia,' 
from  a  painting  by  himself.  His  death  occurred 
in  1781. 

CACCIOLI,  Gio\-ANNi  Battista,  was  born  in 
the  castle  of  Budrio,  near  Bologna,  in  1636. 
He  was  the  pupil  of  Domenico  Maria  Canuti,  and 
became  a  good  imitator  of  Cignani.  He  painted 
several  pictures  for  the  churches  of  Bologna,  and 
was  greatly  patronized  by  the  Dukes  of  Parma  and 
Modena.  According  to  Padre  Orlandi  he  died  in 
1675. 

CACCIOLI,  Giuseppe  Antonio,  a  painter  and 
engraver,  was  the  son  of  Giovanni  Battista  Caccioli. 
He  v^as  born  at  Bologna  in  1672,  and  was  a  pupil 
of  the  brothers  Holli.  His  works,  which  are 
mainly  architectural  and  painted  in  fresco  and  in 
oil,  are  to  be  found  chiefly  in  Florence  and  Bologna, 
and  are  superior  to  what  might  have  been  expected 
from  the  character  of  his  instruction.  He  appears 
to  have  visited  Baden  during  his  career.  Three 
etchings  by  him  are  known,  remarkable  for  a  light 
and  easy  touch.     He  died  in  1740. 

CADEAU,  Ren^,  a  French  portrait  painter,  was 
born  at  Angers  in  1782.  He  studied  under  Baron 
Guerin,  and  died  in  Paris  in  1858. 

CADES,  Giuseppe,  a  sculptor  as  well  as  painter 
and  engraver,  was  born  at  Rome  in  1750.  He 
studied  under  Mancini  and  Corvi,  gaining  a  prize 
in  1765  with  his  picture  of  'Tobias  recovering  his 
Sight.'  He  visited  Florence  in  1766,  where  he  occu- 
pied himself  in  copying  ;  and  two  years  later  exe- 
cuted an  altar-piece  for  San  Benedetto  in  Turin, 
and  in  1771  another  for  the  Santi  Apostoli.  He  also 
decorated  the  Palazzo  Chigi  with  frescoes,  land- 
scapes, and  scenes  from  Tasso.  He  possessed  a 
wonderful  facility  in  counterfeiting  the  works  of 
Raphael,  Michelangelo,  Domenichino,  and  Leonardo 

207 


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A  BIOGRAPHICAL  DICTIONARY  OF 


Calam&tta 


da  Vinci.  He  has  left  two  etchings,  viz.,  '  Christ 
blessing  Little  Children,'  and  'The  Death  of 
Leonaido  da  Vinci.'     He  died  at  Rome  in  1799. 

CADORE,  TiziANO  DA.     See  Vboelli. 

CADORIN,  Mattia,  otherwise  known  as  BoL- 
ZETTA,  was  an  engraver  and  publisher  who  flourished 
at  Padua  about  1648.  He  engraved  after  Titian 
and  others.  His  plates  are  generally  marked  merely 
with  the  name  Cadorin. 

CADOKINO,  who  was  a  painter  of  the  17th  cen- 
tury, was  a  friend  of  Nicolas  Poussin.  _  The  paint- 
ings of  amoreiti,  executed  in  so  life-like  a  style, 
and  characterised  by  so  much  grace,  that  are  now 
in  the  Fol  Collection  at  Geneva  are  probably  his 
work. 

CAFFI,  Cavaliere  Ippolito,  was  a  painter  of 
architectural  subjects  and  sea-pieces,  born  at  Bel- 
luno  in  1814.  His  first  work  was  produced  at  the 
Venice  Academy.  He  subsequently  removed  to 
Rome,  where  he  worked  laboriously  as  a_ teacher  of 
drawing,  and  made  some  little  reputation  by  his 
treatise  on  Perspective,  as  well  as  by  his  investiga- 
tions on  the  subject  of  Roman  Monuments.  In 
1843  he  visited  Greece  and  the  East.  The  first 
work  of  his  that  created  a  sensation  was  '  The  Car- 
nival at  Venice.'  This  was  exhibited  at  Paris  in 
1846,  and  in  consequence  of  its  brilliant  effects  of 
hght  created  such  a  furore  that  he  had  to  repro- 
duce it  some  forty  times.  Other  works  deserving 
of  notice  are  his  '  Panorama  of  Rome  from  Monte 
Mario,'  'Isthmus  of  Suez,'  and  'Close  of  the 
Carnival  at  Rome.'  Taking  part  in  the  revo- 
lutionary movement  at  Venice  in  1848,  he  had  to 
retire  into  Piedmont.  His  intention  of  producing 
a  painting  commemorative  of  the  first  Italian  naval 
engagement  was  frustrated  by  the  destruction  of 
the  '  Re  d'ltalia,'  the  vessel  on  board  of  which  he 
was,  when  he  perished  at  Lissa  along  with  his 
comrades  in  1866. 

CAFFI,  Maeshbbita,  an  Italian  painter  of 
flowers  and  fruit,  flourished  during  the  18th  cen- 
tury. She  is  said  to  have  been  a  native  of  Florence, 
Cremona,  or  Vicenza,  but  no  details  of  her  life  are 
known. 

CAGLIARI.     See  Caliari. 

CAGNACCI,  II.     See  Canlassi. 

CAGNONI,  D.,  was  an  Italian  engraver  of  little 
celebrity,  who  appears  to  have  been  principally 
employed  by  booksellers.  His  name  is  aflSxed  to  a 
portrait  of  Victor  Amadeus,  third  King  of  Sardinia. 

CAHISSA,  NiccoLO,  was  a  painter  born  in  1730, 
who  produced  some  excellent  specimens  of  flower 
subjects,  vegetable  pieces,  birds,  &c.  He  worked 
both  at  Rome  and  at  Naples. 

CAILLEAU,  HuBEK'j',  a  French  historical  and 
miniature  painter,  who  flourished  at  Valenciennes 
in  1530.  There  are  in  the  National  Library  at  Paris 
some  clever  designs  made  by  him  for  a  mystery  of 
the  Passion  which  was  acted  at  Valenciennes  in 
1547. 

CAILLOUX,  Alexandre  Achille  Alphonse 
(jailed  De  Cailleux),  a  French  artist,  was  born  at 
Rouen  in  1788.  After  having  exhibited  some  pic- 
tures at  the  Salon  of  1822,  he  undertook,  in  con- 
junction with  Baron  Taylor  and  Charles  Nodier,  the 
production  of  the  '  Voyages  pittoresques  et  roman- 
tiques  de  I'anoienne  France,'  and  to  him  are  due 
both  the  text  and  the  drawings  of  the  section  of 
'Haute  Normandie.'  He  held  successively  the 
ofiices  of  secretary-general  of  Museums,  assistant 
director,  and,  from  1841  to  1845,  director-general  of 
iine  arts.     He  died  in  1876. 

208 


CAIMI,  Antonio,  was  born  at  Sondrio  in  1814, 
and  was  chiefly  engaged  as  a  portrait  painter,  hut 
also  executed  pictures  of  'The  Beheading  of  St. 
John  the  Baptist,'  '  The  Return  from  Babylon,'  &c. 
He  wrote  a  work  on  '  The  Arts  of  Design,  and  the 
Lombardian  Artiste  from  1777  to  1862'  (Milan, 
1862).  He  was  secretary  of  the  Academy  at  Milan 
from  18C0  until  his  death  in  1878. 

CAIRO,  Ferdinando,  was  born  at  Casalmon- 
ferrato  in  1666,  and  learned  the  first  rudiments  of 
design  from  his  father,  an  unknown  artist.  He 
was  afterwards  placed  under  the  tuition  of  Maro 
Antonio  Franoeschini  at  Bologna.  He  painted 
history,  and,  in  conjunction  witli  Giacinto  Garofa- 
lino,  was  employed  to  paint  the  ceiling  of  the  church 
of  Sant'  Antonia  at  Brescia,  which  is  favourably 
spoken  of  by  Averoldi.  He  died  at  Genoa,  accord- 
ing to  Zani,  in  1748.  He  had  an  elder  brother, 
Giuseppe,  or  Guglielmo,  who  was  born  in  1656,  and 
died  in  1682. 

CAIRO,  Cavaliere  Francesco,  (called  '  II  Cava- 
liere del  Cairo,')  was  born  in  the  territory  of  Varese, 
in  the  Milanese,  in  1698.  He  was  a  disciple  of  Pier 
Francesco  Mazzuchelli,  and  if  he  did  not  equal  hia 
instructor  in  force  and  vigour,  he  surpassed  him  in 
the  elegance  of  his  design  and  the  effective  charac- 
ter of  his  colouring.  After  quitting  Mazzuchelli 
he  had  the  advantage  of  studying  the  works  of 
the  great  masters  at  Rome  and  Venice,  to  which 
fact  he  owed  the  superiority  above  alluded  to. 
The  charm  of  the  colouring  of  the  "Venetian  school 
induced  him  to  study  more  especially  the  works  of 
Titian  and  Paolo  Veronese,  and  he  adopted  an 
admirable  style,  which  appears  to  have  been  formed 
on  a  mixture  of  both.  He  was  invited  to  the  Court 
of  Victor  Amadeus,  Duke  of  Savoy,  where  he  painted 
some  historical  works,  and  many  portraits,  which, 
according  to  Lanzi,  were  entirely  Titianesque.  He 
received  at  Turin  the  order  of  SS.  Lazarus  and 
Maurice  in  recognition  of  his  merit.  There  are 
several  of  his  works  in  the  churches  of  Milan  and 
Turin  ;  one  of  his  best  pictures  is  '  St.  Theresa,' 
in  San  Carlo  at  Venice.  He  died  at  Milan  in  1674. 
His  portrait  by  himself  is  in  the  Dfiizi,  Florence ; 
in  the  Dresden  Gallery  is  a  '  Venus  and  Apollo,'  by 
him,  and  in  the  Belvedere,  Vienna,  a  portrait. 

CAISNE,  Henri  de.     See  De  Caisne. 

CAISSER,  Henri  de,  was  a  French  engraver, 
who,  according  to  Florent  Le  Comte,  engraved 
several  plates  representing  funeral  processions, 
monuments,  &c. 

CALABRESE,  II.     See  Preti. 

CALABRESE,  Marco.    See  Cardisco. 

CALABRIA,  Pedro  de,  a  Neapolitan  painter, 
was  a  scholar  of  Luca  Giordano,  and  an  imitator  of 
that  master,  whom  he  accompanied  to  Spain  and 
assisted  in  his  works  at  Madrid.  He  painted  battle- 
pieces  with  spirit,  and  was  in  the  full  exercise  of 
his  talent  from  1712  to  1725.  When  or  where  U 
was  born  or  died  is  not  recorded. 

CALAMATTA,  Ldigi,  an  Italian  engraver,  was' 
born  at  Civita  Veechia  in  1802.  He  studied  draw- 
ing at  Rome  under  Giangiacomo,  took  his  early 
lessons  in  engraving  from  Marohetti,  and  executed 
his  first  plate  under  the  eye  of  Ricciani.  He  went 
to  Paris  in  1822,  and  became  a  follower  of  Ingres, 
whose  style  hecop'ed  in  his  engravirgof  'The  VoW 
of  Louis  XIII.'  He  made  his  fiistappeiirarceatthe 
Salon  of  1827,  with  an  engraving  of  'Bajazet  and 
the  Shepherd,'  after  Dedreux-Dorcy.  He  next 
produced  the  '  Mask  of  Napoleon,'  from  the  cast 
taken  by  Dr.  Antommarchi  at  St.  Helena  in  1834, 


Calame 


PAINTEES  AND  ENGRAVERS. 


Calcker 


grouping  around  it  a  syrabolic  gathering,  embracing 
portraits,  chiefly  from  Ingres'  drawings,  of  Mme. 
Dudevant,  Paganini,  Martin,  and  Duclos.  He  visited 
Florence  in  1836,  and  the  following  year  saw  him 
installed  as  professor  at  Brussels,  a  post  which  he 
eventually  exchanged  for  a  similar  one  at  Milan, 
where  he  died  in  1869.  His  wife  was  also  an 
artist,  and  produced  an  excellent  portrait  of  her 
father,  the  archaeologist  Raoul  Eochette,  as  well  as 
'The  Virgin'  (1842),  'Eudora  and  Cymadaceus' 
(1844),  'St.  Cecilia'  (1846),  'Eve'  (1848),  'St.  Vero- 
nica' (1851),  and  several  other  works  remarkable 
for  distinctness  and  firmness  of  design  combined 
with  delicacy  and  softness  of  treatment.  The 
following  is  a  list  of  Calamatta's  principal  works 

Mona  Lisa ;  after  Leonardo  da  Vinci.     1837. 

Madonna  di  Foligno ;  after  Raphael 

The  Vision  of  Ezekiel ;  after  the  same.    1855. 

Madonna  della  Sedia ;  after  the  same. 

Peace ;  after  tlie  same.    1855. 

Our  Lord  walking  on  the  Sea ;  after  Cigoli 

Francesca  da  Bimini ;  after  Scheffer. 

The  Duke  of  Orleans ;  after  Ingres 

Count  Mole ;  after  the  same.     1855 

Mdlle.  Boimard ;  after  the  same. 

The  Vow  of  Louis  XIll.;  after  the  same. 

Guizot ;  after  Delaroche. 

Portrait  of  an  Actor;  after  Deveria. 

Portrait  of  Miss  Leverd;  aftej-  the  same. 

Portrait  of  Lamennais  ;  aftei'  Ary  Scheffer. 

Beatrice  Cenoi,  partly  etched;  after  Gvido  Rem.    18.57. 

Recollections  of  Home,  partly  etched ;  after  Stevens 

Portrait  of  the  King  of  Spain ;  after  M.  Madrazo. 

Portraits  of  Bubens,  Georges  Sand,  and  Ingres. 

CALAME,  Alexandre,  was  a  landscape  painter, 
born  at  Vevay,  Switzerland,  in  1810.  His  father 
was  a  poor  stone-cutter,  and  after  his  death, 
Calame  went  to  Geneva,  and  was  apprenticed  to 
a  tradesman  of  that  city ;  but  in  1830  he  entered 
the  studio  of  Diday,  where  he  made  rapid  pro- 
gress, and  eventually  succeeded  him  in  the  head- 
mastership  of  the  school.  He  exhibited  a  '  Forest 
Scene  near  Avranches  '  in  the  Exhibition  at  Ham- 
burg in  1837,  which  made  a  great  sensation ;  and 
his  '  Waterfall  at  Handeck '  was  considered  by 
some  to  be  the  masterpiece  of  the  Paris  Salon  of 
1839.  He  visited  Germany  and  Holland  in  1839, 
England  in  1840,  and  Italy  in  1845.  His  best 
works  painted  between  the  years  1838  and  1844 
are  views  of  '  Mont  Blanc,'  '  The  Jungfrau,'  '  The 
Lake  of  Brienz,'  'The  Bernese  Oberland,'  and 
'  Monte  Rosa. '  Amongst  his  most  characteristic 
productions  are  'The  Four  Seasons'  and  'The 
Four  Hours  of  the  Day,'  which  are  landscapes  full 
of  vigorous  treatment  and  splendid  colour.  In 
1855  he  exhibited  at  the  Universal  Exhibition  his 
'Lake  of  the  Four  Cantons.'  Calame  was  also 
a  lithographer  and  engraver,  and  his  numerous 
plates  show  much  skill  and  correct  taste.  The 
best  known  are  the  eighteen  'Views  of  Lauter- 
brunnen  and  Meyringen,'  and '  Twenty-Four  Alpine 
Landscapes.'  In  1863  he  went  to  Mentone  for 
his  health,  and  died  there  in  the  spring  of  1864. 
There  are  paintings  by  him  at  the  Palace  of 
Rosenstein,  belonging  to  the  King  of  Wiirtemberg, 
and  in  the  following  galleries : 

Basle.  Museum.    The  'Wetterhom  and  Schreckhom. 


Berlin. 
Berne. 


Gallery. 
Gallery. 


Frankfort.    Stddel. 
Geneva.        Museum. 


The  Lake  of  Lucerne.     1853. 
A  Mountain  Kavine.     1855. 
Cascade  at  Meyringen. 
View  near  Handeck. 
Swiss  View. 
Swiss  View. 
Forest  at  Handeck. 
P 


Leipsic.         Museum.    Storm  in  the  Forest. 
J      ,         S.  Kensiny- )  The  Lake  of   the  Four  Cantons 
°     '"'■  ton  Museum.  /     (Lucerne). 
„  ,  Chain  of  Mont  Blanc  (waier-co/oMc). 

Neuohatel    Museum.    Monte  Bosa. 

CALANDRA,  Giovanni  Battista,  was  one  of 
the  earliest  of  the  mosaicists  who  wrought  in  the 
Vatican,  and  was  born  at  Vercelli  in  1568.  In  the 
pontificate  of  Urban  VIII.,  it  was  found  that  the 
dampness  of  St.  Peter's  had  materially  afEected  the 
paintings,  and  it  was  determined  to  remove  the 
principal  pictures,  and  to  replace  them  with  copies 
in  mosaic,  of  which  the  first  was  executed  by 
Calandra,  after  the  'St.  Michael' of  Cesarid'Arpino. 
With  this  were  'The  Four  Doctors  of  the  Church,' 
'  St.  Peter,'  '  St.  Paul,'  and  others  in  the  cupolas, 
after  the  cartoons  of  D'Arpino,  Romanelli,  Lan- 
franco,  Sacchi,  and  Pellegrini.  'The  mosaic  art  was 
afterwards  carried  to  a  much  higher  degree  of  per- 
fection by  the  Cristofori.  He  also  executed  a 
'  Madonna '  after  Raphael  for  the  Queen  of  Sweden. 
He  died  in  1644  or  1648. 

CALANDRUCCI,  Giaointo,  was  born  at  Pa- 
lermo in  1646.  He  went  early  in  life  to  Rome, 
where  he  became  the  favourite  pupil  of  Carlo 
Maratti.  After  giving  the  most  promising  essay  of 
his  abilities  in  that  city,  in  his  two  pictures  of  '  St. 
John  the  Baptist,'  in  Sant'  Antonio  de'  Portoghesi, 
and  '  St.  Ann,'  in  San  Paolino  della  Eegola,  he  re- 
turned to  Palermo,  where  he  painted  his  most  con- 
siderable work  for  the  church  of  San  Salvatore, 
representing  '  The  Virgin,  with  St.  Basil  and  other 
Saints,'  wliich,  according  to  Lanzi,  was  not  sur- 
passed by  many  pictures  of  the  time.  He  died  at 
Palermo  in  1707.  His  brother  Domenioo  and  his 
nephew  Giambattista  were  likewise  painters,  but 
neither  achieved  any  great  reputation. 

OALAU,  Benjamin,  was  a  painter  born  at 
Friedrichstadt  in  1724,  whose  work  consisted 
chiefly  of  heads  or  portraits.  He  painted  usually 
in  dark  tones,  using  as  his  medium  Carthaginian 
wax  (^cire  eleodorique),  which  the  ancients  made 
use  of  instead  of  oil  for  painting.  This  inven- 
tion of  Calau's  was  in  fact  an  attempt  at  repro- 
ducing the  process  described  by  Pliny.  ,  Further 
information  on  this  subject  may  be  found  in  a 
work  entitled  '  Trait6  sur  la  Peinture  des  Anciens,' 
by  A.  Riem,  published  at  Berlin  in  1787.  Calau 
held  for  many  years  the  post  of  Court  painter  at 
Leipsic.  The  Brunswick  Gallery  possesses  two 
portraits  by  him,  and  the  Berlin  Art  Gallery  some 
of  his  work  in  wax.  He  went  to  Berlin  in  1771, 
and  died  there  in  1783. 

CALCIA,  Giuseppe,  called  Ir.  Genovesino,  was 
a  Piedmontese  artist,  who  from  his  appellation  has 
been  often  confounded  with  Marco  Genovesini,  a 
Milanese.  Giuseppe  painted  altar-pieces  for  the 
churches  of  Turin  and  Alessandria.  In  the  church 
of  the  Dominicans  at  Turin,  are  pictures  of  '  St. 
Dominick '  and  '  St.  Thomas  Aquinas '  by  this  artist. 
He  is  much  distinguished  by  his  cabinet  historical 
and  sacred  subjects,  which  are  gracefully  designed 
and  well  coloured;  one,  representing  'Christ  in  the 
Garden  of  Gethsemane,'  now  in  the  collection 
of  the  Marchese  Ambrogio  Ghilini,  is  particularly 
noticed  by  Lanzi.  He  flourished  about  the  year 
1725. 

CALCKER,  Jan  Joost  van,  who  was  born  at 
Calcker  about  1460,  studied  first  in  his  native 
town,  and  then  at  Haarlem.  In  1505-8,  he 
painted  scenes  from  the  Life  of  Christ  on  the 
wings  of  the  high  altar  in  the  church  of  the  Virgin 

209 


Caleker 


A  BIOGRAPHICAL  DICTIONARY  OF 


Calense 


at  Caloker;  and  in  1515  he  executed  a  figure  of 
St.  AViilebrod  for  St.  Bavon  at  Haarlem.  Works 
ascribed  to  him  are  at  Wesel  and  Reea.  He  died 
in  1519. 

CALCKER,  Jan  Stephanus  van,  was  born  at 
Caleker,  in  Cleve,  about  1499,  and  worked  first  at 
Dordrecht,  and  afterwards,  1636-37,  at  Venice.  In 
the  latter  city  he  entered  the  school  of  Titian,  and 
acquired  the  faculty  of  imitating  that  master  to  a 
high  degree  of  exactness,  especially  in  his  por- 
traits. Subsequently  he  became  an  equally  sur- 
prising imitator  of  Raphael.  He  drew  the  illus- 
trations for  Vesalius's  work  pn  anatomy,  and  is 
said  to  have  drawn  the  portraits  of  the  artists  in 
Vasari's  Lives.  He  died  at  Naples  in  1546.  The 
following  paintings  are  ascribed  to  him  : 
Berlin.  Gallery.  Portrait  of  a  Man.  1535 
Paris.  Zouvre.         Portrait  of  a  Young  Man. 

Prague.       Gallery.        The  Nativity  {once  the  pi^operty  of 

Ruiert-s). 
Vienna.      Belvedere.    Portrait  of  a  Man. 

CALDARA,  PoLiDOEO,  called  Polidoeo  da  Cara- 
vaggio,  a  painter  who  may  be  considered  as  be- 
longing to  the  Roman  school,  was  born  at  Cara- 
vaggio  in  the  Milanese  in  1492  (?).  His  parents 
lived  in  the  greatest  indigence  and  obscurity,  and 
after  passing  his  youth  in  misery  and  want,  he 
was  obliged  to  leave  home  in  search  of  employment, 
and  on  his  arrival  at  Rome  was  engaged  by  the 
artists  employed  in  the  Vatican  by  Leo  X.,  to  carry 
the  mortar  for  the  plaster  of  their  fresco  paintings. 
Whilst  he  was  occupied  in  this  humble  station  he 
observed  with  great  attention  with  what  facility 
Maturinp  and  Giovanni  da  Udine  executed  the 
designs  of  Raphael ;  and,  inspired  by  his  natural 
disposition  for  art,  he  made  some  attempts,  which 
attracted  the  notice  of  Raphael,  of  whom  he  after- 
wards became  one  of  the  most  illustrious  disciples. 
His  assiduous  application  in  studying  the  ancient 
statues  and  bas-reliefs  was  such,  that  in  a  little 
time  he  appeared  to  have  imbibed  the  true  spirit  of 
the  Grecian  sculptors.  Finally  he  was  selected  by 
Raphael  to  paint  the  friezes  which  accompanied 
his  works  in  the  apartments  of  the  Vatican  ;  and 
they  weje  in  no  way  unworthy  of  being  placed 
with  the  sublime  productions  of  that  great 
master.  It  was  the  custom  at  Rome,  in  the 
time  of  Polidoro,  to  ornament  the  exterior  of  the 
principal  bouses  and  palaces  with  the  works  of 
eminent  artists,  executed  in  a  style  called  by  the 
Italians  sgrafitto,  expressed  by  hatchings  on  the 
plaster,  in  the  manner  of  engraving.  In  works  of 
that  nature  Polidoro  and  his  friend  Maturino  were 
much  employed  ;  and  it  is  greatly  to  be  regretted 
that  exposure  to  the  weather  and  the  ravages 
of  time  have  deprived  the  world  of  these  valuable 
productions,  of  whose  beauty  we  may  form  some 
judgment  from  the  prints  which  have  been  en- 
graved from  some  of  them  by  Cherubino  Alberti, 
Heinrich  Goltzius,  and  Giovanni  Battista  Gales- 
truzzi.  Polidoro  was  at  the  height  of  his  success 
and  popularity  when  Rome  was  taken  by  storm,  and 
sacked  by  the  Spaniards,  in  1627.  He  took  refuge 
at  Naples,  where  he  was  most  kindly  received  by 
Andrea  da  Salerno,  whose  acquaintance  he  had 
made  at  Rome,  and  who  was  the  means  of  pro- 
icuring  him  immediate  employment.  He  soon 
opened  a  school  there,  and  more  particularly  de- 
voted himself  to  the  fresco  decorations  of  wails 
and  ceilings.  After  passing  some  time  at  Naples, 
he  went  over  to  Sicily,  where  his  first  employment 
was   painting  the  triumphal   arches  which  were 

210 


erected  at  Messina  on  the  occasion  of  Charles  V.'s 
return  from  his  expedition  to  Tunis.     His  next 
work  was  his  celebrated  picture  of  '  Christ  bearing 
the  Cross,'  a  grand  composition  of  many  figures 
painted  in   oil  with   a   beauty   and    harmony  of 
colouring  which  proved  that  he  was  also  capable 
of  distinguishing  himself  in  that  branch  of  art. 
The  story  runs  that,  Rome  being  restored  to  tran- 
quillity, he  was  desirous  of  returning  thither,  and 
that,  preparatory  to  his  departure  from  Sicily,  he 
drew  from  the  bank  his  money,  tempted  by  which 
his  Sicilian  servant,  Tonno,  murdered  him  at  Messina 
in   1543.      The  principal   works   of   Polidoro  da 
Caravaggio  are — his  friezes  and  other  ornaments 
in  the  Vatican  ;   in  the  garden  of  the  Palazzo  del 
Biifalo  at  Rome,  the  '  Fountain  of  Parnassus  ; '  and 
in  the  court  of  the  same  palace  his  '  History  of 
Niobe,'    (a   sketch  for   which   is   in  the   Palazzo 
Corsini,)   and  some  grand  compositions  of  naval 
combats  ;   in  San  Silvestro  a  Monte  Cavallo,  two 
subjects   from  the  life   of   St.   Mary  Magdalene, 
with  a  very  beautiful  landscape  ;  at  Naples  '  St. 
Peter  '  and  '  St.  Paul,'  in  the  church  of  Santa  Maria 
della  Grazie,  and  several  pictures  in  Sant'  Angelo, 
in  Pascheria.      The  following  of  his  productions 
may  still  be  seen  as  under : 
Milan.      Brera.  Passage  of  the  Red  Sea. 

Naples.    Museum.  Christ  bearing  the  Cross.    1534. 

Paris.        Louvre.  Psyche  received  into  Olympus. 

Rome.       Capitol.  Miis.  Meleager. 
Vienna.    Belvedere.       Cephalus  and  Procris. 

CALDERARI,  Giovanni  Maria.    See  Zaffoni. 

CALDERON  DE  LA  BARCA,  Vicente,  a 
Spanish  painter,  who  was  born  at  Guadalaxara  in 
1762,  was  a  scholar  of  Francisco  Goya,  and  distin- 
guished himself  as  a  painter  of  history  and  por- 
traits, particularly  the  latter,  in  which  he  excelled. 
His  best  historical  picture  is  the  '  Birth  of  St. 
Norbert,'  in  one  of  the  colleges  at  Avila.  He  died 
in  1794. 

CALDWALL,  James,  an  English  designer  and' 
engraver,  was  born  in  London  in  1739.  He  was 
instructed  by  Sherwin,  and  became  an  excellent 
draughtsman.  His  work  is  characterized  by  a 
brilliant  technique,  a  feature  especially  remarkable 
in  his  portraits.  By  the  dates  on  his  prints  lie  is 
known  to  have  lived  till  1780.  Amongst  his  best 
productions  are  the  following  : 

PORTEAITS. 
Sir  Henry  Osendeu,  Bart. 
Catharine,  Countess  of  Suffolk. 
Sir  John  Glynne,  Chief  Justice  of  the  King's  Bench. 
Sir  Roger  Curtis;  after  JV.  Hamilton. 
Admiral  Keppel. 
John  Gillies,  LL.D.,  historian. 
David  Hume,  historian. 

Mrs.  Siddons  and  her  Son,  in  the  character  of  Isabella; 
after  W.  Hamilton.    1783. 

VARIOUS   SUBJECTS. 
The  Immortality  of  Garrick ;  afUr  Carter,  the  figures 

engraved  by  Caldwall.  and  the  landscape  by  &  Smith. 

1783. 
The  Fete  ChampStre  given  by  the  Earl  of  Derby  at  the 

Oaks  ;    after  R.  Adams,  engraved  by   Caldwell  and 

Grignion. 
The  Camp  at  Coxheath ;  after  W.  Hamilton.    1778. 

His  brother,  John  Caldwall,  who  died  in  1819, 
painted  miniatures  in  Scotland.    • 

CALENSE,  Cesare,  according  to  Dominici,  was 
a  native  of  the  province  of  Lecce,  in  the  kingdom 
of  Naples,  and  flourished  about  1590.  It  is  not 
said  by  whom  he  was  instructed,  but  he  achieved 


Caletti 


PAINTERS  AND  ENGRAVERS. 


Caliari 


Bome  reputation  by  a  graceful  manner,  united  with 
correct  drawing  and  a  knowledge  of  chiaroscuro. 
In  the  church  of  St.  John  the  Baptist  at  Naples  is 
a  fine  picture  by  this  master  of  the  '  Descent  from 
the  Cross,'  with  the  Marys,  St.  John,  and  other 
figures,  full  of  feeling  and  expression,  and  signed 
with  his  name. 

CALETTI,  Giuseppe,  called  II  Cremonese, 
was  a  painter  born  at  Ferrara  about  the  year  1600. 
He  first  applied  himself  to  study  the  works  of 
Dosso  DoBsi,  but  he  afterwards  became  an  imi- 
tator of  Titian,  particularly  in  his  Bacchanalian 
subjects.  In  these  specimens  of  Caletti' s  art  the 
figures  are  generally  smaller  than  life.  He  ap- 
proached so  near  to  the  glowing  tones  of  that 
master,  that  BarufEaldi  reports  that  he  had  seen 
many  of  his  pictures  in  the  galleries  of  the  nobility 
at  Bologna  which  were  believed  to  be  the  works  of 
Titian,  and  he  is  said  to  have  been  able  to  counter- 
feit a  certain  patina  which  time  gives  to  painting, 
and  which  improves  its  harmony.  His  deceptions 
were,  however,  frequently  discovered  by  his  inat- 
tention to  costume,  and  the  introduction  of  the 
most  absurd  improbabilities.  In  the  midst  of  his 
Bacchanalian  subjects  it  was  not  unusual  for  him 
to  introduce  a  modern  gambol,  or  a  hunting  inci- 
dent ;  and,  as  it  is  sarcastically  observed  by  Lanzi, 
"  he  placed  wild  boars  in  the  sea,  and  dolphins  in 
the  forests."  He  has,  however,  proved  himself  to 
have  been  capable  of  nobler  ideas  by  his  picture  of 
the  '  Four  Doctors  of  the  Church,'  and  his  still  more 
admired  production  of  the  '  Miracle  of  St.  Mark,' 
both  in  the  church  of  San  Benedetto  at  Ferrara. 
This  last-mentioned  work  is  described  as  designed 
with  correctness  and  grandeur,  and  full  of  fine  ex- 
pression. His  death  occurred  about  1660.  He  is 
.known  also  as  the  engraver  of  some  twenty-four 
plates  now  scarce.  They  are  characterized  by  a 
peculiar  manner  of  treatment,  consisting  of  the 
employment  of  bold  parallel  strokes  without  any 
cross-hatching.  Some  of  them  are  marked  with 
the  letters  J.  G.  F.  Amongst  the  more  important 
of  them  may  be  mentioned : 

David,  whole-length,  with  the  head  of  Goliath. 

David,  half-length,  with  the  same. 

Samson  and  Delilah ;  very  fine. 

The  Beheading  of  St.  John. 

St.  Boch  kneeling. 

Portraits  of  the  Dukes  of  Ferrara. 

CALIARI,  Benedetto,  was  the  brother  of  Paolo 
Veronese,  and  assistant  to  him  in  painting.  After 
Paolo's  death,  he,  in  conjunction  with  his  two 
nephews,  Gabriele  and  Carletto,  carried  on  a  sort 
of  firm  for  the  sale  of  pictures  from  Veronese's 
designs,  or  in  his  style.  Many  works  attributed 
to  him  were  doubtless  executed  by  them.  They 
signed  collectively  as  'Paolo's  heirs.'  Benedetto 
died  in  1598. 

CALIARI,  Carletto,  the  youngest  son  of  Paolo 
Veronese,  was  born  in  1570,  and  died  in  1696.  He 
was  educated  by'his  father  as  a  painter,  and  showed 
great  ability ;  but  dying  at  the  early  age  of  26, 
his  powers  had  not  full  time  for  development. 
His  name  is  attached  to  several  large  pictures  of 
banquets  in  Veronese's  style. 

CALIARI,  Gabriele,  the  eldest  son  of  Paolo 
Veronese,  was  born  in  1568,  and  died  of  the 
plague  in  1631.  He  painted  a  few  pictures,  but 
had  not  the  same  talent  as  his  younger  brother, 
and  devoted  himself  chiefly  to  commerce. 

CALIARI,  Paolo,  (or  Cagliaei,)  commonly 
called  Paolo  Veeonesb,  was  born  (as  his  cognomen 
p2 


indicates)  at  Verona  in  1528.  He  was  the  son  of  a 
sculptor  named  Gabriele  Caliari,  and  was  at  first 
educated  by  his  father  in  his  own  branch  of  art. 
Paolo's  taste,  however,  led  him  more  towards  paint- 
ing, and  his  father,  seeing  this,  sent  him  to  study 
in  the  workshop  of  Antonio  Badile,  a  Veronese 
painter  of  some  reputation,  by  whom  several 
authentic  works  still  remain.  The  school  of  Verona 
had,  even  in  the  15th  century,  risen  into  notice,  and 
at  the  beginning  of  the  16th  it  included  such  mas- 
ters as  Girolamo  dai  Libri,  Francesco  Bonsignori, 
Carotto,  Francesco  Morone,  Mocetto,  Paolo  Morando, 
Domenico  Riooio,  and  others  of  lesser  note.  It 
had  never,  however,  produced  any  master  of  great 
original  genius  until  Caliari  arose,  in  whum 
the  school  may  be  said  to  have  culminated  and 
ended.  Among  Paolo's  earliest  works  may  be 
mentioned  a  Madonna  and  Child  with  Saints  and 
donor,  now  in  the  Gallery  at  Verona ;  a  St.  Anthony 
in  the  Cathedral  at  Mantua,  since  disappeared  ;  and 
some  wall-paintings  in  the  Casa  Contarini.  After 
executing  these  and  several  other  works  in  his 
native  town,  he  went  to  Castelf  ranoo,  where  he  re- 
ceived a  commission  to  decorate  the  Villa  Soranzo 
with  large  frescoes.  He  took  with  him  as  assistant 
to  Castelfranco  Giovan  Battista  Zelotti,  who  was 
at  that  time  a  youth  of  nineteen,  and  who  worked 
for  some  time  with  Paolo,  decorating  not  only 
Soranzo,  but  another  splendid  Villa — Fanzolo — and 
executing  several  works  in  the  church  of  San 
Liberale.  Many  of  these  works  still  remain,  and 
testify  to  the  early,  or,  as  it  may  be  called,  the 
Veronese,  manner  of  Paqlo,  formed  chiefly  on  that 
of  his  master  Badile  and  that  of  Paolo  Morando. 

Many  of  Paolo's  peculiar  characteristics  had, 
however,  manifested  themselves,  and  he  was  al- 
ready a  painter  of  note  and  achievement  before  he 
was  called  to  Venice  -in  1555.  His  first  works  in 
Venice  were  for  the  church  of  San  Sebastiano. 
Here  after  painting  the  ceiling  of  the  Sacristy,  he 
was  commissioned  to  undertake  the  ceiling  of  the 
church  itself,  which  he  decorated  with  gorgeous 
scenes  from  the  history  of  Esther.  These  were  so 
much  admired  that  the  prior  further  employed  him 
to  paint  a  beautiful  altarpiece  of  the  Madonna  in 
Glory  and  several  smaller  works. 

The  stimulus  given  to  Paolo's  art  by  thus  being 
brought  in  rivalry  with  the  great  masters  of  Venice 
was  just  what  was  needed  for  the  development  of 
his  style.  His  colour  became  warmer  and  more 
harmonious,  and  his  forms  more  full  of  life  and 
motion.  In  some  historical  paintings  executed  in 
the  castle  of  Tiene  near  Vicenza,  his  richness  of 
colour  and  grandeur  of  composition  are  fully  evi- 
dent. He  does  not  appear  at  first,  however,  to  have 
attracted  much  remark  at  Venice,  and  it  was  not 
until  the  patriarch  Titian  in  1561  selected  him,  with 
several  of  the  younger  painters  of  the  time,  as 
suitable  to  be  entrusted  with  the  decoration  of  the 
great  hall  of  the  library  lately  built  by  Sansovino, 
that  his  powers  were  properly  recognised.  Here 
Paolo  painted  three  allegorical  medallions,  repre- 
senting '  Music,'  '  Mathematics,'  and  '  Fame,'  and 
carried  oif,  as  Vasari  relates,  the  prize  of  a  gold 
chain  that  had  been  promised  for  the  best  painting 
done  in  the  library.  After  this  he  worked  in  com- 
pany with  his  early  assistant,  Zelotti,  who  had  also 
come  to  Venice,  in  several  of  the  halls  of  the  Ducal 
Palace,  covering  the  ceilings  and  walls  with  mag- 
nificent 'allegories. 

In  1562  he  received  the  commission  to  paint  for 
the  refectory  of  the  convent  of  S.  Giorgio  Maggiore 

211 


Caliari 


A  BIOGRAPHICAL  DICTIONARY  OF 


Caliari 


the  celebrated  picture  of  the  '  Marriage  at  Cana,'  now 
in  the  Louvre.  Every  one  knows  this  magnificent 
banqueting  scene,  and  has  formed  some  idea  from 
it  of  Paolo's  gorgeous  style  and  mode  of  concep- 
tion. Above  all  things  he  delighted  in  the  pomp 
and  splendour  of  earthly  pageantry,  the  vainglory 
of  mortal  man,  the  material  riches  and  beauty  of 
existence  ;  and  this  with  no  hint  that  such  things 
are  vanity,  no  belief  in  any  higher  life  than  that 
afforded  by  the  depraved  but  lovely  Venice  in  which 
he  dwelt.  It  seemed  to  him,  therefore,  no  anomaly 
to  introduce  Jesus  of  Nazareth  iato  the  midst  of  a 
lavish,  tumultuous  banquet,  whereat  the  bride, 
Eleanor  of  Austria,  and  the  bridegroom,  Don 
Alfonso  d'Avalos,  are  supported  by  such  noted 
historical  characters  as  Francis  I.  of  France,  the 
Emperor  Charles  V.,  Queen  Mary  of  England,  and 
the  Sultan  Soliman  I.  The  musicians  also  are  all 
portraits  of  painters  of  the  time. 

This  was  the  first  of  several  great  banqueting 
scenes  painted  by  Paolo,  among  which  may  be 
mentioned  '  The  Feast  of  the  Levite,'  in  the  Aca- 
demy at  Venice,  and  the  '  Supper  at  the  House  of 
Simon,'  in  the  Louvre.  Other  representations  of 
the  same  scene  are  to  be  found  at  the  Brera  at 
Milan,  the  Durazzo  Palace  at  Genoa,  and  the  Dres- 
den Gallery.  The  '  Supper  at  Emmaus '  was  like- 
wise a  favourite  subject  with  this  master.  In  the 
well-known  Louvre  example  the  painter  has  intro- 
duced himself  and  his  family  as  present  in  the 
solemn  scene.  Two  of  his  little  girls  play  with  a 
large  dog  in  the  foreground,  while  his  wife  holds  a 
baby  in  her  arms,  and  her  sons  play  near  her. 

About  1563  Paolo  was  again  employed  in  paint- 
ing in  the  church  of  San  Sebastiano.  Here  he  now 
represented,  in  two  magnificent  wall-paintings,  the 
martyrdom  of  the  Saint  to  whom  the  church  was 
dedicated,  and  '  SS.  Marcellus  and  Marcellinus  on 
the  way  to  Martyrdom.'  These  are  two  of  Paolo's 
finest  works,  full  of  movement,  beauty  of  colour, 
and  dramatic  effect.  Indeed,  the  whole  church  of 
San  Sebastiano  glows  with  his  work,  and  remains  a 
splendid  monument  of  his  masterly  power  and  skill. 
Another  celebrated  monument  is  the  Villa  Masiera, 
a  palace  built  by  Palladio  for  the  Venetian  patri- 
cians, Marcantonio  and  Daniele  Barbaro.  Paolo 
was  employed  to  decorate  this  magnificent  villa, 
and  achieved  his  task  in  the  most  gorgeous  man- 
ner, his  fancy  running  riot  amidst  gods  and  god- 
desses, loves  and  nymphs,  and  other  creations  of 
heathen  mythology  and  imaginative  symbolism. 
Charles  Blanc  has  given  a  detailed  description  of 
the  Villa  Masiera  in  the  Gazette  des  Beaux  Arts, 
and  many  other  writers  have  testified  to  the  charm 
of  these  wonderful  works.  They  were  probably 
executed  about  1566,  for  Vasari  speaks  of  them  in 
the  second  edition  of  his  Lives,  published  in  1568. 
About  the  same  time,  probably,  Paolo  painted  on 
canvas  the  grand  historical  picture  of  the  '  Family 
of  Darius,'  now  in  the  NationarGallery. 

Paolo  is  stated  by  Ridolfi  {Le  Maraviglie  delU 
Arte:  1648)  to  have  journeyed  to  Rome  in  1563  in 
the  suite  of  the  Venetian  Ambassador  Grimani,  and 
most  writers  have  accepted  this  statement  as  a  fact. 
Dr.  Janitschek,  however  {Kiinst  und  KUnstler, 
vol.  v.),  shows  that  Paolo  could  not  have  journeyed 
in  the  train  of  Grimani  in  1563,  for  no  embassy 
was  sent  to  Rome  from  Venice  in  that  year ;  and 
that  in  1555,  1559,  and  1665,  when  embassies  were 
sent,  documentary  evidence  exists  to  show  that 
Paolo  was  at  work  at  Venice.  It  is  very  probable, 
however,  that  at  some  period  of  his  life  Paolo  went 

212 


to  Rome,  and  saw  the  works  of  Michelangelo  in 
the  Sistina,  for  in  some  of  his  fresco  decorations 
his  style,  strange  to  say,  resembles  that  of  the 
great  Florentine  master.  But  Veronese  never  rose 
to  the  lofty  heights  of  the  ideal  that  Michelangelo 
trod  so  fearlessly.  He  aimed  at  magnificence  more 
than  sublimity,  and  surrounded  his  saints  and  holy 
persons  with  every  material  good,  as  if  to  com- 
pensate them  for  the  woes  they  had  endured  while 
on  earth.  His  fondness  for  banquets  is  amusingly 
illustrated  by  a  memorandum,  quoted  by  Ridolfi, 
from  the  back  of  one  of  his  drawings.  In  this  he 
declares  his  intention  of  representing,  when  he  has 
time,  '  a  sumptuous  repast  in  a  superb  gallery,  at 
which  the  Virgin,  the  Saviour,  and  St.  Joseph  shall 
be  present,  served  by  the  richest  cortege  of  angels 
that  it  is  possible  to  imagine,  who  shall  ofEer  them, 
on  plates  of  silver  and  gold,  the  most  exquisite 
viands  and  fruits.  Others  shall  be  occupied  in  pre- 
senting to  them,  in  transparent  crystal  and  gold 
cups,  precious  liqueurs,  to  show  the  zeal  with  which 
happy  spirits  serve  the  Lord.' 

Of  Paolo  Caliari's  domestic  life  little  is  known. 
He  married  a  daughter  of  his  master,  Antonio 
Badile,  and  had  several  children,  whom  he  has 
depicted  in  some  of  his  pictures.  His  eldest  son, 
Gabriele,  was  bom  in  1568,  and  Carletto  in  1570. 
Both  brothers  adopted  their  father's  profession, 
but  Carletto  had  by  far  the  most  talent.  After  his 
father's  death  he  executed  a  number  of  pictures 
from  Paolo's  designs,  and  in  his  manner.  Paolo's 
style  was  also  closely  copied  by  his  brother  Bene- 
detto Caliari,  by  his  early  companion  Zelotti,  and 
several  other  painters,  so  that  many  works  are  set 
down  to  him  which  are  merely  the  productions  of 
his  school. 

Paolo  does  not  appear  to  have  left  Venice  for 
any  long  period  after  he  had  once  settled  there. 
He  journeyed  to  Vicenza  and  a  few  other  places  in 
northern  Italy  occasionally  for  the  execution  of 
commissions  ;  but,  for  the  most  part,  all  his  great 
works  were  executed  in  Venice  and  for  Venice. 
It  is  said  he  was  invited  to  Spain  by  Philip  II.  to 
assist  in  the  decoration  of  the  Eseorial,  but  he  de- 
clined the  invitation,  and  devoted  himself  wholly 
to  the  service  of  Venice. 

Paolo  Veronese  is  well  represented  in  the  National 
Gallery,  where  there  are  no  fewer  than  six  pictures, 
including  the  large  and  important,  butuninteresting, 
'  Family  of  Darius,'  painted  for  liie  Pisani  family. 
The  'Vision  of  St.  Helena'  (No.  1041),  added  to 
the  collection  in  1878,  is  a  charming  example  of  his 
feeling  for  beauty  in  woman  fonn.  There  is  a 
noble  grace  and  poetry  about  this  work  that  leads 
one  to  regret  that  festive  banquets  and  gorgeous 
altar-pieces  had  so  large  a  share  of  his  time. 

Paolo  Caliari  died  in  Venice,  April  19,  1688,  and 
was  buried  in  the  church  of  San  Sebastiano,  which 
he  had  adorned  with  so  many  splendid  works. 

M.  M.  H. 

PRINCIPAL   PAINTINGS. 

Verona.  Finacoteca.  Taking  down  from  the  Cross. 

„  „  Madonna  Enthroned. 

„  „  Portrait  of  P.  Guarianti. 

„  Ch.  of  S.  Gioruio.  Martyrdom  of  S.  George. 

„  Ch.  of  S.  Paolo.  Madonna  with  two  Saints. 

„  Toton  Gallery.  Madonna  and  Child. 

Venice.  Acad,  of  Fine  Arts.  Feast  of  the  Levite. 

„  ,,  „  Crucifixion. 

„  „  „  SS.  Matthew  and  Mark. 

„  „  „  SS.  Luke  and  John. 

.,  „  „  Ezekiel. 

„  „  ,,  Isaiah. 


Caliari 


PAINTERS  AND  ENGRAVERS. 


Caliari 


Venice,  Acad,  of  Fine  Arts. 


Ducal  Palace. 


Manfrhi  Palace. 
Ch.ofS.Sehastiano. 


„        Ch.  of  S.  Catarina. 
„        Ch.of  S.Francesco. 

",        Cli.  of  S.  Aridrea. 

„        Ch.  ofS.  Giuliano. 

„       Ch.ofllEedentore. 

Castlfuco.  Ch.ofS.Liberale. 


Murano, 
Florence. 


Ch.  ofS.  Pietro. 


Pitti  Palace. 


Milan,       Brera  Gallery. 


Borne. 


Vatican. 
Palazzo  Doria. 


Palazzo  Borghese. 


„  Palazzo  Corsini. 

Bergamo.  Gallery. 

Brescia.      Ch.  of  S.  Afra. 
Turin.      Pinacoteca. 


Annunciation. 

Assumption. 

Glorified  Madonna  with  St. 
Dominick. 

St.  Christina  urged  to  worship 
idols. 

St.  Christina  in  prison. 

St.  Christina  scourged. 

Madonna  with  Saints. 

Coronation  of  the  Virgin. 

Rape  of  Buropa. 

Allegories — Music,  Mathemat- 
ics, and  Fame 

Adoration  of  the  Magi. 

Youth  and  Ag:e. 

Victories  {ceiling). 

Venice  Enthroned  (ceiling). 

Battle  of  Lepanto. 

Venice  Enthroned,  with  eight 
allegories  around. 

Taking  of  Smyrna.       1 

Taking  of  Scutan.         >ceiling. 

Apotheosis  of  Venice.  J 

Return  of  Doge  from  taking  of 
Chioggia. 

Jupiter  and  HeDe  (ceiling). 

.  Coronation  of  Virgin. 

The  four  Evangelists. 

Three  scenes  from  life  of  Esther. 

Madonna  in  glory. 

St.  Sebastian  beaten  with  rods, 

St.  Sebastian  before  Diocletian. 

Miracles  at  Porch  of  Bethesda. 

Purification  of  the  Virgin. 

SS.  Marcellus  &  MarcelUnus. 

Martyrdom  of  St,  Sebiistian, 

Crucifixion. 

Madonna  and  Child. 

Marriage  of  S.  Catharine. 

Holy  Family. 

Resurrection. 

S.  Jerome. 

Dead  Christ, 

Resurrection. 

Justice. 

Temperance. 

Time  and  Fame. 

St.  Jerome  in  the  Desert. 

Man's  Portrait, 

S.  Catharine. 

Annunciation. 

Martyrdom  of  St.  Jusfcina, 

Esther  before  Ahasuerus. 

Portrait  of  a  Man. 

Holy  Family. 

Head  of  S.  Paul. 

Portrait  of  Painter's  wife. 

Portrait  of  Daniele  Barbaro, 

S.  Benedict. 

Presentation  in  Temple, 

Baptism  of  Christ. 

Christ  taking  leave  of  Apostles. 

The  Maries  at  the  Sepulchre. 

Feast  in  House  of  Simon. 

Adoration  of  the  Magi. 

SS.  Gregory  and  Jerome. 

SS.  Ambrose  and  Augustine. 

Baptism  of  Christ. 

S.  Anthony. 

Last  Supper, 

Passion  of  Christ, 

Dream  of  St.  Helena. 

Angel  with  Tambourine, 

Christ  bearing  the  Cross, 

Portrait  of  a  Woman. 

St.  John  preaching  in  Desert. 

St.  Anthony  preaching  to  the 
fishes, 

SS.  Cosmo  and  Damian. 

Marriage  of  S.  Catharine, 

St,  Christina, 

Martyrdom  of  St.  Afra, 

Feast  at  the  House  of  Simon. 

Visit  of  Queen  of  Sheba, 


Genoa. 

Palazzo  BriyjwU 

.Judith. 

9)                n 

Several  Portraits. 

Vicenza. 

Moiiie  Berico. 

Supper    of     St.    Gregory    the 
Great, 

Padua. 

Santa  Giustivu 

Martyrdom  of  St.  Justina. 

Paris 

Louvre. 

Marriage  at  Caua. 
Feast  in  House  of  Simon, 
Destruction  of  Sodom. 

"^ 

Susarmah  and  the  Elders. 

'' 

Esther. 

Holy  Family  with  St.  Benedict. 

)) 

Holy  Family. 

„ 

ij 

Bearing  of  the  Cross, 

ty 

TT 

Crucifixion. 

)> 

Supper  at  Emmaus. 

ii 

Jupiter  hurling  Thunderbolts. 

J) 

» 

Portrait  of  Young  Woman. 
St.  Mark. 

Lille. 

Museum. 

Allegorical  figures  of  Science 
and  Eloquence. 

Reunes. 

Musevm. 

Perseus  and  Andromeaa. 

Rouen. 

Museum. 

St.  Barnabas  healing  the  sick. 

Tiondon. 

National  Gallery.  Alexander  and  Family  of  Da- 

)» 

»               ») 

Adoration  of  the  Magi. 

)) 

)5                  ;» 

Consecration  of  S.  Nicholas. 

Europa. 

Vision  of  St.  Helena. 

J) 

)»                  )> 

The  Magdalen  laving  aside  her 
Jewels  (  Wynn  Ellis  Coll.). 

)i 

Stafford  House. 

Christ  with  Disciples  at  Em- 
maus. 

.. 

»            It 

Man  on  his  knees  with  patron 

saint. 
Allegory. 

•» 

>»            » 

Devonshire  House.  Adoration  of  Magi. 

)» 

Lord  Ashburton. 

Christ  on  Mount  of  Olives, 

T.  Hope,-Esq. 

Two  Allegories. 

»» 

H  Munro  Esq. 

Venus  seated. 

J 

n 

Leda  with  Swan, 

if 

JDulmch  Gallery 

Cardinal  giving  Benediction. 

') 

Stourhead  House 

.  A  Sketch  of  the  Magdalen. 

Edinburgh,      Moi/al  Insti 

Venus  and  Adonis. 

Cambridge.  Fitzioilliam. 

Mercury  and  Aglauros. 

Hampton  Court.    Palace. 

St.  Catharine. 

Oxford. 

Christ  Church. 

Marriage  of  S.  Catharine. 

Dresden 

.  Gallery. 

Adoration  of  the  Magi. 

)» 

■>i 

Marriage  at  Gana, 

») 

j» 

Christ  bearing  the  Cross. 

»> 

»7 

Madonna  of  Corsini  Family, 

)} 

n 

Crucifixion. 

)> 

Resurrection. 

n 

)> 

Death  of  S.  Catharine. 

jj 

Venus  and  Adonis. 

» 

n 

Portrait  of  Daniele  Barbaro. 

j» 

)j 

Leda  and  Swan. 

J) 

TJ 

Susannah  and  Elders. 

i» 

Jj 

Good  Samaritan. 

",  , 

)> 

Centurion  of  Capernaum. 

Mumch. 

Finakothek. 

Justice,  with  sword  and  balance. 

)) 

,j 

Love.  Mother  ivith  three  children. 

»j 

»» 

Faith,  mth,  a  chalice  in  her  hand. 

» 

» 

Strength       A   powerful  female 
form. 

» 

»t 

Portrait  of  a  Woman  in  brown 
dress. 

)j 

Holy  Family, 
Death  of  Cleopatra. 

»» 

., 

Repose  in  Egypt. 

Vienna. 

Belvedere. 

Christ    Healing    St.     Peter's 
Mother-in-law, 

); 

St.  Paul, 

Brussels 

.  Gallery, 

Holy  Family. 

M 

11 

Juno  with  Venetia. 

Madrid. 

Gallery. 

Venus  and  Adonis. 

» 

j> 

Moses  saved  from  the  Waters, 

fi 

)» 

Christ    at   the  House  of  the 
Centurion. 

It 

1) 

Susanna  and  the  Elders. 

)) 

The  Martyrdom  of  San  Gin^s, 

iJ 

J) 

Assumption 

tt 

» 

The  Magdalene. 

V 

,» 

The  Marriage  at  Cana. 

» 

" 

Calvary. 

213 

Calioi 

Madrid.     Gallery. 


A  BIOGEAPHICAL  MCTIONAEY  OF 


Callcott 


The  'Woman  taken  in  Adultery 
(also  assigned  to  Zelotti  and 
Paolo  Farinati). 

A  Youth  between  Vice  and 
Virtue. 

The  Sacrifice  of  Abraham. 

Cain  wandering  with  his  Fa- 
mily. 

Several  Female  Portraits. 


Villa  Fanzolo.  Fault  and  Punishment  of  Calioto. 

„  Death  of  Virginia. 

„  Ceres. 

„  Soipio  restoring  Captive  lo. 

„  Allegories. 

Villa  Tiene.  Scaevola  before  Porsenna. 

„  Cleopatra. 

„  Sophonisba  and  Massiniosa. 

„  Xerxes  receiving  Tribute. 

Villa  Masiera.  Muses. 

„  Allegories  of  Music,  &c. 

„  Venus  with  Graces. 

,,  Gods  of  Olympus. 

„  Group  of  lady  and  boys  in  a  Balcony. 

„  Allegories. 
Vil.  Magnadole.  Anthony  and  Cleopatra. 

„  Family  of  Darius. 

„  Hannibal's  Oath. 

„  Founding  of  Carthage. 

J,  Triumph  of  Caurillus. 

„  Triumph  of  Coriolanus. 

„  Cincinuatas  at  the  Plough. 

„  Cincinnatus  in  Battle. 

CALIOI,  AoHiLLE,  a  Bolognese  painter,  was  born 
about  the  year'  1565.  He  was  a  scholar  of  Pros- 
pero  Fontana,  but,  preferring  the  finer  style  of 
Lodovico  Carraooi,  he  became  his  disciple,  and, 
according  to  Malvasia,  painted  the  two  laterals  of 
the  high  altar  in  the  church  of  San  Michele  Arc- 
angelo  at  Bologna,  representing  St.  Michael,  and 
the  angel  Raphael  and  Tobias. 

CALIGARINO.     See  Capellini. 

OALIMBERG,  Joseph,  was  a  native  of  Ger- 
many, who  was  born  about  the  year  1505,  and 
passed  the  greater  part  of  his  life  at  Venice.  Of 
his  works  in  that  city  there  remains,  according  to 
Lanzi,  at  the  Servi,  the  'Battle  of  Constantine.' 
His  style  is  not  without  merit,  though  rather  heavy 
in  execution,  and  sometimes  dark  and  disfigured 
by  mannerism.     He  died  at  Venice  in  1670. 

CALISTO  DA  LODI  (or  Calixtus  Laddensis). 
See  Piazza. 

CALL,  Jan  van,  was  an  artist  born,  according 
to  Descamps,  at  Nimeguen  in  1655.  He  is  said  to 
have  attained  considerable  proficiency  in  painting 
without  the  help  of  an  instructor.  His  first 
attempts  were  made  in  copying  the  landscapes  of 
Jan  Brueghel,  Paulus  Bril,  and  Willem  van  Nieu- 
lant,  and  he  studied  attentively  the  principles  of 
perspective  and  architecture.  He  afterwards  tra- 
velled through  Switzerland  to  Italy,  and,  during  a 
residence  of  some  years  at  Rome,  formed  an 
ample  collection  of  designs  from  the  most  pictur- 
esque views  in  the  environs  of  that  capital.  He 
returned  through  Germany  to  his  native  country, 
and  established  himself  at  the  Hague,  where  he 
died  in  1703.  His  drawings  are  more  esteemed 
than  his  pictures  ;  they  are  purchased  at  consider- 
able prices  in  Holland,  where  they  are  found  in  the 
choicest  collections.  It  is  believed  that  he  occa- 
sionally worked  in  conjunction  with  Bakhuisen. 
A  series  of  views  from  his  drawings,  chiefly  repre- 
senting scenes  on  the  Rhine,  have  been  published 
by  Sohenk.     He  was  also  clever  as  an  engraver, 

214 


his  plates  being  principally  landscapes  from  his 
own  designs. 

CALL,  Jan  van,  'the  younger,'  was  a  clever 
designer  and  painter,  the  son  and  pupil  of  Jan  van 
Call.  He  was  employed  in  1748  by  .the  King  of 
Prussia  to  make  water-colour  sketches  of  the 
battles  and  sieges  in  the  Flemish  wars  under 
Louis  XV. 

CALL,  PiETBB  VAN,  was  a  son  and  pupil  of  Jan 
van'  Call  the  elder,  and  was  bom  in  1698.  He 
designed  good  landscapes,  some  of  which  he  also 
engraved.  His  best  drawings,  however,  are  his 
architectural  subjects.     He  died  in  1737. 

CALLCOTT,  Sir  August  os  Wall,  an  English 
landscape  and  marine  painter,  was  born  at  Ken- 
sington in  1779.  He  was  brother  of  the  distin- 
guished musical  composer,  Dr.  Callcott,  and  in 
early  life  was  a  chorister  at  "Westminster  Abbey. 
He,  however,  preferred  painting  to  music,  and  for 
some  time  pursued  both  studies,  until  the  success 
of  a  '  Portrait  of  Miss  Roberts,'  which  he  painted 
under  the  tuition  of  Hoppner,  in  1799,  and  which 
he  exhibited,  led  him  to  the  final  chpice  of  paint- 
ing as  his  profession.  Very  little  experience,  how- 
ever, showed  him  that  portrait  work  was  not  suited 
to  his  taste,  and  from  1803  he  devoted  himself 
exclusively  to  landscape  painting.  His  first  efforts 
were  chiefly  limited  to  English  coast  and  river 
scenery,  or  to  views  on  the  Dutch  coast ;  but  after 
a  visit  to  Italy  in  1827  he  devoted  himself  more 
to  Italian  landscape ;  his  works,  which  have  a 
general  tendency  in  the  direction  of  Claude  Lor- 
rain,  being  marked  by  much  taste  in  their 
composition.  But  it  must  not  be  inferred  that 
he  is  to  be  compared  with  that  master;  it  would 
be  more  correct  to  say  that  both  looked  at  nature, 
and  that  each  succeeded  in  his  own  way.  His 
marine  pictures  please  by  their  tranquillity ;  all 
are  beautiful  in  the  selection  of  objects,  but  'they 
are  sometimes  cold  and  monotonous  in  colour.  He 
was  for  many  years  a  contributor  to  the  exhi- 
bitions of  the  Royal  Academy,  of  which  he  was 
elected  an  Associate  in  1806,  and  an  Academician 
in  1810.  His  most  successful  production  in  figure 
painting  was  his  picture  of  '  Raphael  and  the  Foma- 
rina,'  exhibited  in  1837.  In  February,  1827,  Callcott 
married,  and  shortly  afterwards  started  on  a  tour 
through  Italy.  On  his  return  he  took  a  house  in  the 
Mall,  and  became  a  fashionable  artist.  His  wife,  who 
was  an  accomplished  woman,  assisted  him  by  her 
literary  labours  on  art  subjects.  On  the  accession 
of  Her  Majesty,  Callcott,  who  was  then  one  of  the 
favourite  artists  of  the  day,  received  the  honour  of 
■knighthood.  Sir  Augustus  Callcott  died  in  1844, 
regretted  by  those  who  knew  hira,  for  he  was  a 
liberal  patron  of  young  artists,  and  kind  and 
courteous  to  all.  His  works  are  mostly  views  of 
English  scenery,  though  he  sometimes  varied  them 
by  producing  figure  subjects  in  conjunction  with 
landscape.  Some  of  his  best  known  paintings 
are: 

London.      Nat.  Gall.    Dutch    Peasants   returning   from 

Market  (iJ.^.,  1834). 
„  „  Coast    Scene  —  "Waiting   for   the 

Boats. 
„  „  Landscape  with  Cattle. 

„  „  The  Wooden  Bridge. 

),  „  The  Benighted  Traveller  {sketch  for 

a  picture  in  the  R.  A.,  1832). 
)>  „  The   Old   Pier    at   Littlehampton 

(R.  A.,  1812). 
»  ,1  Entrance  to  Pisa  from   Leghorn 

(R.  A.,  1833). 


Calleja 


PAINTERS  AND  ENGRAVERS. 


Callot 


London.    Wat.  Gall.     Dutch    Ferry  —  Peasants    waiting 
the  Return  of  the  Passage  Boat 
(iJ.^.,  1834). 
i>  11  View  on  the  Coast  of  Holland. 

„     iS  K.  Museum.    Italian  Landscape. 

„  A  Brisk  Gale  (R.  A .,  1830). 

„  .,  Anne  Page  and  Slender. 

„  Dort  (7?.  A.,  1842). 

1,  „  A  Sunny  Morning  (i?.^.,   1813). 

„  Earl  of  Durham.  Calm  on  the  Med  way. 

CALLEJA,  Andres  de  la.    See  Db  la  Calleja. 

CALLET,  Alphonse  Apollodore,  a  French 
historical  painter,  was  born  in  Paris  in  1799.  He 
was  the  brother  of  Felix  Callet,  the  architect,  and 
studied  under  David  and  Regnaud.  He  died  in 
Paris  in  1831.  The  Museum  of  Rouen  has  by  hira 
"The  Embaroation  of  the Pargiotes." 

CALLET,  Antoine  FRANgois,  a  French  historical 
painter,  was  born  in  Paris  in  1741.  He  gained  the 
'Prix  de  Rome'  in  1764  with  his  'Cleobis  and 
Biton  conducting  the  Chariot  of , their  Mother  to 
the  Temple  of  Juno,'  now  in  the  Boole  des  Beaux- 
Arts,  and  was  made  an  Academician  in  1780,  on 
which  occasion  he  painted  a  part  of  tlie  ceiling, 
representing  '  Spring,'  in  the  Gallery  of  Apollo  in 
the  Louvre.  He  exhibited  for  a  period  of  nearly 
forty  years,  his  pictures  embracing  historical  events 
of  his  time,  and  various  mythological  and  allegorical 
subjects.  There  are  four  examples  of  his  work,  a 
series  representing  '  The  Seasons,'  on  the  walls  of 
the  Louvre,  as  well  as  a  '  Triumph  of  Flora,'  which 
is  pleasing  and  harmonious  in  tone,  in  the  La  Caze 
Collection  at  the  same  place.  He  also  painted  the 
ceiling  of  the  Spinola  Palace  at  Genoa,  on  which 
is  represented  the  '  Apotheosis  of  Ambrogio  Spi- 
nola.' There  are  by  him  at  Versailles  allegories 
of  the  battle  of  Marengo,  the  surrender  of  Ulm, 
and  the  battle  of  Austerlitz,  as  we'.l  as  the  well- 
known  full-length  portrait  of  Louis  XVL  in  his 
coronation  robes,  of  which  there  is  a  replica  in  the 
Madrid  Gallery.  This  portrait  has  been  engraved 
by  Bervic.  Callet  belonged  to  that  school  of 
French  art  of  which  Vien  was  the  most  distin- 
guished representative,  and  which,  by  rescuing  it 
from  the  degeneracy  of  Boucher,  prepared  the 
way  for  the  epoch  of  David.  He  died  in  Paris  in 
1823. 

CALLIAT,  Pierre  Victor,  an  architect  and 
etcher,  was  bom  in  Paris  in  1801.  He  studied 
under  Vaudoyer  and  Chatillon,  and  was  appointed 
in  1845  Inspector  of  Works  for  the  H6tel-de-Ville, 
and  later  for  the  city  of  Paris.  He  died  in  1881. 
He  published,  amongst  other  works, 

The  Hotel  de  Ville,  Paris,  m'«ft  i&  etched,  plates ;  1844-56. 

The  Houses  of  Paris,  built  from  1830—1864,  with  246 
etched  plates  ;  1850-64. 

The  Church  of  St.  Bustache,  with  11  etched  plates  ;  1850. 

CALLISTO  DA  LODI.    See  Piazza. 

CALLOT,  Jacques,  a  French  engraver  and 
draughtsman,  was  born  at  Nancy  in  1592.  He 
was  the  son  of  Jean  Callot,  who  was  of  a  noble 
family  and  Herald  at  Arms  for  Lorraine.  The 
story  of  Jacques  Callot's  early  life,  as  usually 
given,  runs  to  the  effect  that  his  father  had  in- 
tended him  for  government  service,  but  that  his 
desire  for  studying  the  arts  was  so  strong  that  he 
ran  away  to  Italy  at  the  age  of  twelve,  and  on  his 
being  accidentally  discovered  there  by  some  Nancy 
merchants,  was  brought  home,  only  to  escape  again 
shortly  afterwards  with  no  better  success,  one  of  his 
brothers  encountering  him  in  the  streets  of  Turin, 
and  conveying  the  runaway  again  forthwith  to  the 
parental  roof.    To  the  patient  and  laborious  inves- 


tigations of  M.  Edouard  Meaume  we  owe  the  know- 
ledge of  one  or  two  facts  which  bring  parts  of  the 
above  story  within  the  range  of  probability.  Tliat 
author  has  discovered  that  no  fewer  than  four 
of  Callot's  brothers  became  members  of  religious 
orders,  and  he  suggests,  not  without  reason,  that 
the  impetuous  character  of  the  future  artist  was 
the  cause  of  his  rebelling  against  the  character  of 
the  preliminary  training  which  was  intended  to 
produce  a  like  result  in  his  case.  He  has  further 
pointed  out  that  there  is  ample  proof  of  the  ex- 
istence of  an  intimate  friendship,  in  spite  of  some 
little  disparity  of  years,  between  Henriet  Israel, 
the  son  of  the  court  painter  to  the  Duke  of  Lor- 
raine at  that  day,  and  Jacques  Callot,  as  well  as  of 
the  fact  that  the  lad  was  getting  aid  from  the 
counsels  of  the  court  painter  himself,  and  some 
early  lessons  in  the  graver's  art  from  the  royal 
engraver,  Dumange  Crocq.  The  death  of  the 
painter  royal  in  1603,  and  the  appointment  of 
Bellange,  then  recently  arrived  from  Italy,  to  the 
vacant  post,  led  to  the  departure  of  Henriet  Israel 
for  Rome.  And  Rome  became  naturally  enough 
the  point  on  which  the  youthful  Callot's  eyes  wei'e 
fixed  when  it  became  a  question  with  him  whether 
he  should  any  further  submit  to  the  home  treat- 
ment which  was  so  irksome  to  him,  or  take  refuge 
in  flight.  At  Rome  were  the  treasures  of  art  of 
which  he  had  heard  so  much  ;  at  Rome  was  a 
friend  with  whom  he  was  sure  of  a  welcome,  at 
whose  side  he  longed  once  more  to  place  himself. 
The  fact  that  he  made  his  way  as  far  as  Florence 
in  the  company  of  a  party  of  gipsies,  the  men  of 
the  party  being,  as  seems  to  have  been  gipsy 
custom  in  those  good  days,  armed  to  the  teeth,  is 
well  established  ;  and  it  is  equally  clear  that  at 
that  city  he  worked  for  some  time  in  the  graver's 
atelier  of  Canta-Gallina.  That  artist  did  him  good 
service  in  compelling  him  for  a  time  to  moderate 
his  natural  tendency  for  the  grotesque  by  copying 
from  the  best  masters.  But  Rome,  the  goal  of  his 
wishes,  had  not  yet  been  reached,  and  so,  after 
some  months  of  life  in  Florence,  the  boy  was  away 
on  the  march  again,  and  this  time  reached  the 
Eternal  City.  It  would  seem  not  improbable 
that  his  friend  Henriet  Israel,  after  giving  him  a 
most  cordial  welcome  there,  may  have  sent  word 
to  his  family  of  the  boy's  whereabouts,  in  order 
to  relieve  their  anxiety,  and  thus  it  may  have 
been  arranged  for  him  to  travel  home  under  tlie 
convoy  of  the  local  merchants.  It  is  not  quite  so 
easy  to  suggest  the  real  account  of  the  difficulties 
that  terminated  his  second  attempt  to  reach  Rome. 
His  father's  Court  influence  may  have  probably 
enough  put  the  authorities  of  some  of  the  prin- 
cipal towns  on  the  qui  vive  for  the  young  fugitive, 
and  so  a  second  time  have  led  to  his  being  taken 
back  to  Nancy.  Eventually  his  father,  finding  it 
the  best  course  to  yield  to  hie  son's  inclination,  con- 
sented to  his  going  to  Italy,  and  obtained  him  per- 
mission to  travel  in  the  suite  of  the  envoy  whom 
the  new  Duke  Henry  II.  was  just  sending  to  the 
Papal  Court  As  there  exists  an  early  engraving 
of  Callot's  of  a  portrait  of  Duke  Charles  painted 
in  1607,  it  is  probable  that  the  boy's  skill  was 
known  at  Court,  and  that,  in  making  the  above  con- 
cession, his  father  yielded  to  the  representation  of 
persons  of  note.  The  embassy  quitted  Nancy  late 
in  the  year  1608,  Callot  being  then  but  sixteen 
years  old. 

Arrived  at  Rome,  he  studied  probably  for  a  time 
under  Tempesta,  the  master  of  Henriet  Isra«l  and  of 

215 


Callot 


A  BIOGRAPHICAL  DICTIONABY  OF 


Callot 


Claude  Deruet,  and  then  under  Giulio  Parigi ;  but 
as  his  preference  for  etching  and  engraving  became 
more  decided,  he  placed  himself  under  the  tuition 
of  Philippe  Thomassin.  He  went  again  to  Flo- 
rence in  1611,  in  the  time  of  the  Grand-Duke 
Cosmo  II.,  renewed  his  intimacy  with  Canta- 
Gallina,  engraved  several  subjects  after  Andrea 
del  Sarto,  Perino  del  Vaga,  and  others,  and  more 
especially  brought  himself  into  the  notice  of  bis 
future  patron,  the  duke  there,  by  a  series  of  small 
etchings  from  his  own  designs.  On  the  death  of 
the  duke  he  found  a  protector  in  Prince  Charles 
of  Lorraine,  who  persuaded  him  to  return  to 
Nancy,  having  assured  him  of  a  position  in  the 
service  of  Henry,  the  then  reigning  Duke  of  Lor- 
raine. He  quitted  Italy  in  1621  or  1622,  and 
settling  again  in  his  native  town,  he  developed 
extraordinary  activity,  and  gradually  gained  for 
himself  an  almost  world-wide  reputation.  It  was 
owing  to  the  great  esteem  in  which  his  talents 
were  held  that  he  was  summoned  by  the  Infanta 
Clara  Eugenia  to  Brussels  to  design  and  engrave 
the  '  Siege  of  Breda,'  and  was  engaged  subsequently 
by  the  French  monarch,  Louis  XIII. ,  to  execute  in 
the  same  manner  '  The  Siege  of  La  Rochelle,'  and 
of  '  The  Siege  of  the  Isle  of  R^. '  His  views  of  the 
Louvre  and  of  the  Pont  Neuf  were  taken  while  he 
was  at  Paris  engaged  upon  these  works  in  the  year 
1629,  and  there  also  he  had  the  satisfaction  of  re- 
newing his  old  intimacy  with  Henriet  Israel. 

He  returned  to  Nancy  after  no  long  residence  in 
the  capital,  and  was  witness  to  the  siege  and 
capitulation  of  his  native  town  in  1633.  The  French 
monarch  called  on  him  to  use  his  skill  in  drawing 
and  engraving  a  plate  commemorative  of  the 
occurrence,  as  he  had  done  in  the  case  of  the  other 
French  victories ;  but  Callot  desired  to  be  per- 
mitted to  decline  what  he  considered  as  celebrat- 
ing the  humiliation  of  his  country.  Some  of  the 
courtiers,  anxious  for  the  possession  of  such  a 
souvenir,  are  said  to  have  observed  to  the  artist 
that  there  were  means  of  making  him  comply,  to 
which  he  replied  with  much  spirit  that  he  would 
sooner  cut  off  his  right  hand  than  employ  it  in 
such  a  work ;  a  speech  which,  being  reported  to 
the  king,  led  him  to  say  that  the  Dukes  of  Lorraine 
were  fortunate  in  the  possession  of  such  subjects. 

It  is  said  that  Callot  had  determined,  in  conse- 
quence of  the  annexation  of  Nancy  to  France,  to 
retire  to  Florence,  but  that  he  died  before  carrying 
his  plan  into  execution.  His  death  occurred  at 
Nancy  on  the  24th  of  March,  1635,  at  the  com- 
paratively early  age  of  43. 

There  exists  a  good  portrait  of  Callot,  taken  by 
Van  Dyck  on  the  occasion  of  his  visiting  Brussels, 
and' of  this  there  is  a  fine  engraving  by  Vorster- 
man.  Several  collections  possess  paintings  which 
have  been  supposed  to  have  been  produced  by 
Callot's  hand,  but  more  recent  investigation  leads 
to  the  conclusion  that  they  are  in  all  probability 
wrongly  attributed,  and  that  he  did  not  execute 
any  finished  work  of  that  nature.  There  are  sixty- 
two  drawings  by  him  in  the  Louvre. 

His  engravings  exhibit  great  fertility  of  inven- 
tion and  extraordinary  variety  of  style.  It  is  a 
remarkable  fact  that  many  artists  who  followed 
him,  and  who  far  surpassed  him  in  the  technical  use 
of  the  graver,  are  comparatively  little  known,  their 
reputation  being  completely  dimmed  by  the  lustre 
of  that  of  Callot,  in  consequence  of  the  absence  in 
their  case  of  his  extraordinary  powers  of  imagin- 
ation. Those  of  his  engravings  in  which  he  has 
216 


confined  himself  to  figures  of  a  small  size  are  the 
most  highly  esteemed,  as  when  he  attempted  to 
produce  figures  on  a  larger  scale  they  were  apt  to 
be  somewhat  heavy,  so  that  the  result  was  less 
characteristic  of  his  charming  power  of  combining 
a  touch  of  humour  with  a  photographic  grasp  of 
the  details  of  a,  scene.  His  etchings  are  greatly 
admired.  It  is  true  they  are  seldom  brilliant  in 
respect  of  the  arrangement  of  the  lights,  but  the 
pose  of  his  figures  is  highly  pleasing,  and  the 
work  shows  a  certainty  of  stroke  and  a  lightness 
of  touch  characteristic  of  a  master  hand.  They 
are  principally  done  with  hard  varnish  (vemis  de 
liithiers),  a  method  of  his  own  invention.  In 
proof  of  his  diligence  we  are  told  by  M.  de  Wate- 
let  that  there  existed  four  different  drawings  for 
his  celebrated  plate  of  'The  Temptation  of  St. 
Anthony. '  The  number  of  his  plates  is  prodigious, 
being  over  1400.  A  full  account  of  them  is  to  be 
found  in  M.  Meaume's  '  Reoherches  sur  la  vie  et 
les  ouvrages  de  Jacques  Callot,'  published  in  1860. 
There  is  a  portrait  of  Callot  in  the  UfBzi  at 
Florence. 

The  following  are  his  principal  plates ;  some  x 
of  which  are  marked  with  the  letters  A.  J.  C,  Ct 
others  with  the  accompanying  monogram  :         ^ 

POETKAITS. 
Cosmo  III.,  Grand  Duke  of  Tuscany ;  oval. 
Francis,  Grand  Duke  of  Tuscany  ;  oval ;  scarce. 
Charles  III.,  Duke  of  Lorraine ;  scarce. 
The  Marquis   de   Marignan,  General  of    Charles  V.; 

scarce. 
Donate  dell'  Antella,  a  Florentine  Senator ;  scarce. 
Claude  Deruet,  painter,  and  his  Son.     1632. 
Giovanni  Domenico   Peri,  a  piece  known  as  'Le  Jar* 

dinier.' 

SAOEED    SUBJECTS. 

The  Murder  of  the  Innocents,  engraved  at  Florence; 

scarce. 
The  same  subject,  engraved  at  Nancy,  with  variations. 
The  Armunciation,  with  the  words  Ecce  Ancilla  Domini 

coming  from  the  mouth  of  the  Virgin  ;  after  Matteo 

Mosselli  ;  very  scarce. 
Christ  bearing  His  Cross;    small  oval;    engraved  on 

silver. 
The  Crucifixion,  with  the  Virgin,  St.  John,  and  Magda- 
lene ;  scarce. 
The  Entombment  of  Christ ;  after  Ventura  Salimheni. 
The  Virgin  and  Infant,  with  St.  Elisabeth  and  St.  John ; 

after  A.ndrea  del  Sarto. 
The  Holy  Family,  with  St.  Joseph  giving  drink  to  the 

Infant  Jesus. 
The  Little  Assumption,  called  the   Assumption  with 

Cherubim. 
Another  Assumption ;  oval. 
The  Triumph  of  the  Virgin ;  dedicated  to  the  Duke  of 

Lorraine. 
St.  John  in  the  Isle  of  Patmos. 
The  Temptation  of  St.  Anthony ;  dated  1635. 
Another  Temptation  of  St.  Anthony,  with  a  Elver  in  the 

middle,  and  on  the  right  some  Devils  drinking ;  very 

scarce. 
The  Martyrdom  of  St.  Sebastian ;  a  grand  composition. 
St.  Mansuetus  restoring  to  life  the  Son  of  Eing  Leucorus. 
St.  Nicholas  preaching  in  a  Wood. 

VARIOUS    OTHEE   SUBJECTS. 
Jupiter  hurling  thunderbolts  at  the  Giants ;  scarce. 
Pandora,  with  the  Assembly  of  the  Gods. 
The  Card-players. 
The  Punishments.    The  best  impressions  of  this  fine 

print  have  a  small  square  tower  above  the  houses  on 

the  left,  and  a  little  image  of  the  Virgin  in  an  angle 

of  the  wall  in  the  middle  of  the  print. 
A  AVoman  seated  with  a  Child  in  her  Arms,  and  another 

eating  Fruit  imder  a  Tree ;  very  scarce. 
A  View  of  the  Louvre,  with  the  Tour  de  Nesle. 
A  View  of  the  Pont  Neuf  at  Paris ;  the  companion. 


Callow 


PAINTERS  AND  ENGRAVERS. 


Calvert 


The  Parterre  of  Nancy,  with  figures  walking. 

The  Garden  of  Nancy ;  very  scarce. 

The  Great  Fair  of  Florence,  engraved  at  Florence,  1620; 

fine  impressions  of  this  print  are  very  scarce ;  in  two 

sheets. 
The  same  subject,  engraved  at  Nancy,  called  the  Fair 

of  Nancy ;  inscribed  Fe  Fiorenti(e  et  exc.  Nancei. 
The  Little  Fair,  called  the  Players  at  Bowls,  with  figures 

dancing ;  the  best  impressions  are  before  the  name  of 

Callot  ;  scarce. 
The  Siege  of  the  Isle  of  Ee ;  in  sixteen  sheets. 
The  Siege  of  Roohelle ;  similar. 
The  Siege  of  Breda ;  in  eight  sheets. 
The  Tilting,  or  the  New  Street  at  Nancy. 

VAEIOnS  SETS  BY  CALLOT. 

The  Life  of  the  Virgin ;  in  fourteen  plates,  with  the 

title. 
The  Life  of  the  Virgin ;  in  twenty-seven  plates. 
Nine  plates  of  devout  subjects ;  GloHosissimiB  VirginiSj 

he. 
Eleven  of  the  New  Testament,  with  a  title  by  A.  Sosse  ; 

twelve  plates. 
Eleven  of  the  Prodigal  Son.    1635. 
Seven,  the  Great  Passion  of  Jesus  Christ. 
Twelve,  the  Little  Passion;   the  first  impressions  are 

very  scarce. 
The  Acts  of  the  Apostles ;  in  twenty-nine  plates,  exe- 
cuted with  the  graver  in  his  early  time. 
Six  of  the  Penitents,  including  the  title  by  A.  Basse. 
Sixteen  of  Christ,  the  Virgin,  the  Apostles,  &c.    1631. 
Sixteen  of  the  Martyrdom  of  the  Apostles,  &c. 
Four,  called  the  Little  Banquets. 
Forty-one  of  the  Miracles;   entitled  Scelta  A'  alcuni 

miracoli,  &c. 
Seven  of  the  Seven  Mortal  Sins. 
Eighteen  of  the  Miseries  of  War ;  dated  1633. 
Seven  of  the  Little  Miseries  of  War ;  the  title  by  A. 

Basse. ;  eight  plates.     1636. 
Fourteen  of  Military  Exercises. 
Fourteen  of  Fantasies ;  dated  1635. 
The  Caprices,  engraved  at  Florence. 
The  same  Caprices,  engraved  at  Nancy,  inferior  in  exe- 
cution. 
Varie  figure  di  lacopo  Callot ;  in  seventeen  plates. 
Balli  di  Sfessania ;  in  twenty-four  plates. 
Varie  figure  Gobbi  di  lacopo  Callot  fatte  in  Firenze; 

twenty-two  plates.    There  is  another  set  with  some 

variations. 
Twenty-five  of  Beggars ;  entitled  Oapitano  de  Baroni ; 

fine. 
Twelve  of  Ladies  and  Gentlemen  in  the  Dresses  of  the 

Mode. 
Sixteen  of  the  Tragedy  of  Soliman,  with  the  portrait 

and  title. 
Three  of  Festivals  during  the  Carnival  at   Florence; 

scarce. 
Seven  of  Tournaments. 
Four  of  Jousts  and  Tournaments. 
Forty-eight  plates,  for  a  Journey  to  the  Holy  Land. 
The  Twelve  Months  of  the  Year ;  after  Mamper. 
The  Four  Seasons;  after  Sadeler's  prints  from  Bassano. 
Four  Landscapes,  lengthways. 

CALLOW,  John,  an  English  water-colour  land- 
scape painter,  was  born  in  1822.  He  was  an  asso- 
ciate of  the  Water-Colour  Society,  and  died  at 
Lewisham  in  1878. 

CALOMATO,  Babtolommeo,  was  a  painter  of  the 
Venetian  school  who  flourished  in  the  17th  century. 
He  was  remarkable  for  his  small  pictures  repre- 
senting scenes  from  town  and  country  life,  enlivened 
with  figures  well  composed  and  graceful  in  expres- 
sion. 

CALVABRT,  Dionysius,  also  called  Dionisio 
FlAMMlNGO,  who  may  be  considered  to  have  been  a 
Bolognese  rather  than  a  Fleming,  was  an  eminent 
painter  who  was  born  at  Antwerp  about  1540.  His 
name  was  originally  written  Caluwaert,  and  is  so 
entered  in  the  Antwerp  'Liggeren'  for  1566-57. 
He  had  made  some  proficiency  in  the  art  in  his 


own  country  under  Christiaen  van  Queeoborne, 
when  he  visited  Italy,  and  came  to  Bologna 
possessed  of  some  talent  as  a  landscape  painter. 
To  perfect  himself  in  the  study  of  figure  draw- 
ing, he  first  frequented  the  school  of  Prospero 
Pontana  in  1570,  and  afterwards  became  a  disciple 
of  Lorenzo  Sabbatini,  to  whom  he  was  of  no  in- 
considerable utility  in  his  works  in  the  Vatican. 
On  leaving  Sabbatini  he  occupied  some  time  in 
studying  the  works  of  Raphael  and  the  other  great 
objects  of  art  at  Rome,  and  returned  to  Bologna 
about  1574,  and  there  established  that  celebrated 
school  where  Albani,  Domenichino,  and  Guido  re- 
ceived their  first  instruction  in  art,  and  from  which 
they  subsequently  passed  into  that  of  the  Carracci. 
An  excellent  colourist,  like  the  other  artists  of  his 
country — intelligent  in  perspective,  which  he  had 
learned  under  Fontana — and  a  correct  and  graceful 
designer,  from  the  tuition  of  Sabbatini — he  was  re- 
garded at  Bologna  as  the  restorer  of  their  school, 
which  had  at  that  period  fallen  into  some  degree  of 
decadence,  particularly  in  colouring.  There  is  some- 
thing of  mannerism  in  his  style,  and  a  certain  air 
in  the  movement  of  his  figures  that  is  strained  and 
awkward.  The  first  defect  may  be  attributed  to 
the  taste  of  the  preceding  age,  the  other  to  his 
natural  disposition,  which  tradition  describes  as 
remarkably  fiery  and  turbulent.  He  was,  notwith- 
standing, an  excellent  instructor  of  the  youth  of  his 
time,  and  attended  to  the  studies  of  his  pupils  with 
the  greatest  diligence  and  assiduity.  He  also  pro- 
duced a  considerable  number  of  small  paintings  of 
sacred  subjects  on  copper  for  the  use  of  monks  and 
nuns  in  their  cells.  Many  of  his  most  important 
works  have  been  engraved  by  Agostino  Carracci, 
R.  Sadeler,  Wierix,  Ph.  Thomassin,  and  others. 
He  died  at  Bologna  in  1619,  and  was  buried  in  the 
church  of  the  Servites  in  that  city.  The  churches 
of  SS.  Giuseppe,  Giorgio,  Gregorio,  Petronio,  and 
that  of  the  Servites,  all  in  Bologna,  possess  paint- 
ings by  this  artist ;  there  are  also : 
Bologna.  Gallery.  Madonna  and  Child,  with 

St.  Anthony. 

„  „  Christ    appearing    to    the 

Magdalen. 

„  „  The  Flagellation. 

„        Ercalani  Palace.        Venus. 
Florence.  Pitti  Palace.'  St.  Jerome. 

„        Uffizi.  Assumption  of  the  Virgin. 

Lisbon.     Duke  of  Villanova.      Christ  on  Mount  Tabor, 
Vienna.    Belvedere.  Portrait  of  a  Man. 

CALVERT,  Charles,  a  landscape  painter,  was 
born  in  1785  at  Glossop  Hall,  in  Derbyshire,  of 
which  estate  his  father  was  at  that  time  agent  for 
the  Duke  of  Norfolk.  He  began  life  as  a  cotton- 
merchant,  but  soon  relinquished  that  occupation  for 
the  fine  arts.  His  time  was  much  taken  up  in 
teaching ;  but  he  passed  his  leisure  hours  among 
the  lakes,  painting  both  in  oil  and  water-colour. 
He  was  instrumental  in  founding  the  Royal  Man- 
chester Institution,  and  obtained  there  the  Hey- 
wood  gold  medal  for  the  best  oil  picture  painted  by 
an  artist  residing  within  forty  miles  of  Manchester, 
and  also  the  silver  medal  for  water-colour  draw- 
ings. He  died  at  Bowness  in  Westmoreland,  in 
1852. 

CALVERT,  Frederick,  is  known  as  a  contributor 
to  the  '  Archaeological  Journal,'  in  which  he  illus- 
trated the  tumuli  in  the  Troad,  and  other  antiqui- 
ties. In  1830  he  published  '  Picturesque  Views  in 
Staffordshire  and  Shropshire,' with  thirty-nine  plates. 
Three  water-colour  drawings  by  him  are  in  the 
South  Kensington  Museum. 

217 


Calvet 


A  BIOGRAPHICAL  DICTIONARY  OF 


Cambiaso 


CALVET,  Esprit  Claude  FEANgois,  a  French 
physician,  antiquary,  and  amateur  painter,  was  born 
fit  Avignon  in  1728.  He  founded  the  Museum 
C-ilvet  at  Avignon,  and  died  in  that  city  in  1810. 

CALVI,  GlULlo,  called  II  Cobonato,  was  born  at 
Cremona  about  the  year  1570.  He  was  a  scholar 
of  Giovanni  Battista  Trotti,  and  according  to  Zaist, 
in  his  'Notizie  istoriche  de'  Pittori  Cremonesi,' 
painted  so  much  in  the  manner  of  his  master,  that 
his  pictures  might  have  been  confounded  with  the 
inferior  works  of  Trotti,  had  he  not  signed  them 
with  his  name.  Paintings  by  him  can  be  seen  at 
Cremona  and  at  Soncino.     lie  died  young  in  1696. 

CALVI,  Lazzaeo  and  Pantaleone.  These  two 
painters  were  the  sons  of  Agostino  Calvi,  a  Genoese 
painter  of  no  great  note,  but  who  was  one  of  the 
first  to  abandon  the  old  habit  of  painting  on  a  gold 
ground,  and  work  on  a  basis  of  oil  colours.  Laz- 
zaro  was  born  in  1602,  and  together  with  his  brother 
Pantaleone,  after  receiving  some  instruction  from 
their  father,  entered  the  school  of  Perino  del  Vaga. 
Although  Pantaleone  was  the  elder  brother,  he  con- 
tented himself  with  unobtrusively  contributing  to 
the  celebrity  of  Lazzaro,  by  an  exercise  of  his 
powers  in  the  ornamental  accessories,  which  formed 
no  inconsiderable  part  of  the  attraction  of  the  works 
which  they  executed  at  Genoa  and  the  diSerent 
cities  of  the  repubUc,  as  well  as  at  Monaco  and 
Naples.  Lanzi  considers  as  their  principal  work 
the  facade  of  the  Palazzo  Doria  (now  Palazzo 
Spinola),  where  are  represented  prisoners,  and  other 
figures,  in  various  attitudes,  designed  in  so  grand 
a  style,  and  executed  with  such  fine  taste,  that  it  is 
in  itself  a  school  for  the  study  of  drawing.  This 
work  of  the  Calvi  is  mentioned  by  Lomazzo  in 
terms  of  the  highest  praise  in  his  '  Trattato  della  Pit- 
tura.'  Their  picture  of  '  The  Continence  of  Scipio,' 
in  the  Palazzo  Pallavicini,  exhibits  an  acquaintance 
with  the  nude  which  Mengs  considered  worthy  of 
their  master  Perino  del  Vaga,  by  whom  Lanzi  sus- 
pects they  may  have  been  assisted  in  some  of 
their  best  works,  as  he  is  known  to  have  very 
liberally  accommodated  them  with  his  drawings 
and  cartoons.  The  jealousy  or  ambition  of  Laz- 
zaro, irritated  by  the  success  of  some  of  his  con- 
temporaries, prompted  him  to  the  commission  of 
the  most  horrid  crimes.  He  occasioned  the  death 
of  Giacomo  Bargone,  a  most  promising  artist,  by 
poison ;  and  he  hired  persons  to  vilify  the  works 
of  the  ablest  painters  of  the  time,  and  to  extol  his 
own.  It  was  in  the  midst  of  these  cabals  and 
atrocities  that  he  was  engaged,  together  with 
Andrea  Semini  and  Luca  Cambiaso,  to  paint,  in  the 
chapel  of  the  Nobili  Centurioni,  '  The  Birth  and  Life 
of  St.  John  the  Baptist ; '  and  although,  in  this  com- 
petition, he  exerted  his  utmost  powers,  and  pro- 
duced one  of  his  finest  works,  the  preference  was 
given  to  the  performance  of  Cambiaso,  whom  Prince 
Doria  accordingly  commissioned  to  execute  the 
frescoes  in  the  church  of  San  Matteo.  Lazzaro 
was  so  mortified  at  this  that  he  determined  to 
abandon  the  art,  and  he  actually  became  a  mariner, 
and  withdrew  himself  from  painting  for  twenty 
years.  He  returned,  however,  to  his  profession, 
which  he  continued  till  he  was  in  his  85th  year. 
His  last  works  were  for  the  church  of  Santa  Catta- 
rina,  and  it  is  not  surprising  that,  at  so  advanced  a 
period  of  life,  they  were  weak,  languid,  and  senile. 
He  died  in  1587 :  his  brother  Pantaleone  died  in 
1695. 

CALZA,  Antonio,  was  a  painter  of  battle-scenes 
who  was  born  at  Verona  in  1653.     He  studied  at 

218 


Bologna  under  Carlo  Cignani,  but  his  genius  lead- 
ing him  to  paint  horses  and  other  animals,  and  having 
met  with  some  of  the  works  of  Borgognone,  he 
resolved  to  visit  Rome  for  the  purpose  of  studying 
under  that  master,  by  whose  instruction  he  was 
greatly  assisted.  He  returned  to  Bologna,  where 
he  painted  battle-pieces  and  landscapes  with  great 
success,  and  had  a  number  of  scholars  and  imitators, 
his  pictures  being  much  in  vogue.  He  died  at 
Bologna  in  1714,  or,  according  to  Zani,  in  1725. 

CALZETTA,  Pibteo,  an  Italian  painter,  was 
the  son-in-law  of  Montagnana,  and  a  disciple  of 
Squarcione.  He  was  engaged  at  the  Santo  of 
Padua  in'  1466  to  paint  the  chapel  of  Corpus 
Christi.  In  1470  he  restored  some  works  of  Ste- 
fano  of  Perrara  in  the  Santo,  and  in  the  same 
year  he  contracted  to  work  with  Montagnana  and 
Matteo  del  Pozzo  at  the  decorations  of  the  Cappella 
Gattamelata  in  Padua.  Up  to  1500  he  was  still 
employed  at  th6  Santo.  There  is  an  '  Ecce  Homo ' 
by  him  in  (jne  of  the  chapels  of  that  church.  No 
dates  can  be  given  as  to  his  birth  or  death. 

CALZOLARETTO,  II.     See  Capellini. 

CAM,  F.  VAN  DEE.     See  Van  dee  Cam. 

CAMACHO,  Pbdeo,  was  a  Spanish  painter  who, 
towards  the  end  of  the  17th  centurj^,  executed 
with  one  Munoz  some  well-coloured  pictures  from 
the  life  of  San  Pedro  Nolasco  for  the  cloister  of 
the  convent  of  Mercy  at  Lorca.  To  him,  likewise, 
were  attributed  some  pictures  of  our  Lord's  Pas- 
sion in  that  convent,  and  of  the  Four  Great  Doctors 
of  the  Church  in  the  collegiate  church  of  that  city. 

CAMARON  Y  BONONAT,  Jose,  who  was  horn 
at  Segorbe,  in  1730,  became  director  of  the  Academy 
of  St.  Charles  at  Valencia,  in  which  city  he  died  in 
1803.  A  '  Mater  Dolorosa,'  by  him,  is  in  the  Madrid 
Gallery. 

CAMASSEI,  Andeea,  was  a  painter  and  etcher, 
who  was  born  at  Bevagna  in  1601.  He  first  studied 
under  Domeniohino  at  Rome,  but  afterwards  fol- 
lowed the  school  of  Andrea  Sacchi.  He  painted 
both  in  oil  and  fresco,  and  his  powers  as  an  his- 
torical painter  can  be  seen  in  many  of  the  public 
edifices  of  Rome.  His  productions  are  distinguished 
by  a  very  careful  study  of  nature,  and  by  tender 
and  graceful  colouring.  Several  of  his  pictures 
have  been  engraved  by  Bloemart.  His  etchings 
are  now  very  rare,  not  more  than  one  or  two  being 
known,  and  are  marked  A.  C-  scolp.  He  died  at 
Rome  in  1648.     Of  his  works  may  be  mentioned  : 

Madrid.  Gallery.  Obsequies  of  a  Boman 

Emperor. 
Rome.    Palazzo  Eondanini.  Battle    of    Constantine 

with  Maxentius. 
„       Baptistery  of  the  Lateran.  Triumph  of  Constantine. 
„       La  Rotunda.  Assumption  of  the  Vir- 


Cajpuchi)i  Church. 


gin. 
A  Pieta. 


CAMBIASO,  Giovanni,  was  an  artist  born  near 
Genoa  in  1495,  who  formed  his  style  from  the 
study  of  the  works  of  Perino  del  Vaga  and 
Pordenone  in  the  Palazzo  Doria  at  Genoa.  He 
devoted  much  time  to  the  study  of  anatomy,  and 
is  said  to  have  been  the  author  of  the  method 
adopted  in  designing  whereby  the  human  body  is 
divided  into  small  squares  in  order  to  give  the  cor- 
rect proportions  in  foreshortening.  He  is  thought 
to  have  lived  to  an  advanced  age,  but  the  date  of 
his  death  is  unceitain. 

CAMBIASO,  Luca,  known  as  Luohetto  da 
Genova  and  as  Luchino,  the  son  of  Giovanni  Cam- 
biaso, was  born  at  Moneglia  near  Genoa  in  1527, 


Cambiaso 


PAINTEES  AND  ENGRAVERS. 


Camerind 


He  received  his  first  instructions  in  art  from  his 
father.  Born  with  the  genius  of  a  painter,  he  soon 
outstripped  his  instructor ;  and  when  he  was  fifteen, 
produced  works  that  had  the  appearance  of  matur- 
ity, and  sufficiently  indicated  that  he  would  prove 
one  of  the  most  distinguished  painters  of  his 
country.  It  was  to  his  friend  Castelli,  in  conjunc- 
tion with  whom  he  painted  many  large  works,  that 
he  was  indebted  for  the  correction  of  his  early 
faults  of  style,  and  for  most  valuable  instruction 
in  colouring  and  perspective.  It  was  the  advice 
also  of  the  same  good  friend  that  led  him  to  a 
closer  study  of  nature,  and  that  greatly  improved 
his  taste.  He  visited  Florence  and  Rome,  where 
he  increased  his  natural  conception  of  grandeur 
by  contemplating  the  works  of  Michelangelo  and 
Raphael.  In  his  first  performances  he  appears  to 
have  been  led  away  by  the  ardour  and  vivacity  of 
his  genius,  and  his  early  works  have  something  of 
the  extravagant  and  gigantesque.  It  was  usual 
for  him  to  paint,  both  in  oil  and  in  fresco,  without 
having  prepared  either  drawing  or  cartoon  ;  he  is 
also  said  to  have  painted  with  great  rapidity,  and 
often  with  both  hands  at  once.  In  his  better  time 
he  checked  this  impetuosity,  and  it  was  in  the 
middle  of*  his  life  that  he  produced  his  most 
esteemed  works,  which  for  transparency  of  colour- 
ing and  for  gracefulness  of  pose  have  been  con- 
sidered far  superior  to  those  of  his  contemporaries. 
His  picture  of  '  The  Martyrdom  of  St.  George,'  in 
the  church  dedicated  to  that  saint,  is  considered  by 
some  as  his  best  performance,  from  the  admirable 
expression  in  the  head  of  the  martyr,  the  breadth 
of  the  composition,  and  the  judicious  management 
of  the  chiaroscuro ;  but  others  prefer  his  '  St. 
Benedict,'  and  '  St.  John  the  Baptist,'  at  Roc- 
chettini.  Another  of  his  finest  efiorts  is  the 
'  Rape  of  the  Sabines,'  at  the  Palazzo  Imperiale,  at 
Terralba,  near  Genoa.  Everything  pleases  in  this 
work:  the  sumptuous  architecture,  the  beauty  and 
spirit  of  the  horses,  the  modest  reluctance  of  the 
women,  the  impassioned  ardour  of  the  men,  and 
the  appropriateness  of  the  minor  accessories.  Maz- 
zolari  says  this  extraordinary  work  was  executed 
in  fifteen  months,  and  thinks  that  it  was  impos- 
sible for  the  painter  to  have  produced  it  in  that 
time  without  assistance.  It  is  said  that  Mengs,  on 
seeing  this  picture,  declared  he  had  seen  nothing 
out  of  Rome  that  approached  so  near  to  the  beauty 
of  the  Loggie  of  the  Vatican. 

Having  the  misfortune  to  lose  his  wif e^  and  being 
unable  to  obtain  the  papal  permission  to  marry 
her  sister,  Cambiaso  allowed  the  disappointment 
to  prey  on  his  mind  till  he  became  melancholic. 
It  is  believed  that  it  was  with  the  hope  of  in- 
ducing the  Spanish  monarch  to  bring  about  his 
wish  that  he  readily  accepted  in  1583  a  proposal 
to  go  to  Spain  to  complete  some  paintings  left 
unfinished  by  his  friend  Castelli,  who  had  recently 
died.  There  he  was  employed  by  Philip  II.  in 
the  Bscorial,  where  he  painted  a  variety  of  works, 
and  especially  the  ceiling  of  the  choir,  representing 
'The  Assemblage  of  the  Blessed,'  an  immense  com- 
position, which  is  highly  applauded  by  Lomzzo. 
Cambiaso  died,  as  commonly  believed,  from  con- 
tinued disappointments,  at  the  Esoorial  in  1585. 

Besides  the  works  previously  alluded  to,  speci- 
mens of  this  artist's  paintings  may  be  seen  at 
Naples,  and  at  the  convent  of  the  Augustines  at 
Pontre  Moli : 

Berlin.        Gallery.       Charity. 
Bologna.    Finacoteca,  Birth  of  Christ. 


Dulwioh.  Gallery. 

Florence.  Uffzi. 

J)  " 

Hague.  Gallery. 

ij  »> 

Madrid.  Gallery. 


Milan. 


Brera. 


Venus  and  Cupid. 

Madonna  and  Child. 

His  own  Portrait. 

Holy  Family. 

Birth  of  the  Virgin. 

Holy  Family. 

Sleeping  Cupid. 

Lucre  tia. 

Adoration  of  the  Shepherds. 


\J\J^X       CIA- 

1 


Munich.     Finakothek.  Portrait  of  an  Old  Man. 

His  drawings  hold  high   rank   in  the   portfolios 
of    collectors.     There   are    also   some   wood   en- 
gravings,  marked   with  the  accompany- 
ing monogram,  which  are  ordinarily  attri- 
buted to  him  ;  but  it  is  scarcely  possible 
that  he  did  more  than  furnish  the  design. 

CAMBIASO,  Oeazio,  was  the  son  and  scholar  of 
Luca  Cambiaso,  whom  he  accompanied  to  Spain. 
After  the  death  of  his  father,  Philip  II.  continued 
to  employ  him,  and  settled  on  him  a  liberal  pension. 

CAMBON,  Charles  Antoine,  a  French  scene- 
painter,  was  born  in  Paris  in  1802.  He  was  a 
pupil  of  Ciceri,  and  acquired  much  celebrity  by  his 
theatrical  decorations,  many  of  which  were  real 
masterpieces.     He  died  in  Paris  in  1875. 

CAMDEN,  Sampson,  was  a  portrait  painter  who 
flourished  about  1540.  He  was  the  father  of 
William  Camden,  the  antiquary. 

CAMBRATA,  Giuseppe,  an  Italian  miniature 
painter  and  engraver,  was  bom  at  Frascati  or  at 
Venice  in  1718.  He  was  the  son  of  G.  Camerata, 
a  painter  of  some  reputation,  and  studied  under 
Gregorio  Lazzarini.  He  learnt  the  use  of  the 
graver  from  Giovanni  Cattini,  and  after  visiting 
Vienna  in  1742,  was  in  1751  invited  to  Dresden,  to 
assist  in  engraving  the  plates  for  the  Dresden 
Gallery,  and  was  there  made  principal  engraver  to 
the  Court.  He  visited  Italy  again  in  later  life,  and 
subsequently  came  to  Munich,  where  he  settled  for 
a  time  in  1763.  He  afterwards  became  professor 
in  the  Academy  at  Dresden,  where  he  died  in  1803. 
He  was  an  engraver  of  some  talent,  but  his  work 
is  not  considered  to  be  of  a  very  high  class.  We 
have  by  him  several  plates  from  his  own  designs, 
as  well  as  among  other  works  the  following : 

rOBTEAITS. 

Marco  Foscarini,  Doge  of  Venice. 
Simone  Contarini,  Procurator  of  St.  Mark. 
Sebastiano  Bombelli,  the  painter. 

SUBJECTS  FROM  THE  DRESDEN  GALLERY. 
The  Parable  of  the  Talents  ;  after  Domenico  Feti. 
The  Parable  of  the  Lost  Piece  of  Silver ;  after  the  same. 
The  Parable  of  the  Prodigal  Son-;  after  the  same. 
David,  with  the  Head  of  Goliath ;  aftir  the  same. 
The  Infant  Bacchus  ;  after  the  same. 
The  Holy  Family  ;  after  Giulio  Cesare  Frocaccini. 
St.  Eoch  succouring  the  Plague-stricken ;  after  Camilla 

Frocaccini. 
St.  Roch  distributing  Alms  ;  after  Annihale  Cairacci. 
The  Assumption  of  the  Virgin  ;  after  the  same. 
The  Adulteress  before  Christ ;  after  B.  Biseaino. 
The  Chastity  of  Joseph  ;  after  iS.  Cantarini. 
The  Old  and  New  Testament ;  after  A.  Vaccari. 
The  Magdalene  ;  after  Fotnpeo  Batoni. 
A  half-length  figure,  with  a  beard  ;  after  Dietrich. 
Another  half-length,  the  companion ;  after  the  same. 
The  Magdalene ;  after  Van  der  Werf. 

CAMBRINO,  GiROLAMO  (di  Giovanni)  di,  is 
generally  supposed  to  be  the  son  of  Giovanni  Boo- 
cati,  and  is  the  known  painter  of  an  altar-piece  at 
Santa  Maria  del  Pozzo  in  Monte  San  Martino,  near 
Fermo,  that  is  signed  and  dated  1473,  and  repre- 
sents the  '  Madonna  and  Child,  and  four  Angels, 
between  SS.  Thomas  and  Cyprian.' 

219 


Cameriuo 


A  BIOGRAPHICAL  DICTIONARY  OP 


Campaguola 


CAMERINO,  Jacopo  da,  a  Franciscan  monk, 
who  assisted  Turrita  with  the  mosaics  in  the  church 
of  San  Giovanni  in  Laterano,  is  known  to  have 
worked  from  1288  to  1321.  His  compositions  are 
in  a  style  similar  to  that  of  Cimabue. 

CAMILO,  Fkancisoo,  was,  according  to  Palo- 
mino, the  son  of  Domenico  Camilo,  a  Florentine 
who  had  settled  in  Spain.  He  was  born  at  Madrid 
in  1610,  and  was  a  scholar  of  Pedro  de  Las  Cuevas, 
whom  his  widowed  mother  had  married.  He  proved 
a  reputable  painter  of  history,  particularly^  in  his 
colouring,  which  is  sweet  and  tender.  His  best 
work  is  '  The  Communion  of  St.  Mary  of  Egypt,' 
painted  for  the  high  altar  of  the  church  of  the 
Capuchin  convent  at  Aloala  de  Henares,  but  now 
in  the  Museo  Nacional  at  Madrid,  where  there  are 
likewise  twelve  other  pictures  by  him.  Nearly 
equal  in  merit  are  his  '  St.  Charles  Borromeo,'  in 
the  church  of  the  Minorites  at  Salamanca,  and  his 
'  Descent  from  the  Cross,'  in  San  Justo  at  Segovia. 
But  his  most  celebrated  picture  is  the  'Nuestra 
Senora  de  Belem,'  in  the  church  of  San  Juan  de 
Dios,  at  Madrid,  which  Palomino  emphatically  says 
is  "  without  limit  in  perfection."  He  died  at  Ma- 
drid in  1671.  In  the  palace  of  Buen  Retire  at 
Madrid,  are  his  portraits  of  the  Spanish  kings, 
and  fourteen  frescoes  representing  subjects  taken 
from  Ovid's  '  Metamorphoses.'  The  Hermitage  at 
St.  Petersburg  has  an  '  Assumption  of  the  Virgin ' 
by  him.  Francisco  Ignaoio  was  the  best  of  his 
many  pupils. 

CAMINADE,  Alexandre  FRANgois,  a  painter  of 
historical  subjects  and  portraits,  as  well  as  a  litho- 
grapher, was  born  in  Paris  in  1783.  He  studied 
in  the  schools  of  David  and  M^rim^e,  and  visited 
Rome.  His  works  did  not  show  any  great  power, 
but  their  pleasing  colouring  and  correctness  of 
drawing  caused  them  to  meet  with  a  ready  recep- 
tion. There  are  many  examples  of  his  work  at 
Bordeaux,  and  at  Versailles,  where  he  died  in  1862. 

CAMLIGUE,  — ,  a  French  engraver,  unnoticed 
by  Basan,  flourished  towards  the  close  of  the  18th 
century.  He  engraved  the  plate  of  '  Le  Pari 
gagn^ '  in  R^tif  de  la  Bretonne's  '  Monument  du 
Costume,'  published  in  1789,  as  well  as  some  of 
the  plates  in  the  smaller  edition  of  the  same  work. 

GAMMAS,  Lambert  FRANgois  Th^rese,  a 
French  painter,  architect,  and  engineer,  was  born 
at  Toulouse  in  1743.  He  was  instructed  in  the 
rudiments  of  art  by  his  father,  Guillaume  Cammas, 
an  architect  of  repute,  who  designed  the  f  ayade  of 
the  H6tel-de-Ville  at  Toulouse.  He  afterwards 
went  to  Rome,  where  in  1770  he  became  professor 
at  the  Academy  of  St.  Luke.  On  his  return  to 
France  he  protested  against  the  bad  taste  which 
had  disfigured  the  majestic  outlines  of  the  noblest 
churches  with  mean  and  ridiculous  ornaments,  and 
made  numerous  designs  for  the  restoration  of  al- 
most all  the  religious  edifices  of  the  city  of  Tou- 
louse. Cammas  died  in  that  city  in  1804.  His 
picture  representing  'Louis  XVI.  recalling  the 
Parliaments  exiled  during  the  reign  of  Louis  XV.' 
is  in  the  Museum  of  his  native  city. 

CAMPA6N0LA,  Domenico,  was  born  at  Padua 
about  1482,  and  worked  there  in  the  earlier  half  of 
of  the  16th  century.  Brought  up  in  the  school  of 
Titian,  Domenico  soon  attained  a  proficiency  that 
even  roused  the  jealousy  of  his  master.  At  Padua 
his  fresco  paintings  in  the  Souola  del  Santo  lose 
little  of  their  merit  by  a  comparison  with  the 
works  of  his  admirable  instructor,  and  in  his  oil 
pictures  in  the  Souola  del  Carmine  he  sustains  the 

220 


contest  with  him  even  more  equally.  In  the  com- 
partments of  the  ceiHng,  in  which  he  has  repre- 
sented the  Evangelists  and  other  Saints,  he  appears 
(says  Lanzi)  to  have  aspired  to  a  grandeur  above 
Titian,  and  to  have  drawn  the  nude  figure  with  a 
more  daring  and  unrestrained  outline.  An  'Adam 
and  Eve '  by  him  is  in  the  Pitti  Palace,  Florence. 
Ridolfi  speaks  highly  of  his  merit  as  a  painter  of 
landscapes,  which  he  says  are  in  the  fine  style  of 
Titian,  and  little  inferior  to  those  of  that  master. 
A  large  number  of  them  have  been  engraved  by 
Comeille. 

Domenico  Campagnola  holds  an  eminent  rank  as 
an  engraver,  and  his  etchings  are  executed  in  a, 
style  that  shows  the  hand  of  a  master.  The  follow- 
ing is  a  list  of  prints  by  him,  but  it  is  curious  that 
by  far  the  larger  part  of  them  bear  the  same  date, 
viz.,  1517;  on  some  is  seen  his  name  in  full,  on 
others  it  is  abbreviated  thus :  'DO.         'DO. 

•CAP.  "'■  -CAMP. 

Christ  healing  the  Sick  Man  at  the  Pool  of  Bethesda. 

The  Eesnrreotion  of  Christ. 

The  Descent  of  the  Holy  Spirit  on  the  day  of  Pentecost. 

The  Assumption  of  the  Virgin. 

The  Madonna  seated  with  the  Infant  in  her  axms  under 
a  Tree,  with  St.  Catharine  kneeling  on  her  left,  and 
a  graceful  Female  holding  a  Banner  on  her  right. 

The  Decollation  of  a  Pemale  Saint. 

A  Youth  in  a  standing  posture,  with  a  Reed  Pipe,  lean- 
ing against  a  Tree,  and  on  the  left  an  old  Man,  in 
the  habit  of  a  Warrior,  with  a  Dog  at  his  feet. 

A  Combat  of  naked  Men  on  Foot  and  on  Horseback,  in  ■ 
a  "Wood. 

St.  Jerome  seated  naked  at  the  entrance  of  a  hut,  with 
the  Lion  at  his  feet. 

Twelve  Children  dancing.  The  design  of  this  piece  is 
attributed  by  Passavant  to  Titian. 

There  also  exist  a  few  woodcuts  bearing  the 
name  of  Domenico  Campagnola ;  but  it  is  most 
probable  that  they  were  engraved  by  others  after 
his  designs  ;  indeed  the  three  last  mentioned  below 
bear  the  monogram  of  Luca  Antonio  di  Giunta. 

WOODCUTS. 

Madonna  and  Child,  with  St.  John  the  Baptist,  St. 
Jerome  and  his  lion,  and  other  Saints,  under  a  Tree, 
Brulhot  believes  this  piece  to  have  been  engraved  by 
Nicolo  Boldrini. 

The  Journey  of  the  Magi. 

The  Adoration  of  the  Magi. 

The  Massacre  of  the  Innocents. 

CAMPAGNOLA,  Giulio,  a  painter  and  engraver, 
was  born  at  Padua  in  1481.  He  excelled  in  minia- 
ture, and  also  painted  pictures  in  oil  that  ap- 
proached the  modem  style.  We  have  by  this 
artist  a  fine  plate  after  Giovanni  Bellini,  repre- 
senting '  St.  John  the  Baptist  holding  a  Cup.'  It 
is  deserving  of  remark  that  this  print  is  engraved 
in  a  peculiar  maimer  for  the  time.  The  back- 
ground is  expressed  by  dots,  apparently  executed 
with  a  punch,  and  the  outline  of  the  figure  is  put 
in  with  a  deeply-engraved  stroke,  and  finished 
within  with  dots.  The  execution  of  this  plate 
affords  a  reasonable  presumption  that  this  style  of 
engraving,  known  as  opus  mallei,  which  has  been 
generally  considered  of  modern  date,  is  of  soma 
antiquity.  Among  other  plates  may  be  mentioned 
'Ganymede,'  engraved  in  the  manner  of  Marc- 
Antonio,  and  two  others  executed  with  extra- 
ordinary minuteness  and  care,  viz., '  An  aged  Shep- 
herd, reclining,  holding  a  flute,'  and  '  The  Astrolo- 
ger '  (1509).  Another  specimen,  executed  with  the 
dry  point,  represents  a  nude  female  reclining  on  a 
bank  beneath  some  foliage,  and  recalls  the  style 


Campagnola 


PAINTERS  AND  ENGRAVERS. 


Campi 


of  Giorgione.  Bartsch  and  Passavant  together 
enumerate  sixteen  engravings  by  Giulio  Campag- 
nola, most  of  which  are  from  the  designs  of  the 
great  masters  of  the  Venetian  school,  especially 
Giovanni  Bellini  and  Giorgione.  This  artist  has 
been  the  subject  of  much  discussion,  and  some 
acrimonious  controversy.  See  Zani's  '  Enciclopedia,' 
part  I.  vol.  v.,  Ottley's  'Inquiry  into  the  Origin 
and  Early  History  of  Engraving,'  Passavant's 
'  Peintre-Graveur,'  v.  162—167,  and  Galichon's  Life 
of  him  published  in  1862. 

CAMPAGNOLA,  J.  J.,  is  thought  by  Passavant 
to  be  the  name  of  the  master  by  whom  we  have 
two  engravings  marked  7.  /.  CA.  They  represent 
'  The  Nativity '  and  '  St.  Ottilia,'  the  latter,  which 
is  somewhat  in  the  style  of  Benedetto  Montagna, 
having  the  monogram  reversed.  He  flourished 
early  in  the  16th  century,  and  was  possibly  of  the 
same  family  as  Domenico  and  Giulio  Campagnola  ; 
but  while  they  belonged  to  the  Venetian  school,  his 
style  is  that  of  the  school  of  Padua  as  formed  by 
Mantegna.  The '  Nativity '  was  ascribed  by  Bartsch 
to  Giulio  Campagnola,  and  by  Ottley  to  Girolamo, 
the  father  of  Giulio,  whom  Vasari,  apparently  in 
error,  calls  a,  painter,  whereas  he  was  an  author, 
whom  later  writers  have  still  further  confounded 
with  the  sculptor,  Girolamo  Campagna  of  Verona. 

CAMPALASTRO,  Lodovico,  was  a  painter  of 
Ferrara,  in  which  city  there  are  several  of  his 
works:  in  the  church  of  San  Crispino,  'The  Na- 
tivity,' '  The  Repose  in  Egypt,'  and  '  The  Adoration 
of  the  Magi ; '  and  in  San  Lorenzo,  '  St.  Francis  of 
Assisi.' 

CAMPANA,  Pedro.  See  De  Kempeneer,  Pibter. 

CAMP  ANA,  PiETBO,  an  Italian  engraver,  was 
born  at  Soria  in  1727.  He  learned  the  use  of  the 
graver  from  Eocco  Pozzi,  and  lived  the  greater 
part  of  his  life  at  Rome  and  Venice.  He  died  in 
1765.     We  have  the  following  prints  by  him : 

St.  Francis  of  Paola ;  after  Seb.  Conca. 

St.  Peter  delivered  from  Prison ;  after  Mat.  Preti. 

Portrait  of  Pietro  da  Cortona ;  from  a  picture  in  the 

Florence  Gallery. 
Portrait  of  Bernardino  Barbatelli,  called  Poccetti. 

CAMPANA,  ToMMASO,  was  a  Bolognese  painter 
who  flourished  between  1620  and  1640.  He  was 
originally  a  pupil  of  the  Carracci,  but  afterwards 
followed  the  style  of  Guide  Reni.  In  the  church 
of  San  Michele  in  Bosco,  at  Bologna,  are  two 
paintings  by  him  representing  scenes  from  the  life 
of  St.  Cecilia. 

CAMPANELLA,  Agostino,  was  a  native  of 
Florence,  who  flourished  about  the  year  1770.  He 
engraved  several  plates  representing  historical  and 
Biblical  subjects.  They  are  executed  with  the 
graver  in  a  neat  style,  but  the  drawing  is  not  very 
correct. 

CAMPANELLA,  Anqblo,  born  at  Rome  about 
■the  year  1748,  was  a  painter  and  engraver,  and 
studied  art  under  Volpato.  He  engraved  the 
statues  of  the  twelve  apostles  which  are  in  the 
church  of  St.  John  Lateran ;  and  some  of  the 
plates  for  Gavin  Hamilton's  '  Sohola  Italioa,'  one  of 
which  is  '  The  Presentation  in  the  Temple,'  after 
Fra  Bartolommeo.  He  died  about  the  year  1815. 
Others  of  his  engravings  are ; 

Christ  with  the  Disciples  at  Emmaus ;  after  Eaphael. 
The  Massacre  of  the  Innocents ;  after  the  same. 
Psyche  and  Oupid ;  after  the  same. 

CAMPBELL,  J.,  was  probably  a  native  of  Scot- 
land.    He  flourished  about  the  year  1754,  and  en- 


graved a  few  plates  after  Rembrandt,  in  which  he 
imitated  the  style  of  that  master  with  considerable 
success. 

CAMPER,  Petrus,  born  at  Leyden  in  1722,  was 
a  celebrated  professor  of  anatomy  and  surgery,  and 
an  amateur  painter.  He  succeeded  in  copying  the 
works  of  Carlo  Lotti  and  other  Italian  masters,  as 
also  those  of  Honthorst.  He  took  lessons  from 
Karel  de  Moor,  and  produced  some  cabinet  pictures 
in  the  manner  of  that  master;  but  most  of  his 
productions  have  the  marks  of  imitation  rather 
than  originality.  He  published  a  work  very  useful 
to  young  students  in  painting.  He  produced  also 
a  few  etchings,  and  displayed  a  good  deal  of  talent 
in  the  application  of  his  knowledge  of  drawing  to 
the  purposes  of  his  profession.  He  died  at  the 
Hague  in  1789. 

CAMPHUYSEN,  Dirk  Raphaelsz,  who  was  bom 
atGorcum  in  1586,  is  recorded  as  a  painter  of  land- 
scapes with  wild  animals,  ruins,  and  cottage  in- 
teriors. Yet  some  authorities  say  that  he  never 
practised  the  art  of  painting,  and  that  works  cata- 
logued as  his  are  by  his  son  Govaert  Camphuysen. 
Two  moon-light  subjects,  in  the  style  of  Van  der 
Neer,  in  the  Dresden  Gallery,  signed  R.  Camp- 
huysen, are  given  in  the  catalogue  to  Dirk 
Raphaelsz :  but  it  is  more  probable  that  they  are 
by  the  hand  of  Raphael  Camphuysen,  a  brother 
of  Dirk,  who  was  born  in  1598.  Dirk  Camphuysen 
died  at  Dokkum  in  1627. 

CAMPHUYSEN,  Govaert,  who  was  born  at 
Gorcum  in  1624,  made  a  citizen  of  Amsterdam  in 
1650,  and  died  in  that  city  in  1674,  was  an  animal 
painter,  whose  style  was  influenced  by  Paul  us 
Potter.  A  painting  in  the  Dulwich  Gallery  of 
'  Peasants  with  cows  before  a  cottage,'  with  a 
forged  signature  of  Paulus  Potter,  is  attributed 
to  Camphuysen ;  in  the  Rotterdam  Museum  is  a 
picture  of  '  Peasants  before  an  Inn,'  signed  G. 
Camphuijsen  ;  the  Brussels  Gallery  has  an  '  In- 
terior of  a  Farm,'  signed  with  his  name  and  dated 
1650 ;  and  a  painting  of  '  Peasants  and  Cattle 
before  an  Inn '  in  the  Cassel  Gallery  is  also  attri- 
buted to  him.  In  the  Hermitage,  St.  Petersburg, 
are  two  Interiors  of  Cow-sheds,  both  bearing  his 
signature.  Govaert  Camphuysen's  works  are 
scarce ;  probably  some  of  them  are  known  as 
paintings  by  Paulus  Potter ;  and  others  are  attri- 
buted to  liis  father,  Dirk  Raphaelsz. 

CAMPI,  Cavaliere  Antonio,  the  son  of  Gale- 
azzo  Campi,  was  born  prior  to  1636.  He  was 
an  architect,  sculptor,  painter,  and  engraver.  He 
received  his  first  instructions  JErom  his  father,  and 
then  entered  his  brother  Giulio's  workshop.  He 
followed  the  style  of  Correggio,  and  painted  several 
frescoes  and  pictures  for  the  churches  of  Milan 
and  Cremona,  some  of  which  have  been  engraved 
by  Piccioni  and  Agostino  Carracci.  He  and  his 
brother  Vincenzo  Campi  went  to  Spain  in  1583, 
and  painted  for  Philip  II.  at  the  Escorial.  He  also 
wrote  a  'History  of  Cremona,'  for  which  he  en- 
graved the  topographical  plan.  He  died  about 
1591.  A  '  St.  Jerome '  painted  by  him  for  Philip 
II.  is  in  the  Madrid  Gallery,  and  in  the  Brera  at 
Milan  is  a  '  Madonna  and  Child,'  which  was  formerly 
in  Santa  Barbara  in  that  city. 

CAMPI,  Bernardino,  was  born  at  Cremona  in 
1522,  and  was  probably  a  member  of  the  Campi 
family,  whose  works  are  often  met  with  in  the 
churches  of  Lombardy.  He  was  intended  for  the 
profession  of  a  goldsmith,  but  on  seeing  the  copies 
of  two  of  the  tapestries  designed  by  Raphael,  which 

221 


Campi 


A  BIOGRAPHICAL  DICTIONARY  OF 


Campiou 


had  been  copied  by  Giiilio  Campi,  be  determined  to 
change  his  pursuit,  and  to  study  painting  under  his 
relative.  He  remained  with  Giulio  some  time,  but 
afterwards  went  to  Mantua,  where  he  frequented 
the  school  of  Ippolito  Costa.  Before  he  had 
reached  bis  twentieth  year  be  had  already  exhibited 
considerable  pre-eminence  in  art.  He  studied  the 
works  of  Giulio  Romano,  Titian,  Correggio,  and 
Raphael,  and  aimed  at  combining  the  individual  ex- 
cellences of  those  masters  in  a  style  of  his  own. 
His  great  work  in  the  cupola  of  San  Sigismondo 
bears  evident  trace  of  his  having  greatly  profited 
by  his  acquaintance  with  the  works  of  Correggio. 
He  has  here  represented  the  assemblage  of  the 
saints  and  blessed  of  the  Old  and  New  Testament, 
each  with  their  appropriate  symbols.  This  work 
is  of  stupendous  dimensions,  and  though  the 
figures  are  seven  braocia  in  height,  such  is  his 
judicious  management  of  the  point  of  view  that 
they  only  appear  to  be  the  size  of  nature.  He 
completed  this  great  work  in  the  surprisingly  short 
period  of  seven  months.  Other  examples  of  his 
work  are  to  be  seen  at  Milan,  Pavia,  and  Piacenza. 
In  1684  he  published  a  work  on  painting.  He 
had  several  pupils,  among  whom  was  Sofonisba 
Anguisciola.  He  died  at  Reggio  about  1592,  and 
was 'buried  in  the  church  of  San  Prospero,  where 
he  left  some  unfinished  frescoes.  The  following  of 
his  paintings  are  preserved : 

Cremona,. S.Si</ismon^o.  St.  Cecilia;  St.  Catharine;  the 
Prophets  ;   Children  — frescoes 
{cupola  of  choir). 
„       S.  Domenico.      The  Nativity. 
Milan.      Brera.  Descent  from  the  Cross. 

Paris.       Louvre,  Mater  Dolorosa. 

CAMPI,  Galeazzo,  was  born  at  Cremona  about 
1475,  and  died  there  in  1538.  He  appears  to  have 
been  a  pupil  of  Boccaccino.  Paintings  by  him  are 
to  be  found  in  the  churches  of  San  Sigismondo,  San 
Sebastiano,  and  Sant'  Agata,  in  Cremona.  A  curi- 
ous painting  dated  by  him  1515,  and  representing 
'  The  Resurrection  of  Lazarus,'  with  Christ  and  the 
apostles  Peter  and  Paul  on  one  side  of  the  grave, 
whilst  Lazarus  the  beggar  with  two  dogs  stands 
on  the  other  side,  and  formerly  in  the  church  of 
San  Lazzaro,  Cremona,  is  now  in  the  possession 
of  Canon  Bignami,  at  Castel  Maggiore.  His  are 
also : 
Cremona.    Palazzo.       Christ  in  Benediction. 

„  Municipio.  Virgin    and    Child,    with    three 

Saints. 
Florence.     Gallery.       His  own  Portrait. 

CAMPI,  Giulio,  the  eldest  son  of  Galeazzo 
Campi,  was  born  at  Cremona  in  1500.  In  1522  he 
was  studying  under  Giulio  Romano  at  Mantua  as 
an  architect  and  modeller,  but  he  afterwards  studied 
painting  from  the  various  old  masters.  His  earliest 
work  in  Cremona  was  four  large  pictures  repre- 
senting '  The  Martyrdom  of  St.  Agatha,'  which 
are  in  the  church  of  Sant'  Agata.  He  next 
painted  for  the  high  altar  of  the  church  of  San 
Sigismondo,  outside  Cremona,  a  votive  altar-piece, 
representing  '  The  Virgin  and  Child,  with  Saints,' 
and  the  figures  of  Count  Francesco  Sforza  and 
Bianca  Maria  Visconti.  This  picture  has  been  en- 
graved by  Ghisi.  In  1627  he  painted  the  altar- 
piece  of  '  The  Virgin  and  Child,  with  SS.  Celsus  and 
Nazarus,'  for  the  church  of  Sant'  Abbondio.  This  is 
his  finest  work,  and  is  characterized  by  a  faithful 
rendering  of  the  colouring  of  the  Venetian  school. 
He  decorated  the  council-chamber  of  Brescia  with 
eight  large  frescoes  representing  '  The  Labours  of 

222 


Hercules,'  which  have  likewise  been  engraved  by 
Ghisi.  His  constant  aim  seems  to  have  been  to 
secure  a  free  handling  in  his  drawing,  a  principle 
he  learnt  from  Giulio  Romano,  and  to  combine 
with  it  the  feeling  of  Correggio  and  the  colouring 
of  Titian  and  Pordenone.  Milan,  Cremona,  and 
Mantua,  all  possess  paintings  by  him.  He  died  in 
1572.     Noticeable  among  his  works  are  : 

Cremona.  S.  Margherita.  Several  altar-pieces  and  frescoes. 

„       S.  Sigismondo.  Descent  from  the  Cross. 
Mantua.   S.  Girolamo.    The  frescoes  in  the  Cupola. 

CAMPI,  ViNCENZO,  the  third  son  of  Galeazzo 
Campi,  was  born  at  Cremona  before  1632,  and 
received  instruction  from  his  brother  Giulio.  He 
worked  constantly  in  conjunction  with  his  brothers, 
and  his  colouring  very  much  resembles  that  of 
those  artists,  but  his  design  was  much  poorer. 
One  of  his  best  performances  is  considered  tcr  be 
'  The  Descent  from  the  Cross,'  in  the  cathedral 
at  Cremona,  but  his  chief  merit  was  in  painting 
portraits  and  still-life.  In  1583  he  joined  his 
brother  Antonio  in  a  visit  to  Spain,  where  they 
both  worked  for  Philip  II.  at  the  Escorial.  His 
death  occurred  in  1591.  Two  pictures  by  him— 
one  a  Woman  with  fish,  the  other  a  Woman  with 
fruit — are  in  the  Brera  at  Milan. 

CAMPIDOGLIO,  II.   See  Pace,  Michelangelo. 

CAMPIGLIA,  Giovanni  Domenico,  an  Italian 
painter  and  engraver,  was  born  at  Lucca  in  1692. 
He  studied  at  Florence  under  Tommaso  Redi  and 
Lorenzo  del  Moro,  and  at  Bologna  attended  the 
school  of  Giosefilo  dal  Sole.  He  painted  some  his- 
torical subjects  at  Florence,  and  several  portraits, 
among  which  was  his  own,  which  is  placed  in  the 
Gallery.  He  particularly  excelled  in  drawing  after 
the  antique  marbles,  and  was  much  employed  at 
Rome  and  Florence  in  making  drawings  for  the 
engravers.  According  to  Nagler  he  died  in  1768. 
He  etched  several  plates  after  his  own  designs, 
and  among  others  the  following  portraits  of 
artists  : 

Giovanni  Domenico  Campiglia. 
Giovanni  I/orenzo  Bernini. 
Giulio  Komano. 
Salvator  Bosa. 
Leonardo  da  Yinci. 
Giovanni  Antonio  Bazzi. 

CAMPILIUS,  Beenahdino,  was  a  very  inferior 
follower  of  Lo  Spagna  at  Spoleto.  His  name  is 
written  beneath  a  fresco  of  '  The  Virgin  adoring  the 
Infant,'  on  the  Piazza  San  Gregorio,  at  Spoleto,  and 
bears  the  date  of  1502.  No  further  information 
can  be  given  of  his  birth  or  death. 

CAMPING,  Giovanni,  was  born  at  Camerino 
about  1690.  He  constitutes  a  remarkable,  if  not  a 
solitary,  instance  of  an  Italian  going  out  of  his 
own  country  to  study  painting.  Sandrart,  however, 
assures  us  that  he  went  to  Antwerp,  and  placed 
himself  under  Abraham  Janssens,  with  whom  he 
remained  some  years,  then  returned  to  Italy  and 
studied  the  works  of  Caravaggio,  whose  style  of 
painting  greatly  resembled  that  of  his  Flemish 
instructor.  He  painted  some  pictures  at  Rome 
with  sufficient  success  to  procure  him  an  invitation 
to  the  Spanish  Court,  where  he  was  employed  by 
the  king.     He  died  there  in  1650. 

CAMPION,  Charles  Michel,  a  French  amateur 
by  whom  we  have  several  plates,  was  born  at  Mar- 
seilles in  1734,  and  died  there  in  1784.  Some  of 
his  plates  are  executed  with  the  graver,  and  some 
are  etched  ;  amongst  them  are  the  following : 


Campion 


PAINTEES  AND  ENGRAVERS. 


Camuccini 


Aignan  Thomas  Desfriches ;  after  Cochin. 

Fran9ois  de  Regny  ;  after  the  same. 

Cardinal  Commaudon ;  C.  C. 

M.  de  St.  Amand ;  after  Mile.  Loir. 

Madame  de  Guillonville. 

The  Four  Seasons  ;  after  Desfriches. 

Views  of  the  Harboxir  and  Town  of  Antibes. 

View  of  Meung-sur-Loire. 

Views  on  the  banks  of  the  Loire. 

Views  on  the  banks  of  the  Loiret. 

CAMPION,  Charles  Philippe,  Abbe  de  Tersan, 
brother  of  Charles  Michel  Campion,  was  born  at 
Marseilles  in  1736.  He  engraved  several  portraits 
of  no  great  merit,  and  formed  a  large  collection 
of  books,  prints,  medals,  and  antiquities,  which 
were  sold  after  his  death,  which  occurred  at  Paris 
in  1819.  Among  his  engravings  may  be  mentioned 
two  portraits  of  Montesquieu,  and  those  of  N.  de 
Verri,  Sauveur-Morand,  Alexis  Clairaut,  the  mathe- 
matician, and  the  Cardinal  Prince  Louis  de  Rohan. 

CAMPION,  George  B.,  a  water-colour  land- 
scape painter,  was  one  of  the  earliest  members  of 
tlie  Institute  of  Water-Colour  Painters,  having 
been  elected  in-  1837,  and  was  a  frequent  con- 
tributor to  the  exhibitions  of  that  society.  '  Olden 
Times'  and  'Gathering  Orach,'  both  exhibited 
at  the  Institute  in  1869,  are  fair  specimens  of  his 
art.  He  was  for  some  time  drawing-master  at 
the  Military  Academy,  "Woolwich  ;  but  afterwards 
retired  to  Munich,  where  he  died  in  1870,  at  the 
age  of  74.  He  was  the  author  of  '  The  Adven- 
tures of  a  Chamois  Hunter,'  and  he  also  wrote 
some  notes  on  German  art  for  the  '  Art  Journal.' 

CAMPIONE,  IsiDORO  DA.     See  Bianchi. 

CAMPO,  Juan,  a  Spanish  painter,  was  born  of 
humble  parentage  at  Ita  in  1530.  After  enduring 
great  privation  he  journeyed  to  Toledo,  and  solicited 
permission  to  enter  the  studio  of  Francisco  de 
Comontes,  where  he  made  good  progress.  One  day 
Don  Geronirao  de  Corella,  who  had  been  appointed 
Bishop  of  Comayagua  in  Central  America,  visited 
the  studio  of  Comontes,  and  in  the  master's  absence 
was  received  by  the  pupil,  who  confidentially  told 
the  prelate  that  on  account  of  his  debts  he  should  be 
obliged  to  leave  the  country  or  go  to  prison.  The 
bishop  thereupon  offered  to  take  the  painter  with 
him  to  America  to  decorate  the  churches,  only  upon 
the  condition  that  he  should,  when  able,  pay  his 
debts.  Campo  left  Spain  in  1557,  and  appears  to 
have  painted  a  considerable  number  of  works, 
which  have  been  highly  praised  by  travellers,  but 
are  totally  unknown  in  Europe.  In  less  than 
twenty  years  he  had  paid  all  his  creditors  and 
acquired  a  small  fortune,  with  which  he  was  about 
to  return  to  his  native  country,  when  he  was 
attacked  by  sudden  illness,  from  which  he  died. 
His  early  works,  which  may  be  seen  in  Spain,  are 
imaginative  in  design,  but  weak  in  colour. 

CAMPOLARGO,  Pedeo  de,  was  a  Spanish  painter 
of  some  repute  in  Seville  in  1660,  whose  engrav- 
ings are  held  in  higher  estimation  than  are  his 
paintings. 

CAMPOLO,  Placido,  according  to  Hackert,  in 
his  '  Memorie  de'  Piltori  Messinesi,'  was  born  at 
Messina  in  1693.  He  studied  at  Rome  under 
Sebastiano  Conca,  where  he  was  more  indebted  for 
his  advancement  to  his  designs  from  the  antique 
marbles,  and  his  contemplation  of  the  works  of 
Raphael,  than  to  the  precepts  of  his  instructor. 
On  his  return-  to  Sicily  he  distinguished  himself  as 
a  historical  painter,  particularly  in  fresco.  One 
of  his  principal  works  is  the  ceiling  of  the  Galleria 
del  Senato,  at  Messina,  which  is  admired  for  the 


ingenuity  of  the  composition  and  the  correctness 
of  the  design.  He  died  of  the  plague  in  the  fatal 
year  1743. 

CAMPROBIN,  Pedro  de,  was  a  Spanish  painter 
of  animals,  fruit,  and  flowers,  who  flourished  at 
Seville  about  1660.  His  flower-pieces  are  to  be 
seen  in  several  churches  in  Andalusia  ;  those  which 
he  considered  his  best  are  signed  Pedro  de  Camp- 
robin  Pasano  fecit. 

CAMRADT,  JoHAN  Ludviq,  who  was  born  at 
Copenhagen  in  1779,  and  died  at  Hillerod  in  1849, 
painted  fl'ower-pieoes. 

CAMUCCINI,  ViNCENZo,  a  historical  painter, 
was  born  at  Rome  in  1773.  He  received  his  first 
instruction  from  his  brother  Pietro,  who  was  a  re- 
storer of  pictures,  and  also  from  Borubelli,  an 
engraver  of  moderate  ability ;  but  he  afterwards 
became  a  pupil  of  Corvi,  and  for  some  years  devoted 
himself  to  the  study  of  Andrea  del  Sarto,  Raphael, 
Domeiiichino,  and  other  great  masters.  When 
twenty-four  years  of  age  he  produced  his  great 
picture  of  '  The  Death  of  C«sar,'  which  was  much 
admired.  Soon  afterwards,  the  ariival  at  Rome 
of  the  great  French  artist  David  excited  Camuc- 
cini's  emulation,  and  he  undertook  to  produce  a 
series  Of  pictures  on  subjects  taken  from  the 
history  of  ancient  Rome,  and  painted  in  the 
classic  manner.     Among  these  were  : 

Horatius  Codes. 

Eomulus  and  Eemus  {in  the  collection  of  Count  von 
Schonbom,  at  Jteichartshaztsen). 

The  Departure  of  Eegulus  for  Carthage. 

The  Continence  of  Scipio  {in  the  Palazzo  Eeale,  Naples). 

The  Death  of  Virginia.     (    „  „  „        „      ). 

The  Death  of  Csesar.         (    „  „  „        „      ). 

He  also  painted  : 
The  Incredulity  of  St.  Thomas  (in  mosaic,  in  St.  Peter's-, 

at  Home). 
The  Presentation  in  the  Temple  {in  San  Giovanni,  at 

Fiacenza;  esteemed  one  of  his  finest  works)  ^ 
The  Death  of  the  Magdalen. 

The  Entombment  {painted  for  Charles  IV.  of  Spain). 
The  Apparition  of  Christ  in  Limbo  {painted  in  1829 ybr 

the  Association  of  the  Patriotic  Friends  of  Art  of 

Prague). 
Mission  of  the  Benedictine  Monks  to  England.    1833. 
The  Conversion  of  St.  Paul  {a  colossal  picture  executed 

in  1834 /of  the  Basilica  of  San  Paolo  fuori  le  Mura 

at  £ome) . 

These  serious  subjects  he  diversified  with  a 
'Betrothal  of  Psyche,'  and,  jointly  with  Landi, 
he  painted,  in  fresco,  the  ceiling  of  the  Torlonia 
Palace.  As,  regards  composition  and  design, 
Camuccini  in  these  works  is  considered  by  his 
fellow-countrymen  to  have  been  entitled  to  stand 
in  comparison  with  the  great  masters  of  painting 
of  the  later  period  of  the  Revival ;  but  in  colouring- 
he  is  admitted  to  have  been  very  deficient.  As  a 
portrait  painter  he  attained  considerable  eminence  ; 
amongst  the  best  he  produced  are  those  of 

Pope  Pius  VII.  {now  in  the  Gallery  at  Vienna). 

The  Duke  de  Elacas,  Ambassador  from  France  at  Kome. 

The  King  of  Naples,  and  the  Queen  of  Naples. 

The  Countess  Schouvaloff,  and  the  Countess  von  Die- 
triohstein.    1829. 

Several  of  his  works  have  been  engraved  by 
Bettelini,  and  some  have  been  lithographed  by 
Scudellari,  and  published  under  the  title  of  'I  Fasti 
principali  della  Vita  di  Gesu  Cristo,'  with  text  in 
Italian  and  French,  at  Rome,  in  1829.  Camuccini 
was  appointed  inspector-general  of  the  Museums 
of  the  Pope,  and  of  the  Factory  of  Mosaics,  and 
director  of  the  Neapolitan  Academy  of  Rome.  He 
was  a  member  of    the  Institute  of  France,  ai  d 

223 


Can'.ulio 


A  BIOGRAPHICAL  DICTIONARY  OF 


during  some  years  president  of  the  Academy  of 
St.  Luke.  Pope  Pius  VII.  conferred  upon  him 
the  title  of  Baron,  with  hereditary  succession,  and 
the  Emperor  Fiancis  I.  the  order  of  the  Iron 
Crown.  He  died  at  Rome  in  1844.  But  it_  was 
not  merely  as  an  artist  that  Camuccini  was  distin- 
guished. Recognized  as  a  man  of  superior  taste, 
and  having  amassed  a  considerable  property,  he 
expended  no  small  portion  of  his  wealth  in  the 
purchase  of  a  fine  collection  of  pictures  and  other 
objects  of  art.  On  this  collection  coming  to  be 
sold,  in  1856,  the  greater  portion  of  the  pictures, 
upwards  of  seventy  in  number,  were  purchased  by 
the  Duke  of  Northumberland,  who  removed  them 
to  Alnwick  Castle.  Tliey  consist  principally  of 
the  works  of  the  Italian  masters  living  in  the 
16th  and  17th  centuries,  witli  some  specimens  of 
an  earlier  date,  and  a  few  others  of  the  Dutch 
and  Flemish  painters  of  the  17th  century.  One 
by  Raphael,  known  as  'The  Madonna  with  the 
Pink,'  is  the  most  noted  of  them. 

CAMULIO,  Baktolommeo  di,  flourished  at 
G-enoa  in  the  middle  of  the  14th  century.  A 
Madonna  painted  by  him,  in  the  year  1340,  is  in 
the  Palermo  Gallery. 

CAMUS.  See  Ddval  le  Camhs. 
CANAL,  Antonio,  commonly  called  Canalktto, 
was  born  at  Venice  in  1697.  He  was  the  pupil  of 
his  father,  Bernardo  Canal,  who  was  a  decorator  and 
scene  painter.  Antonio  first  confined  his  atten- 
tion to  theatrical  decorations,  but  in  1719  went 
to  Rome,  where  he  spent  some  time  in  drawing 
and  copying  the  antiquities  of  that  city  and  its 
vicinity.  Returning  to  his  birthplace,  he  exclus- 
ively occupied  himself  in  producing  views  of 
Venice,  which  for  their  great  truth  to  nature,  and 
for  their  extraordinary  effect,  perspective,  and 
colour,  met  with  an  immense  success,  and  are  still 
most  highly  esteemed.  The  figures  in  his  views 
are  almost  all  painted  by  Giovanni  Battista  Tie- 
polo.  In  1746  Canaletto  visited  London,  and  re- 
mained two  years,  during  which  time  he  painted 
many  of  its  most  striking  views.  It  is  com- 
monly thought  that  he  was  the  first  artist  who 
used  the  camera  lucida  for  his  pictures.  The  prin- 
cipal public  and  private  galleries  of  Europe  possess 
examples  by  this  master  ;  but  his  works  must  not 
be  confounded  with  those  of  his  nephew,  Bernardo 
Bellotto,  who  is  also  called  Canaletto.  His  finest 
works  are  at  Berlin,  Dresden,  London,  Munich, 
Paris,  and  Vienna.  Many  of  Antonio's  paintings 
have  been  engraved  by  Vioentino,  arid  he  himself 
has  etched  thirty-one  plates  of  '  Views  in  Venice.' 
His  death  occurred  in  that  city  in  1768.  The 
following  are  his  principal  works  : 
Bergamo.  Ac.  Carrara.   A  View  of  Venice. 

View  of  Santa  Maria  della  Salute, 
Venice. 

View    of    the    Doge's     Palace, 
Venice. 

View  of  the  Dogana,  Venice. 

Venetian  Scene. 

Views  in  Venice  {six). 

The  Ducal  Palace,  Venice. 

The  Eialto,  Venice. 
Fraultfort.  Stddel  Coll.    Venetian  Scenes. 

The  Colosseum  at  Borne. 

View  of  Northumberland  House. 

View  in  Venice. 
„  n  The  Grand  Canal,  Venice. 

..  ,,  The  Scuola  di  San  Eocco  [with 

figures  hy  Tiepolo). 
„  „  Eegatta  on  the  Grand  Canal. 

„  „  The  Piazzetta  of  St.  Mark,  Venice, 

from  the  Quay. 
224- 


Berlin. 


Gallery. 


Darmstadt.  Gallery. 
Dresden.  Gallery. 
Florence.       Uffizi. 


Hampton  Cfc.  Palace. 
tsleworth.  Sion  Souse. 
London.       Nat,  Gall. 


London.       Nat.  Gall. 


„  Soane  Mus. 

„  Montagv  Ho. 

„  Dudley  Ho. 

„      Devonshire  Ho. 

Modena.  Gall.  Estense. 

Munich.  Pinaliotheh. 

Naples.  Museum. 

Paris.  Louvre. 

Petersburg.  Hermitage. 


Eome.  Ac.  di  S.  Luca. 


Turin. 
Venice. 


Pinacoteea. 

Accademia. 

Museo  Correr. 


Vienna. 


■Windsor. 


Liechten- 1 

stein  Coll.  \ 

Castle. 


Cane 

Ducal  Palace  and  Column  of  St. 

Mark,  Venice. 
Eton  College.    1746. 
On  the  Caual  Eeggio,  Venice. 
San  Pietro  di  Castelli,,  Venice. 
View    on    the     Grand     Canal, 

Venice. 
View  of  Whitehall. 
View  in  Venice. 
View  in  Venice. 
A  Sea-port. 
Views  of  Venice. 
Twelve  Views  of  Venice. 
View  of  Santa  Maria  della  Salute, 

Venice. 
Eeception    of    Count   Gergi  at 

Venice. 
The  Marriage  of  the  Doge  with 

the  Adriatic. 
A  Scene. 
View  in  Venice. 
Portico  of  a  Palace. 
The  Grand  Canal,  Venice. 
Views  of  the  Schottenkirche. 

Views  in  Venice. 

View  on  the  Thames  (loohiug 
down  towards  St.  Paul's). 

„  „  View  on  the  Thames  (looking  up 

towards  Westminster). 

„  „  Views  in  Eome. 

CANALB,  Giuseppe,  an  Italian  designer  and 
engraver,  was  bom  at  Rome  in  1725.  He  was  in- 
structed in  engraving  by  Jacob  Frey,  and  also 
frequented  the  school  of  the  Cavaliere  Benefiale. 
In  1751  he  was  invited  to  Dresden  to  assist  in 
making  the  drawings  and  engraving  the  plates 
of  a  part  of  the  pictures  in  the  Gallery,  and  was 
appointed  engraver  to  the  Court.  He  died  in  1802. 
We  have  by  him  the  following  prints : 

POETEAITS. 
Maria  Mattia  Perini ;  after  M.  Benefiale. 
Maria  Antonia,  Electress  Dowager  of  Saxony ;  after  a 

dra^tying  hy  the  Princess  herself. 
Archbishop  Bonaventura  Barberini. 
Maria  Josephina,  Queen  of  Poland. 
Prince  Xavier  of  Saxony. 
The  sepulchral  Monument  of  Cardinal  Spinola. 

VARIOUS    SUBJECTS. 
The  Philosopher  ;  after  Spagnoletto. 
The  Glory  ;  after  Domenichino. 
A  Sibyl ;  after  Angelica  Eauffmann. 
Paris  and  CEuone  ;  after  Van  Loo. 
Adam  and  Eve  driven  from  Paradise  ;  after  Alham. 
Christ  and  St.  John  ;  after  Van  der  Werf. 
Christ  appearing  to  St.  Thomas ;  after  Mat.  Preti ;  this 

plate  was  finished  by  JSeauvarlet 
A  Turkish  Woman  ;  after  Dietrich. 
Spring  ;  after  the  same. 

CANALETTO.   See  Bellotto,  and  Canal. 

CANDERRON,  Beenardino,  was  a  Spaniard 
who,  assisted  by  Fray  Felipe  and  Alonso  Vazquez, 
painted  a  missal  enriched  with  miniatures  in  six 
volumes  for  the  cathedral  of  Toledo.  This  work 
he  executed  between  1514  and  1518  by  order  of 
Cardinal  Ximenes.  It  is  considered  the  most  beau- 
tiful woric  of  the  kind  ever  executed  in  Spain. 

CANDIDO,  Martino  di.     See  under  Tolmezzo. 

CANDIDO,  PiETEO,  (or  Pietek  Candid).  See 
De  Witte. 

CANE,  Caelo,  was  born  at  Gallarate,  a  small 
town  in  the  Milanese,  in  1618,  and  was  instructed 
by  Melchiore  Gilardini.  He  copied  the  works  of 
Morazzone  with  success,  and  became  a  historical 
painter  of  some  note,  particularly  in  fresco.  His 
best  works  are   '  St.   Ambrose '   and  '  St.  Hugo, 


Canella 


PAINTERS  AND  ENGEAVERS. 


Cano  de  Arevalo 


painted  in  fresco  in  the  Certosa  at  Padua.  He 
also  painted  landscapes  and  animals,  which  he 
touched  with  great  spirit.  He  died  at  Milan  in 
1688.  There  was  also  a  Carlo  Cane,  of  Trino, 
who  is  mentioned  by  Irico,  in  his  '  History  of 
Trino,'  as  having  painted  in  1600  two  altar-pieces 
for  the  Benedictine  abbey  of  Locedia. 

CANELLA,  Giuseppe,  who  was  born  at  Verona 
in  1788,  was  a  painter  of  architectural  scenes  and 
sea-pieces ;  he  worked  at  Milan,  and  died  at  Flor- 
ence in  1847.     Amongst  his  best  productions  are : 

Views  of  Paris  and  the  Boulevards. 

The  Cathedral  at  Milan, 

The  Harbour  at  Houfleur. 

The  Church  of  Santa  Croce  in  Florence. 

New  Street  in  Venice. 

View  of  a  Village — moonlight  (in  the  Brera,  Milan). 

CANERIO,  Anselmo,  was  a  Veronese  painter 
who  flourished  between  1560  and  1676,  and  pro- 
duced a  number  of  works  in  oil  and  in  fresco  at  So- 
ranzo,  Castelfranco,  Vicenza,  and  Verona.  He  was 
afoUower  of  Paolo  Veronese.  There  is  a  frieze  of 
his  to  be  seen  in  the  palace  of  Count  Murani,  and 
a  '  Pharaoh's  Daughter '  in  Signer  Eidolfi's  mansion 
— both  at  Verona. 

CANETI,  Francesco  Antonio,  an  Italian  minia- 
ture painter,  born  at  Cremona  in  1662,  was  a  pupil 
of  G.  B.  Natali.  He  afterwards  became  a  Capuchin 
monk,  and  died  in  1721. 

CANINI,  Giovanni  Angelo,  or  Giannangiolo, 
a  historical  painter,  was  horn  at  Rome  in  1617. 
He  was  first  the  pupil  of  Domenichino,  and  after- 
wards of  Barbalonga.  He  was  received  into  the 
Academy  of  Rome  in  1650,  and  was  eventually 
appointed  Court  painter  to  Queen  Christina  of 
Sweden,  for  whom  he  executed  some  considerable 
works.  Though  possessed  of  much  talent  as  an 
artist,  he  devoted  more  of  his  time  to  archaeology, 
and  published  two  works  on  that  subject.  There 
is  an  engraving  by  this  artist  of  Cardinal  Mazarin, 
touched  with  a  light  hand,  and  showing  much 
feeling  and  spirit.  Two  paintings  by  him  repre- 
senting the  martyrdoms  of  SS.  Stephen  and  Bar- 
tholomew are  in  the  church  of  San  Martino  ai 
Monti,  Rome.     He  died  in  Paris  in  1666. 

CANINI,  J.  B.  L.  MAES.     See  Maes  Canini. 

CANLASSI,  GniDO,  commonly  known  as  II 
Cagnacci,  a  surname  given  to  him  on  account  of 
his  deformity,  was  a  painter  of  the  Bolognese  school, 
born  at  Castel  San  Arcangelo,  near  Rimini,  in  1601. 
He  was  a  pupil  of  Guido  Reni,  whose  style  he 
imitated  in  a  somewhat  too  methodical  manner ; 
still  his  work  was  careful,  and  has  something  of 
his  master's  delicacy.  He  worked  at  Rimini  and 
Bologna,  but  did  not  execute  many  paintings  in 
Italy,  as  he  went  in  early  life  to.  the  Court  of  the 
Emperor  Leopold,  where  he  laboured  with  consider- 
able industry.  Beauvarlet,  Cunego,  Magalli,  and 
Prenner  have  engraved  after  his  works.  He  died 
at  Vienna  in  1681.  The  following  are  among  his 
extant  paintings : 

Lucretia. 

The  Penitent  Magdalen. 
Jupiter  and  Ganymede. 
The  Assumption  of  the  Magdalen. 
The  Magdalen. 
Mater  Dolorosa. 
St.  John  the  Baptist. 
The  Assumption  of  the  Magdalen. 
St.  Francis  Xavier. 
Tarquin  and  Lucretia. 
A  Sibyl. 

Death  of  Cleopatra. 
Q 


Cassel.  Gallery. 

Dresden.      Gallery. 
Florence.      Uffizi. 

„  Fitti  Pal. 

Munich.    Pinakothek. 

ri  » 

Pans.  Zofuvre. 

Petrsbrg.  Hermitage. 
Kaveuna.  S.  Girolamo. 
Home.  S.  Luca  Accad. 

„       Bcrghese  Pal. 
Vienna.       Belvedere. 


Vienna.  Belvedere.     Madonna  and  Child. 

„      Liechtenstein  Coll.      Jacob  and  Laban. 

CANO,  Alonso,  a  Spanish  painter,  architect,  and 
sculptor,  was  born  at  Granada  in  1601.  He  ac- 
quired the  knowledge  of  architecture  from  his 
father,  Miguel  Cano,  and  then  went  to  Seville, 
where  he  learned  sculpture  from  Juan  Martinez 
Montanez,  and  studied  painting  under  Pacheco  and 
Juan  del  Castillo.  In  1630  he  completed  the  altar- 
piece  which  his  father  had  commenced  at  Lebrija, 
where  his  statue  of  the  Virgin  and  Child  is  con- 
sidered a  masterpiece.  In  consequence  of  a 
quarrel  he  left  in  1637,  and  made  his  way  to 
Madrid,  where  he  was  employed  by  Count  Olivarez 
in  the  decorations  of  his  palace  ;  he  also  painted 
the  monument  for  the  Easter  Week  in  the  church 
of  St.  Giles,  .  and  the  triumphal  arch  erected  at 
the  solemn  entry  of  Maria  of  Austria  into  Madrid. 
In  1643  he  unsuccessfully  applied  for  the  post  of 
architect  to  the  cathedral  of  Toledo,  but  was  called 
upon  in  1650  to  direct  the  works  there.  In  that 
same  year  he  painted  for  the  church  of  Porta  Coeli 
in  Valencia  a  '  Nativity,'  '  Christ  scourged  at  the 
Pillar,'  and  a '  St.  John  the  Baptist.'  Although  since 
1647  steward  of  the  Brotherhood  of  Our  Lady  of 
Seven  Dolours  at  Madrid,  he  joined  a  religious 
order  in  Granada  Ln  1652,  in  order  to  devote  him- 
self more  entirely  to  his  art.  Although  he  had 
never  visited  Italy,  yet  his  style  had  a  noble,  clas- 
sical simplicity,  which  he  had  acquired  from  his 
careful  study  of  the  antiques  in  the  collection  of 
Count  Alcala  at  Seville.  His  sculptures  manifested 
a  strong  resemblance  by  their  energy  and  vigorous 
treatment  to  those  of  Michelangelo,  and  in  addi- 
tion a  most  extraordinary  grace  and  delicacy.  As 
a  painter  he  combined  clear  and  brilliant  colouring 
with  decision  in  drawing  and  great  power  of  ima- 
gination. He  died  at  Granada  in  1667.  Nearly 
all  the  churches  of  Granada  are  enriched  by  his 
paintings,  and  examples  may  be  found  in  many 
other  churches  of  Spain.  We  may  especially 
mention : 


Berlin. 

Gallery. 

Balaam. 

jj 

» 

St.  Agnes. 

Dresden. 

Gallery, 

St.  Paul. 

Granada. 

Cathedral. 

The  Virgin  in  Solitude. 

Madrid. 

Qallery. 

Madonna  in  Adoration. 

)» 

n 

The  Scourging  of  Christ. 

7) 

jj 

The  Dead  Christ. 

ij 

jt 

St.  Benedict  in  Meditation. 

n 

n 

St.  John  the  Evangelist. 

)j 

»» 

St.  Jerome. 

!' 

'■i^Stl^^^""^^^""- 

*, 

S.  Gines. 

Christ  seated  and  stripped. 

Malaga. 

Cathedral. 

The  Virgin  of  the  Eosary. 

Munich. 

Pinakothek 

.  St.  Anthony  of  Padua. 

Petrsbrg 

Sermitage 

Virgin  and  Child. 

jj 

3) 

Infant  Christ  and  St.  John. 

j» 

3t 

Apparition  of  Saints  to  a  Domin 

3, 

lean. 
Portrait  of  Alonso  Cano. 

Seville. 

Cathedral. 

The  Madonna  and  Child. 

)J 

Museum. 

Souls  in  Purgatory. 

CANO,  Joaquin  Josef,  a  Spanish  painter,  was 
born  at  Seville,  and  became  a  pupil  of  Domenico 
Martinez.  He  excelled  in  copying  the  works  of 
other  masters,  and  so  skilfully  imitated  the  '  Vir- 
gins '  of  Murillo  that  his  copies  may  be  mistaken 
for  the  originals.  He  was  secretary  of  the  School 
of  Design  at  Seville,  and  died  in  that  city  in  1784. 

CANO  DE  AREVALO,  Juan,  a  Spanish  painter  of 
fans,  was  born  at  Valdemoro  in  1656,  and  became 
a  scholar  of  Francisco  Camilo.     After  wasting 

225 


Canon. 


A  BIOGRAPHICAL  DICTIONARY  OF 


Cantarisi 


much  of  his  time  in  idle  company,  and  much  of 
his  energy  in  fencing,  by  secluding  himself  for  a 
whole  winter,  and  bringing  out  his  accumulated 
labours  in  the  spring,  he  succeeded  in  making  his 
beautifully-painted  fans  the  fashion,  as  newly- 
imported  French  ones.  The  discovery  of  the  trick 
did  not  destroy  their  well-earned  popularity,  and 
Cano  was  appointed  ahaniquero  (fan-maker)  to 
the  queen.  Although  his  chief  excellence  lay  in 
miniature  painting,  he  executed  some  larger  works  : 
several  in  distemper  for  the  chapel  of  the  Rosary 
in  the  church  of  his  native  town,  and  a  singular 
allegorical  piece,  painted  on  the  death  of  Queen 
Maria  Louisa,  representing  that  queen  as  a  winged 
spirit  surrounded  by  a  halo  of  rays,  each  contain- 
ing a  text  allusive  to  her  virtues.  It  was  hung 
like  a  canopy  over  the  coffin  within  the  grotesque 
catafalque  of  ChurriguerS.  It  was  engraved  by 
Gregorio  Fosman  for  the  work  of  Vera  Tassis, 
the  plate  bearing  Cano's  curious  monogram.  He 
also  assisted  a  brother  artist  in  some  altar-pieces 
for  the  Jesuits,  and  for  the  church  of  Santa  Maria 
at  Alcala.  He  was  treacherously  assassinated  in  a. 
duel  at  Madrid  in  1696. 

CANON,  PiEERE  Laurent,  a  French  miniature 
and  landscape  painter,  was  born  at  Caen  in  1787. 
He  exhibited  his  works  at  Lille  and  Douai,  but  in 
Paris  at  the  Salon  of  1831  only.  He  died  in  Paris 
in  1852. 

CANOT,  PiEHBB  Charles,  a  French  engraver, 
was  born  about  the  year  1710,  and  came  in  1740 
to  England,  where  he  resided  during  the  remainder 
of  his  life.  He  was  elected  an  Associate-Engraver 
of  the  Royal  Academy  in  1770,  and  died  at  Kent- 
ish Town,  near  London,  in  1777.  He  engraved  a 
great  number  of  landscapes,  sea-pieces,  and  other 
subjects,  many  of  which  have  great  merit.  Some 
of  his  best  prints  are  those  which  he  executed 
after  the  works  of  Richard  Paton.  Besides  these, 
the  following  are  his  most  esteemed  plates : 

A  Slight  Breeze  ;  after  Bahhuisen. 

A  Fresh  Breeze ;  after  W.  van  de  Yelde. 

A  Calm  ;  after  the  same. 

A  Storm  ;  after  the  same. 

Eeturning  from  Market ;  after  F.  de  Laer. 

The  Amorous  Toper ;  after  D.  Teniers. 

The  Dutch  Smokers ;  after  the  same. 

The  Dutch  Cottage ;  after  JPillement, 

Autumn ;  after  the  same. 

"Winter ;  after  the  same. 

A  Dutch  Merry-malnng ;  after  Ostade. 

Pyramus  and  Thisbe ;  after  L.  Bramer, 

The  Tempest ;  after  8.  de  Vliegher. 

An  Itahan  Landscape  ;  after  Oaspard  Faussin, 

A  Landscape ;  after  Claude  Lorrain. 

Sunrise,  a  marine ;  after  the  same. 

Two  Pastoral  Subjects ;  after  Rosa  da  Tivoli. 

Two  Views  of  'Westminster  Bridge  and  London  Bridge ; 

after  Scott. 
Seven  Fox-hunting  Subjects ;  after  Wootton. 

CANOVA,  Antonio,  the  celebrated  sculptor,  who 
was  also  a  painter,  was  born  at  Possagno,  near 
Bassano,  in  1757.  His  paintings  show  a  careful 
study  of  the  Venetian  masters,  and  are  slightly 
finished  as  to  their  general  colouring.  In  1798  he 
produced  'The  Dead  Christ,  with  St.  Mary,  St. 
Joseph,  and  Nicodemus,'  for  his  native  town.  The 
Museum  of  Nantes  has  a  picture  of  '  Godefroid  de 
Bouillon,'  presented  by  the  artist  to  M.  Caoault  in 
1803.     Canova  died  at  Venice  in  1822. 

CANOZZI,  Cristofceo,  the  brother  of  Lorenzo 
Canozzi,  was  born  at  Lendinara  about  1426.  His 
works  up  to  1477  are  mentioned  in  the  notice 
of  his  brother.     After  Lorenzo's  death  he  carried 

226 


on  business  partly  at  Parma  and  partly  at  Modena. 
He  was  the  author  of  a  panel  of  a  '  Virgin  and 
Child  '  in  the  Gallery  of  Modena,  signed  and  dated 
1482  :  in  the  same  Gallery  is  a  '  Cnioifixion,  with 
SS.  Jerome  and  Francis,'  that  may  be  attributed  to 
him.     The  date  of  his  death  is  uncertain. 

CANOZZI,  Lorenzo,  called  Lorenzo  da  Len- 
dinara, was  born  at  that  town  in  1425.  Both  he 
and  his  younger  brother  Cristoforo  were  painters 
mosaicists,  modellers  in  terra-cotta,  and  printers 
of  books.  They  flourished  at  Modena  and  Padua. 
Paciolo  declares  Lorenzo  to  have  been  a  complete 
master  of  perspective.  Between  the  years  1460 
and  1470  these  brothers  finished  the  carving  and 
inlaying  of  ninety  stalls  in  the  choir  of  the 
Santo,  Padua  ;  and  in  1465  they  executed  the  stalls 
in  the  choir  of  the  cathedral  of  Modena.  The 
first  mentioned,  with  four  exceptions,  all  perished 
by  fire  in  1749.  At  Modena  four  of  the  panels 
representing  the  Doctors  of  the  Church,  still  remain. 
Between  1472  and  1476  the  two  brothers  executed 
the  mosaics  of  the  presses  in  the  sacristy  of  the 
Santo,  Padua,  from  designs  by  Squarcione,  of 
whom  Lorenzo  at  least  was  a  pupil ;  these  have 
been  much  damaged  by  restorations.  Lorenzo  is 
also  thought  to  be  the  author  of  the  frescoes  of  SS. 
Jerome,  Ambrose,  Gregory,  and  Augustine  in  the 
Eremitani  Chapel  at  Padua.  His  death  occurred  in 
1477,  and  after  that  the  business  was  carried  on  by 
Cristoforo.  A  '  Madonna  and  Child '  in  the  Modena 
Gallery  bears  his  name,  and  the  date  1482. 

CANTA-GALLINA,  Remigio,  was  an  Italian 
designer  and  engraver,  born  at  Florence  in  1582. 
He  frequented  for  some  time  the  school  of  the 
Carracci,  though  he  does  not  appear  to  have 
distinguished  himself  as  a  painter.  He  was  in- 
structed in  engraving  by  Giulio  Parigi.  His  pen 
drawings  possess  great  merit,  and  are  highly 
esteemed.  We  have  a  number  of  plates  by  him 
of  landscapes,  theatrical  decorations,  and  triumphal 
entries.  This  artist  has  the  credit  of  having  been 
the  instructor  of  Callot  and  Stefano  della  Bella. 
He  died  at  Florence  about  1630.  His  mark  is  J 
and  the  following  are  his  principal  prints.       Srv 

Two  landscapes;  one  with  a  bridge,  the  other  with 

buildings ;  both  dated  1603. 
The  Immaculate  Conception ;  after  Callot. 
A  set  of  four  landscapes ;  dated  1609. 
A  set  of  six  landscapes. 
A  set  of  twelve  landscapes ;  octagon ;  marked  with  his 

cipher. 
A  set  of  six  landscapes ;  with  his  cipher ;  dated  1624. 
A  set  of  plates  of  the  Scenes  of  an  Opera ;  after  the 

designs  of  Giulio  Farigi. 
A  set  of  plates,  called  the  Palazzo  della  Fame ;  dated 

1608. 

CANTARINI,  SiMONE,  called  Simonb  da  Pesabo, 
or  II  Pesarese,  painter  and  engraver,  was  born  at 
Oropezza,  near  Pesaro,  in  1612.  He  was  instructed 
in  design  by  Giovanni  Giacomo  Pandolfi,  and  after- 
wards studied  under  Claudio  Ridolfi.  But  the  works 
of  Guide  Reni  were  at  that  time  so  much  the  objects 
of  admiration,  that,  although  he  had  gained  already 
no  little  celebrity  by  his  picture  of  'St.  Peter,' 
painted  for  a  chapel  at  Fano,  near  that  in  which  was 
placed  Guide's  picture  of  '  Christ  giving  the  Keys  to 
St.  Peter,'  he  resolved  to  become  a  student  in  the 
school  of  Guido,  where  he  remained  until  his  inso- 
lence and  malevolence,  not  only  to  his  instructor, 
but  to  Domeniohino  and  Albani,  obliged  him  to 
quit  Bologna,  and  seek  shelter  in  Rome,  where  he 
employed  some  time  in  studying  the  works  of 


Cantariui 


PAINTERS  AND  ENGRAVERS. 


Canuti 


Bologna. 

Pmacoteca, 

Dresden. 

Gallery. 

Fano. 

S.  Fietro. 

)j 

S.  Ignazio. 

Genoa. 

DurazzQ  Fal 

Madrid. 

Gallery, 

Milan. 

Brera. 

Modena. 

Museum. 

Munich. 

Pinakotkek. 

Paris. 


I/Mvre. 


Petrsbrg.  Semdtage. 


Borne. 


Corsini  Pal. 
Colonna  Pal. 


Raphael.  On  his  return  to  Bologna,  not  finding  a 
residence  there  agreeable  to  him,  he  went  to 
Mantua,  where  he  was  taken  into  the  service  of 
the  duke,  and  was  employed  to  paint  his  portrait. 
But  whether  he  had  not  been  accustomed  to  that 
branch  of  art,  or  from  some  other  cause,  he  was 
entirely  unsuccessful.  This  disappointment,  prey- 
ing on  a  disposition  naturally  morose  and  irritable, 
is  supposed  to  have  occasioned  his  death  at  Verona 
in  1648.  Baldinuoci  considers  Cantarini  as  another 
Guide ;  but  although  his  merit  is  undoubted,  and 
though  he  is  allowed  to  have  approached  nearer 
to  him  than  any  other  of  his  imitators,  he  has  little 
claim  to  originality  ;  and  for  all  that  we  admire  in 
his  best  works,  many  of  which  possess  great-beauty, 
he  is  evidently  indebted  to  his  great  model. 

The  following  are  his  principal  paintings  still 
extant : 

The  Assumption. 

The  Chastity  of  Joseph. 

Miracle  of  St.  Peter. 

St.  Thomas  of  Villanuova. 

The  Flight  into  Egypt. 

Holy  Family. 

Holy  Family. 

The  Transfiguration. 

Christ  at  Emmaus. 

Christ  appearing  to  theMagdalen. 

The  Incredulity  of  St.  Thomas. 

St.  Cecilia. 

Repose  of  the  Holy  Family  (St. 
Joseph  seated). 

Eepose  of  the  Holy  Family  (St. 

.foseph  sleeping). 
Holy  Family. 
Eepose  in  Egypt. 
His  own  Portrait. 
St.    Sebastian     and     the    Holy 

Women. 
Tarquia  and  Lucretia. 
„  „  Madonna  and  Child. 

As  an  engraver  the  etchings  of  Cantarini  are  in 
very  high  estimation.  They  are  very  masterly  and 
spirited  ;  but  in  thera  his  imitation  of  the  etchings 
of  Guido  is  even  more  apparent  than  in  his  paint- 
ings, and  it  would  not  be  easy  to  distinguish  them 
if  the  plates  by  Guido  did  not  show  a  superior 
marking  of  the  figure,  particularly  in  the  extremi- 
ties. There  are  about  thirty-seven  etchings  by  him 
known,  of  which  the  following  are  the  principal : 
Adam  and  Eve  eating  the  forbidden  Fruit. 
The  Bepose  in  Egypt;   falsely  marked  G.  Penus  in.  Sf 

fee. 
Another  Eepose  in  Egypt,  the  Head  of  tho  Virgin  in 

profile,  with  St.  Joseph  sitting  near  her. 
Another  Eepose  in  Egypt,  the  Head  of  the  Virgin  in 

front,  with  St.  Joseph  in  the  distance ;  very  fine. 
The  Holy  Family,  with  St.  John. 
Another  Holy  Family,  with  St.  John ;  marked  /S  C.  da 

Pesarefe. 
The  Virgin  Mary,  -with  a  Glory,  and  the  Infant  Jesus  ; 

marked  S.  G.  da  Pesarefe. 
The  Virgin,  with  the  Infant  Jesus  holding  a  Bird  by  a 

String. 
The  Virgin  sitting  in  the  Clouds,  with  the  Infant  Jesus. 
The  Virgin,  with  a  Glory,  crowned  by  two  Angels. 
Christ  bearing  His  Cross,  with  Joseph  of  Arimathea. 
St.  John  the  Baptist  in  the  "Wilderness,  holding  his 

Cross,  and  a  Cup. 
St.  John  in  the  AVilderness,  sitting  on  a  Stone. 
St.  Sebastian,  with  an  Angel  presenting  the  Palm  of 

Martyrdom. 
The  great  St.  Anthony  of  Padua  kneeling  before  the 

Infant  Jesus. 
The  little  St.  Anthony  of  Padua. 
St.  Benedict  curing  a  Demoniac;  after  Zod.  Carracci, 
The  Guardian  Angel  leading  a  Child. 
Jupiter,  Neptmie,  and  Pluto  doing  homage  to  Cardinal 
Q  2 


Vienna.    Belvedere. 


Borghese;    fine;    for  some  time  thought  to  be  by 

Guido. 
The  Bape  of  Europa ;  fine  and  scarce ;  marked  G.  Benus 

in.  etfec. 
Mercury  and  Argus ;  fine  and  scarce. 
Mars,  Venus,  and  Cupid ;  after  Paolo  Veronese. 
Venus  and  Adonis. 
Fortune,  represented  by  a  Female  with  her  foot  on  a 

globe ;  after  Guido  Seni ;  marked  O.  Renus  in.  etfec. 

CANTI,  Giovanni,  was  a  native  of  Parma,  and 
was  born  about  the  year  1650.  According  to 
Lanzi,  he  resided  chiefly  at  Mantua,  where  his 
battle-pieces  and  landscapes  were  much  sought 
after.  He  also  attempted  historical  subjects,  but 
never  rose  above  mediocrity,  and  seemed  to  imagine 
himself  able  to  make  up  for  every  other  requisite 
by  his  promptness  and  facility  of  execution.  He 
died  in  1716. 

CANTINI,  GiovACCHiNO,  an  engraver  of  note  in 
Florence,  and  one  of  Raphael  Morghen's  most  suc- 
cessful pupils,  was  born  about  1780,  and  died  about 
1844.     The  following  are  his  best  works : 

The  Virgin  and  Child,  with  St.  Sebastian  and  St. 
Anthony ;  after  Fra  Bartolommeo :  his  chef-d'oeuvre. 

The  Virgin  with  her  hands  folded ;  after  P.  JBatoni. 

The  Holy  Family;  after  Leonardo  da  Vinci,  for  the 
Mus^e  Napoleon. 

Judith  with  the  Head  of  Holofemes;  after  Allori; 
1802. 

St.  Peter  walking  on  the  Sea ;  after  Z.  Cigoli, 

Michelangelo  Buonarroti ;  after  Vasari. 

CANTOFOLI,  GiNEVEA,  a  lady  artist,  was  a 
native  of  Bologna,  and  Zani  says  that  she  was 
born  in  1618,  and  died  in  1672.  According  to 
Malvasia,  she  received  her  instructions  in  art  from 
Elisabetta  Sirani,  and  achieved  some  reputation  as 
a  historical  painter.  She  executed  several  works 
for  the  churches  of  her  native  city:  amongst  others 
the  following : 


S.  Procolo. 

S.  Giacomo  Maggiore. 

La  Morte. 


Bologna.    S.  Procolo.  The  Last  Supper. 

"      ■  St.    Thomas   of   Villa- 
nuova. 
St.  Apollonia. 

CANTON,  Feanz  Thomas,  an  Austrian  landscape 
painter  of  repute,  was  a  native  of  Udine.  He  was 
born  in  1677,  and  died  at  Vienna  in  1733. 

CANTON,  JoHANN  Gabriel,  who  was  born  at 
Vienna  in  1710,  studied  under  his  father,  Franz 
Thomas  Canton,  and  became  known  as  a  painter 
of  battles,  landscapes,  and  animals.  In  the  Belve- 
dere, Vienna,  is  a  'Landscape  with  peasants  dancing ' 
by  him.  He  painted  the  animals  in  the  landscapes 
of  Orient  and  the  battles  in  some  large  pictures  of 
Martin  von  Meytens,  and  died  at  Vienna  in  1 763. 

CANU,  Jean  Dominique  Etienne,  a  French 
engraver,  bom  in  Paris  in  1768,  was  a  pupil  of 
Delaunay.  He  engraved  the  series  of  '  Costumes 
des  troupes  fran9aises  de  1792  k  1816,'  many 
theatrical  and  other  portraits,  and  a  large  number 
of  plates  of  animals  and  plants  for  the  '  Description 
de  I'Egypte,'  Cuvier's  '  Iconologie  du  Regne 
animal,'  th«  'Museum  d'Histoire  naturelle,'  Du- 
perrey's  '  Voyage  autour  du  Monde,'  the  '  Flore 
des  Antilles,'  and  other  works.  The  date  of  his 
death  is  unknown. 

CANUTI,  DoMBNico  Mabia,  a  painter  and  etcher, 
was  born  at  Bologna  in  1620.  He  studied  art 
under  Guido  Reni,  and  subsequently  founded  a 
school  of  his  own  in  his  native  city.  He  went  to 
Rome,  and  remained  there  for  some  years,  and  also 
visited  Mantua  and  Padua.  He  is  the  painter  of 
the  frescoes  in  the  library  of  San  Michele  in  Bosco. 
His  best  frescoes  are  those  in  the  Palazzo  Pepoli  at 

527 


Cany 


A  BIOGRAPHICAL  DICTIONARY  OF 


Caplin 


Bologna,  in  the  ducal  palace  at  Mantua,  and  in  the 
Colonna  Palace  at  Rome.  His  paintings  exhibit 
much  imagination  and  skill  in  foreshortening,  and 
are  Bnished  in  the  style  of  Guido  Reni,  after  whose 
works  he  has  left  several  etchings  and  engravings. 
The  church  of  the  Olivetan  Fathers  at  Bologna 
possesses  a  very  fine  painting  by  him,  representing 
'The  Descent  from  the  Cross,'  with  a  moonlight 
efEect ;  and  in  the  church  of  San  Bernardino  in  the 
same  city  are  two  Madonnas  with  Saints  and  Angels 
by  him,  of  one  of  which  he  has  left  an  etching. 
In  the  Bologna  Gallery  is  a  'Death  of  St.  Bene- 
dict' painted  for  Santa  Margherita  in  that  city. 
He  died  at  Bologna  in  1684.  The  following  en- 
gravings are  by  him : 

Portrait  of  Lodovico  Carracci. 
„  Agostino  Carracci. 

„  Annibale  Carracci. 

The  Virgin  in  the  Clouds,  with  Christ  \  m  j .,  i  •. 

standing  by  her  side .  1*°**  from  his 

St.Eoch.  /     own  design. 

St.  Francis  praying;  after  Guido. 

CANY,  Jean  Baptistb  de,  a  French  historical 
painter,  is  known  only  by  a  'mai,'  representing 
'  The  Conversion  of  St.  Denis  at  Athens,'  which  he 
painted  in  1671  for  the  cathedral  of  Notre-Dame  at 
Paris. 

CAP  ANNA,  Pnocio,  was  a  Florentine  painter  of 
the  14th  century,  who  was  admitted  a  member  of 
the  Florentine  Guild  in  1350.  He  was  a  pupil  of 
Giotto,  and  enriched  with  frescoes  of  Scriptural 
subjects,  in  the  manner  of  his  master,  the  cities 
of  Florence,  Rimini,  Pistoja,  Bologna,  and  Assisi. 
There  are  some  pictures  of  the  Passion  on  the 
vaulting  of  the  Lower  Church  at  Assisi,  which  are 
attributed  to  him.  The  paintings  in  the  chapter- 
house of  S.  Francesco  at  Pistoja,  representing  scenes 
from  the  life  of  St.  Francis,  and  from  that  of  our 
Lord,  are  still  in  a  good  state  of  preservation:  some 
are  from  the  hand  of  Capanna,  who  died  at  Assisi. 
CAPDEBOS,  PlEERB  FkaN(J0is,  a  French  his- 
torical painter,  born  at  Perpignan  in  17^5,  was  a 
pupil  of  Berthon.  He  was  the  founder  of  the 
Museum  of  Perpignan,  inaugurated  in  1833,  and 
was  also  professor  of  drawing  in  the  free  school 
of  that  town.  He  died  in  Paris  in  1836. 
CAPELLA,  II.    See  Dagiu,  Francesco. 

CAPELLANI,  Antonio,  was  an  engraver,  and 
born  at  Venice  about  1730.  He  was  a  pupil  of 
Wagner,  and  engraved  several  plates  both  at  Rome 
and  Venice.  The  greater  part  of  the  portraits  in 
the  edition  of  Vasari,  published  by  Bottarini  at 
Rome  in  1760,  were  engraved  by  Capellani.  He 
also  engraved  several  of  the  plates  for  the  '  Schola 
Italicae  Picturse,'  under  the  direction  of  Gavin 
Hamilton.     The  following  are  his  principal  prints  : 

Portrait  of  Michelangelo  Buonarroti. 

The  Drawing  School ;  after  Som.  Maiotto. 

Diana  and  Endymion ;  after  the  same. 

Apollo  and  Daphne ;  after  the  same. 

The  Creation  of  Eve ;  after  Michelangelo. 

Adam  and  Eve  driven  from  Paradise ;  after  the  same. 

Marriage  of  St.  Catharine ;  after  Correggio. 

The  Repose  in  Egypt ;  after  Barocci.    1772. 

View  of  the  Portico  of  the  Villa  Albani ;  after  Panini. 

CAPELLE,  Jan  van  dee.  See  Van  dee  Cappelle. 

CAPELLI,  Francesco,  was  a  native  of  Sassuolo 
in  the  province  of  Modena,  and  was  educated  in  the 
school  of  Correggio.  He  flourished  about  1568.  In 
the  church  of  San  Sebastian  at  Sassuolo  is  an  altar- 
piece  of  the  '  Madonna  and  Child  in  Glory,  with 
attendant  Saints,'  which  is  executed  by  him  in  the 

228 


style  of  his  master,  and  bears  a  strong  resemblance 
to  a  picture  in  the  Dresden  Gallery,  which  is  also 
by  him.  He  was  also  called  Caccianemici,  but 
must  not  be  confounded  with  another  Francesco 
Caccianemici,  who  was  a  pupil  of  Primaticoio,  and 
lived  about  the  same  period. 

CAPELLI,  Giovanni  Antonio,  was  bom  at 
Brescia  in  1664.  He  was  first  instructed  by  Pom- 
peo  Ghiti ;  he  afterwards  visited  Bologna,  where 
he  studied  some  time  under  Lorenzo  Pasiuelli,  and 
finally  went  to  Rome,  where  he  frequented  tl.e 
school  of  Battista  Gaulli,  called  Baciccio.  He 
painted  historical  subjects,  and  his  works  in  fresco 
were  held  in  considerable  estimation ;  they  are 
chiefly  in  the  public  edifices  at  Brescia.  Zani  is  of 
opinion  that  he  was  born  in  1669  and  died  in  1741. 
CAPELLINI,  Gabeielb,  called  II  Caligarino, 
or  II  Calzolaeetto  (the  little  shoemaker),  from 
his  having  first  pursued  that  trade,  was  a  native 
of  Ferrara,  who  flourished  about  1520,  and  is  said  to 
have  been  induced  to  attempt  painting,  and  to  have 
become  a  scholar  of  Dosso  Dossi.from  having  been 
complimented  by  that  artist  on  the  elegant  shape  of 
his  shoes.  His  pictures  imitate  those  of  his  master 
so  skilfully  that  they  are  often  taken  for  those  of 
Dossi.  In  the  church  of  San  Francesco  at  Ferrara 
is  a  picture  by  him  of  '  St.  Peter  and  St.  James,' 
and  in  San  Giovannino  the  principal  altar-piece, 
representing  '  The  Virgin  and  Infant,  with  several 
Saints,'  is  by  him. 

CAPELLINO,  Giovanni  Domenioo,  was  bom  at 
Genoa  in  1580,  and  studied  painting  under  Giovanni 
Battista  Paggi,  of  whose  manner  he  was  a  success- 
ful imitator.  His  style  is  less  noble  than  that  of 
his  master,  but  he  possessed  other  qualities  of  the 
art  that  render  his  works  interesting,  as  is  evident 
in  his  '  Death  of  St.  Francis '  in  San  Niccolo  at 
Genoa,  and  his  'St.  Francesca  Romana'  in  San 
Stefano.     He  died  in  1651. 

CAPET,  Maeie  Gabeielle,  a  French  painter 
of  portraits  in  oil,  water-colours,  and  miniature, 
was  born  of  humble  parentage  at  Lyons  in  1761, 
and  became  a  pupil  of  Madame  Vincent.  She  ex- 
hibited first  in  1781,  and  from  that  time  onwards 
produced  a  large  number  of  portraits,  of  which  the 
best  known  are  those  of  Mesdames  Adelaide  and 
Victoire,  Madame  Vincent  surrounded  by  her  pupils, 
Mile.  Mars,  and  Houdon  the  sculptor.  Mile,  Capet 
died  in  Paris  in  1818. 

CAPITELLI,  Beenaedino,  was  a  painter  and 
etcher   who   was    born    at   Siena  in   1589.      He 
became  a  pupil  of  A.  Casolani,  and  then  of  E. 
Manetti,  and  between  the  years  1622  and  1637  was 
actively  engaged  in  his  profession,  both  at  Rome 
and   at  Siena.      His    etchings,  though  somewhat 
hard  and  deficient  in  harmony  of  tone,  are  distin- 
guished by  careful  drawing.      He  died  in  1639. 
Amongst  his  etchings  may  be  mentioned : 
Portrait  of  Alessandro  Casolani ;  £.  Capitelli fecit, 
St.  Anthony  of  Padua  ;  B.  CapiteUi  fee.    1637. 
Marriage  of  St.  Catharine ;  after  Correggio. 
The  Kepose  in  Egypt,  a  night  scene ;  after  Eutilio  Ma- 
netti. 
Lot  and  his  Daughters ;  after  the  same. 
Ceres  drinking  in  the  Cottage  of  the  old  'Woman.    The 
same  subject  which  Count  Govdt  engraved  after  Ms- 
heimer. 
A  set  of  twelve  plates  of  the  Life  of  St.  Bernard  of 

Siena. 
A  set  of  friezes  and  hassi-rilievi,  among  which  is  the 
Aldobrandini  Marriage  from  an  antique  paintmg. 

CAPLIN,  Jean  FEANgois  IsiDOBE,a  French  topo- 
graphical engraver,  was  bom  in  Paris  in  1779.    B.f 


Capodoro 


PAINTERS  AND  ENGRAVERS. 


Caprioli 


was  a  pupil  of  Blondeau,  and  exhibited  at  the  Sa- 
lon of  1827  a  drawing  of  '  St.  John's,  Newfound- 
land.' He  also  engraved  a  number  of  maps  for 
the  D^p6t  de  la  Marine.  The  date  of  his  death  is 
not  known. 

CAPODORO.     See  Paganini. 

CAPOLONGO,  Antonio,  was  a  Neapolitan  painter 
who  flourished  about  the  year  1580.  He  was 
a  pupil  of  Giovaimi  Bernardo  della  Lama,  and, 
according  to  Dominici,  painted  the  principal  altar- 
piece  for 'The  church  of  San  Diego,  Naples,  repre- 
senting 'The  Immaculate  Conception, with SS.  Fran- 
cis of  Assisi  and  Anthony  of  Padua.'  The  church  of 
San  Niccol6,  in  the  same  city,  possesses  a  '  Madonna 
and  Child  in  a  Glory  of  Angels,  with  attendant 
Saints,'  by  this  artist. 

CAPON,  William,  the  son  of  an  artist,  was  bom 
at  Norwich  in  1757,  and  in  early  life  practised  as  a 
portrait  painter.  He  went  to  London  and  was 
employed  on  the  decorations  of  Ranelagh  Gardens 
and  the  Italian  Opera-house.  He  was  afterwards 
employed  by  John  Kemble  as  scene  painter  for 
Drury  Lane  Theatre,  which  was  rebuilt  in  1794. 
In  after  years  he  became  celebrated  as  an  archi- 
tectural draughtsman  ;  and  occasionally  exhibited 
at  the  Royal  Academy.  He  died  at  Westminster 
in  1827. 

CAPONIBUS,  Rapfaellino  de.    See  Capponi. 

CAPOKALI,  Bartolommeo,  was  an  inferior 
painter  of  Perugia,  who  flourished  there  towards 
the  close  of  the  fifteenth  century  ;  he  painted  from 
1472  to  1499.  A '  Madonna  and  Saints '  done  by  him 
in  1487,  for  the  church  of  Santa  Maria  Maddalena 
at  Castiglione  del  Lago,  is  still  preserved  in  that 
town,  and  is  thought  by  Messrs.  Crowe  and  Caval- 
caselle  to  be  the  only  specimen  of  his  skill  that  has 
any  claims  to  authenticity. 

CAPORALI,  Giovanni  Battista,  called  also 
Bitti,  a  diminutive  of  his  Christian  name,  by 
Vasari,  who  names  him  erroneously  Benedetto,  was 
the  son  of  Bartolommeo  Caporali,  and  was  born  at 
Perugia  about  1476,  and  died  about  1560.  He  was 
the  scholar  and  imitator  of  Perugino,  and  also 
an-^  architect,  and  built  a  palace  near  Cortona 
for  Cardinal  Silvio  Passerini,  which  he  likewise 
decorated  with  frescoes,  in  the  execution  of  which 
he  was  aided  by  Tommaso  Barnabei,  better  known 
as  Maso  Papacello.  His  paintings  exhibit  a  bold- 
ness and  freedom  of  style,  and  occasionally  are 
finished  after  the  manner  of  Signorelli,  and  are 
deservedly  esteemed.  Many  of  the  churches  in 
Perugia  and  its  neighbourhood  possess  works  by 
Caporali.  Other  examples  may  be  found  as  under : 
Cortona.    VUla  Fasse- )  ^^^^^  classic  Scenes. 

Eome.     S.    Croce    in  IThe   Eternal    Father  in    Glory 
Gerusalemme.  j     surrounded  by  Saints. 
„  „  The  Crucifixion. 

Panicale.      Cathedral.     The  Nativity. 

„  S.  Salvatore.  Christ    between    SS.  John   the 

Baptist  and  Peter. 

CAPPELLA,  SoiPiONE,  an  Italian  historical 
painter,  was  a  pupil  of  Solimena.  He  lived  in 
the  18th  century,  and  copied  his  master's  paintings 
with  such  success  that  when  retouched  by  the 
latter  they  passed  for  originals. 

CAPPELLE,  Jan  van  der.  See  Van  ber 
Cappelle. 

CAPPELLI,  CAPPELLINI,  CAPPELLINO. 
See  Capelli,  &c. 

CAPPELN,  Hermann  Auqitst,  was  a  painter 
born  It  Skien  in  Norway  in  1827.     He  went  to 


Diisseldorf,  where  ne  studied  under  Gude.  There 
is  a  capital  mountain  landscape  by  him,  in  the 
Christiania  Gallery,  the  scene  of  which  he  took 
from  the  neighbourhood  of  Tlielemark.  His  paint- 
ings were  characterized  by  breadth  and  originality, 
combined  with  much  poetical  feeling.  He  died 
at  Diisseldorf  in  1852. 

CAPPONI,  Raffaellino  (di  Bartolommeo), 
called,  from  the  melancholy  sweetness  by  which 
his  pictures  were  distinguished,  Raffaellino  del 
Garbo  (and  also  variously  known  as  '  Rafiaellino 
de  Caponibus,' ■' R.  de  Florentia,'  'R.  de  Carolis,' 
and  '  B.  Karli '),  was  a  Florentine  painter  who  is 
stated  to  have  been  born  in  1476.  He  was  a  dis- 
ciple of  Filippino  Lippi,  whom  he  soon  surpassed, 
and  for  some  time  he  gave  promise  of  extraordin- 
ary ability.  He  accompanied  Filippino  to  Rome, 
where  he  was  employed  in  the  Cappella  della  Mi- 
nerva, and  painted  in  the  vault  some  beautiful 
angels,  which  were  more  admired  than  the  prin- 
cipal work  by  his  master.  On  his  return  to  Flor- 
ence, he  painted  for  the  church  of  Monte  Oliveto  a 
picture  of  '  The  Resurrection,'  in  which  the  grace- 
ful heads,  the  characteristic  expression  of  the 
numerous  figures,  and  the  beauty  of  the  colouring 
exceeded  any  production  of  the  time.  Another 
fine  picture,  painted  in  the  early  part  of  his  life,  is 
in  the  monastery  of  San  Salvi,  and  is  highly  com- 
mended by  Moreni  in  his  'Notizie  istoriche  dei 
Contorni  di  Firenze.'  He  is  the  author  of  a  ■'  Virgin 
and  Child '  between  SS.  Francis  and  Zenobius  and 
two  kneeling  patrons,  which  is  signed  and  dated 
1500,  and  is  now  in  the  Hospital  of  Santa  Maria 
Nuova,  in  Florence.  Messrs.  Crowe  and  Cava!- 
caselle  have  also  assigned  to  this  artist  an  allar- 
piece  in  the  church  of  San  Spirito,  Florence,  repre- 
senting 'The  Virgin  and  Child,  with  four  Saints, 
and  Satan  bound  ; '  also  altar-pieces  in  Santa  Maria 
degli  Angeli  of  Siena,  and  an  altar-piece  to  be  seen 
in  the  Academy  of  Pisa.  Rosini  has  given  a  print 
of  'The  Resurrection  of  Christ,'  from  the  picture  in 
the  Academy  at  Florence  (plate  104),  and  it  justifies 
the  praise  bestowed  upon  the  painter,  but  contains 
only  seven  figures.  'The  cares  of  a  large  family 
eventually  proved  fatal  to  the  growing  reputation 
of  Capponi,  causing  him  to  sink  into  a  state  of  list- 
lessness  and  apathy,  so  that  his  later  productions 
were  extremely  feeble.  He  is  said  to  have  died  at 
Florence  in  great  poverty  in  1524,  but  the  dates 
of  both  his  birth  and  death  are  perhaps  open  to 
question.  The  following  is  a  list  of  his  best  extant 
paintings : 

Berlin.        Gallery.        Virgin  between  two  draped  Angels. 

^'°"""-/«lT««.}TheMir^leoftheLoaves-i^..s.. 

„  „  The  Annunciation. 

„  „  St.  Koch. 

„  „  St.  Ignatias. 

„  S.  Spirito.  The  Trinity  adored  by  SS.  Cath- 
arine and  Mary  Magdalene. 

„  „  Virgin  surrounded  by  Saints.  1505. 

„  S.  Lorenzo,  The  Nativity. 

„  Academy.  The  Resurrection. 

Paris.  Lmivre.  Coronation  of  the  Virgin. 

CAPPTjCINO.     See  Galantini,  and  Sthozzi. 

CAPRIOLI,  Alipbando,  was  a  Florentine  en- 
graver who  worked  at  Rome  somewhere  about 
1580,  producing  portraits  and  historical  subjects 
in  the  style  of  Agostino  Carracci. 

CAPRIOLI,  DoMENico,  was  a  painter  bom  at 
Treviso  in  1495.  He  produced  portraits  in  the 
style  of  Giorgione,  which  were  well  conceived,  and 

229 


Capurro 


A  BIOGBAPHICAL  DICTIONARY  OF 


Carbonc 


rendered  in  a  skilful  manner.  There  ia  a  fine  por- 
trait by  him  in  the  Pinakothek  at  Munich.  His 
monogram  was  a  deer. 

CAPUEBO,  Fbanoesco,  was  born  at  Genoa,  and 
was  a  scholar  of  Domenico  Piasella.  On  leaving 
that  master  he  went  to  Naples  and  Rome,  where 
he  attached  himself  to  the  works  of  Spagnoletto, 
whose  strong  and  vigorous  style  was  then  admired. 
He  was  employed  some  time  at  the  Court  of  Mo- 
dena,  and,  according  to  Soprani,  died  at  Genoa,  in 
the  prime  of  life,  of  a  malignant  fever.  He  flour- 
ished about  1690. 

CAQUET,  Jean  Gabriel,  a  French  engraver,  was 
born  in  Paris  in  1749.  He  engraved  '  L'Innocence 
en  Danger,'  after  Lavreince,  '  La  Soiree  du  Palais- 
Royal,'  and  illustrations  to  the  '  Contes '  of  La  Fon- 
taine, after  desig-ns  by  Fragonard.  He  died  in 
Paris  in  1802. 

CABABAHEL  (or  Cababajal).    See  Caebahal. 

CARACCI.     See  Carracci. 

CARACCIOLO,  Giovanni  Battista,  commonly 
known  as  Battistello,  a  Neapolitan  painter,  was 
born  in  1580.  He  studied  under  F.  Imparato  and 
Caravaggio,  devoting  himself  later  to  the  style 
of  the  frescoes  by  Annibale  Carracci  in  the  Far- 
nese  Palace,  Rome:  he  generally  painted  in  the 
manner  of  Annibale  Carracci,  but  his  pictures 
were  at  the  same  time  tinged  with  much  of  the 
influence  of  the  naturalistic  tendency  of  his  con- 
temporary Spagnoletto.  He  died  at  Naples  in 
1641.  Among  the  works  which  he  painted  for  the 
churches  of  Naples  were  the  following : 

Naples.  S.  Martina.       Mary    Magdalene  anointing   the 
Feet  of  Christ. 

„      'y.f«.™*»«1st.CeciUa. 

„      S.  Niccolb.         St.  Anthony  of  Padua. 
„      S.  Anna  de'  \  The  Assumption. 

Lembardi.    J  Death  of  the  Virgin. 
„     .S.  Agnelh.         St.  Charles. 

CARAFFE,  Armand  Charles,  a  French  his- 
torical painter,  who  also  etched,  was  born  in  Paris 
in  1762.  He  was  a  pupil  of  Lagren^e  and  of 
David.  He  visited  Rome,  and  subsequently 
tra'^elled  in  Turkey  ;  but  at  the  outbreak  of  the 
Revolution  he  returned  to  France,  and  became  so 
active  a  member  of  the  club  of  the  Jacobins  that 
he  was  imprisoned  from  1794  to  1797.  He  ex- 
hibited in  1799  a  picture  of  '  Hope  supporting 
Misfortune  to  the  Grave,'  which  was  much  praised, 
and  in  the  following  year  one  of  '  Love,  abandoned 
by  Youth  and  the  Graces,  consoling  himself  on  the 
bosom  of  Friendship,'  which  was  purchased  by 
the  wife  of  the  First  Consul.  In  1802  he  quitted 
France  for  an  appointment  at  the  Court  of  St. 
Petersburg,  where  he  remained  until  1812,  and 
painted  for  Prince  Yusupov  '  The  Oath  of  the 
Horatii.'  He  eventually  returned  to  Paris,  and 
died  in  that  city  in  1822. 

CAEAGLIO,  Giovanni  Jacopo,  (or  Caralius, 
or  as  below,)  an  Italian  designer  and  engraver, 
was  born  at  Parma  in  1498  or  1500,  and  was  a 
pupil  of  Marc  Antonio  Raimondi.  His  drawing 
is  very  correct;  he  gave  a  fine  expression  to  his 
heads,  and  his  extremities  are  marked  in  a  mas- 
terly manner.  Caraglio  holds  an  eminent  rank 
among  the  engravers  of  his  country.  He  was 
much  employed  in  the  engraving  of  gems,  and 
executed  several  medals,  by  which  he  gained  great 
reputation  at  the  court  of  Sigismund,  King  of 
Poland.  He  flourished  as  an  engraver  on  copper 
from  1526  to  1651.     In  the  latter  part  of  his  life 

230 


he  returned  to  Italy,  and,  after  working  for  a  time 
at  Verona,  settled  on  his  own  estate  near  Parma, 
where  he  died  about  1570.  He  is  also  called 
Jacobus  Parmbnsis,  and  Jacobus  Veeonensis, 
which  names  he  sometimes  inscribed  on  his 
plates. 

The  following  are  the  best  of  the  sixty-nine 
plates  he  is  known  to  have  left : 

A  Battle,  with  the  Shield  and  Lance ;  after  Raphael, 

Alexander  and  Koxana  ;  after  the  same,       ^ 

Diogenes ;  after  Farmigiano. 

Martyrdom  of  SS.  Peter  and  Paul ;  after  the  same. 

Portrait  of  Pietro  Aretino ;  after  the  same. 

Marriage  of  the  Virgin  ;  after  the  same. 

The  Virgin  and  Infant,  under  an  Orange  Tree ;  Jacobus 

Veronensis. 
The  Virgin  kneeling,  with  the  Infant  and  St.  Ann. 
The  Holy  Family ;  after  Raphael ;  the  same  subject  as 

the  fine  print  by  Bdelinck. 
Another    Holy    Family,    with   St.    Elizabeth;    after 

Raphael. 
The  Annimciation ;  after  Titian. 
The  Punishment  of  Tantalus ;  after  the  same. 
The  Rape  of  Ganymede ;  after  Michelangelo. 
An  Anatomical  Figure,  holding  a  Skull ;  after  Rosso, 
Hercules  piercing  with  his  Arrows  the  Centaur  Nessus; 

after  the  same. 
Hercules  slaying  Cacns  ;  after  the  same. 
Nymphs  and  Young  Men  in  a  Garden ;  after  the  same. 
Twenty,  of  Divinities  with  their  Attributes,  in  niches ; 

after  the  same. 
Twenty,  of  the  Metamorphoses  of  the  Gods ;  after  Rosso 

and  Perino  del  Vaga. 
The  Triumph  of  the  Muses  over  the  Pierides;  after 

Ferino  del  Yaga.     1553. 
The  Death  of  Meleager ;  after  the  same. 
The  Creation  ;  after  the  sayne  ;  semi-circular. 
The  Rape  of  the  Sabines ;  after  Rosso  ;  unfinished. 
The  School  of  an  Ancient  Philosopher, 

CAEAVAGGIO,  Michel  Angiolo  da.  See 
Ameeigi. 

CARAVAGGIO,  Polidoro  da.     See  Caldaea. 

CARAVAQUE,  Louis,  a  French  portrait  painter, 
was  a  native  of  Gasoony.  He  went  to  Russia,  and 
in  1716  painted  at  Astrakhan  the  portrait  of  Peter 
the  Great,  which  has  been  engraved  by  Massard 
and  by  Langlois.  He  again  painted  the  Czar  in 
1723,  and  subsequently  the  Empresses  Anne  and 
Elizabeth.     He  died  in  Eussia  in  1752. 

CAEAVOGLIA,  Bartolommeo,  was  a  native  of 
Piedmont,  and  flourished  about  1673.  He  is  said 
to  have  been  a  scholar  of  Guercino,  but  Lanzi 
doubts  this,  observing  that  his  lights  are  less  lucid 
and  his  shadows  less  deep  than  those  of  the 
genuine  followers  of  that  master.  Notwithstand- 
ing this  fault,  his  pictures  please  by  their  quiet 
colour  and  their  originality  in  design.  His  best 
painting  is  the  'Last  Supper,'  in  the  church  of 
Corpus  Domini,  Turin. 

CAEBAHAL,  Luis  db,  (Caeabahel,  or  Caba- 
bajal,) a  Spanish  painter,  was  born  at  Toledo 
in  1534,  and  died  at  Madrid  in  1613.  He  was 
a  pupil  of  Juan  de  Villoldo,  and  was  appointed 
court  painter  to  Philip  II.  in  1556.  He  executed 
numerous  paintings  in  the  Escorial  which  show 
firm  drawing,  good  colouring,  and  great  power  of 
religious  expression.  His  best  performance  is  the 
high  altar-piece  in  the  church  of  the  Minimi  at 
Toledo,  painted  in  1591.  A  'Circumcision  of 
Christ'  by  him  is  in  the  Hermitage,  St.  Peters- 
burg, and  in  the  Madrid  Gallery  are  a  '  Penitent 
Magdalen'  and  a  '  St.  Nicholas  of  Tolentino.' 

CARBONE,  LuiGi,  a  Neapolitan  landscape 
painter,  who  flourished  about  1660,  was  a  native 
of  Marcianisi.     He  went  to  Rome,  and  aftei^tudy- 


Carboni 


PAINTERS  AND  ENGEAVERS. 


Cardoa 


ing  under  Paulus  Bi-il,  visited  Venice,  and  finally 
settled  at  Naples.  His  landscapes  usually  portray 
scenes  of  storm  and  flood,  and  the  figures  in  them 
are  particularly  charming. 

CARBONI,  Fbancesco,  was  a  Bolognese,  and 
the  pupil  of  Alessandro  Tiarini.  He  afterwards 
showed  himself  an  admirer  of  Guido,  and  imitated 
the  graceful  and  elegant  style  of  that  master.  He 
died  in  1635.    Among  his  works  are  noted : 

Bologna.  S.  Martina  \  Crucifixion,  with  St.  Theresa  and 
Maggiore.  J      other  Saints. 
iS.  Pooh.        The  Entombment  of  Christ. 
Servite  fathers.lhe  Decollation  of  St.  John  the 
Baptist. 

CARBONI,  Giovanni  Bernardo,  a  native  of 
Albaro,  near  Genoa,  was  bom  in  1614.  He  be- 
came a  scholar  of  Giovanni  Andrea  de'  Ferrari, 
and  obtained  a  great  reputation  in  his  day,  both 
as  an  historical  and  portrait  painter.  In  the  latter 
branch  it  is  said  that  he  painted  much  in  the 
manner  of  Van  Dyck.     He  died  at  Genoa  in  1683. 

CARDENAS.  BARTOLOMi  de,  was,  according  to 
Palomino,  a  native  of  Portugal,  born  in  1647,  who 
when  very  young  went  to  Madrid,  where  he  be- 
came the  pupil  of  Alonso  Sanchez  Coello,  and 
achieved  a  deservedly  high  reputation.  He 
painted  the  greater  portion  of  the  cloisters  of  the 
convent  of  Nuestra  Senora  de  Atocha,  at  Madrid. 
In  the  latter  period  of  his  life  he  went  to  Valla-. 
dolid,  where  he  painted  many  altar-pieces,  and 
decorated  the  cloisters  of  the  convent  of  San 
Pablo.     He  died  at  Valladolid  in  1606. 

CARDENAS,  Fray  Ignacio  de,  was  a  Spanish 
engraver,  who  executed,  about  1662,  the  arms  of 
the  families  of  Cordoba  and  Figueroa,  and  some 
prints  of  sacred  images  revered  in  Cordova. 

CARDENAS,  Juan  de,  was  the  son  and  pupil  of 
Bartolom6  de  Cardenas.  He  flourished  at  Valla- 
dolid about  1630,  and  distinguished  himself  in 
painting  landscapes  as  well  as  fruit  and  flowers. 

CARDI,  LoDovico,  called  Cigoli,  an  eminent 
painter  of  the  Florentine  school,  was  born  at 
Cigoli,  in  Tuscany,  in  1559.  He  was  first  a 
scholar  of  Alessandro  Allori,  but  was  afterwards 
instructed  by  Santo  di  Titi,  whose  academy  was 
then  the  most  attended  at  Florence.  He  was, 
however,  more  indebted  to  his  study  of  the 
works  of  Michelangelo,  Andrea  del  Sarto,  and 
Pontormo  than  to  either  of  his  masters.  After  tra- 
velling through  Lombardy,  he  returned  to  Florence, 
and  was  received  into  the  Academy ;  his  picture  of 
reception  was  'Cain  slaying  Abel.'  He  was  em- 
ployed by  the  Grand-Duke  in  some  works  for  the 
Pitti  Palace,  where  he  painted  '  Venus  and  a 
Satyr,'  and  '  The  Sacrifice  of  Isaac'  His  protector 
sent  him  to  Rome,  where  he  was  engaged  to  paint 
a  picture  for  St.  Peter's,  the  subject  being  '  St. 
Peter  healing  the  Lame  Man  at  the  Beautiful  Gate 
of  the  Temple.'  This  admirable  picture  has  been 
considered  by  many  as  one  of  the  finest  works  in 
the  Vatican,  after  Raphael's  '  Transfiguration,'  and 
Domenichino's  'Communion  of  St.  Jerome.' 

Lodovico  Cardi  died  at  Rome  in  1613.  He 
painted  many  easel  pictures  of  saints  (more  espe- 
cially St.  Francis  of  Assisi),  hermits,  and  Magda- 
lens  at  devotion,  which  are  remarkable  for  their 
expression  of  fervour,  contrition,  and  asceticism, 
and  are  generally  wrought  up  to  a  high  degree  of 
finish. 

The  following  galleries  and  churches  possess 
paintings  by  Cigoli : 


Empoli. 

Collegiata. 

The  Last  Supper. 

if 

8.  Croce. 

Elevation  of  the  Cross. 

Florence.  Accademia. 

St.  Mary  Magdalene. 

ji 

if 

Ecce  Homo. 

w 

It 

St.  Francis  receiving  the  Stig- 
mata. 

„ 

S.Maria  Mag- 

I St.  Albert. 

giore. 

}) 

S.  Croce. 

The  Trinity. 

J> 

» 

The  Entry  into  Jerusalem. 

•n 

TTfflzi. 

Martyrdom  of  St.  Lawrence. 

a 

it 

Martyrdom  of  St.  Stephen. 

St.  Francis. 

11 

jj 

The  Magdalen. 

jj 

His  own  Portrait. 

J) 

pitti  Pal. 

Deposition  of  the  Cross. 

») 

Ecce  Homo. 

)j 

J, 

Virgin  and  Child. 

Portrait  of  a  Man. 

Madrid. 

Gallery. 

The  Magdalene. 

Munich 

PinakotheJc. 

St.  Francis. 

Paris. 

Louvre. 

The  Flight  into  Egypt. 

St.  Francis  of  Assisi. 

Petsbrg.  Sermitage 

David. 

11 

» 

Tobias  and  the  Angel. 

Rome. 

Borghese  Pal. 

St.  Francis. 

Corsini  Pal. 

A  Concert. 

» 

S.  Peter's. 

St.  Peter  healing  the  Lame  Man 

S.  Giovanni  de 
Fiorentini. 

St.  Jerome. 

11 

8.  Paolo  fmr 
le  Mura. 

Conversion  of  St.  Paul. 

Vienna 

Belvedere. 

The  Dead  Christ. 

j> 

>» 

The  Trinity. 

Cigoli's  pictures  are   occasionally  signed  with 
the  following  monogram : 


L 


CARDISCO,  Marco,  better  known  as  Maroo 
Calabeese,  was  born  in  Calabria  about  1486. 
He  is  said  to  have  been  a  pupil  of  Polidoro  da 
Caravaggio,  but,  judging  from  his  paintings, 
would  seem  to  have  formed  his  style  upon  that 
of  Andrea  da  Salerno.  He  passed  the  greater 
portion  of  his  life  in  Naples,  in  which  city  and  its 
neighbourhood  many  examples  of  his  painting  can 
be  found.  Dominici  has  given  a  particular  account 
of  his  productions.  He  died  about  1542.  Some 
of  his  paintings  are : 

Naples.       Museum.      St.  Augustine  disputing  with  tha 
Heretics. 
„  S.PietroadAram.'Desoea.t  from  the  Cross. 
„         „  n     -A  Pieta,  with  SS.  Peter  and  Paul. 

CARDON,  Antoine,  an  engraver,  was  born  at 
Brussels  in  1772.  He  was  the  son  of  Antoine 
Alexandre  Joseph  Cardon,  and  was  instructed  in 
art  by  his  father.  During  the  troubles  in  the 
Low  Countries  in  1792,  he  took  refuge  in  Eng- 
land, and  brought  with  him  an  introduction  to  Mr. 
Colnaghi,  who  discerned  the  rising  talent  of  the 
young  artist,  and  gave  him  immediate  employ- 
ment. He  had  risen  to  a  deservedly  high  rank 
in  public  estimation  when  he  fell  a  victim  to  a 
too  assiduous  application  to  his  profession.  His 
death  took  place  in  London  in  1813.  Amongst 
his  numerous  plates,  chiefly  executed  in  stipple, 
may  be  mentioned : 

The  Presentation  of  Catharine  of  France  to  Henry  V. 

of  England ;  after  Stothaxd. 
Salvator  Mundi ;  after  Carlo  Bold. 
The  Woman  taken  in  Adultery ;  after  Rubens. 
Plates  of  the  Indian  Campaign  against  Tippoo  Sahib. 
The  Battle  of  Alexandria ;  o/<er  Loutheriamry. 
The  Battle  of  Maida ;  after  the  same. 
The  Storming  of  Seringapatam ;  after  Singleton, 
Portrait  of  Madame  Bicamier ;  after  Cosway, 

231 


Cardon 


A  BIOGRAPHICAL  DICTIONAEY  OF 


Carlevariis 


CARDON,  Antoinb  Alexandbb  Joseph,  a  painter 
and  engraver,  was  born  at  Brussels  in  1739.  He 
acquired  his  knowledge  of  painting  at  Vienna, 
under  the  tuition  of  H.-  de  La  Pegna,  and  was 
afterwards  enabled  to  visit  Rome,  where  he  worked 
for  three  years.  After  that  he  went  to  Naples,  ■ 
where  he  laid  aside  the  brush  for  the  graver, 
and  was  employed  on  the  plates  for  Hamilton's 
'  Etruscan  Antiquities.'  He  died  at  Brussels  in 
1822.     Amongst  his  prints  may  be  noticed : 

Portrait  of  George,  Prince  of  Wales.     1766. 

Portrait  of  the  Chevalier  Yerhulst. 

Le  Bain  Rustique ;  after  A.  Watteau. 

La  Signature  du  Contrat  de  la  Noce  de  Village ;  after 
the  same.     His  principal  work. 

CARDONNEL,  Anthony  de,  who  flourished 
about  the  year  1790,  etched  several  plates,  repre- 
senting ancient  buildings  in  Scotland. 

CAKDUCCI,  Bartolommeo,  (or,  as  he  was  called 
in  Spain,  Cabducho,)  was  born  at  Florence  in  1560, 
and  was  brought  up  in  the  school  of  Federigo 
Zucoaro.  He  assisted  that  master  in  the  great 
cupola  at  Florence  ;  and  whilst  he  was  yet  very 
young,  painted  for  the  church  of  the  Jesuits  two 
pictures,  representing  the  Immaculate  Conception 
and  the  Nativity.  When  Zucoaro  was  invited  by 
Philip  II.  to  the  court  of  Madrid,  he  prevailed  on 
Carducci  to  accompany  him,  and  he  assisted  in  the 
great  works  that  master  executed  in  the  Escorial. 
In  conjunction  with  Pellegrino  Tibaldi,  Carducci 
piiinted  the  famous  library  ;  the  former  did  the 
ceiling,  the  latter  the  walls,  with  allegories  of  the 
Sciences.  A  great  portion  of  the  fresco  paintings 
ill  the  cloister  of  the  Escorial  are  by  this  master, 
and  were  so  much  admired  by  the  king,  that  he 
rewarded  him  with  two  hundred  ducats,  independ- 
ent of  his  salary.  His  principal  work,  and  that 
which  above  all  others  established  his  reputation 
in  Spain,  was  tlie  '  Descent  from  the  Cross,'  in  the 
Church  of  San  Felipe  el  Real,  at  Madrid.  After 
the  death  of  Philip  II.,  Carducci  continued  some 
years  in  the  service  of  his  successor,  Philip  III., 
by  whom  he  was  engaged  to  paint  a  gallery  in  the 
palace  of  the  Pardo.  The  subject  was  to  have 
been  the  principal  events  in  the  life  of  Charles  V. 
It  was  begun  by  Carducci,  but  he  died  before  he 
had  made  any  great  progress  in  the  work,  in  1608. 
He  was  also  an  architect  and  sculptor. 

CARDUCCI,  VlNCENZO,  (or  Carduoho,)  the 
younger  brother  of  Bartolommeo  Carducci,  was 
born  at  Florence  in  1568.  He  was  taken  by  his 
brother  to  Madrid  in  1585,  "  at  so  tender  an  age 
that  he  grew  up  with  very  faint  recollections  of 
Italy,  and  learned  to  speak  and  write  Castilian  like 
his  own  mother  tongue."  He  was  instructed  in 
painting  by  his  brother  Bartolommeo,  whom 
Vinceiizo  succeeded  in  1609,  as  painter  to  the 
king,  and  Philip  III.  engaged  him  to  finish  the 
gallery  in  the  palace  of  the  Pardo,  which  had  been 
begun  by  his  brother.  Instead  of  the  life  of 
Charles  V.  he  adopted  the  history  of  Achilles,  and 
finished  the  work  to  the  entire  satisfaction  of  his 
patron.  Pie  was  also  made  court  painter  to 
Philip  IV.,  his  successor,  by  whom  he  was  em- 
ployed in  many  considerable  works.  His  pictures 
are  to  be  seen  in  all  the  cities  of  Castile,  in  Sala- 
manca, Toledo,  Segovia,  and  Valladolid.  In  1626, 
he  entered  into  an  agreement  to  paint,  for  the  Car- 
thusian Monastery  at  Paular,  fifty-four  large  pic- 
tures in  four  years,  but  some  of  them  bear  date  1632. 
These  works  are  now  in  the  National  Museum  at 
Madrid  ;  they  represent  scenes  from  the  Life  of  St. 

232 


Bruno,  and  the  history  of  his  order.  His  works  in  the 
churches  of  Madrid  are,  the  Great  Chapel  in  the  Con- 
vent of  La  Encarnacion ;  in  the  Convent  Del  Rosario, 
the  '  Angel  instructing  Joseph  in  his  dream  to  fly 
into  Egypt,'  and  'St.  Anthony  of  Padua';  in  the 
Refectory  of  the  Franciscans,  'St.  John  preafhing.' 
His  last  picture  was  a  '  St.  Jerome,'  in  the  Church 
of  Alcala  de  Henares,  which  he  did  not  live  to  finish, 
as  appears  by  the  inscription :  Vincencius  Carducho 
hie  vitam  non  opusfinU  1638.  His  death  occurred 
at  Madrid  in  tliat  year.  He  was  the  author  of 
'  Dialogos  de  las  excelencias  de  la  Pintura,'  printed 
at  Madrid  in  1633,  which  Cean  Bermudez  pro- 
nounces to  be  the  best  work  on  the  subject  in  the 
Castilian  language.  Cean  Bermudez  possessed  two 
etchings  by  Carducci — the  'Death  of  Abel,'  and  a 
'Penitsnt  Saint.'  Vincenzo  Carducci  strenuously 
opposed  the  then  prevalent  tax  on  paintings,  and 
obtained  in  1633  a  royal  decree  for  its  remission 
when  artists  sold  their  own  works,  and  four  years 
later  succeeded  in  causing  its  total  abolition.  The 
following  pictures  by  him  are  in  the  Madrid  Gallery : 
Battle  of  Florus.  "J  j,         ^    pj       ^ 

Scenes  from  the  Life  of  the  Virgin. 
St.  Bruno. 

CARDUCHO.     See  Carducci. 

CARESME,  Philippe,  a  French  historical  painter, 
was  born  in  Paris  in  1734.  He  was  doubtless  a 
pupil  of  Charles  Antoine  Coypel,  and  was  admitted 
into  the  Academy  whilst  still  young,  but  expelled 
eight  years  later  in  consequence  of  misconduct  in 
some  pecuniary  transaction.  In  1781,  when  a 
royalist,  he  composed  an  allegorical  design  in 
commemoration  of  the  birth  of  the  Dauphin,  and 
in  1794,  after  he  had  become  an  ardent  republican, 
he  presented  to  the  Commune  of  Paris  a  drawing 
representing  Joseph  Chalier,  the  tyrant  of  Lyons, 
going  to  execution :  both  of  these  have  been  en- 
graved. He  also  painted  a  large  picture  of  the 
'  Nativity  of  the  Virgin '  for  the  Cathedral  of 
Bayonne.  Caresme  died  in  Paris  in  1796.  There 
are  in  the  Nantes  Museum  a  '  Holy  Family,'  and  in 
the  Bordeaux  Museum  a  sketch  of  '  Bathers,'  dated 
1780.  He  engraved  after  his  own  designs, 'The 
Execution  of  the  Marquis  de  Favras,  February  19th, 
1790,'  and  '  The  Market-Women  going  to  Versailles 
to  compel  the  King  to  return  to  Paris,  Oct.  5th, 
1789.' 

CARIANI,  Giovanni  Bust.    See  Bnsi  Cariani. 

CARL  XV.,  King  of  Sweden  and  Norway. 
See  Charles. 

CARL,  Adolf,  was  a  landscape  painter  of 
Altona,  born  in  1813.  He  began  to  learn  painting 
as  a  student  at  Munich,  but  afterwards  joined  the 
school  at  Diisseldorf.  His  landscapes  are  distin- 
guished by  poetical  conception,  graceful  form,  and 
pleasant  and  harmonious  colouring.  Most  of  them 
are  from  scenes  in  the  Tyrol  or  Northern  Italy, 
the  natural  beauties  of  which  he  rendered  in  a 
very  efEective  manner.  His  chefs-d'oeuvre  are  the 
'  Lake  of  Nemi '  and  a  '  View  on  the  Chiemsee.' 
He  died  at  Rome  in  1845. 

CARLEVARIIS,  Luca,  (called  Casanobrio  and 
Ldoa  di  Ci  Zenobrio,  from  having  Ijpen  patronized 
by  the  Zonobri  family,)  a  painter  and  engraver, 
was  born  at  Udine  in  1665.  He  painted  land- 
scapes, sea-pieces,  and  perspective  views ;  his  pic- 
tures are  little  known,  except  in  Venice.  A  Coast- 
scene  by  him  is  in  the  Berlin  Gallery ;  a  View 
of  the  Doge's  Palace,  Venice,  is  in  the  Dresden 


earlier 


PAINTERS  AND  ENGRAVERS. 


Carlone 


lallery ;  and  another  Venetian  scene  is  in  the 
lallery  at  Copenhagen.  We  have  by  him  a  set  of 
3.  hundred  neat  and  spirited  etchings  of  views  in 
Venice,  which  give  an  exact  representation  of  the 
principal  places  in  that  city.  He  died  at  Venice 
about  1731. 

CARLIER,  Jan  Willem,  a  Flemish  painter,  was 
born  at  Li^ge  about  1638,  and  died  there  in  1676. 
He  was  a  pupil  of  Bertholet  Pl^malle,  and  spent 
much  of  his  life  in  France :  but  most  of  his  works 
are  at  Diisseldorf  and  St.  Petersburg.  His  chef- 
d'cBuvre  is  '  The  Martyrdom  of  St.  Denis,'  now  pre- 
served in  the  church  of  St.  Denis,  at  Li6ge,  the 
sketch  for  which  is  in  the  Museum  at  Brussels. 

CARLIER,  MoDESTE,  a  Belgian  portrait  and 
subject  painter,  was  bom  at  Quaregnon  near  Mons 
in  1820.  He  was  a  pupil  of  Picot,  and  died  in 
1878.  In  the  Brussels  Museum  there  'is  a  picture 
by  him  of  '  Locusta  experimenting  with  poison  on 
a  slave.' 

CARLIERI,  Albeeto,  was  born  at  Rome,  ac- 
cording to  Orlandi,  in  1672.  He  was  first  a  scholar 
of  Giuseppe  Marchi,  but  afterwards  was  in- 
structed by  Padre  Andrea  Pozzo.  He  excelled  in 
painting  architectural  views,  which  he  embelh'shed 
with  very  beautiful  historical  figures.  He  died 
after  1720. 

CARLINI,  Agostino,  a  painter  and  sculptor,  was 
a  native  of  Genoa,  and  went  to  London  in  early 
life.  His  work  as  a  sculptor  was  much  esteemed. 
He  was  one  of  the  original  members  of  the  Royal 
Academy,  of  which  he  became  keeper  in  1783. 
He  pxLIiiited  a  portrait  in  oil  in  1776.  He  died  in 
London  iti  1790. 

CAHLISLE,  Anne,  was  an  English  painter 
who  lived  in  the  time  of  Charles  I.,  and  is  said  by 
Walpole  in  his  '  Anecdotes '  to  have  been  admired 
for  her  copies  of  the  works  of  the  Italian  masters. 
She  died  about  the  year  1680. 

CARLISLE,  Isabella  Howard,  Countess  of, 
the  daughter  of  William,  fourth  Lord  Byron,  was 
born  in  1721.  She  married,  in  1743,  Henry,  fourth 
Earl  of  Carlisle,  who  died  in  1768.  In  1759,  she 
married  Sir  William  Musgrave,  Bart. ,  and  died  in 
1795.  She  made  several  good  etchings  ;  amongst 
others,  copies  of  Rembrandt's- etchings. 

CARLO  DBLLE  JVIADONNE.     See  Mabatti. 

CARLONE,  Andrea,  the  son  of  Giovanni  Bat- 
tista  Carlone,  was  born  at  Genoa  in  1639.  After 
receiving  the  instruction  of  hia  father  for  some 
time,  he  visited  Venice,  where  he  studied  for 
a  few  years,  and  then  returned  to  Genoa.  His 
first  productions  were  some  pictures  at  Perugia, 
and  the  Life  of  St.  Fehcian,  in  the  church  of 
that  saint  at  Pohgno.  These,  inferior  in  grace 
and  colour  to  the  works  of  his  father,  less  happy 
in  composition,  and  less  elegant  in  design,  were 
painted  in  a  free,  resolute,  and  vigorous  style,  with 
a  mixture  of  the  Venetian  colouring.  He  went 
afterwards  to  Rome,  where  he  changed  his  manner 
for  one  more  noble  and  elevated,  and  so  superior 
to  his  first,  that  Lanzi  mentions  it  as  an  instance 
of  the  fallacy  of  forming  a  judgment  of  the 
merit  of  an  artist  by  a  partial  view  of  his  per- 
formances. "To  judge  of  Andrea  Carlone,"  says 
that  author,  "  by  his  works  in  the  church  of  the 
Gesu  at  Perugia,  we  could  with  difficulty  be  per- 
suaded that  he  was  capable  of  producing  those 
admirable  pictures  at  Genoa,  which  Ratti  numbers 
among  the  Genoese  works  of  art  most  worthy  of 
remembrance."  He  died  in  1697.  A  picture  of 
the  Magdalen  by  him  is  in  the  Uffizi,  Florence. 


CARLONE,  Carlo,  a  painter  and  engraver,  was 
probably  of  the  family  of  the  Carloni  of  Genoa. 
Fiissli,  in  his  '  Lives  of  the  Swiss  Painters,'  ob- 
serves that  the  family  of  Carloni,  so  fruitful  in 
able  artists,  although  generally  ranged  among  the 
Genoese  painters,  may  be  legitimately  claimed  as 
originally  of  Switzerland.  Carlo  Carlone  was  born 
at  Scaria,  near  Como,  in  the  Milanese,  in  1686.  He 
was  the  son  of  a  sculptor,  who  destined  him  for 
the  same  pursuit,  but  he  preferred  painting,  and 
was  placed  under  the  care  of  Giulio  Quaglio.  He 
afterwards  studied  at  Venice  and  at  Rome,  until  he 
was  twenty-three  years  of  age,  when  he  visited  Ger- 
many, where  he  has  left  works  in  oil  and  in  fresco 
at  Ludwigsburg,  Passau,  Linz,  Breslau,  Prague, 
and  Vienna.  In  the  last-named  city  some  of  his 
allegorical  representations  may  be  seen  in  the 
Belvedere,  as  also  a  religious  subject,  dated  1721, 
on  the  dome  of  the  chapel  in  the  castle.  He  died 
at  Como  in  1776.  Of  his  works  as  a  painter  little 
is  known  further  than  that  he  is  said  to  have 
possessed  an  inventive  genius  and  great  facility. 
As  as  engraver  he  has  left  us  the  following  plates, 
mostly  from  his  own  compositions  : 

The  Conception  of  the  Virgin. 

The  Holy  Family,  with  St.  John  kissing  the  Foot  of 
Jesus. 

St.  Charles  Borromeo  communicatiug  the  Plague- 
stricken. 

The  Death  of  a  Saint. 

An  allegorical  subject  of  Opulence,  for  a  ceiling. 

Another  subject  for  a  ceiling,  a  Figure  with  a  Crown. 

A  Group  of  Children,  with  a  Basket  of  Flowers. 

CARLONE,  Giovanni,  a  native  of  Genoa,  was 
bom  in  1590.  He  was  the  son  of  Taddeo  Carlone, 
a  sculptor  and  historical  painter,  who  placed  him 
under  the  tuition  of  Pietro  Sorri,  and  he  after- 
wards frequented  the  school  of  Domenico  Pas- 
signano,  at  Florence.  In  that  academy  he  became 
an  able  painter  in  fresco,  and  on  his  return  to 
Genoa  was  much  employed,  and  acquired  a  dis- 
tinguished reputation,  not  only  in  that  city,  but 
also  at  Rome  and  at  Florence,  where  he  after- 
wards travelled.  He  assisted  his  younger  brother, 
Giovanni  Battista  Carlone,  in  the  immense  fresco 
work  in  the  cathedral  of  the  Guastato  at  Genoa, 
and  was  invited  to  Milan  to  paint  the  ceiling 
of  the  church  of  the  Theatines,  which  he  did  not 
live  to  finish ;  it  was  completed  by  his  brother. 
He  composed  his  subjects  with  facility,  was  a 
correct  designer,  and  a  master  of  foreshortening. 
The  airs  of  his  heads,  though  somewhat  mannered, 
are  not  without  grace  ;  and  he  united  the  intelli- 
gence of  the  chiaroscuro  with  a  vigorous  colour, 
perhaps  more  glowing  than  chaste.  He  died  at 
Milan  in  1630. 

CARLONE,  Giovanni  Battista,  an  eminent 
painter,  and  the  younger  brother  of  Giovanni 
Carlone,  was  born  at  Genoa  in  1694.  He  was  also 
educated  under  Passignano  at  Florence,  and  after- 
wards joined  his  brother  in  the  great  works  on 
which  he  was  employed  at  Genoa.  The  chief 
result  of  their  united  exertions  is  to  be  seen  in  the 
cathedral  of  the  Guastato  at  Genoa,  where  the 
three  naves  are  painted  in  fresco  by  Giovanni 
Battista,  assisted  by  his  brother.  In  the  middle 
and  principal  nave  he  has  represented  the  '  Ador- 
ation of  the  Magi,'  the  '  Entrance  of  Christ  into 
Jerusalem,'  the  '  Resurrection,'  the '  Ascension,'  the 
'  Descent  of  the  Holy  Ghost,'  and  (he  '  Assumption 
of  the  Virgin  ' — a  magnificent  work,  in  which  he 
has  introduced  all  that  could  be  conceived  by  a 

233 


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A  BIOGRAPHICAL  DICTIONARY  OF 


Camuli 


rioh  and  fertile  imagination.  Novel  and  copious  in 
his  compositions,  his  figures  are  of  the  most 
graceful  contour,  his  heads  expressive  of  every 
variety  of  animation  and  beauty,  with  a  vague- 
ness, lucidity,  and  brilliancy  of  colouring  that 
astonishes  and  charms.  In  the  same  church  he 
painted  '  The  Presentation  in  the  Temple,'  and 
'Christ  preaching  to  the  Pharisees.'  Giovanni  Bat- 
tista  lived  to  the  advanced  age  of  86,  and  died  in 
1680. 

CARLOTTO.     See  Loth,  Johakn  Cabl. 

CAKLUCCIO  DELLB  MADONNB.    See  Maeatti. 

CARMICHAEL,  James  Wilson,  a  marine 
painter,  was  born  at  Newoastle-on-Tyne  about 
1800.  From  constantly  seeing  so  much  shipping, 
he  obtained  at  an  early  age  great  accuracy  of 
drawing  in  this  line  of  art,  and  among  his  earliest 
paintings  produced  a  very  fine  picture,  'The 
Heroic  Exploit  of  Admiral  CoUingwood  at  the 
Battle  of  Trafalgar,'  which  was  placed  in  the 
Trinity  House,  Newcastle.  His  name  first  appears 
as  an  exhibitor  in  1838,  when  he  contributed  an 
oil  picture,  '  Shipping  in  the  Bay  of  Naples,'  to 
the  Society  of  British  Artists.  He  exhibited  at 
the  Royal  Academy  both  in  oil  and  water-colours, 
contributing  among  others,  in  1841,  "The  Con- 
queror towing  the  Africa  ofE  the  Shoals  of  Trafal- 
gar ; '  and,  in  1843,  '  The  Arrival  of  the  Royal 
Squadron.'  He  was  the  author  of  the  series  of  'Eng- 
lish Coast  Views  from  the  Mouth  of  the  Thames 
to  the  Frith  of  Forth.'  He  resided  in  his  native 
town  up  to  about  1845,  when  he  removed  to  Lon- 
don, where  he  was  already  known  as  a  skilful 
marine  painter.  At  the  commencement  of  the 
Russian  war  he  proceeded  on  board  one  of  her 
Majesty's  ships  to  the  Baltic ;  and  on  his  return 
several  of  the  sketches  made  by  him  during  his 
absence  were  published  as  engravings  in  the 
'  Illustrated  London  News.'  He  afterwards  re- 
moved to  Scarborough,  where  he  died  in  1868. 
He  published  '  The  Art  of  Marine  Painting  in 
Water-Colours'  in  1859,  and  'The  Art  of  Marine 
Painting  in  Oil-Colours '  in  1864. 

CARMIENCKE,  Johann  Hermann,  a  landscape 
painter  and  etcher,  was  born  at  Hamburg  in 
1810.  He  went  to  Dresden  in  1831  as  a  journey- 
man painter,  and  while  there  studied  in  Dahl's 
school.  Thence  he  went  to  Copenhagen  in  1834, 
where  he  studied  in  the  Academy,  and  presently 
repairing  to  Leipsio,  received  instruction  there 
from  Sohonberg.  Returning  to  Copenhagen  in 
1838,  he  proceeded  to  travel  as  an  artist  in  Sweden, 
Bavaria,  and  the  Tyrol,  visiting  Italy  from  1845 
to  1846.  He  was  then  appointed  court  painter 
to  Christian  VIIL,  for  whom  he  executed  many 
works.  In  consequence  of  the  war,  he  went  in 
1851  to  New  York,  where  he  was  well  received, 
and  admitted  into  the  Academy  of  Brooklyn.  His 
works  were  mainly  groups  of  mountain  ranges, 
which  were  very  efieotively  rendered,  and  pos- 
sessed an  excellent  tone — the  execution  being  sim- 
ple and  true  to  nature.  The  '  Mountain  Tarn '  and 
the_  '  View  on  the  Zillerthal '  may  be  particularly 
noticed.  There  are  thirty-five  careful  etchings  of 
landscapes  by  him,  some  of  which  were  published 
by  the  Art  Association  of  Copenhagen  in  1850  and 
1851.     He  died  at  New  York  in  1867. 

CARMONA,  Ana,  was  the  daughter  of  the 
pamter  Raphael  Mengs,  and  was  born  at  Dresden 
in  1751.  She  married  the  Spanish  engraver 
Manuel  Salvador  Carmona,  and  died  at  Madrid  in 
1790.      She  produced  some  excellent  portraits  in 

234  ^ 


pastel  and  miniature ;  that  of  her  husband  is  in 
the  Academy  of  San  Fernando. 

CARMONA,  Manuel.    See  Salvadok  Cabmona. 

CARMONTBLLE,  Louis,  originally  Carkogis, 
was  a  French  amateur  draughtsman  and  engraver, 
and  the  author  of  the  'Proverbes  dramatiques,' 
who  was  bom  in  Paris  in  1717.  He  was  the 
son  of  one  Philippe  Carrogis,  a  shoemaker,  and  took 
the  name  of  Carmontelle,  possibly  to  conceal  his 
humble  birth.  He  produced  a  considerable  number 
of  portraits  of  eminent  persons  of  his  day,  which 
were  mostly  in  profile,  and  highly  characteristic. 
He  died  in  Paris  in  1806.  Carmontelle  has  left  us 
an  engraving  of  '  The  Flower-Girl,'  after  Boucher, 
and  the  five  following  portraits  engraved  after  his 
own  drawings  : 

The  AblD^  Allaire. 

The  Baron  de  Bezenval. 

The  Duke  of  Orleans  and  his  Son. 

Kameau,  the  Musician. 

Francois  Marie  Arouet  de  Voltaire. 

CARNEIRO.     See  Salva  Caeneieo. 

CARNICBEO,  Antonio,  a  painter,  engraver,  and 
etcher,  was  born  at  Salamanca  in  1748.  He  was  a 
son  of  the  sculptor  Alexandre  Carpicero.  He  studied 
at  Rome,  and  was  eventually  appointed  painter  in 
ordinary  to  the  king.  He  issued  in  1780  at  Madrid 
an  illustrated  edition  of '  Don  Quixote,'  with  engrav- 
ings from  his  own  designs,  and  in  1791  another  work 
with  portraits  of  celebrated  Spaniards.  There  is 
by  him  in  the  Madrid  Gallery  'A  Scene  on  the 
Lake  of  Albufera,'  and  we  have  also  by  him  an 
engraving  of  a  bull-fight  in  Madrid,  dated  1791. 
He  died  at  Madrid  in  1814.  His  brother  IsiDOBO 
was  director  of  the  Academy  in  1800. 

CARNIO,  Antonio,  a  native  of  Portogruaro, 
a  district  of  Friuli,  was  the  son  of  an  artist  little 
known,  by  whom  he  was  instructed  in  the  elements 
of  art.  He  afterwards  studied  at  Venice  the 
works  of  Tintoretto  and  Paolo  Veronese.  Accord- 
ing to  Lanzi,  Friuli  has  not  produced  a  greater 
genius  than  Carnio  since  the  time  of  Pordenone. 
The  composition  of  his  historical  subjects  is  in- 
genious and  novel,  and  his  design  lofty  and  bold. 
His  colouring,  especially  in  his  carnations,  is 
tender  and  harmonious.  Some  of  his  best  works 
at  Udine  have  been  much  injured  by  retouching. 
The  best  preserved  is  his  '  St.  Thomas  of  Villa- 
nuova '  in  Santa  Lucia.  He  painted  many  easel 
pictures  and  portraits  for  the  private  collections  at 
Udine.     He  was  living  in  1680. 

CARNOVALB,  Fra.     See  Coeeadini. 

CARNOVALE,  Domenioo,  was,  according  to 
Vidriani,  a  native  of  Modena,  where  he  flourished 
about  the  year  1564.  He  excelled  in  painting 
architectural  views,  with  figures,  which  he  intro- 
duced with  great  propriety.  He  was  also  a  reput- 
able architect.  A  specimen  of  his  style  may  be 
seen  in  Rosini,  plate  xciii.  Wonderful  things  are 
related  of  his  skill  in  architectural  painting,  and 
of  the  illusion  produced ;  the  parallels  are  to  be 
found  in  like  stories  recorded  of  Zeuxis  and  Par- 
rhasius. 

CARNULI,  Fra  Simonb  da,  was  a  Franciscan 
monk  of  Genoa.  He  flourished  about  the  year 
1519,  and  painted  several  pictures  for  his  convent, 
two  of  which,  representing  '  The  Last  Supper,'  and 
'  The  Preaching  of  St.  Anthony,'  possessed  great 
merit;  they  are  dated  in  1519.  His  manner,  with 
respect  to  his  figures,  is  not  quite  divested  of  the 
dryness  that  prevailed  at  his  time  ;  but  he  painted 
architectural  designs  and  bird's-eye  views  with 


Caro 


PAINTERS  AND  ENGEAVEES. 


Carotto 


small  figures  which  are  estimable  for  their  aerial 
perspective. 

CAEO,  Feancisco,  was  the  son  of  Francisco 
Lopez  Caro,  and  born  at  Seville  in  1627.  He 
received  his  first  instructions  from  his  father,  but 
afterwards  went  to  Madrid  and  entered  the  school 
of  Alonso  Cano.  According  to  Palomino  his 
pjincipal  works  are  the  pictures  of  '  The  Life  of 
the  Virgin,'  in  the  chapel  of  San  Isidoro  in  the 
church  of  St.  Andrew,  and  the  celebrated  '  Porciun- 
cula,'  in  the  church  of  San  Francisco  at  Segovia, 
both  of  which  show  considerable  talent,  and 
sustain  the  reputation  of  the  school  of  Cano.  He 
died  at  Madrid  in  1667. 

CAKO,  FEANrisco  Lopez.    See  Lopez  Cako. 

CARO  DB  TAVIEA,  Juan,  a  Spanish  painter, 
who  flourished  in  the  17th  century,  was  a  native 
of  Carmona  and  disciple  of  Zarbaran.  He  died 
young,  but  his  early  promise  procured  him  the 
cross  of  Santiago  from  Philip  IV.  None  of  his 
works  remain. 

CAEOLI,  Baldassaee,  was  probably  a  pupil  of 
Palmezzano,  and  a  disciple  of  EondinelJo.  He 
lived  in  the  16th  century,  and  was  the  author  of 
a  '  Coronation  of  the  Virgin,  with  Saints  '  (amongst 
whom  is  St.  Merouriale),  signed  and  dated  1512, 
and  now  in  the  Communal  Gallery  of  Forli.  Other 
paintings  by  him  can  be  seen  in  the  churches 
of  Forli  and  Ravenna.  No  dates  are  known  as  to 
his  birth  or  death. 

CAROLIS,  Eaffaellino  db.    See  Capponi. 

CAROLSFELD,  Sohnoee  von.  See  Sohnoee 
VON  Kaeolsfeld. 

CAEOLUS,  LuDOVicns  Antonitjs,  a  Belgian 
painter  of  historical  and  genre  subjects,  was  born 
at  Antwerp  in  1814.  He  studied  under  Eeckhout 
and  F.  de  Braekeleer,  and  from  1831  to  1834 
worked  in  the  studio  of  E.  Le  Poitevin  at  Paris, 
whence  he  returned  to  Antwerp  in  1836.  He  died 
in  his  native  city  in  1865.  His  pictures  of  the 
everyday  life  of  the  16th  and  16th  centuries  are 
esteemed  for  their  accuracy  of  costume  and  excel- 
lent colouring. 

CARON,  Adolphb  Alexandbb  Joseph,  was  a 
French  engraver,  bom  at  Lille  in  1797.  He 
studied  his  art  under  Lair  and  Bervic,  and  won  the 
first-class  medal  at  the  Salon  of  184ti.  There  is  an 
engraving  by  him  of  Ary  Scheifer's  picture  of 
'  Faust  and  Margaret,'  but  his  best  production  is 
'The  Virgin,  with  St.  Catharine  and  St.  Rosa,' 
after  Perugino.  He  also  engraved  portraits  of  the 
Duchess  de  Berry  and  her  children,  after  Gdrard, 
and  of  Madame  de  S^vign^,  after  Dev^ria.  He 
died  at  Clamart  in  1867. 

CARON,  Antoinb,  a  French  historical  and  por- 
trait painter,  was  born  at  Beauvais  about  1515. 
In  1540  and  in  1559  he  was  working  at  Fontaine- 
bleau  under  the  orders  of  Primaticcio,  and  in  1573 
he  executed  the  decorative  paintings  on  the  occa- 
sion of  the  entry  into  Paris  of  Henry,  Duke  of 
Anjou,  the  elected  King  of  Poland,  who  in  the 
next  year  became  King  of  France.  His  pictures 
have  all  perished,  but  there  still  exists  in  the 
National  Library  at  Paris  a  series  of  drawings  by 
him  known  as  the  '  History  of  Artemisia,'  which 
represent  scenes  in  the  life  of  Catharine  de'  Medici. 
He  was  one  of  the  masters  and  the  father-in-law 
of  Thomas  de  Leu,  the  engraver,  and  died  in 
Paris  about  1593,  aged  78. 

CARON,  Jean  Louis  Toussaint,  a  French  en- 
graver, was  bom  in  Paris  in  1790.  He  studied 
under  Coiny,  Regnault,  and  Lignon.     His  best  pro- 


ductions were '  Le  Famille  Inaigente,'  after  Prud'- 
hon,  and  'The  Levite  of  Mount  Ephraim,'  after 
Couder.     He  died  in  Paris  in  1832. 

CARON,  Nicolas,  was  an  engraver  bom  at 
Amiens  in  1700.  According  to  Heinecken  be 
studied  under  Papillon,  who  had  a  high  opinion  of 
his  powers.  An  accident  led  to  his  imprisonment, 
and  he  died  in  the  Conciergerie  in  1768.  A  por- 
trait of  his  master  is  to  be  found  as  a  frontis- 
piece to  a  work  entitled  '  Traite  de  la  Gravure 
en  Bois.' 

CARONNI,  Paolo,  was  an  engraver  bom  at 
Monza  about  1779.  He  was  one  of  Longhi's  best 
pupils,  and  produced  many  engravings  of  merit. 
He  died  at  Milan  in  1842.  Amongst  his  plates 
may  be  noticed  : 

The  Vision  of  Ezekiel ;  after  Raphael.     1825. 
Alexander  and  Darius ;  after  Le  JBrun.     1818. 
Venus  suckling  the  Infant  Cupid  ;  aft&r  FarmigianOt 
Venus  stealing  Cupid's  Bow ;  after  Procaccini. 
The  Virgin  and  Child ;  after  Sassoferrato. 
The  Triumph  of  David ;  after  Domenichino. 
A  Portrait  of  Eaphael  Morghen. 

CAROSELLI,  Angiolo,  was  born  at  Rome  in 
1585.  He  studied  under  Michel  Angiolo  da  Cara- 
vaggio,  of  whose  works,  as  well  as  of  those  of 
other  masters,  be  became  a  successful  imitator. 
He  possessed  a  talent  of  copying  with  astonishing 
precision,  and  in  painting  pasticci  in  imitation  of 
various  styles.  His  large  works  in  the  churclies 
are  '  The  Martyrdom  of  St.  Placidus,'  and  '  St.  Gre- 
gory celebrating  Mass  before  a  Concourse  of 
People,'  in  Santa  Francesca  Roniana  ;  and  '  St.  Wen- 
ceslaus '  in  the  Pontifical  Palace  of  the  Quirinal. 
His  lesser  works  were  chiefly  portraits  or  paint- 
ings in  which  the  figures  were  small,  two  speci- 
mens of  which  maj  be  seen  in  the  Belvedere  at 
Vienna.     He  died  in  1653. 

CAROT,  • — .  According  to  Strutt  this  artist  re- 
sided at  Rome  about  1685,  and  is  the  engraver  of  a 
small  upright  plate  representing  '  St.  Francis  hold- 
ing a  Cross.'  This  is  etched  in  a  bold,  spirited 
style,  and  appears  to  have  been  the  production  of 
a  painter. 

CAROTTO,  Giovanni,  (or  Caboto,)  was  the 
brother  of  Giovanni  Francesco  Carotto,  and  his 
assistant.  In  San  Paolo,  Verona,  is  a  '  Virgin  and 
Child,'  signed  and  dated  1513,  and  the  Museum  of 
the  same  city  possesses  a  '  Madonna  and  Child, 
with  SS.  Lawrence  and  Jerome.'  The  churches  of 
San  Giovanni  in  Fonte,  and  San  Slefano,  both  in 
Verona,  have  also  Madonnas,  with  Saints,  by  this 
artist.  He  lived  to  the  age  of  about  sixty,  but  no 
dates  can  be  given  of  either  his  birth  or  death. 

CAROTTO,  Giovanni  Feancesco,  (or  Caeoto,) 
was  born  at  Verona  in  1470 ;  he  was  first  apprenticed 
to  Liberale,  but  afterwards  went  to  Mantua,  where 
he  entered  Mantegna's  workshop,  and  closely  imi- 
tated the  style  of  that  master.  The  Gallery  of 
Modena  possesses  a  '  Virgin  and  Child,  with  an  in- 
fant John  the  Baptist,'  of  that  period,  and  similar 
subjects  painted  by  him  in  these  early  years  of 
his  life  are  also  to  be  found  in  the  Museums  of 
Frankfort  and  Berlin.  Shortly  before  1508  he 
returned  to  Verona,  where  he  painted  the  fres- 
coes of  the  church  of  San  Tommaso  Cantuariense. 
The  frescoes  in  the  Spolverini  Chapel,  in  Sant' 
Bufemia,  at  Verona,  representing  scenes  from 
the  history  of  Tobit,  are  amongst  his  best  produc- 
tions. He  paid  visits  to  both  Milan  and  Casale, 
where,  according  to  Vasari,  he  worked  for  the 
Visconti  and  Montferrat  families.     Many  of  the 

235 


Carpaooio 


A  BIOGRAPHICAL  DICTIONARY  OF 


galleries  and  churches  of  Verona  and  Mantua  pos- 
sess paintings  by  him;  in  San  Giorgio,  Verona, 
besides  other  paintings  and  frescoes,  is  a  '  Glory 
of  the  Virgin,'  signed  and  dated  1545.  A  '  Madonna 
and  Child,'  signed  F.  Chaeotus,  is  in  the  Stadel 
at  Frankfort.     He  died  at  Verona  in  1546. 

CARPACCIO,  Benedetto,  who  is  considered  by 
Lanzi  to  have  been  a  relation  of  Vittore  Carpaccio, 
lived  in  the  16th  century.  Of  his  birth  and  death 
no  dates  are  known,  but  there  are  paintings  by  him 
existing  executed  from  1523  to  1541.  The  Cathe- 
dral of  Capo  d'Istria  has  a  'Massacre  of  the 
Innocents,'  dated  1523,  and  '  The  Name  of  Christ 
adored  by  Saints,'  dated  1541;  and  in  the  Galleria 
Comunale  of  the  same  place  is  a  'Coronation  of 
the  Virgin,'  dated  1537. 

CARPACCIO,  ViTTOEB,  (or  Cabpatitjs,)  is  said 
to  have  been  bom  about  1450  in  Istria,  but  the 
documentary  proofs  are  wanting.  He  has  been 
called  in  contemporary  records  '  Scarpaza,'  and  by 
Vasari  '  Scarpaccia.'  He  was  employed  at  the 
school  of  San  Girolamo,  Venice,  at  the  same  period 
with  Luigi  Vivarini  and  Giovanni  Bellini,  but 
all  pictures  of  this  religious  corporation  have  en- 
tirely disappeared.  ,Aiter  1490  he  finished,  in 
the  school  of  St.  Ursula,  nine  pictures  taken  from 
the  life  of  that  saint,  all  of  which  are  now  in 
the  Academy  of  Venice.  At  the  close  of  the  15th 
century  he  painted  his  '  Patriarch  of  Grado  casting 
out  a  Devil  by  the  aid  of  the  Relic,'  for  the  school 
of  San  Giovanni  Evangelista.  This  picture  gives 
an  admirable  view  of  old  Venice,  as  it  stood  in 
the  close  of  the  16th  century ;  the  date  of  its 
execution  has  been  said  to  be  1494,  but  the  written 
proofs  are  missing ;  it  is  now  in  the  Academy  of 
Venice.  In  San  Giorgio  de'  Sqhiavoni  (a  Hospital 
for  Seamen)  are  nine  small  easel  canvases,  with 
designs  taken  from  the  lives  of  SS.  Jerome,  Try- 
phon,  and  George,  and  an  altar-piece,  representing 
'  Christ  on  the  Mount,'  and  '  Christ  invited  to  the 
Pharisee's  Feast.'  These  pictures  were  painted  by 
Carpaccio  for  the  Hospital,  re-erected  in  1500,  the 
designs  being  completed  in  the  years  1502 — 1508. 
In  the  last-named  year  he  was  chosen  with  Laz- 
zaro  Sebastian!  and  Vittore  di  Matteo,  by  Giovanni 
Bellini,  to  value  the  frescoes  of  Giorgione  at  the 
Fondaco  de'  Tedeschi ;  and  he  soon  afterwards 
executed  his  chef-d'oeuvre  of  'The  Presentation 
in  the  Temple,'  for  San  Giobbe,  now  in  the  Venice 
Academy.  In  the  years  1511 — 1515  he  finished 
for  the  school  of  San  Stefano  '  The  Calling  of  St. 
Stephen,'  of  1511  (now  in  the  Berhn  Gallery) ;  '  St. 
Stephen  Preaching '  (at  the  Louvre)  ;  '  St.  Stephen 
disputing  with  the  Doctors,'  of  1514  (at  the  Brera, 
Milan) ;  and  'The  Martyrdom  of  St. Stephen,'  of  1515 
(now  in  the  Gallery  of  Stuttgart).  He  painted  in 
1515  a  design  representing  'The  Indulgence  of 
St.  Mark,'  for  the  Great  Council  Hall  that  was 
burnt  in  1577.  He  executed  in  1514  an  immense 
votive  altar-piece  for  San  Vitale,  Venice,  which  re- 
presents '  St.  Vitale  on  Horseback,  attended  by  his 
wife  Valeria,  and  Saints ; '  and  in  1515  he  finished 
for  the  Prior  of  Sant'  Antonio  of  Castello  the 
altar-piece  of  'Crucified  Saints,'  now  in  the 
Venice  Academy.  In  1519  were  painted  the 
two  altar-pieces  of  Madonnas  and  Saints  in  the 
Cathedral  at  Capo  d'Istria,  and  the  church  of 
Pozzale,  near  Cadore.  After  this  date  no  further 
works  of  his  are  known,  and  it  is  probable  that  his 
death  occurred  soon  after  1522.  Many  paintings 
by  this  artist  still  exist ,  amongst  those  not  men- 
tioned above  are : 

236 


Berlin.  Gallery. 
Ferrara.  Museum. 
London.     2fat.  Gall, 


Stuttgart.  Museum. 
Venice.     S.  Vitale. 


S.  Salvatore. 
Academy. 

Falazzo  Ducale. 


Vienna. 


Academy. 
Belvedere. 


CarpentieiB 

Madonna  and  Child  with  Saints. 

Death  of  the  Virgin.    150&. 

Virgin  and  Child,  with  Saints, 
adored  by  the  Doge  Giovanni 
Mocenigo  (doubted  by  some 
writers'). 

Grlorification  of  St.  Thomas  Aqui- 
nas.    1507. 

St.  Vitalis  on  Horseback,  adoring 
the  Virgin.    1514. 

Christ  at  Emmans. 

Meeting  of  St.  Anne  and  St. 
Joachim.     1515. 

The  Lion  of  St.  Mark  in  a  Land- 
scape.   1516. 

The  Annunciation.    1504. 

Christ  adored  by  Angels.    1496. 


CARPENTER,  Maegaret  Saeah,  who  was  the 
daughter  of  Captain  Geddes,  was  born  at  Salis- 
bury in  1793.  She  first  studied  art  from  Lord 
Radnor's  collection  at  Longford  Castle,  and  com- 
peted successfully,  for  two  or  three  years,  for  the 
prizes  at  the  Society  of  Arts,  obtaining  on  one 
occasion  the  gold  medal.  She  went  to  London  in 
1814,  established  herself  as  a  portrait  painter,  and 
secured  great  reputation.  In  that  year  she  first 
exhibited  at  the  Royal  Academy  a  portrait  of  Lord 
Folkestone,  and  at  the  British  Institution  the  '  For- 
tune-Teller' and  'Peasant  Boy.'  In  1817  she 
married  Mr.  W.  H.  Carpenter,  Keeper  of  the  Prints 
and  Drawings  in  the  British  Museum,  upon  whose 
death,  in  1866,  her  Majesty  conferred  upon  her  a 
pension  of  £100  per  annum.  She  died  in  London 
in  1872.  Mrs.  Carpenter  is  chieflj^  known  as  a 
painter  of  portraits,  amongst  which  may  be  men- 
tioned those  of 
Tiord  Kilcoursie  and  Lady  Sarah  de  Crespigny.    1812. 

Lord  Folkestone.     1814. 

Mr.  Baring.     1815. 

Sir  George  Madden,  K.C.B.    1817. 

Lord  Mark  Kerr.     1819. 

Sir  Henry  Bunbury.     1822. 

Lady  Eastnor.     1825. 

Lord  de  Tabley.    1829. 

Mr.  Justice  Coleridge.    1830. 

Lady  Denbigh.     1831. 

Mrs.  Harries.     1832. 

Lady  King,  daughter  of  Lord'Byron.    1835. 

Archbishop  Sumner.     1852. 

Lord  John  Manners. 

Dr.  'WheweU. 

Her  portraits  of  Richard  Parkes  Bonington,  the 
painter,  John  Gibson,  R.A.,  the  sculptor,  and 
Patrick  Fraser  Tytler,  the  historian,  are  in  the 
National  Portrait  Gallery.  She  also  produced  a 
few  fancy  subjects,  of  which  there  are  two  ex- 
amples in  the  South  Kensington  Museum  — '  Devo- 
tion '  (a  portrait  of  Anthony  Stewart,  the  miniature 
painter),  exhibited  at  the  British  Institution  in 
1822;  and  'The  Sisters,'  portraits  of  the  artist's 
two  daughters,  exhibited  in  1840. 

CARPENTERO,  Johannes  Caroltjs,  a  Flemish 
historical  painter,  born  at  Antwerp  in  1784,  studied 
under  Van  den  Bosch  and  Mattheus  van  Bree. 
Besides  historical  pictures,  he  painted  landscapes 
with  cows  and  sheep,  taking  Ommeganok  for  his 
model.  He  died  at  Antwerp  in  1823.  His  pictures 
are  for  the  most  part  confined  to  private  collections 
in  that  city. 

CARPENTIERS,  Adeien,  (or  Chaepenti4re,)  was 
a  native  of  Switzerland  who  settled  in  England  as 
a  portrait  painter  about  1760,  and  from  that  year 
until  1774  was  a  frequent  exhibitor  at  the  Society 
of  Artists  in  Spring  Gardens.  One  of  his  best 
works  is  the  portrait  of  Roubilliac,  the  sculptor, 


Carpi 


PAINTERS  AND  ENGEAVERS. 


Carr 


now  in  the  National  Portrait  Gallery,  of  which 
there  is  a  good  mezzotint  by  David  Martin.  He 
died  in  London  about  1778,  at  an  advanced  age. 

CARPI,  GiEOLAMO  DA,  was  born  at  Ferrara  in 
1501,  and  was  educated  under  Benvenuto  Garofolo. 
On  leaving  the  school  of  that  master,  he  passed 
some  time  at  Bologna,  where  he  was  much  em- 
ploj'ed  in  portrait  painting.  He  afterwards  visited 
Parma  and  Modena,  where  he  was  so  fascinated 
with  the  works  of  Correggio  and  Parmigiano,  that 
he  applied  himself  to  study  and  copy  them  with 
great  assiduity.  He  is  not,  however,  to  be  con- 
sidered only  as  a  copyist.  He  painted  many 
pictures,  of  his'  own  composition,  for  the  churches 
at  Ferrara  and  Bologna.  At  Ferrara,  in  the  Cathe- 
dral, are  three  pictures  by  him  of  the  Madonna, 
St.  George,  and  St.  Maurice.  At  the  Carmelites 
is  his  picture  of  '  St.  Jerome  ; '  and  in  Santa  Maria 
del  Vado  one  of  his  finest  works,  representing  a 
'Miracle  wrought  by  St.  Anthony  of  Padua.'  For 
the  church  of  San  Francesco,  at  Rovigo,  he  painted 
a  picture  of  the  '  Pentecost ; '  and  at  Bologna  his 
two  most  celebrated  productions,  the  '  Adoration 
of  the  Magi,'  for  San  Martino  Maggiore,  and 
the  '  Madonna  and  Child,  with  St.  Catharine  and 
other  Saints,'  for  San  Salvatore.  In  the  two  last 
he  displays  a  mixture  of  the  Roman  and  the 
Lombard  styles.  He  also  painted  for  some 
time  in  Rome.  He  died  at  Ferrara  in  1556.  The 
Dresden  Gallery  possesses  a  '  Venus  and  Cupid,'  by 
him. 

CARPI,  Marco  da.    See  Meloni. 

CARPI,  Ugo  da,  a  painter  and  engraver,  de- 
scended from  the  ancient  family  of  the  Counts  of 
Panico,  was  the  tenth  child  of  Count  Astolfo  da 
Panico.  The  year  of  his  birth  is  uncertain.  In  the 
petition  to  the  senate  of  Venice,  in  1516,  to  grant 
him  protection  from  piratical  imitators  of  his  prints, 
he  is  said  to  be  in  advanced  age,  venuto  alV  etd,  senile, 
which  induces  Passavant  to  put  the  date  of  his 
birth,  which  has  been  usually  stated  to  have  taken 
place  in  1480,  back  to  1450.  He  died  probably  in 
Rome  in  1520. 

Vasari  styles  him  a  mediocre  painter,  but  great 
in  drawing ;  and  although  there  exists  an  agreement 
between  Carpi  and  Saccacini  to  execute  an  exten- 
sive work  between  them,  no  authentic  paintings 
remain  from  his  hand,  his  celebrity  resting  entirely 
on  his  wood-engravings,  which  were  executed  by 
successive  printings  from  various  blocks  of  difEerent 
shades,  by  which  were  produced  completer  effects 
than  those  of  ordinary  woodcuts.  This  was  called 
chiaroscuro,  a  name  still  given  to  it,  and  was  in 
fact  a  simple  form  of  our  modern  chromo-printing. 
Carpi  claimed  in  his  petition  to  the  Doge  and  Senate 
to  have  been  the  inventor  of  the  method,  but  as  no 
example  by  him  exists  with  a  date  to  compete  with 
the  chiaroscuro  issued  at  Augsburg  by  Jost  de 
Necker  in  1510,  and  his  claim  was  only  made  in 
1516,  he  seems  to  have  no  certain  claim  to  the  inven- 
tion. The  more  the  subject  is  investigated,  the  more 
certain  it  seems  that  all  forms  of  engraving,  as  of 
printing,  originated  in  Germany.  His  works  are 
numerous,  and  are  confused  with  those  of  Boldrini. 
His  known  works  are  after  Raphael  and  Parmigiano  ; 
sometimes  they  are  of  a  large  size.  As,  however, 
they  are  not  signed,  and  are  identified  with  diffi- 
culty, it  is  not  necessary  to  enumerate  many. 

Descent  from  the  Gross ;  after  Maphael. 
St.  John  in  the  Wilderness  ;  after  the  same. 
The  Miraculous  Draught  of  Fishes ;  after     s  m  e. 
Death  of  Ananias ;  after  the  same. 


Elymas  struck  with  Blindness  ;  after  the  same. 

A  Sibyl  reading,  with  a  Child  holding  a  torch  to  light 

her ;  after  the  satne.    A  rare  print,  copied  by  Coriolano 

as  one  of  a  set. 
Diogenes ;  after  Parmigiano. 
SS.  Paul  and  Peter ;  very  small ;  after  the  same. 

See  'Di  Ugo  da  Carpi  e  dei  Conti  da  Panico,' 
Bologna,  1854,  by  Gualandi ;  Passavant,  vol.  vi.  ; 
Bartsch,  vol,  xii.  yf,  B.  S. 

CARPINONI,  DoMENico,  a  Bergamese  painter, 
was  bom  at  Clusone,  in  the  Valle  Seriana,  in  1566. 
He  was  sent  to  Venice  when  young,  and  became  a 
scholar  of  the  younger  Palma.  In  the  early  part  of 
his  life  he  was  occupied  in  copying  the  works  of 
Palma  and  Bassano ;  he  afterwards  painted  some 
pictures  of  his  own  composition,  which,  according 
to  Tassi,  are  vigorously  coloured,  and  tolerably 
correct  in  design.  In  the  principal  church  of 
Clusone  is  a  picture  by  him  of  the  '  Birth  of  St. 
John  the  Baptist,'  and  a  '  Descent  from  the  Cross  ; ' 
in  the  Chiesa  di  Monesterolo,  in  the  Valle  Caval- 
lina,  is  a  picture  of  '  The  Transfiguration  ; '  and  at 
Lovere,  in  the  church  of  the  Padri  Osservanti,  '  The 
Adoration  of  the  Magi.'     He  died  in  1658. 

CARPINONI,  Maeziale,  the  grandson  of  Do- 
menico  Carpinoni,  was  born  at  Clusone  about  1644. 
According  to  Tassi,  he  was  taught  the  first  prin- 
ciples of  art  by  his  father,  an  artist  of  little  note, 
but  afterwards  had  the  advantage  of  the  instruc- 
tion of  his  grandfather.  He  was  afterwards  sent 
to  Rome  for  improvement,  where  he  frequented  the 
school  of  Giro  Ferri.  He  painted  historical  sub- 
jects with  no  small  success,  and  was  employed  for 
the  churches  of  his  native  town  and  the  vicinity. 
In  the  principal  church  at  Clusone  is  the  '  Virgin 
and  Child,  with  Saints,'  by  this  painter,  and  '  The 
Baptism  of  Christ  by  St.  John ; '  and  in  the  cathe- 
dral at  Bergamo,  SS.  Domno,  Domneone,  and 
Eusebia.  He  also  painted  several  pictures  for 
the  churches  in  Brescia.  He  died  at  Ferrara  in 
1722. 

CARPIONI,  Carlo,  the  son  of  Giulio  Carpioni, 
was  born  about  the  middle  of  the  17th  century. 
He  was  educated  by  his  father,  after  whose  style 
he  painted  a  few  pictures,  but  he  is  better  known 
by  his  portraits.  In  the  Council-chamber  at  Vi- 
cenza  and  in  the  convent  of  the  Servites  at  Monte 
Berico  there  are  some  groups  of  portraits  of  magis- 
trates, which  show  a  truthful  resemblance,  and  an 
ingenious  and  elevated  imagination. 

CARPIONI,  Giulio,  was  born  at  Venice  in  1611. 
He  was  a,  scholar  of  Alessaudro  Varotari,  called 
Paduanino,  but  followed  more  the  style  of  Can- 
taiini.  He  was  superior  to  his  fellow-student 
MafEei  in  vigour,  expression,  and  invention.  He 
painted  history  and  bacchanals,  and  also  sacred 
subjects  of  a  small  size,  many  of  which  are  to  be 
seen  in  the  churches  in  the  Venetian  states.  His 
fabulous  subjects  are  placed  with  distinction  in  the 
private  collections  of  his  country,  and  are  touched 
with  a  spirit,  and  coloured  with  a  beauty  of  tint- 
ing, which  his  master  would  not  have  disavowed. 
Paintings  by  him  may  be  seen  in  the  Galleries  of 
Augsburg,  Dresden,  Vienna,  Modena,  and  Florence. 
He  was  also  an  etcher ;  his  best  plates  being  '  St. 
Anthony  of  Padua,'  '  Christ  on  the  Mount  of 
Olives,'  'The  Virgin  reading,'  and  'The  Virgin 
with  the  Rosary.'    He  died  at  Verona  in  1674. 

CARR,  Johnson,  a  pupil  of  Wilson,  was  born  in 
1743.  He  gave  promise  of  being  a  good  landscape 
painter,  when  he  died  in  1765.  His  chalk  drawings 
possess  considerable  merit. 

237 


Carr 


A  BIOGEAPHICAL  DICTIONARY  OF 


Carracci 


CAER,  E,  practised  as  an  etcher,  in  imitation  of 
Hollar,  in  England,  towards  the  close  of  the  seven- 
teenth century. 

CARE,  Rev.  William  Holwell,  who  was  born 
in  1750,  and  died  in  1830,  practised  landscape 
painting  as  an  amateur ;  he  exhibited  occasion- 
ally at  the  Eoyal  Academy  from  1797  till  1820. 
He  bequeathed  thirty-three  paintings  to  the 
National  Gallery,  including  his  own  portrait  by 
Jackson. 

CAEEACCI  FAMILY. 

Antonio  (tailor). ^Iiodovico  (16S5— 161B). ^Paolo. 


Agostino  (166?— 1602).    Anniljale  (1560—1609).    Oioymni  Antonio. 
Antonio  Marziale  (1683—1618).  Francesco  (1695—1622). 

CAEEACCI,  Agostino,  painter,  engraver,  poet ; 
the  nephew  of  Lodovioo,  and  the  elder  brother  of 
Annibale  Carracci,  was  born  at  Bologna  in  1557.  He 
was  intended  by  his  father  for  the  business  of  a 
goldsmith,  a  profession  then  nearly  connected  with 
the  art  of  engraving,  and  at  the  age  of  fourteen  he 
had  engraved  some  plates  in  the  style  of  Cornelis 
Cort,  when  Lodovico  persuaded  him  to  study  paint- 
ing. He  became  a  scholar  of  Prospero  Fontana, 
and  he  afterwards  studied  under  Bartolommeo 
Passerotti.  On  leaving  the  school  of  Passerotti, 
Agostino,  together  with  his  brother  Annibale, 
passed  some  time  at  Parma,  where  they  studied 
with  attention  the  works  of  Correggio  and  Parmi- 
giano.  He  afterwards  went  to  Venice,  where  he 
had  an  opportunity  of  perfecting  himself  in  en- 
graving under  Cornelis  Cort,  by  whose  instruction 
he  became  one  of  the  most  distinguished  engravers 
of  his  country.  Excellent  as  a  designer,  he  fre- 
quently corrected  the  defects  in  the  drawing  of  the 
pictures  he  engraved,  for  which  he  sometimes  re- 
ceived the  thanks,  but  more  usually  the  reproaches, 
of  the  painter.  On  his  return  to  Bologna,  in  1589, 
stimulated  by  the  reputation  Annibale  had  already 
acquired,  he  devoted  himself  to  painting  with  inde- 
fatigable assiduity,  and,  assisted  by  the  instruction 
of  Lodovico,  his  advancement  was  such  that  he 
was  engaged  in  all  the  considerable  works  in  which 
they  were  then  employed  in  the  Magnani  and 
Zampieri  palaces.  He  instructed  the  scholars  in  the 
Academy  in  the  theoretical  branches  of  painting, 
and  also  wrote  for  their  edification  a  sonnet, 
wherein  he  tells  them  what  characteristic  quality 
to  choose  from  each  of  the  great  masters.  It  was 
at  this  time  that  he  painted  for  the  Gertosa  at 
Bologna  his  famous  picture  of  the  '  Communion 
of  St.  Jerome,'  now  in  the  gallery  of  that  city.  It 
is  one  of  the  very  few  paintings  which  bear  his 
signature.  Annibale  being  soon  after  engaged  to 
visit  Eome,  to  paint  the  Parnese  Gallery,  he  was 
accompanied  by  Agostino,  whose  resources  and 
poetical  genius  were  of  the  most  essential  service 
in  the  composition  of  those  fabulous  subjects  to 
which  the  unlettered  mind  of  Annibale  would  have 
been  inadequate. 

These  aids  were  not  sufficiently  appreciated  by 
Annibale,  whose  vivacious  and  turbulent  disposition 
produced  continual  dissensions,  and  Agostino,  after 
ihe  had  executed  the  '  Triumph  of  Galatea,'  and 
the  '  Cephalus  and  Aurora,'  was  obliged  to  abandon 
him,  and  to  leave  Eome.  He  went  to  Parma,  where 
he  was  employed  by  Duke  Eanuccio  to  paint  the 
great  saloon  of  the  Casino,  the  finishing  of  which 
he  did  not  long  survive.  He  died  at  Parma,  in 
1602.  The  following  are  the  principal  works  of 
Agostino  Carracci: 

238 


Bologna.        Mnacoteca.The    Last    Communion    of    St. 
Jerome  (his  master-pUee). 
„  „  The  Assumption. 

Cassel.  Gallery.      Hagar  and  Ishmael. 

London.         Nat.  6al.  Cephalus  and  Aurora. 
„  „  Triumph  of  Galatea. 

£oth    original    cartoons  for  tlie 
frescoes  in  the  Farnese' Palace, 
Sotne. 
Munich.      Knahothek.  St.FrancisreceivingtheStigmata. 
Paris.  Louvre.      The  Infant  Hercules  strangling 

the  Serpents  {catalogued  as  hy 
Annibale  Carracci). 
Vienna.         Belvedere.    St.FrancisreceivingtheStigmata. 
„  Czernin  Coll.  St.  Dominic. 

„  Sterne  Coll.  Female    Portrait.      Signed   and 

dated.     1598. 

As  an  engraver,  Agostino  Carracci  is  to  be  ranked 
among  the  most  celebrated  artists  of  Italy.  The 
correctness  of  his  design  is  only  equalled  by  the 
beauty  of  his  execution,  and  his  plates  would 
have  nearly  reached  perfection,  if  he  had  paid 
more  attention  to  the  efEect  of  chiaroscuro.  They 
appear  to  have  been  executed  entirely  with  the 
graver,  in  a  bold,  free  style,  nearly  resembKng 
that  of  his  instructor,  Cornelis  Cort.  The  expres- 
sion of  his  heads  is  admirable,  and  his  extremities 
are  marked  with  the  greatest  care.  His  plates  are 
very  numerous  ;  they  are  generally  marked  with  the 
initials  A.  C  ox  AUG.  F.  or  Agos.  C,  and  some- 
times with  his  name  abbreviated.  They  are  not 
difficult  of  recognition.  The  following  are  his 
principal  prints : 

POETEAIIS  AND   SDBJECTS  FEOM  HIS  OWN  DESIGNS. 

Antonio  Carracci,  his  father ;  very  scarce. 

Bust  of  Cosmo  I.  with  ornamental  figures. 

The  Head  of  a  "Woman ;  fine. 

Portrait  of  a  Lady  with  a  collar  of  pearls. 

Giovanni  Tommaso  Costanzo. 

Princess  Christina  of  Ijorraine. 

TJlisse  Aldrovandi. 

Tiziano  Vecelli.     1587. 

Eve  giving  the  Apple  to  Adam.    1581. 

The  Virgin  and  Infant  Jesus. 

The  Eepose  in  Egypt. 

The  Virgin  in  the  Clouds,  giving  the  Scapulary  to  a 

Saint. 
The  Virgin  seated  on  a  step,  with  St.  Joseph,  the  Infant 

Jesus,  St.  John,  and  an  Angel ;  scarce. 
The  Good  Samaritan ;  proofs  before  the  letter  are  very 

rare.    The  impressions  with  the  name  of  Bertelli  are 

retouched. 
The  Crucifixion,  with  two  Females,  one  representing 

Christianity,  the  other  Judaism. 
The  Resurrection. 
The  Confraternity  of  the  Sacred  Name  of  God,    (The 

Pope  and  the  Senate  of  Venice  kneeling  before  the 

Virgin.)     1582. 
St.  Francis  of  Assisi  receiving  the  Stigmata ;  Agos,  Car. 

1586. 
The  Cord  of  St.  Francis.    (St.  Francis  distributing  cords 

to  a  number  of  persons  of  different  orders  )    1586. 
St.  Jerome  kneeling  at  the  entrance  of  a  cave.    There 

are  impressions  of  this  plate,  which  are  very  scarce, 

in  which  it  is  only  three  parts  finished,  the  rest  being 

slightly  sketched  with  a  single  stroke.     The  plate 

was  afterwards  finished  by  his  pupil  Villameua. 
Seventeen  plates  of  free  subjects,  called  in  Italy '  Le  Las- 

civie  dei  Carracci.' 
Two  other  amorous  subjects. 
A  Landscape  with  naked  figures. 
A  Landscape  with  the  same,  and  in  the   distance  a 

Dance. 
Cupid  conquering  Pan  ;  Omnia  vineit  amor.     1599. 
Perseus  combating  the  Monster. 
Frontispiece  for  the  work  called  Cremona  Jidelissima 

This  book,  which  is  very  scarce,  contains  thirty-five 

portraits,  engraved  by  Agostino  Carracci. 


Carracci 


PAINTEES  AND  ENGRAVERS. 


Carracci 


SnBJBCTS  AITEE  VAEIOTJS  MASTEES. 

A  Child  blowing  Bubbles ;  after  Goltzius  ;  very  scarce. 
Jacob  watering  the  Flocks  of  Kachel ;  after  B.  Calvaert. 

1581.  -^ 

Judith ;  half-length ;  after  Lorenzo  Sahbatini. 
The  young  Tobit  conducted  by  the  Angel ;  improperly 

marked  Eaffaelle  d'  Urbino ;  it  is  after  Maffaelle  da 

Reggio, 
The  Presentation  in  the  Temple ;  after  Orazio  Sammac- 

chini. 
The  Virgin  and  Infant  Christ  giving  the  Keys  to  St. 

Peter ;  after  the  same. 
The  Adoration  of  the  Magi ;  after  B.  Feruzzi.    1579. 
The  Tirgin  and  Infant,  with  the  Magdalen,  St.  Jerome, 

and  an  Angel ;  after  Corrcggio.     1586. 
The  Ecce  Homo,  with  the  Virgin  and  other  figures; 

after  the  same.    1587. 
The  Adoration  of  the  Magi ;  after  Marco  del  Mora. 
The  great  Crucifixion ;  after  Tintoretto ;  in  three  sheets. 
The  mocking  of  Christ ;  after  V.  Strada. 
The  dead  Christ,  supported  by  an  Angel ;  half-length ; 

after  the  same. 
The  Pieta ;  after  the  sculpture  of  Michelangelo  Buon- 
arroti. 
The  Nativity  of  the  Virgin  ;  after  Andrea  del  Sarto. 
The  Virgin  Mary  crowned  by  the   Trinity;  after  J. 

Mostaert. 
The  Holy  Family ;  after  Barocci. 
The  Holy  Family,  with  St.  John  ;  after  Raphael. 
The  Holy  Family,  with  St.  Michael ;  after  L.  Sahbatini. 
The  Virgin  with  the  Crescent,  and  the  Infant  Jesus 

giving  the  Benediction ;  after  the  same. 
Tie  Holy  Family,  with  St.  Anthony  and  St.  Catharine ; 

after  Paolo  Veronese, 
The  Virgin  taking  under  her  protection  two  Monks ; 

after  the  same. 
The  Marriage  of  St.  Catharine ;  after  the  same. 
The  Martyrdom  of  St.  Justina;  after  the  same;  in  two 

sheets. 
The  Trinity ;  after  Titian. 
The  Virgin  and  Infant  Jesus,  with  several  Saints ;  after 

Giulio  Oampi. 
St.  Paul  resuscitating  Eutychus ;  after  Antonio  Campi. 
The  Holy  Family  reposing  in  a  Landscape ;  after  B. 

Fasseri. 
St.  Sebastian ;  after  Francesco  Raiholini. 
The  Virgin  suckling  the  Infant  Jesus;  after  J.  Zigozzi. 
St.  Jerome  ;  half-length ;  after  Vanni. 
St.  Jerome,  with  the  Lion,  regarding  the  Virgin  in  the 

Clouds;  after  Tintoretto.    1598. 
The  Temptation  of  St.  Anthony.    1582.    As  this  print 

is  without  a  name,  it  has  been  sometimes  attributed 

to  Cornells  Cort. 
Mercury  and  the  Graces ;  after  Tintoretto. 
Wisdom,  accompanied  by  Peace,  driving  away  the  God 

of  "War ;  after  the  same. 
.ffineas  carrymg  his  Father  Anchises ;  after  Barocci. 

CARRACCI,  Annibalb,  was  born  at  Bologna  in 
1660.  His  father,  who  was  a  tailor,  at  first  brought 
him  up  to  his  own  trade,  but  the  boy's  natural  abili- 
ties and  the  advice  of  Lodovico  induced  Antonio 
Carracci  to  let  his  son  study  in  the  atelier  of  his 
uncle.  Thus  Lodovico  was  Annibale's  first  and  only 
instructor  in  art.  In  1580,  Annibale  left  Bologna 
and  went  to  Parma,  where  he  studied  the  works  of 
Correggio  and  Parmigiana  He  was  joined  at  Parma 
by  his  brother  Agostino,  who  after  a  short  time 
left  Annibale  to  go  to  Venice,  where  they  again  met 
and  lived  together  for  some  time.  After  an  ab- 
sence of  about  seven  years  he  returned  to  Bologna, 
where  in  1589  the  Carracci  opened  their  academy. 
He  assisted  Lodovico  in  his  paintings  in  the 
Magnani,  Fari,  and  Zampieri  palaces.  About  1600, 
Annibale  was  invited  to  Rome  by  Cardinal  Odoardo 
Farnese  to  decorate  the  Farnese  Palace.  He  was 
assisted  by  his  brother  Ago.'itino,  by  Domenichino, 
and  by  Lanfranco.  The  Farnese  Palace  occupied 
about  four  years  of  the  prime  of  Annibale's  life. 
Foi  this  immense  work  (in  which  Poussin  declares 


that  he  surpassed  not  only  himself,  but  every 
painter  who  preceded  him,  and  which  is  generally 
admitted  to  be  his  most  important  work)  he  received 
but  five  hundred  crowns.  These  frescoes  display 
the  greatest  technical  excellence  in  drawing,  both 
of  drapery  and  the  nude,  in  modelling  and  in 
colour.  But  it  is  to  be  regretted  that  Annibale, 
who  was  averse  to  literary  studies,  and  consequently 
ignorant  of  history  and  fable,  was  obliged  to  have 
recourse  to  the  acquirements  of  others,  and  the 
natural  result  was  that  he  could  not  feel  the  poetry 
of  his  subject  so  sensibly,  or  correctly,  as  if  it  had 
emanated  from  his  own  mind.  Annibale  was  in 
complete  possession  of  his  art,  when  the  subject 
did  not  go  beyond  the  limit  of  his  comprehension. 

After  a  visit  to  Naples,  Annibale  Carracci  died 
at  Rome  in  1609,  and  was  buried  near  Raphael  in 
the  Pantheon. 

The  most  celebrated  easel  picture  by  Annibale 
was  formerly  in  the  Orleans  Gallery,  at  the  sale 
of  which  it  fetched  4000  guineas,  the  highest  price 
reached  by  any  picture  in  that  famous  collec- 
tion. It  is  now  at  Castle  Howard.  It  represents 
the  Saviour  taken  down  from  the  Cross,  extended 
in  the  lap  of  the  Virgin,  who  is  fainting,  Mary 
Magdalene  deploring  the  death  of  her  Divine 
Master,  whilst  Mary  (the  wife  of  Cleophas),  and 
another  of  the  holy  women,  are  succouring  the 
mother  of  Christ.  Of  the  beauties  of  this  ad- 
mirable production,  any  description  that  could  here 
be  attempted  would  be  quite  inadequate ;  it  must 
be  seen  to  be  felt.  The  awful  manner  in  which 
this  solemn  subject  is  represented,  fills  the  mind  of 
the  beholder  with  the  most  affecting  emotions.  It 
has  been  very  finely  engraved  by  Roullet. 

Annibale's  excellence  as  a  painter  of  landscape 
ought  not  to  be  left  unnoticed  ;  he  did  not  confine 
himself  to  the  backgrounds  of  his  historical  sub- 
jects, but  painted  several  pictures  in  which  the 
figures  are  only  accessory,  and  to  which  we  have 
nothing  superior  in  grandeur  of  scenery,  in  the 
choice  of  forms,  in  aerial  tints,  and  in  spirited 
execution.  He  also  painted  genre  pictures,  as 
'The  Greedy  Eater'  in  the  Colonna  Palace  at 
Rome.     The  following  are  his  principal  paintings  : 

Berlin.  Gallery.      Holy.  Family. 

„  „  Landscape. 

Bologna.    Finacoteca.    Madonna  adored  by  six  Saints. 
1593. 

„  „  Madonna  enthroned,  with  Saints. 

„  „  Annunciation. 

„  „  Assumption.    1592. 

„  Falazzo  Zampieri.  Education  of  Hercules. 

„        San  Gregorio.  Baptism  of  Christ. 
Cassel.  Gallery.     Tobias. 

„  „  Hercules. 

Castle  Howard.  The  Three  Maries. 

„  Portrait  of  Himself. 

Darmstadt.    Gallery,     Portrait  of  Domenichino. 
Dresden.        Gallery,     The  Genius  of  Glory. 

„  „  Assumption  of  the  Virgin  {dated 

MDLXXXVIl). 

„  „  Madonna  enthroned  with  Saints 

{signed  hannibaIi  caeeaotits 

EON  F  MDLXXXVIIl). 

„  „  S.  Koch  distributing  Alms. 

„  „  Virgin  and  Child  with  the  Swal- 

low. 
Avd  others. 
Florence.        Uffizi,         A  Bacchante. 

„  „  Portrait  of  Himself. 

„  Fitti  Fal.  Christ  adored  by  Saints. 

London,         Nat.  Gal.    Christ  appearing  to  Simon  Peter 
after  his  Eesurrection. 
„  , ,  St.  John  in  the  Wilderness. 

„  „  Landscape,  with  figures, 

239 


Carracci 


A  BIOGEAPHICAL  DICTIONARY  OF 


Carracci 


Naples. 


Paris. 


London.         Kat.  Gal.    Landscape,  with  figures. 

„  „  Brminia  taking  refuge  with  the 

Shepherds. 
„  „  Silenus  gathering  Grapes. 

„  „  Pan  teaching  Apollo  to  play  on 

the  Pipes. 
„  „  The  Temptation  of  St.  Anthony 

in  the  Desert. 
„  Bridgewater  QMl.  St.  aeorge  in  Prayer. 
Milan.  Brera.         Christ  and  the 'Woman  of  Samana. 

Modena.         Museum.    Venus. 
Munich.       Finakothek.  Susannah  and  the  Elders. 
A  Pieti. 
Museum.    A  Pieta. 

„  Satyr  and  Bacchante. 

„  Holy  Family. 

And  others. 
Louvre.      Sacrifice  of  Abraham. 
„  „  Death  of  Absalom. 

„  „  Birth  of  the  Virgin. 

„  „  Annunciation. 

„  „  Nativity. 

„  „  '  La  Vierge  aux  Cerises.' 

„  „  The  Sleep  of  the  Infant  Christ. 

('  Le  Silence  du  Carrache.') 
„  „  The  Virgin  appearing  to  St.  Luke 

and  St.  Catharine  {signed  anni- 

EAl  CAEACTIVS  F.  MDXCIl). 

„  „  Preaching  of  St.  John  the  Baptist. 

„  „  A  Pieti. 

„  „  Christ  at  the  Tomb. 

„  „  TheEesurrection(s«yme«?ANNraAL 

Caeeativs  pingebat  MDXCin). 
„  „  The  Magdalen. 

„  „  Martyrdom  of  St.  Stephen. 

„  „  The  Infant  Hercules   strangling 

the  Serpents  [considered  to  be 
iy  Agostino,  but  catalogued  as 
by  Annibale). 
„  „  And  eight  others. 

Petersburg.  Sermitage.  Anointing  the  dead  Christ. 
Holy  Family. 
Pieti. 

The  Women  at  the  Sepulchre. 
Christ  and  the  Three  Maries. 
His  own  Portrait. 
A  Sleeping  Maiden. 
Landscape. 

Deposition  of  the  Cross. 
St.  Francis. 
Colonna  Pal.  The  Greedy  Eater. 
Farnese  Fal.  Ceiling — Triumph  of  Bacchus  and 
Ariadne.    1600—1604. 

Madonna  del  \  .  „„ ^i.„„ 

Fopolo.      j  Assumption. 

Belvedere.  The  Descent  from  the  Cross. 
„  „  Christ     and     the     Woman     of 

Samaria. 
„  „  Entombment. 

„  „  St.  Francis  in  Ecstasy. 

By  the  hand  of  Annibale  Carracci  we  have  about 
twenty  plates,  partly  etched,  and  finished  with  the 
graver,  in  which  the  great  master  is  strongly 
marked.     They  are — 

The  Virgin  suckling  the  Infant  Jesus  ;  oval. 

The  Virgin  supporting  the  head  of  the  Infant  Jesus 

sleeping. 
The  Virgin  and  Child,  with  St.  John  presenting  a  Bird, 
The  Adoration  of  the  Shepherds. 
The  Virgin  of  the  Porringer,  giving  drink  to  St.  John. 

1606. 
The  Holy  Family ;  Anni.  Car.  in.  fe.     1590. 
The  Crucifixion  ;  Anj.Jn  Fe.    1581. 
The  Dead  Christ  in  the  lap  of  the  Virgin,  called  the 

Caprarola  Christ.     1597. 
Christ  crowned  with  Thorns ;  Annib.  Garracius  in.  et 

fecit.    1606. 
St.  Jerome  with  spectacles  ;  half-length. 
St.  Francis  with  a  Crucifix  and  a  Skull. 
Apollo  playing  on  the  Lyre,  with  Pan. 
Jupiter  and  Antiope ;  A.  C.  1592. 
Silenus,  a  Faun,  and  a  Satyr,  called   tho   Salver   of 

Annibale, 
240 


Home.    Borghese 


Vienna. 


Pal. 


Acis  and  Galatea,  with  a  Satyr. 
Susanna  and  the  Elders ;  very  scarce. 
The  Triumph  of  Bacchus  {doubtful). 

CARRACCI,  Antonio  Maeziale,  a  natural  eon 
of  Agostino  Carracci,  was  born  at  Venice  in 
1583.  He  was  educated  by  his  father  and  by 
his  uncle,  Annibale  Carracci,  whom  he  accom- 
panied to  Rome  when  he  went  Jo  paint  the  Far- 
nese Gallery.  Aided  by  Annibale's  instructions, 
and  endowed  with  much  natural  genius,  he  soon 
became  a  skilful  designer,  and  was  taken  into  the 
service  of  Cardinal  Tonti,  who  employed  him  in 
the  decorations  of  his  chapel  in  the  Church  of  San 
Bartolommeo  nell'  Isola,  where  he  painted  several 
frescoes  taken  from  the  'LiEe  of  the  Virgin,'  and  the 
'  Passion  of  Christ.'  The  chapel  of  St.  Charles 
Borromeo  was  ornamented  by  him  with  a  picture 
representing  that  saint  communicating  the  plague- 
stricken.  He  also  painted  a  frieze  in  one  of  the 
rooms  of  the  Pope's  palace  at  Monte  CavaUo.  His 
works  are  rarely  met  with.  The  Marquis  of  Lans- 
downe  possesses  a  '  Virgin  and  Child  '  by  him.  In 
the  Louvre  is  a  picture  of  '  The  Flood ' ;  in  the 
Modena  Gallery,  '  Christ  healing  a  Blind  Man ' ; 
and  in  the  Belvedere,  Vienna,  a  '  Lute-Player.' 
He  was  greatly  attached  to  Annibale,  attended  on 
him  in  his  last  moments,  and  gave  him  a  splendid 
funeral  in  the  church  of  the  Rotunda,  near  the  tomb 
of  Raphael.     Antonio  died  at  Rome  in  1618. 

CARRACCI,  Feancesco,  called  Fbanceschino, 
the  son  of  Giovanni  Antonio,  and  a  nephew 
of  Agostino  and  Annibale  Carracci,  was  bom 
at  Bologna  in  1595.  He  was  brought  up  by 
Lodovico,  and  soon  displayed  great  talent  for  art. 
He  painted  a  '  Virgin  adored  by  Saints '  for  Santa 
Maria  Maggiore,  Bologna,  and  a  scene  frqm  the  life 
of  St.  Boch  in  the  Oratory  of  San  Eocco.  He  sub- 
sequently set  up  an  opposition  school  to  that  of 
Lodovico,  and  called  it  "  The  True  School  of  the 
Carracci "  ;  but  not  meeting  with  the  patronage  he 
expected,  he  left  Bologna,  and  went  to  Rome, 
whither  he  transplanted  the  "  True  School  of  the 
Carracci.''  He  died,  however,  in  poverty,  at  Rome 
in  1622.  There  are  a  few  plates  engraved  by  this 
artist  from  the  designs  of  Lodovico  and  Annibale, 
which  are  marked  F.  G.,  or  F.G-S. 

The  Virgin  and  Child,  inscribed  Deipara  imago  a  divo 

Lucapict,,  fc. 
St.  Charles  Borromeo,  kneeling. 
A  winged  Angel  pointing  to  a  Skull. 
Four  Busts   of    Semiramis,  Lucretia,  Artemisia,  and 

Portia. 

CARRACCI,  Lodovico,  the  real  founder  of  the 
Eclectic  school,  was  bom  at  Bologna  in  1555.  The 
two  masters  whom  he  had  chosen,  Fontana  of 
Bologna  and  Tintoretto  of  Venice,  counselled  him 
to  abandon  the  career  of  an  artist,  considering  him 
incapable  of  ever  succeeding  in  it ;  and  his  fellow- 
students  called  him  "the  ox,"  on  account  of  the 
slowness  and  heaviness  of  his  mind,  and  also  be- 
cause of  his  continual,  determined,  and  indefatig- 
able application.  He  painted  afterwards  imder 
Passignano,  and  also  studied  the  works  of  Andrea 
del  Sarto,  at  Florence  ;  at  Parma  he  was  impressed 
by  the  pictures  of  Correggio  and  Parmigiano,  and 
at  Venice  by  those  of  Titian.  On  his  return  to 
Bologna,  Lodovico  Carracci  opened  in  1589,  in  con- 
junction with  his  two  nephews,  Agostino  and  Anni- 
bale Carracci,  an  Academy  "  degli  Desiderosi" 
("Those  who  regret  the  past,  despise  the  present, 
and  aspire  to  a  better  future  "),  which  was  kept  by 
the  three  together  until  1600  (when  the  two  brothers 


Carracci 


PAINTERS  AND  ENaRAVERS. 


Carreno 


went  to  Romp),  from  which  time  till  1619,  the  year 
of  his  death,  it  was  maintained  by  Lodovico  alone. 
Soon  after  its  opening,  this  academy  acquired  such 
renown  that  all  estublishments  of  a  like  nature 
in  Bologna  were  closed  ;  and  Lodovico  Carracci's 
fame  rests  rather  on  his  teaching  than  on  the  works 
he  himself  executed.  The  Carracci  reckoned 
amongst  their  pupils,  Albani,  Giiido  Reni,  Domeni- 
chino,  Lanfranoo,  Spada,  and  Tiarini.  The  fres- 
coes which  Lndovico  executed  with  the  assistance  of 
pupils  in  1602,  in  San  Michele  in  Bosco  in  Bologna, 
representing  the  '  Life  of  St.  Benedict,'  and  the 
'  Life  of  St.  Cecilia,'  have  perished.  Tlie  follow- 
ing are  his  principal  existing  pictures  : 

Berlin.  Gallery.     Miracle  of  the  Loaves  and  Fishes. 

Bologna.         Palazzo    l  History  of  Eomulus  and  Eemus 
Magnani  >     {fresco  ;  painted  in  conjunction 
Guidotti.j     with  Atmibale  and  Agostino). 
„  S.  Gregorio.  St.  George  and  the  Dragon. 

„  „        The  Annunciation. 

„  Pinaeoteca.  The  Transfiguration. 

„  „        Madonna  of  the  Bargellini  Family. 

„  „        Birth  of  St.  John  the  Baptist. 

„  ,  „        And  others. 

Florence.        JJffizi.  His  own  Portrait. 

Parma.  Mitseum.     Burial  of  the  Virgin. 

Milan.  Brera,         Christ  with  theWoman  of  Canaan. 

Modena.         Museum.     Flora. 
„  „  Galatea. 

„  „  The  Assumption. 

Paris.  Lowvre.       The  Annunciation. 

„  „  Virgin  and  Child. 

„  Pieta. 

„  „  Appearance  of  the  Virgin  to  St. 

Hyacinthe. 
Eome.  Doria  Pal.  Ecee  Homo. 

London.         Nat.  Gal.   Susannah  and  the  Elders. 

By  Lodovico  Carracci  we  have  a  few  engravings 
from  his  own  designs ;  they  are  etched  in  a  free 
and  masterly  style,  and  finished  with  the  graver. 
He  generally  marked  his  plates  with  the  initials 
L.  0.  or  LO.  G.     We  hare  by  him  the  following : 

Samson  overcoming  the  Lion ;  L.  C.  F. 

The  Virgin  and  Infant  Jesus,  with  four  Angels,  half- 
length. 

The  Virgin  suckling  the  Infant  Jesus,  half-length ;  lod. 
Carr.  in.  f. 

The  Holy  Family,  with  the  Virgin  washing  Linen ; 
L.  G.J. 

Another  Holy  Family ;  1604. 

Another  Holy  Family  under  an  Arch. 

The  Frontispiece  to  the  Poems  of  Cesare  Einaldi. 

A  Thesis,  with  the  Arms  of  Bonfigliuoli,  with  Mercury 
and  Hercules. 

CARRACCI,  II  Gobbo  db'.     See  Bonzi. 

CARRACCINO,  II.     See  Mulinaei,  Giov.  Ant. 

CARRACCIOLO.    See  Caeacciolo. 

CARRARI,  Baldassare,  was  a  native  of  Ra- 
venna, who  flourished  about  the  year  1512.  Lanzi 
places  him  amongst  the  pupils  of  Niccol6  Ron- 
dinello,  and  considers  that  his  principal  and  most 
celebrated  production  is  his  picture  of  '  St.  Bar- 
tholomew,' in  the  church  of  San  Domenico  at 
Ravenna.  When  Pope  Julius  II.  visited  that  city 
in  1511,  he  declared  that  the  altars  of  Rome  did 
not  possess  a  finer  painting  than  that  work.  A  '  Ma- 
donna and  Cliild  with  Saints '  by  him,  in  the  Brera, 
Milan,  originally  hung  in  San  Domenico,  Ravenna. 

CARRE  FAMILY. 

Franciscus  (1630  (?)— 1689). 

Hendrik  (1668—1721).     Michiel  (1666— IMS). 

I 1 1 

Abraham  (1694— ir6S-69).    Hendrlk  (1690— ms).    Johannes  (1698—1772). 
B 


CARR:^,  Abraham,  was  the  son  of  Hendrilc 
Carr^,  and  was  born  at  the  Hague  in  1694,  and 
died  there  in  1758  or  1759.  He  painted  small  por- 
traits and  cabinet  pictures,  and  was  an  excellent 
copyist  of  the  works  of  i;he  more  distinguished 
Dutch  masters,  in  which  occupation  he  was  much 
employed  by  the  dealers,  who  sold  his  copies  as 
originals.  Two  of  his  brothers,  Hendeik  Carr^, 
who  was  born  at  the  Hague  in  1696  and  died  there 
in  1775,  and  .Johannes,  who  was  born  at  the  Hague 
in  1698  and  died  there  in  1772,  were  also  painters, 
though  but  little  is  known  of  tJiern. 

CARRE,  Franciscus,  was  a  painter  born  in  Fries- 
land  about  1630.  It  is  not  known  who  was  his  in- 
structor, but  he  grew  to  be  sufficiently  esteemed  to 
be  appointed  first  painter  to  the  Stadtholder  William 
Frederick.  He  excelled  in  painting  landscapes 
and  village  festivals,  but  his  works  are  little  known 
out  of  his  own  country.  He  left  an  etching  of  the 
funeral  catafalque  of  the  Stadtholder.  He  died  at 
Amsteixhim  in  1G69. 

CARRE,  Hendeik,  was  the  elder  son  of  Fran- 
ciscus Carr6,  and  was  born  at  Amsterdam  in 
1658.  After  studying  the  art  under  Juriaen  Jacobsz 
and  Jacob  Jordaens  for  some  time,  tlie  Princess  of 
Orange  gave  him  a  commission  in  her  regiment,  and 
he  served  some  years  in  the  army,  being  present  at 
the  siege  of  Groningen  in  1672.  He  afterwards 
resumed  painting  at  Amsterdam  with  much  success. 
Examples  of  his  work,  which  is  in  the  style  of 
Berchem,  can  be  seen  in  the  Chateau  of  Ryswick 
and  in  the  Gallery  at  Brunswick.     He  died  in  1721. 

CARRE,  Michiel,  was  born  at  Amsterdam  in  1666. 
He  received  his  first  instructions  from  his  elder 
brother  Hendrik  Carr6,  and  afterwards  became  the 
scholar  of  Nieolaas  Berchem,  but  iinfortunately  did 
not  profit  by  the  example  and  practice  of  so  excel- 
lent a  master,  but  preferred  to  follow  the  style  of  a 
much  inferior  artist  named  Gabiiel  van  der  Leeuw. 
Houbraken  states  that  Michiel  Carr6  resided  some 
time  in  England,  and  that  his  worlis  were  not  popu- 
lar here,  but  Horace  Walpole  makes  no  mention 
of  him  in  his  '  Anecdotes.'  He  was  a  landscape 
painter  of  some  celebrity,  since  at  the  death  of 
Abraham  Begeyn  he  was  invited  to  Berlin  by  the 
King  of  Prussia,  who  appointed  him  one  of  his 
painters.  On  the  death  of  Frederick  he  returned 
to  Holland,  and  resided  chiefly  at  Alkmaar,  where 
he  died  in  1728.  His  greatest  merit  was  the  un- 
common facility  and  baldness  of  his  pencil,  which 
was  well  suited  to  the  works  upon  which  he  was 
principally  engaged,  the  decoration  of  halls  and 
large  apartments.  One  of  his  best  productions  is 
to  be  seen  in  a  saloon  at  the  Hague,  where  he  has 
represented  in  a  large  landscape  the  '  History  of 
Jacob  and  Esau.'  Some  of  his  easel  paintings, 
landscapes  with  cattle,  are  very  good.  Examples 
of  these  can  be  found  in  the  Brunswick  Gallery,  and 
the  Rotterdam  Museum. 

CARREfro  DE  MIRANDA,  Juan,  an  eminent 
Spanish  painter,  was  born  at  Aviles,  in  the  Asturias, 
in  1614.  He  learned  painting  at  Madrid  under 
Pedro  de  Las  Cuevas  and  Bartolom^  Roman,  and 
improved  himself  in  design  and  colouring  by  study- 
ing the  works  of  Velazquez  and  Van  Dyck.  His 
talents  recommended  him  to  the  patronage  of 
Philip  IV.,  who  employed  him  in  some  important 
fresco  works  in_  his  palaces.  Besides  his  commis- 
sions from  the  king,  he  painted  a  number  of  pictures 
for  the  churches,  and  Palomino  gives  a  long  account 
of  hi.s  works  at  Madrid,  Toledo,  Alcala  de  Henares, 
SegOvia,  and  Pamplona.    At  Madrid,  in  conjunction 

241 


Carretti 


A  BIOGRAPHICAL  DICTIONARY  OP 


Carmoci 


■with  Francisco  Rici,  he  painted  the  celebrated 
cupola  of  San  Antonio  de  los  Portugueses,  and  a 
line  picture  of  the  'Magdalen  in  the  Desert,'  in  the 
convent  of  Las  Recogidas.  His  colouring  was  in 
tenderness  and  suavity  perhaps  superior  to  that 
of  any  painter  of  his  country  except  Murillo.  He 
was  retained  as  painter  to  the  court  under  Charles 
II.,  and  died  at  Madrid  in  1685.  He  also  executed 
several  etchings. 

The  following  are  some  of  his  best  paintings  : 

Berlin.         Gallei-y.        Portrait  of  Charles  II.  of  Spain. 

1073. 

„  „  Christ  on  the  Cross. 

Paris.         Zouvre.  St.  Thomas  of  Villanuova. 

Vienna.     Academy.       A    Priest  with  the   Consecrated 
Host. 

CARRETTI,  DoMBNioo,  was,  according  to  Aver- 
oldi,  a  native  of  Bologna,  It  is  not  stated  by  whom 
he  was  instructed,  but  during  a  long  residence  at 
Brescia,  he  painted  many  small  historical  pictures 
for  private  collections.  He  was  also  employed  for 
the  churches.  His  most  esteemed  work  is  a  picture 
of  the  '  Virgin  with  the  Infant  Jesus  and  St. 
Theresa,'  in  the  church  of  San  Pietro  in  Oliveto. 

CARREY,  Jacques,  a  French  painter,  was  born 
at  Troyes  in  1649,  and  became  a  pupil  of  Le 
Bran.  In  1673  he  accompanied  the  Marquis  de 
Nointel  in  his  embassy  to  Constantinople,  taking 
sketches  of  the  most  remarkable  scenes  and  objects, 
from  which  he  afterwards  painted  pictures.  In 
1674  he  visited  Greece  and  made  for  the  Marquis 
de  Nointel  the  priceless  drawings  of  the  Parthenon, 
now  in  the  Bibliotheque  Nationale  at  Paris,  which 
have  been  so  highly  praised  by  M.  Beule.  They 
were  reproduced  and  published  in  1848  by  the 
Marquis  L^on  de  Laborde,  under  the  title  'Le  Par- 
thenon, documents  pour  servir  a  une  restauration.' 
The  Louvre  possesses  a  series  of  drawings  by  him 
representing  the  '  Supplice  du  Pal,'  and  in  the 
Bordeaux  Museum  are  two  pictures  of  Turkish 
ceremonies.     Carrey  died  at  Troyes  in  1726. 

CARRICK,  Thomas,  a  native  of  Carlisle,  removed 
to  London  and  soon  became  popular  for  his  mini- 
atures. Many  eminent  personages  sat  to  him,  and 
he  exhibited  at  the  Royal  Academy  occasionally 
from  1841  till  1860.     He  died  in  1874. 

CARRIER,  AuGOSTE  Joseph,  a  French  painter, 
was  born  in  Paris  in  1800.  He  was  a  pupil  of 
Gros,  Prud'hon,  and  Saint,  and  evinced  much  talent 
in  the  painting  of  miniatures,  but  in  his  later  years 
he  devoted  himself  almost  entirely  to  landscapes. 
He  died  in  1875. 

GARRIERA,  Rosalba,  better  known  by  her 
Christian  name  alone,  was  a  daughter  of  Angelo 
Carriera,  a  native  of  Chioggia,  who  held  various 
official  posts  in  the  latter  days  of  the  Venetian 
Republic.  She  was  born  at  Venice  on  the  7th 
of  October,  1675,  and  at  an  early  age  showed  her 
artistic  talent  by  making  designs  for  point-lace. 
This  she  continued  to  do  until  the  fashion  changed, 
when  she  was  advised  by  Jean  Steve,  a  Frenchman 
then  residing  at  Venice,  to  turn  her  attention  to  the 
decoration  of  snuff-boxes,  a  branch  of  art  in  which 
he  excelled.  She  then  became  a  pupil  of  Giannan- 
tonio  Lazzari,  a,  distinguished  amateur,  and  after- 
wards of  Giuseppe  Diamantini  and  Antonio  Bales- 
tra,  but  her  style  was  mainly  inspired  by  the  works 
of  Pietro  Liberi.  She  at  first  painted  in  oil,  but  it 
IS  to  her  miniatures,  and  above  all  to  her  crayon 
portraits,  that  her  great  reputation  is  due.  Elected 
in  1705  a  member  of  the  Academy  of  St.  Luke  at 
Rome,  and  in  1720  a  member  of  the  Acadeftiy  of 

242 


Bologna,  the  Grand-Duke  Co^mo  HI.  requested  her 
to  contiibute  her  own  likeness  to  the  famous  col- 
lection of  painters'  portraits  executed  by  their  own 
hands  in  the  Uffizi  Gallery  at  Florence.  The 
Florentine  Academy  likewise  enrolled  her  among 
its  members.  In  1720  she  visited  Paris  in  company 
with  her  mother,  her  sisters  Angela  and  Giovanna, 
and  the  Venetian  painter,  Antonio  Pellegrini,  whom 
the  elder  of  her  sisters  had  married.  Rosalba 
stayed  in  Paris  nearly  a  year,  during  which  time 
she  executed  the  portraits  of  Louis  XV.,  then  a 
boy  of  ten  years  old,  the  Regent,  and  many  nobles 
and  ladies  of  the  French  court.  Crozat,  Mariette, 
the  Comte  de  Caylus,  Watteau,  Rigaud,  Largillierej 
Coypel,  and  other  distinguished  amateurs  and 
artists  eagerly  sought  her  society  and  her  works, 
and  the  Royal  Academy  of  Painting  elected  her 
by  acclamation.  Her  diary,  kept  during  her  stay 
in  Paris,  contains  details  of  much  interest  respect- 
ing the  brilliant  society  of  the  Regency.  It  was 
published  by  the  Abb&  Vianelli  in  1793,  and  was 
both  reprinted  in  Italian  and  translated  into  Frencli 
in  1865.  Rosalba  was  then  forty-five  years  of  age, 
and  had  never  been  pretty,  yet  she  charmed  every 
one  by  the  grace  and  modesty  which  set  off  her 
rare  talent.  Returning  to  Venice  in  1721,  her 
pencil  found  constant  employment,  for  scarcely  a 
traveller  of  distinction  passed  through  that  city 
without  carrying  away  with  him  his  own  portrait 
or  some  fancy  head.  In  1723  she  visited  the  court 
of  Modena,  and  in  1730  that  of  Vienna,  and  the 
Elector  of  Saxony,  afterwards  Augustus  III.,  King 
of  Poland,  purchased  many  of  her  works.  Ten 
years  before  her  death  her  sight  failed,  and  she 
died  at  Venice  on  the  16th  of  April,  1767.  Her 
works  are  still  admired,  although  no  longer  com- 
pared with  those  of  Correggio,  for  the  delicate 
tints  have  now  faded,  and  the  faulty  drawing  and 
afEected  style  become  but  too  apparent. 

The  Dresden  Gallery  possesses  143  of  her  works, 
including  portraits,  and  sacred  and  other  subjects, 
the  chef-d'ceu^•re  being  the  head  of  Metastasio. 
The  Louvre  has  five  of  her  drawings,  among  which 
is  the  half-length  crayon  drawing  of  a  'Muse 
crowned  with  Laurel,'  which  she  presented  on  her 
reception  at  the  Academy.  There  are  drawings 
by  her  at  Venice,  Chioggia,  and  Padua,  and  in 
the  Galleries  of  Turin,  Florence,  Copenhagen,  and 
St.  Petersburg. 

Rosalba's  youngest  sister,  Giovanna  Cakeieka, 
painted  miniatures,  assisted  her  sister  in  the  back- 
grounds and  draperies  of  her  drawings,  and  died 
in  1737.    ,  K.  E.  G. 

CARRlilRE,  Antoine  Fulceand,  a  French  litho- 
graphic artist  and  pupil  of  Ingres,  was  bom  at 
St.  Afrique  (Aveyron)  in  1804.  He  executed  a 
series  of  portraits  of  generals  of  the  First  Empire, 
and  died  at  Agen  in  1866. 

CARROGIS,  Louis.     See  Cabmontelle. 

CARRUCCI,  Jacopo,  (or  Caeucoi,)  called  Jacopo 
DA  PoNTORMO  (or,  more  correctly,  Puntoemo),  was 
bofn  at  Pontormo,  in  the  Florentine  state,  in  1494. 
His  parents  dying  before  he  was  thirteen  years  of 
age,  he  was  taken  to  Florence  by  a  relation,  who, 
perceiving  his  inclination  for  art,  placed  him  in  the 
school  of  Leonardo  da  Vinci,  under  whose  tuition 
he  remained  only  till  1512,  but  who,  nevertheless, 
influenced  his  style  of  painting ;  he  afterwards 
became  successively  the  scholar  of  Piero  di  Cosiino 
and  of  Mariotto  Albertinelli.  Whilst  he  was  a  dis- 
ciple of  Albertinelli,  he  painted  a  picture  of  the  'An- 
nunciation,' which  excited  the  greatest  admiration, 


Cars 


PAINTERS  AND  ENGEAVERS. 


Carstens 


and  being  shown  to  Raphael,  was  considered  by 
that  great  painter  as  an  uncommon  efEort  of  genius 
for  a  juvenile  performance.  When  about  eighteen 
years  of  age  he  became  a  pupil  of  Andrea  del  Sarto  ; 
and  some  of  his  early  productions  having  received 
the  most  marked  commendation  from  Buonarroti, 
the  illiberal  disposition  of  his  instructor  con- 
ceived an  unworthy  jealousy  of  his  powers,  and  he 
is  said  to  have  dismissed  him  from  his  academy. 
This  ungenerous  treatment  only  served  as  a  stimu- 
lus to  his  exertions  ;  and  it  was  not  long  before  he 
met  with  considerable  occupation.  One  of  his 
first  productions,  on  leaving  Andrea  del  Sarto,  was 
a  picture  of  the  'Visitation  of  the  Virgm  to  St. 
Elizabeth,'  for  the  convent  of  the  Annunziata, 
which  disputed  the  preference  with  many  of  the 
works  of  Del  Sarto.  He  was  not  less  successful  in 
his  '  Holy  Family  with  St.  John,'  painted  lor  the 
church  of  San  Michele,  at  Florence ;  and  his  pic- 
ture of  '  St.  Augustine  giving  the  Benediction,'  with 
a  beautiful  choir  of  angels,  in  the  church  of  San 
Clemente.  It  is  surprising  that,  with  the  posses- 
sion of  such  powers,  he  should  have  degraded  his 
talents  by  stooping  to  a  servile  imitation  of  the 
style  of  Albrecht  Durer,  from  whose  prints  the 
compositions  in  the  series  of  pictures  which  he 
painted  for  the  cloister  of  the  Carthusians  at 
Florence  are  undisguisedly  copied.  His  last  works 
were  the  frescoes  he  painted  in  the  chapel  of  San 
Lorenzo,  representing  the  '  Deluge,'  and  the  '  Last 
Judgment,'  which,  from  his  indecision  and  want  of 
energy,  occupied  him  eleven  years.  Great  expect- 
ations had  been  formed  of  this  important  under- 
taking; but  when  the  results  were  exposed  to 
public  view,  they  were  found  to  be  totally  un- 
worthy of  his  reputation;  and  it  is  perhaps  for- 
tunate for  his  fame  that  they  have  since  been 
obliterated.  He  did  not  long  survive  this  mortify- 
ing failure,  and  died  at  Florence  in  1557.  As  a 
portrait-painter  Carrucci  is  worthy  of  much  praise. 
The  following  are  some  of  his  best  works : 
Berlin.  Gallery.    Portrait  of  Andrea  del  Sarto. 

Bologna.         Gallery.    Madonna  and  Child. 
Florence.         Ufflzi.       Leda. 

„  „  Venus  and  Cupid  {from  a  design 

iy  Michelangelo). 

„  „  Adam  and  Eve  driven  from  Para- 

dise. 

„  „  Joseph  conducted  to  prison. 

„  „  Portrait  of  Cosmo  I.  de'  Medici. 

„  Academy.  The  Disciples  at  Emmaus.    1S25. 

„  S.  i^isKc2id.Descent  from  the  Cross, 

Fitti  Tal.  Martyrdom  of  Forty  Saints. 
„  „        Portrait  of  Ippolito  de'  Medici. 

Hampton  Ct.  Palace.     Venus  and  Cupid.  (A  replica  of  the 

picture  at  Florence.) 
London.  JVat.  Gal.  Portrait  of  a  Boy. 

Madrid.  Gallery.  Holy  Family. 

Munich.      JPinakothek.  Holy  Family. 
Paris.  Zowere.    Holy  Family. 

„  „  Portrait  of  an  Engraver  of  Gems. 

Vienna.         Belvedere.  Portrait  of  a  Youth. 
Volterra.       Cathedral.  Descent  from  the  Cross. 

CARS,  Jean  PKANgois,  was  a  French  engraver, 
bom  at  Lyons  in  1670.  His  father,  Feanqois  Caes, 
was  an  engraver  of  no  great  repute,  to  whom  we  owe 
a  portrait  of  Joseph  Tobias  Franc,  drawn  in  1681. 
Jean  Franf ois  worked  at  Lyons  for  some  years, 
but  eventually  repaired  to  Paris,  where  he  died 
in_  1739.  He  had  a  brother,  FRANgois  Caes,  like- 
wise an  engraver,  who  died  in  Paris  in  1763,  aged 
eighty-three.  The  works  of  Jean  Fran9ois  Cars 
are  not  considered  equal  to  those  of  his  more 
k2 


famous  son.  His  plates  are  sometimes  marked 
J.  F.  Cars,  but  more  frequently,  J.  F.  Cars,  Jils. 
We  have  by  him  the  following  portraits : 

Nicolas,  Superior  of  the  Order  of  Capuchins  at  Lyons ; 

engraved  at  Lyons,  1694. 
Francois  Blouet  de  Camilly. 
Cardinal  de  Polignac ;  after  Rigaud. 
Archbishop  Neufville  de  Villeroi;  after  Grandon  of 

Zyons. 
Bishop  Dominic  St.  Clair. 
Louis  Auguste,  Prince  de  Dombes. 
Louis,  Vicomte  d'Aubusson. 
Prince  Henri  La  Tour  d'Auvergne.     1699. 
Archbishop  Charles  La  Berchere.    1702. 
Cardinal  Archbishop  Le  Camus.    1703. 
Pierre  de  Seve.    1706. 
Archbishop  de  Grammont.     1706. 
Louis  SIV. ;  engraved  at  Zyons,  sold  at  Paris,  marked 

J.  F.  0. 

CARS,  Laurent,  was  a  French  designer  and  en- 
graver, born  at  Lyons  in  1699.  He  was  the  son  of 
Jean  Francois  Cars,  who  took  him  when  quite 
young  to  Paris,  where  it  was  not  long  before  he  dis- 
tinguished himself.  In  1733  he  was  received  as  an 
Academician  upon  his  portraits  of  Michel  An- 
guier  and  S4bastien  Bourdon.  Cars,  who  was  the 
master  of  Beauvarlet,  may  be  considered  as  one  of 
the  best  French  engravers  of  the  18th  century,  in 
the  kind  of  subjects  he  selected.  He  died  in  Paris 
in  1771.  His  best  plates  are  those  engraved  after 
Lemoyne,  particularly  that  of  '  Hercules  and 
Omphale,'  and  the  series  of  illustrations  after 
Boucher's  designs  to  the  Comedies  of  Moli^re,  and 
after  Oudry  to  the  Fables  of  La  Fontaine.  His  work 
is  extensive ;  the  following  are  his  principal  plates : 

poeteaits. 
Louis  XV.,  an  allegorical  portrait ;  after  Lemoyne. 
Louis  XV.,  an  allegorical  subject ;  after  Boucher. 
Stanislaus,  King  of  Poland ;  after  van  Loo. 
Michel  Anguier,  sculptor ;  after  Bevel. 
Cardinal  Armand  Gaston  de  Bohan ;  after  Rigaud. 
Marie  Leszczinska,  Queen  of  France ;  after  Van  Loo. 
Fran9ois  Boucher,  painter;  after  Cochin, Jils, 
Jean  Baptiste  Chardin,  painter ;  after  the  same. 
Madame  Chardin ;  after  the  same. 
Mile.  Camargo,  dancing ;  after  Lancret. 
Mile.  Clairon,  in  the  part  of  Medea. 

SUBJECTS   AFTER   VARIOUS   MASTERS. 

The  Adoration  of  the  Shepherds ;  after  Van  Loo, 
The  Flight  into  Egypt ;  after  the  same. 
Bathsheba  at  the  Bath ;  after  De  Troy. 
Susannah  and  the  Elders ;  after  the  same. 
Adam  and  Eve  in  Paradise ;  after  Lemoyne. 
Hercules  and  Omphale ;  after  the  same. 
Perseus  and  Andromeda ;  after  the  same. 
The  Sacrifice  of  Iphigenia ;  after  tlie  same. 
Hercules  and  Cacus ;  after  the  same. 
Iris  at  the  Bath ;  after  the  same. 
Cephalus  and  Aurora ;  after  the  same. 
The  Rape  of  Europa ;  after  the  same. 
Time  discovering  Truth ;  after  the  same. 
Monument  in  honour  of  the  Duke  of  Marlborough. 
Silence ;  after  Greuze. 
L'Aveugle  trompe  ,••  after  the  same. 
The  Fortune-teller ;  after  Watteau 
The  Venetian  Festival ;  after  the  same. 
A  Convoy  of  Equipages ;  after  the  same. 

CARSTENS,  AsMUS  Jacob,  was  an  historical 
painter  born  at  Sankt  Jiirgen,  Schleswig,  in  1754. 
He  displayed  considerable  natural  inclination  for 
drawing  and  painting  at  quite  an  early  age,  and 
this  was  increased  by  the  impression  produced  on 
him  by  the  picture  in  the  cathedral  at  Schleswig, 
painted  by  Juriaen  Ovens,  a  pupil  of  Rembrandt. 
Endeavours  were  made  to  place  him  with  Tischbein  ' 
at  Cassel,  but  these  were  unsuccessful,  and  he  was 

243 


Carstens 


A  BIOGRAPHICAL  DICTIONARY  OF 


Carter 


accordingly  apprenticed  to  a  wine-merchant  at 
teckernforde.  After  spending  live  years  in  that 
capacity,  during  which  his  leisure  hours  were  always 
being  devoted  to  drawing  and  portrait-painting,  he 
went  to  Copenhagen  in  1776,  where  the  artistic  trea- 
sures of  the  Eoyal  Gallery  made  such  an  impression 
upon  him  that  he  resolved  at  all  cost  to  become  a 
painter.  He  took  at  once  to  studying  the  antique, 
not  indeed  by  copying,  but  by  impressing  the  image 
on  his  mind  by  contemplation,  which  resulted  in 
his  obtaining  an  extraordinary  facility  in  drawing 
the  round  when  treating  the  human  figure.  He 
also  learnt  something  of  anatomy,  but  he  did  not 
go  to  the  Academy,  as  his  mind  already  evinced 
some  repugnance  to  t;he  academical  course  of  train- 
ing, and  he  preferred  to  train  himself  by  making 
his  own  attempts  at  composition,  by  books,  by 
engravings,  and  by  the  friendly  assistance  of  other 
artists.  His  first  large  work  was  the  '  Death  of 
.ffischylus,'  soon  followed  by  another  on  a  larger 
scale, 'iEohis  and  Ulysses,' which  was  exhibited, 
and  met  with  a  most  favourable  reception.  Mean- 
time he  entered  the  Academy  with  a  view  to  ob- 
taining 'the  means  of  visiting  Italy.  But  this, 
nevertheless,  seems  to  have  been  his  object  rather 
for  the  sake  of  appearances,  and  the  obtaining  it  a 
matter  of  the  greatest  indifference  to  him,  as  he 
had  to  retire  from  it  in  consequence  of  having 
declined  to  receive  the  silver  medal  awarded  to 
him,  on  the  ground  of  there  having  been  some 
unfair  act  in  the  way  the  Directorate  had  treated 
another  member.  In  fact,  he  rejected  with  contumely 
proposals  made  to  him  subsequently  to  canvass  for 
the  great  prize,  which  had  a  six  years'  maintenance 
in  Italy  attached  to  it.  He  then  left  Copenhagen 
to  satisfy  his  desire  of  visiting  Rome  at  the  expense 
of  his  scanty  savings.  He  started  in  1783,  but  did 
not  get  beyond  Mantua,  where  the  paintings  of 
Giulio  Romano  in  the  Palazzo  del  Te  produced  a. 
profound  impression  upon  him :  but  he  was  com- 
pelled by  lack  of  funds  to  return  to  Germany. 
He  then  settled  in  Liibeck,  where  he  maintained 
himself  by  painting  portraits.  However,  he  had 
by  this  time  seen  Giulio  Romano's  works,  Leonardo 
da  Vinci's  '  Last  Supper,'  and  something-  of  Swiss 
scenery,  and  his  imaginative  powers  had  thus  re- 
ceived new  ideas — ideas  which  he  now  began  to 
express  in  allegories  of  his  own,  as  well  as  in  com- 
positions after  Homer,  ^schylus,  Ossian,  and 
Klopstock. 

After  nearly  five  years  spent  in  Liibeck  he  had 
the  good  fortune  to  make  the  acquaintance  of  a 
wealthy  amateur,  who  placed  him  in  such  a  position 
that  he  was  able  to  visit  Berlin  in  1787.  At  that 
place,  as  he  was  following  out  his  determination  to 
paint  no  more  portraits,  he  was  at  first  in  very 
straitened  circumstances,  until  the  success  of  a 
composition  he  exhibited,  entitled  'The  Fallen 
Angel,'  a  design  showing  extraordinary  power  of 
imagination,  led  to  his  appointment  as  professor  at 
the  Berlin  Academy.  Amongst  his  works  at  this 
time,  next  to  Plato's  '  Symposium,'  which  is  one  of 
his  finest,  were  the  '  Battle  of  Rossbach,'  and  the 
design  for  an  '  Equestrian  Statue  of  Frederick  the 
Great.'  But  previously,  the  decoration  of  an  apart- 
ment with  mythological  subjects  to  the  order  of 
the  Minister  of  the  day,  Heiiiitz,  had  brought  him 
to  the  height  of  his  wishes.  On  the  occasion  of 
its  being  opened  the  artist  was  presented  to  the 
king,  and  he  shortly  afterwards  received  u.  stipend 
enabling  him  to  visit  Rome.  It  was  in  the  summer 
of  1792  that  he  made  the  journey,  halting  for  a 


month  in  Florence,  where  he  produced  a  fine  com- 
position in  his  '  Battle  of  the  Centaurs  and  La- 
pithse,'  and  reached  Rome  in  September.  There  he 
studied  more  especially  the  works  of  Michelangelo 
and  Raphael.  His  first  work  from  his  own  design 
at  Rome  was  the  'Argonauts  and  Chiron,'  a  work, 
in  which  the  purity  of  style  and  the  beauty  of  the 
forms  manifested  the  advance  which  he  was  making 
by  sojourning  at  Rome.  In  1795  he  had  a  public 
exhibition  of  his  works,  and  the  judgment  of  con- 
noisseurs, who  were  amazed  at  the  skill  he  dis- 
played, and  at  the  extent  of  the  powers  of  his 
imagination,  was  so  favourable  and  so  flattering 
that  he  considered  he  should  be  able  to  maintain 
himself  for  the  future  at  Rome.  Nor  were  his 
expectations  delusive.  His  pictures  found  pur- 
chasers as  well  as  admirers,  and  a  troop  of  brave 
artists  flocked  round  him.  That  exhibition,  in  fact, 
marks  tbe  second  revival  of  modem  art  at  the 
close  of  the  past  century. 

The  following  two  years  witnessed  the  produc- 
tion of  numerous  masterly  compositions  after 
Lucian,  Philostratus,  Homer,  Ossian,  Sophocles, 
Pindar,  Dante,  and  Goethe,  as  well  as  a,  series  of 
excellent  designs  from  the  history  of  the  Argo- 
nauts, and  from  that  of  (Edipus,  as  given  by  So- 
phocles. The  last  of  these  represented  '  The 
Golden  Age,'  one  of  the  most  powerful  and  grace- 
ful productions  of  the  artist's  fancy.  About  this 
time  he  was  seized  with  an  attack  in  the  chest, 
which  defied  all  remedies,  and  he  died  at  Home  in 
1798. 

Notwithstanding  certain  imperfections  in  his 
drawing  and  style,  and  in  spite  of  the  violent 
opposition  he  met  witii,  Carstens  was  the  founder 
of  the  new  German  school  of  painters,  for  which 
he  opened  the  road — a  road  that  was  trodden  by 
the  foremost  German  artists  with  extraordinary 
success.  Wachter,  Kock,  Schick,  Genelli,  and 
Thorwaldsen,  and  even  the  great  Cornelius  himself, 
were  practically  his  followers.  Of  Carstens's  works 
many  are  in  private  collections,  the  best  assemblage 
being  in  the  ducal  cabinet  at  Weimar ;  there  may 
be  seen,  amongst  numerous  specimens,  two  espe- 
cially deserving  of  notice — 'Homer  before  the 
assembled  Greeks '  (engraved  by  E.  SchafEer),  and 
'  Megiipenthes  '  (engraved  by  Julius  Thater). 

CARTARO,  Mario.     See  Kaetaetts. 

CAKTEAUX,  Jban  Franqois,  a  French  general, 
was  born  at  Aillevans  (Haute-Saone)  in  1751. 
He  was  in  early  life  a  pupil  of  Doyen,  but  is  better 
known  as  a  soldier  than  as  an  artist,  Bonaparte 
having  served  under  his  orders  at  the  siege  of 
Toulon  in  1793.  He  died  in  Paris  in  1813.  There 
is  an  equestrian  portrait  of  Louis  XVI.  by  him  at 
Versailles. 

CARTER,  Ellen,  whose  maiden  name  was 
Vavaseur,  made  illustrations  for  the  '  Gentleman's 
Magazine'  and  other  periodicals.  She  died  in 
1815. 

CARTER,  George,  an  artist  of  considerable 
merit,  is  known  as  the  painter  of  '  The  Death  of 
Captain  Cook,' '  The  Fisherman's  Return,'  and  other 
popular  works,  which  have  been  engraved.  He 
died  in  1786. 

CARTER,  George,  who  was  born  at  Colchester, 
was  an  exhibitor  at  the  Royal  Academy  in  1775, 
when  he  sent  '  A  Wounded  Hussar  on  the  Field  of 
Battle.'  He  afterwards  painted  '  The  Dying  Pil- 
grim,' '  The  Siege  of  Gibraltar,'  and  many  por- 
traits.    He  died  at  Hendon  in  1795. 

CARTER,    James,    a    line-engraver,  was  born 


Carter 


PAINTERS  AND  ENGRAVEKS. 


Casali 


in  the  parish  of  Shoreditch  in  1798,  and  evincing 
a  taste  for  art,  was  articled  to  the  architectural 
engraver  Tyrrel.  While  yet  quite  a  youth,  he 
gained  the  silver  medal  of  the  Society  of  Arts. 
After  he  had  served  his  time  to  Tyrrel,  he  aban- 
doned the  style  oli  engraving  he  had  learned  in 
the  studio  of  his  master,  and  adopted  landscape 
and  figures,  in  which  lie  made  great  progress, 
but  without  any  other  instruction  than  that  he  had 
already  received,  so  that  he  might  almost  be  called 
self-tnught.  In  1840  he  essayed  to  publish  a  work 
on  'Windsor  Castle,'  but  failed  in  his  attempt 
from  want  of  the  necessary  support.  He  engraved 
some  plates  after  Prout  and  others  for  the  '  An- 
nuals '  when  those  ephemeral  productions  were 
in  vogue,  as  well  as  some  for  the  '  Vernon  Gallery  ' 
series  in  the  'Art  Journal,'  and  for  other  works 
on  Architecture,  &c.  Amongst  the  engravings 
executed  by  him  were  E.  M.  Ward's  great  picture 
of  '  Benjamin  West's  first  Essay  in  Art,'  '  Wells 
Cathedral,'  'Santa  Pavilo,'  and  the  'Arc  de  Tri- 
omphe  in  Paris.'  One  of  his  later  engravings  was 
'Tlie  Temple  of  Jupiter  at  iEgina,'  for  a  work 
by  C.  R.  Cockerell,  R.A.     He  died  in  1855. 

CARTER,  John,  who  is  chiefly  known  as  an 
architectural  draughtsman,  was  horn  in  Ireland  in 
1748.  He  was  the  author  of  several  works  on  archi- 
tecture, and  executed  an  immense  quantity  of  draw- 
ings and  sketches.  From  1774  to  1786  he  produced 
the  designs  published  in  the  '  Builder's  Magazine,' 
and  for  upwards  of  twenty  years  was  employed 
by  the  Society  of  Antiquaries  as  their  draughts- 
man. His  connection  with  the  '  Gentleman's 
Magazine  '  lasted  from  1798  until  nearly  the  close 
of  his  life.  He  occasionally  exhibited  at  the 
Royal  Academy,  and  at  his  death,  wliich  occurred 
in  London,  in  1817,  he  left  no  less  than  twenty- 
eight  large  folio  volumes  of  sketches  of  architec- 
tural antiquities,  which  were  sold  by  Sotheby  in 
1818. 

CARTER,  William,  was  an  English  engraver, 
who  was  born  about  the  year  1630.  He  was  a 
pupil  of  Hollar,  whose  style  he  most  successfully 
imitated,  and  whom  he  probably  aided  in  his  woiks. 
His  engravings  are  mostly  vignettes  and  orna- 
mental book-plates.  The  plates  in  Ogilby's  trans- 
lation of  'Homer'  were  engraved  by  Carter.  His 
plates,  which  are  sometimes  marked  W-  C,  were 
mostly  executed  about  the  year  1660. 

CARTIER,  Victor  Emile,  a  French  paihter  of 
animals  and  landscapes,  was  born  at  Versailles 
in  1811,  and  died  in  Paris  in  1866.  The  Museum 
of  Orleans  has  by  him  a  picture  representing  '  A 
Bull  frightened  by  a  Serpent.' 

CARTWRIGHT,  John,  a  portrait-painter,  exhi- 
bited at  the  Royal  Academy  from  1784  to  1808. 

CARTWRIGHT,  Joseph,  exhibited  marine  sub- 
jects at  the  Royal  Academy  and  the  Society  of 
British  Artists  from  1824  to  1829.  He  was  ap- 
pointed marine  painter  to  the  Admiralty  in  1828, 
and  died  in  the  following  year. 

CARTWRIGHT,  William,  was  an  English  en- 
graver of  portraits  and  other  book-plates.  His 
name  is  afBxed  to  a  portrait  of  Thomas  Cranmer, 
Archbishop  of  Canterbury,  after  Holbein.  It  is 
inscribed,  Codarif.  Gu.  Cartwright. 
CARUCCI.  See  Cakedcci. 
CARUELLE  d'ALIGNY,  Claude  FBANgois 
Theodore,  a  French  landscape-painter,  was  born 
at  Chaumes  (Nievre)  in  1798.  He  went  to  Paris 
in  1808,  studied  painting  under  Regnault  and 
Watelet,  and  made  his  debiit  in  1822  with  an  his- 


Amiens.  Museum. 

Besan^on.       Musmvi. 
Bordeaux.       Museum. 

Caen.  Museum. 

Carcassonne.  Museum. 
Nantes.  Museum. 


Fa^vis.  S.-Paul.'S.-Louis. 
„        S.  Etienne~du~ 
Mont. 
Eennes.  Museum. 


torical  landscape  on  the  subject  of  '  Daphnis  and 
Chloe ; '  and  this  style  of  art,  now  much  neglected, 
he  constantly  followed.  He  obtained  a  medal  of 
the  first  class  in  1837,  and  the  decoration  of  the 
Legion  of  Honour  in  1842.  His  '  View  of  Genaz- 
zano.  Environs  of  Rome,'  and  '  View  of  Royat, 
France,'  were  sent  by  the  French  Government  to  the 
International  Exhibition  of  1862.  Aligny  died  at 
Lyons  in  1871,  while  holding  the  post  of  Director 
of  the  Bcole  des  Bea>ix-Arts.  Among  his  most 
important  works  may  be  cited  : 

The  Good  Samaritan.     1834. 

Christ  at  Emmans.     1837. 

The  Infant  Bacchus  educated  by 
the  Nympiis  of  ifaxos.     1848. 

Death  of  Du  Guesclin.     1838. 

Hercules  and  the  Hydra.     1842. 

The  Entrance  of  the  Village  of 
Corpo  di  Cava,  between  Naples 
and  Salerno. 

Landscape,  with  Baptism  of  Christ. 
Two  Landscapes  with  Biblical  sub- 
jects. 
Landscape,  with  a  Monk  at  Prayer. 
1839. 

He  likewise  etched  a  series  of  ten  views  of  the 
most  celebrated  sites  of  ancient  Greece. 

CABUS,  Gael  Gustav,  a  German  painter,  who 
was  born  at  Leipsio  in  178,9  and  died  at  Dresden 
in  1869.  He  is  represented  in  the  Dresden  Gallery 
by  two  landscapes. 

CARVALHO,  the  name  of  a  painter  of  the 
16th  century,  probably  Portuguese,  whose  signature 
is  on  a  'St.  Catharine'  in  the  Madrid  Gallery;  it 
was  formerly  in  the  Convent  of  Los  Arigelos  at 
Madrid,  and  is  his  only  known  work. 

CARVER,  Richard,  a  native  of  Ireland,  practised 
there  as  a  landscape-painter  in  the  middle  of  the 
18th  century.  He  afterwards  removed  to  London, 
and  became  director  of  the  Incorporated  Sociefy 
of  Artists,  to  whose  exhibitions  he  occasionally 
contributed. 

CARVER,  Robert,  a  son  of  Richard  Carver,  and 
a  native  of  Ireland,  was  known  as  an  excellent 
scene-painter  towards  the  close  of  the  18th  century, 
and  was  especially  celebrated  for  his  sea-pieces. 
He  resided  chiefly  in  London,  where  he  died  in 
1791. 

CARWITHAM,  J.,  was  an  English  engraver 
who  flourished  about  1730,  and  was  chiefly  em- 
ployed by  the  booksellers.  His  plates  are  some- 
times executed  with  the  graver  only,  but  at  other 
times  are  etched  and  flnished  with  the  graver  in  a 
style  resembling  that  of  Bernard  Picart.  There 
exist  by  him  a  plate  of  the  '  Laocoon,'  dated  1741, 
after  the  antique  marble  group,  and  some  frontis- 
pieces, among  which  is  an  emblematical  one,  from 
a  design  of  B.  Picart,  and  dated  1723. 

CARY,  Francis  Stephen,  the  fifth  son  of  *he 
Rev.  Henry  Francis  Gary,  the  translator  of  Dante, 
was  born  in  1808.     He  studied  art  in  England  and 
Italy,    and    about    1840    succeeded    Henry    Sasa, 
the  well-known  master  of  the  School  of   Art  in 
Bloomsbury,  London.     From  that  time  till  about 
1870    he    imparted   instruction   to    many    young 
painters  and  sculptors  who  were  afterwards  suc- 
cessful in  life.     Gary,  whose  works  were  constantly 
seen  at  the  London  Exhibitions,  died  in  1880. 
CASA,  Niccol6  della.    See  Della  Casa. 
CASA,  Pier  Antonio  della.    See  Beenabei. 
CASALI,   Andrea,   called  'The   Chevalier,'    an 
Italian  painter  and  engraver,  was  born  at  Civita 
Vecchia  about  1720,  and  is  said  to  have  been  a 


Casalma 


A  BIOGRAPHICAL  DICTIONARY  OF 


Casolano 


pupil  of  S.  Ojnca.  He  visited  England  about 
1741,  and  was  employed  in  the  decoration  of  the 
houses  of  several  of  the  nobility,  and  on  altar- 
pieces  for  churches.  He  remained  in  England  till 
1766,  after  which  he  lived  for  some  years  at  Rome. 
His  pictures  were  generally  of  a  large  size,  thea- 
trical in  their  effect,  but  well  coloured.  He  etched 
some  plates  from  his  own  designs  and  one  from 
Raphael.    We  have  by  him : 

The  Virgin  and  Child ;  after  SapAael. 

St.  Edward  the  Martyr. 

Lucretia  lamenting  her  fate. 

The  Princess  Gunhilda,  or  Innocence  Triumphant. 

CASALINA,  LuoiA,  an  eminent  portrait-painter, 
was  born  at  Bologna  in  1677.  She  was  the  pupil 
of  Giuseppe  dal  Sole,  and  at  first  attempted  some 
historical  subjects,  but  became  much  more  success- 
ful in  portraits.  Her  own  portrait,  by  herself,  is 
in  the  Gallery  of  Florence.  She  married  Felice 
Torelli,  and  died  in  1762. 

CASANOBRIO,  Luca.     See  Caelevabiis. 

CASANOVA,  Carlos,  born  at  Exea  de  los  Cabal- 
leros,  in  Aragon,  studied  painting  under  Geronimo 
Secano  at  Saragossa.  He  became  painter  to  Ferdi- 
nand VI.,  and  died  at  Madrid  in  1762.  Having 
painted  but  few  pictures,  he  is  better  known  as  an 
engraver.  He  executed  a  good  portrait  of  Ferdi- 
nand VI.,  and  one  of  Fray  Miguel  de  San  Josef 
presenting  his  '  Bibliografia  critica '  to  Pope  Bene- 
dict XIV.  He  also  engraved  Sebastian  de  Her- 
rera's  picture  of  '  St.  Augustine,'  which  adorned  the 
high  altar  of  the  Reoolete  Friars  at  Madrid,  some 
plates  for  the  first  edition  of  Dlloa's  '  Eelacion  his- 
torica  del  viage  a  la  America  meridional,'  published 
at  Madrid  in  1748,  and  various  prints  of  devotional 
subjects. 

CASANOVA,  Francesco  Giuseppe,  was  bom  in 
London  in  1727,  of  Italian  parents,  who  sent  him 
while  still  young  to  Venice,  where,  after  receiving 
some  instruction  from  Guardi,  he  became  a  pupil  of 
Francesco  Simonini,  a  painter  of  battle-pieces,  and, 
like  him,  took  Borgognone  for  his  model.  Besides 
battle-pieces  Casanova  painted  landscapes  with 
figures  and  cattle,  as  well  as  sea-pieces  and  pastoral 
subjects.  He  arrived  in  Paris  in  1751,  and  went  to 
Dresden  in  the  following  year,  where  he  remained 
until  1757,  spending  his  time  in  copying  the  finest 
battle-pieces  of  the  famous  Electoral  Gallery.  On 
his  return  to  Paris  he  studied  for  a  time  under  Par- 
rocel,  met  with  great  encouragement,  and  was  re- 
ceived into  the  Academy  in  1763.  He  exhibited 
at  the  Salon  at  intervals  from  that  year  till  1783, 
when  he  again  quitted  France,  going  to  Vienna, 
where  he  resided  during  the  remainder  of  his  life. 
He  died  at  Briihl,  near  that  cit3',  in  1802.  He  was 
a  clever  painter,  often  powerful,  often  fascinating, 
but  inferior  to  Borgognone  and  far  below  Salvator 
Rcfea,  and  now  thought  no  more  of  than  his  pupil, 
Loutherbourg.  The  following  are  some  of  his 
principal  paintings : 
^ordQSinz.Museum.  Cavalry  Engagement, 
Dulwich.  Gallery.  Wanderers  near  a  river, 
lille.  Museum.  Two  Landscapes. 
Paris.         Louvre.  Battle  of  Fribourg.     1771. 

„  „  Battle  of  Lens.     1771. 

„  „  Landscape  with  animals. 

„  „  Landscape  with  animals. 

„  „  A  Cavalier  galloping. 

„  „  A  Cavalier  and  other  soldiers. 

Patrsbrg.   Hermitage.   A  Cow. 
Vienna.     Belvedere.      Cavalry  Engagement. 

We  have  the  following  etchings,  executed  by  him 
in  a  very  effective  manner : 
246 


The  Bussian  Drummer  on  horseback. 

The  Three  Cuirassiers. 

The  Standard. 

A  Cavalry  Skirmish. 

The  Ass  and  the  Banner. 

The  Painter's  Dinner. 

CASANOVA,  Francisco,  the  son  and  scholar  of 
Carlos  Casanova,  born  at  Saragossa  in  1734,  prac- 
tised painting  and  copper-plate  engraving.  Cean 
Bennudez  mentions  with  commendation  a  print  of 
'  St.  Emidius '  executed  by  him  at  Cadiz  in  1765. 
He  was  appointed  engraver  to  the  mint  at  Mexico, 
where  he  died  in  1778. 

CASANOVA,  Giovanni  Battista,  brother  of 
Francesco  Casanova,  was  born  at  Venice  in  1722. 
He  studied  painting  under  Silvestre  and  Dietrich  at 
Dresden,  and  went  in  1752  to  Rome,  where,  under 
the  tuition  of  Mengs,  he  became  an  accomplished 
artist  in  pencil  and  crayon.  Amongst  other  works 
he  designed  the  plates  to  Winckelmann's  '  Monu- 
ment! antichi.'  He  was  appointed  professor  in 
the  Academy  at  Dresden  in  1764.  His  death 
occurred  in  1796. 

CASELLI,  Cristoforo,  who  was  also  known  as 
Ceistofoeo  da  Parma,  or  II  Tempoeello,  and 
called  by  Vasari  Cristofano  Castelli,  was  a  pupil 
of  Mazzuola,  and  lived  in  the  15th  and  16th  cen- 
turies. He  earned  his  livelihood  between  1489  and 
1492  as  a  journeyman  at  Venice,  where  he  painted, 
in  1495,  an  altar-piece  now  banging  in  the  Sacristy 
of  Santa  Maria  della  Salute.  The  Gallery  of  Parma 
contains  a  '  Virgin  and  Child,  with  SS.  John  the 
Baptist  and  Jerome,'  probably  painted  by  him 
before  1489.  In  1496  he  became  a  master  at 
Parma,  and  painted  in  1499  a  '  Virgin  and  Child 
between  SS.  Hilarius  and  John  the  Baptist,'  which 
is  now  in  the  Sala  del  Consorzio  in  that  city.  The 
same  year  ha  executed  '  The  Eternal '  on  a  gold 
ground  in  a  chapel  of  the  cathedral,  and  the 
'  Adoration  of  the  Magi '  in  San  Giovanni  Evange- 
lista.  In  1507  he  finished  the  monochrome  of  the 
'  Dead  Christ '  in  the  cathedral.  The  dates  of  his 
birth  and  death  are  alike  uncertain. 

CASEMBROODT,  Abraham,  a  Dutch  painter, 
flourished  about  the  middle  of  the  17th  century. 
He  resided  for  some  time  in  Sicily,  and  particu- 
larly distinguished  himself  at  Messina  as  a  land- 
scape and  marine  painter,  in  the  latter  line 
generally  choosing  storms  as  his  subjects.  He 
occasionally  painted  historical  events,  and  some 
pictures  by  him  of  incidents  taken  from  the  Passion 
are  in  the  church  of  San  Giovacohino  at  Messina. 
He  has  also  left  a  few  etchings  of  the  port  of 
Messina  and  other  marine  subjects. 

CASENTINO,  Jacopo  del.    See  Landini. 

CASINI,  Giovanni,  called  Vaeldnga,  from  the 
place  of  his  birth  in  Tuscany,  was  born  in  1689. 
He  was  a  portrait  painter  as  well  as  a  sculptor, 
and  died  in  1748. 

CASOLANO,  Alessandeo,  called  also  Alessan- 
DRO  della  Toreb,  was  bom  at  Siena  in  1552,  and 
was  the  pupil  of  Salimbeni  and  of  Boncalli, 
under  whose  tuition  he  became  a  very  reputable 
historical  painter.  His  compositions  are  ingenious 
and  copious,  his  figures  well  drawn  and  gracefully 
disposed.  His  works  are  principally  in  the  churches 
of  Siena,  but  are  also  to  be  found  in  Naples  and 
Genoa.  His  own  Portrait  is  in  the  Uffizi,  Flor- 
ence. It  is  no  slight  proof  of  this  artist's  merit, 
that  Guido  Reni,  on  seeing  his  picture  of  the 
I  Martyrdom  of  St.  Bartholomew,'  at  the  Carmel- 
ites, exclaimed,  "Costui   e   veramente  pittorel" 


Casolano 


PAINTERS  AND  ENGRAVERS. 


Cassia 


He  also  etched  one  plate,  a  Madonna.  He  died  in 
1606. 

CASOLANO,  Ilakio,  is  called  Cristofano  Caso- 
lano by  Baglione,  but  Mancini,  who  was  his  con- 
temporary, and  Lanzi,  both  call  him  Ilario.  He 
was  born  in  1588,  and,  like  his  father,  Alessandro 
Casolano,  was  a  pupil  of  Cavaliere  Roncalli.  He 
assisted  his  father  in  some  of  his  frescoes,  and 
after  his  death  finished  that  of  the  '  Assumption 
of  the  Virgin,'  left  imperfect  by  him.  He  painted 
several  pictures  for  the  churches  in  Rome,  both  in 
oil  and  in  fresco,  but  was  superior  in  the  latter. 
The  church  of  Santa  Maria  in  Via  contains  a 
'  Trinity,'  and  that  of  La  Madonna  de'  Monti  some 
pictures  from  the  Life  of  the  Virgin  and  an  '  As- 
cension '  by  this  artist.     He  died  at  Rome  in  1661. 

CASPAR,  Joseph,  who  was  born  in  1799  at 
Rorschach  in  Switzerland,  studied  at  Rome  in 
1815,  at  Berlin  under  Sohadow  in  1820,  and  at 
Milan  under  Longhi  and  Anderloni,  when  he  gave 
himself  up  entirely  to  the  art  of  engraving.  He 
resided  the  greater  part  of  his  life  at  Berlin.  Fail- 
ing sight  compelled  him  to  relinquish  his  art  in 
1847,  and  he  died  in  1880.  The  following  are  some 
of  his  best  plates : 

St.  Catharine ;  after  Raphael. 
The  Colonna  Madonna ;  after  the  satne. 
The  Daughter  of  Titian ;  after  Titian  (the  JSet-hn  Gal- 
lery picture). 
St.  Barbara ;  after  Be^tra^o. 
Thomas  of  Savoy,  Prince  of  Oarignan  ;  after  Van  Zh/ck. 

CASPARI,  Heinbich  Wilhelm,  was  born  at 
Wezel  in  1770,  and  became  a  pupil  of  the  land- 
scape-painter Grypmoed.  He  painted  a  great 
number  of  excellent  portraits,  and  died  in  1829. 

CASSANA  FAMILY. 

Oiovanni  Francesco. 
(1611—1091.) 


GioTanni  Ag^ostmo.    NiccolA.    Giovaniii  Battlsta.    Maria  Tittoria. 

(1658— iraoj       (1659- mi.)  (  ?  —1711.) 

CASSANA,  Abbate  Giovanni  Agostino,  was  an 
elder  son  of  Giovanni  Francesco  Cassana  and  a 
brother  of  Niccol6  ;  he  was  born  at  Genoa  in  1658, 
and  was  instructed  by  his  father.  He  painted 
portraits  with  some  success,  but  preferred  painting- 
animals  and  subject  pictures,  in  the  style  of  Bene- 
detto Castiglione.  His  pictures  of  that  description 
are  found  in  the  collections  at  Florence,  Venice, 
and  Genoa.     He  died  at  Genoa  in  1720. 

CASSANA,  Giovanni  Battista,  was  the  young- 
est son  of  Giovanni  Francesco  Cassana.  He 
excelled  in  painting  fruit,  flowers,  and  still-life. 

CASSANA,  Giovanni  Francesco,  was  born  at 
Genoa  in  1611,  and  was  the  pupil  of  Bernardo 
Strozzi.  He  devoted  himself  to  history  and  portraits, 
but  was  more  eminent  in  the  latter,  of  which  he 
painted  a  great  number  at  Venice,  where  he  chiefly 
resided.  He  passed  some  time  at  the  Court  of 
Mirandola,  where  he  painted  a  '  St.  Jerome '  in  the 
church,  and  other  creditable  works.  He  was  the 
father  of  a  family  of  artists,  who  all  distinguished 
themselves.     He  died  in  1691. 

CASSANA,  Mama  Vittoeia,  was  the  daughter 
of  Giovanni  Francesco  Cassana.  She  painted  small 
pictures  of  religious  subjects  for  private  collec- 
tions, and  her  works  are  much  esteemed.  She 
died  in  1711. 

CASSANA,  N1CCOL6,  called  Nicolstto,  a  son  of 
Giovanni  Francesco  Cassana,  was  bom  at  Venice 
in  1669,  and  was  instructed  by  his  father  in  the 


rudiments  of  art.  He  excelled  principally  in  por- 
trait painting,  in  which  he  became  very  eminent, 
although  his  historical  pictures  in  the  Gallery  at 
Florence,  of  which  the  'Conspiracy  of  Catiline' 
is  the  most  esteemed,  prove  that  he  possessed 
great  merit  in  that  direction.  He  came  to 
England  in  the  reign  of  Queen  Anne,  whose  por- 
trait he  painted,  as  well  as  those  of  several  of 
the  nobility.  He  did  not  live  long  to  enjoy  this 
success,  but  died  in  London  in  1714. 

CASSAS,  Louis  FRANgois,  a  French  painter  and 
architect,  was  born  at  Azay-le-Ferron  (Indre)  in 
1756.  After  having  studied  under  the  younger 
Lagren^e  and  Leprince,  as  well  as  in  Italy,  he 
accompanied  Choiseul-Gouffier  to  Constantinople 
and  Lechevallier  to  the  Troad.  He  then  travelled 
through  the  Holy  Land.  Syria,  and  Egypt,  collect- 
ing everywhere  numerous  drawings  and  plans, 
which  served  for  the  following.publications  :  '  Voy- 
age pittoresque  de  la  Sj'rie,  de  la  Phenicie,  de  la 
Palestine  et  de  la  Basse  Egypte,'  1799 ;  '  Voyage 
historique  et  pittoresque  de  I'Istrie  et  de  la  Dal- 
matic,' 1802 ;  '  Grandes  Vues  pittoresques  des 
principaiix  Sites  et  Monuments  de  la  Grece,  de  la 
Sicile,  et  des  Sept  Collines  de  Rome,'  engraved  in 
outline  by  Cassas  and  Bance,  with  text  by  Landon, 
1813.  He  was  inspector  and  professor  of  drawing 
at  the  tapestry  manufactory  of  the  Gobelins,  and 
Was  also  the  founder  of  the  gallery  of  models  of 
architecture  of  difierent  nations  placed  in  the  Bcole 
des  Beaux-Arts.  Cassas  died  at  Versailles  in 
1827. 

CASSEVARI,  Giovanni  Battista,  was  born  at 
Genoa  in  1789,  and  at  an  early  age  visited  Florence, 
where  he  attended  the  academy  of  Benvenuti. 
After  having  taken  part  in  the  campaigns  of  1813- 
14,  and  been  present  at  the  battle  at  Paris,  he 
returned  to  Turin  and  Genoa,  and  in  1824  went  to 
Florence  and  Rome.  In  these  cities  he  painted  a 
great  number  of  miniature  portraits,  and  devoted 
himself  to  the  study  of  the  great  masters.  The 
portraits  in  oil  afterwards  executed  by  him  in 
England  are  painted  in  the  style  of  the  Italian 
and  Dutch  masters.  Buckner  and  Crispini  were 
his  pupils.  There  is  by  him  in  the  church  at 
Frosini  a  'Madonna  and  Child.'     He  died  in  1876. 

CASSIANI,  Padre  Stefano,  called  II  Certosino, 
was  a  native  of  Lucca,  and  flourished  about  the 
year  1660.  He  was  called  II  Certosino,  or  the 
Carthusian,  because  he  was  a  monk  of  that  order. 
He  painted  in  fresco  the  cupola  of  the  church  of 
the  Carthusians  at  Lucca,  as  well  as  two  of  its 
altar-pieces,  representing  subjects  from  the '  Life  of 
the  Virgin.'  Other  churches  of  his  order  at  Pisa, 
Siena,  &c.,  also  contain  works  by  him.  They  are 
all  very  reputable  performances,  and  in  the  style  of 
Pietro  da  Cortona. 
■  CASSIE,  James,  a  Scotch  landscape-painter,  was 
bom  at  Inverurie  in  1819  :  but  the  greater  part  of 
his  life  was  passed  in  Aberdeen.  He  was  chiefly 
self-taught,  and  at  first  painted  portraits  and  ani- 
mals. It  was,  however,  to  marine  landscapes  that 
he  finally  devoted  himself,  and  in  which  he  ex- 
celled. He  became  an  associate  of  the  Scottish 
Academy  in  1869,  and  was  made  a  full  member 
in  the  February  preceding  his  death,  which  took 
place  in  May,  1879,  in  Edinburgh,  where  the  last 
years  of  his  life  had  been  spent.  Amongst  his 
chief  works  are : 

Holy  Island  Castle. 

Chalk  ClifEs,  Sussex. 

A  Highland  Goatherd. 

247 


Cassione 


A  BIOGRAPHICAL  DICTIONARY  OF 


Castelli 


The  Mouth  of  the  Mersey. 
The  Mussel  Gatherers. 

Morning — Ea«t   Coast   of  Scotland   {in  the  Ediniurgh 
National  Gallery). 

CASSIONE,  Giovanni  Fkancesco,  was  an  Italian 
•wood-engraver,  who  flourished  at  Bologna  about 
the  year  1678.  He  executed  several  cuts  repre- 
senting tlie  portraits  of  the  painters  for  the  work 
entitled '  Pelsina  Pittrice,'  by  Carlo  Cesare  Malvasia, 
publislied  at  Bologna  in  1678. 

CASTAGNO,  Andeisa  del,  was  born  in  1390,  his 
father,  Bartolommeo  di  Simone,  being  a  small  pro- 
prietor and  labourer  in  Sant'  Andrea  a  Linari,  near 
Florence.  He  received  the  name  of  'DelCastagno' 
either  because  he  was  born  in  the  village  of  Cas- 
tagno  (in  the  Muggello),  or  else  because  he  spent 
there  the  first  years  of  his  life.  He  was  first  stimu- 
lated to  study  art  by  chancing  to  come  across  an 
itinerant  painter  at  work  in  a  tabernacle,  which 
induced  him  to  commence  drawing  figures  on  walls 
and  stones.  Some  of  his  efforts  attracted  tile  atten- 
tion of  Bernardetto  de'  Medici,  who  took  him  to 
Florence,  where  he  learned  to  paint.  His  early  life 
was  full  of  privations,  he  himself  saying  that  in 
1430  he  wag  poor,  very  poor,  inasmuch  as  he  had 
neither  bed,  board,  nor  lodging  in  Florence,  and 
had  but  recently  been  discharged  from  the  hos- 
pitals of  Santa  Maria  Nuova  and  the  Pinzocheri, 
after  having  endured  a  few  months'  sickness. 
The  story  told  by  Vasari  of  his  having  killed 
Domenico  Veneziano  through  jealousy  is  not  true  : 
first,  because  the  two  artists  were  never  working 
together  at  any  time  ;  and  secondly,  because  Do- 
menico survived  Andrea  nearly  four  years.  Soon 
after  1430  he  painted,  for  the  niches  of  a  hall  in 
the  Villa  Pandolfini  (now  a  farm-house)  at  Legnaia, 
a  series  of  portraits  of  celebrated  men  and  the 
Sibyls.  These  were  intended  to  be  viewed  at  a 
great  height,  as  may  be  seen  from  the  remains  of 
them  existing  in  the  dep6t  of  the  Uffizi  Gallery. 
Amongst  them  are  the  portraits  of  Pippo  Spaiio, 
Farinata,  Niccol6  Acciaiuoli,  Dante,  Petrarch,  Boc- 
caccio, as  well  as  Esther,  Torairis,  and  the  Sibyl  of 
Cunia^.  In  1435  the  Government  of  Florence  com- 
missioned Castagno  to  paint  in  the  Palazzo  del 
Podesta  the  portraits  of  the  fallen  leaders  of  the 
Peruzzi  and  Albrizzi  factions.  His  success  in  doing 
this  earned  him  the  name  of  'Andreino  degli  Impic- 
cati.'  In  1444  Andrea  worked  at  the  church  of  Santa 
Maria  dei  Fiore,  and  furnished  a  design  for  the 
'  Deposition  from  the  Cross  '  intended  for  the  decor- 
ation of  the  cupola.  In  1446  Andrea  decorated 
the  organ  of  the  cathedral,  and  in  1451  painted 
several  frescoes  in  the  hospital  of  Santa  Maria 
Nuova,  where  he  had  been  received  in  bis  poverty 
in  1430,  and  it  is  concerning  the  decoration 
of  this  building  that  Vasari  tells  his  story  about 
the  rivalry  with  Domenico  Veneziano,  whereas  re- 
cords remain  to  prove  that  it  was  six  years  previ- 
ous to  1451  that  Domenico  painted  his  frescoes. 
The  works  of  both  have  now  perished.  In  1455 
Castagno  executed,  in  imitation  of  sculpture,  the 
colossal  equestrian  figure  of  Niccol6  Tolentino, 
which  now  hangs  in  the  catliedral  close  to  the 
colossal  figure  of  '  Sir  John  Hawkwood '  by 
Uccelli,  a  master  whom  Castagno  approached  in 
style  nearer  than  any  other.  Castagno  died  in 
1457,  and  was  buried  in  Santa  Maria  de'  Servi, 
Florence.  His  last  work,  in  1457,  was  the  refectory 
of  the  hospital  of  Santa  Maria  Nuova.  .He  is  said 
to  have  painted  in  oil,  but  no  work  by  him  in  that 
medium  exists.    Many  of  this  artist's  frescoes  have 

248 


perished  ;  but  the  following  are  among  those  that 
remain : 

Florence.  Angeli  Mon.  Two  Crucifixions,  with  Angels  and 
Saints. 
„         Pitti  Fal.      Bust  portrait  of  a  Man. 
„         Academy,       St.  Jerome. 

See  Crowe  and  Cavalcaselle's  '  History  of  Paint- 
ing in  Italy,'  vol.  ii. 

CASTAN'EDA,  Gkegobio,  a  Spanish  historical 
painter,  flourished  in  Valencia  about  1625,  and 
is  said  to  have  been  the  pupil  and  son-in-law  of 
Francisco  Ribalta,  to  whom  his  works  are  usually 
attributed  in  Spain.     He  died  at  Valencia  in  1629. 

CASTEELS,  PlETEE,  u  Flemish  painter  and  en- 
graver, was  born  at  Antwerp  in  1684,  and  came..to 
England  in  1708.  He  painted  birds,  flowers,  and 
fruit ;  but  his  paintings  have  not  much  to  recom- 
mend them,  and  were  greatly  inferior  to  those  of 
an  English  contemporary  artist,  Luke  Cradock. 
As  an  engraver  he  has  more  merit.  In  1726  he 
published  a  set  of  twelve  plates  of  birds  and  fowls 
etched  from  his  own  designs  ;  and,  besides  these, 
executed  some  other  plates  from  his  own  pictures. 
He  died  at  Richmond  in  1749. 

CASTEL,  Alexander,  was  a  Flemish  landscape 
and  battle  painter,  some  of  whose  pictures  are  in 
the  galleries  at  Munich,  Schleissheim,  and  Lustheim. 
He  died  at  Berlin  in  1694. 

CASTELLAN,  Antoine  Laueent,  a  French 
painter,  architect,  and  engraver,  was  bom  at  Mont- 
pellier  in  1772.  After  having  studied  landscape 
painting  under  Valenciennes,  he  visited  Turkey, 
Greece,  Italy,  and  Switzerland, and  published  several 
series  of  letters  upon  those  parts,  illustrated  with 
views  drawn  and  engraved  by  himself.  His  beet- 
known  work  is  the  '  Moeurs,  usages,  costumes  des 
Othomans,'  published  in  1812,  and  highly  praised  by 
Lord  Byron.  He  also  wrote  '  Etudes  sur  le  Cha- 
teau de  Fontainebleau,'  which  was  not  printed 
until  after  his  death,  which  occurred  in  Paris  in 
1838.  Castellan  was  also  the  inventor  of  a  new 
process  of  painting  in  wax. 

CASTELLANO,  El.    See  Garcia  Hidalgo. 

CASTELLI  FAMILY.  There  being  two  families 
of  artists  of  the  name  of  Castelli  or  Castello,  the 
accompanying  tables  may  help  to  make  the  relation- 
ship plainer. 

CASTELLI  FAMILY  (of  Bergamo). 

QiovanBi  Battista  (II  Bergamasco). 
(1509-71879.) 


Niccol6  Granello. 

(Probably  step- son.) 

I    ?    —1593.) 


Fabrlrio. 
(  ?  — Iflir.) 

Jelice. 
(1602— 165&) 


CASTELLI  FAMILY  (of  Genoa). 


r: 


Giovanni  Battista. 
(1647-1637.) 


Bernardo. 
(1657—1639.) 


Valerio. 
(1625—1669.) 


CASTELLI,  Annibale,  was  a  native  of  Bologna, 
who  flourished  about  the'  year  1605.  He  was  a 
scholar  of  Pietro  Faccini,  and  by  imitating  his 
manner,  he  fell  into  the  same  defect  that  is  dis- 
cernible in  the  works  of  that  master.  By  loading 
and  tormenting  his  carnations,  he  disturbed  his  out- 
line, and  his  figures  became  heavy  and  incorrect. 
His  best  work  is  the  '  Raising  of  Lazarus,'  in  the 
church  of  San  Paolo,  at  Bologna. 

CASTELLI,  Bernardo.    See  Castello. 


Castelli 


PAINTERS  AND  ENGEAVERS. 


Castello 


CASTELLI,  Cristofano.     See  Caselli. 

CASTELLI,  Fabrizio.     See  Castello. 

CASTELLI,  Felice.    See  Castello. 

CASTELLI,  Giovanni  Battista.    See  Castello. 

CASTELLI,  Valekio.     S.-e  Castello. 

CASTELLINI,  Raefaelle,  was  director  of  the 
Mosaic  School  at  the  Vatican,  and  executed  the 
splendid  mosaics  of  'The  Sibyl  of  CuniEe,'  after 
Donienichino,  and  'St.  Jolm  tlie  Baptist,'  after 
Guercino.     He  died  at  Rome  in  1864. 

CASTELLO,  AvANZiNO  da  CiTTADi.  SeeAvANZiNO. 

CASTELLO,  Bernardo,  (or  Castelli,)  was  a 
Genoese  painter,  born  in  1557.  He  wag  a  scholar 
of  Andrea  Seraini,  and  an  imitator  of  Luca  Cam- 
biaso.  In  endeavouring  to  acquire  the  facility  of 
the  latter,  he  fell  into  all  his  defects,  and  abandoned 
nature  for  manner  and  despatch.  An  able  designer, 
his  works  would  have  approached,  nearer  to  per- 
fection if  he  had  taken  the  trouble  of  studying 
them.  He  was  copious  and  ready  in  invention, 
because  his  judgment  was  not  diflSeulfc  to  satisfy. 
He  lived  in  habits  of  intimacy  with  the  principal 
poets  of  his  time,  and  made  the  designs  for  Tasso's 
'  Jerusalem  Delivered,'  which  were  engraved  by 
Agostino  Carracci.  He  died  in  1629.  He  was  also 
an  eminent  miniaturist ;  and  is  praised  by  Marino, 
the  poet,  for  the  skill  and  accuracy  of  his  repre- 
sentations of  various  insects. 

Genoa.  /?.  Francesco,  St.  James  and  St.  Jerome. 

„  S.  Giro.  Christ  disputing  with  the  Doctors. 

„  Capuchins.  St.  Francis  receiving  the  Stigmata. 

„  „  Crucifixion. 

„  „  St.  Anthony  of  Padua. 

„  „  St.  Clara. 

Home.  S.  Feter's.  St.  Peter  walking  on  the  Sea. 

CASTELLO,  Castellino,  was  born  at  Turin  in 
1579,  and  was  the  pupil  of  Giovanni  Battista 
Paggi,  under  whom  he  acquired  a  correct  and  ele- 
gant style  of  design.  His  picture  of  the  'Descent 
of  the  Holy  Ghost,'  in  the  church  of  the  Spirito 
Santo  at  Genoa,  gained  him  a  great  reputation.  He 
3vas  also  a  very  eminent  portrait-painter,  and,  ac- 
cording to  Lanzi,  when  Van  Dyck  visited  Genoa, 
he  particularly  admired  the  style  of  Castello,  and 
they  reciprocally  painted  each  other's  portraits. 
He  was  related  to  Bernardo  and  Valeric  Castello, 
and  died  in  1649.  . 

CASTELLO,  Fabrizio,  (or  Castelli,)  was  the  son 
of  II  Bergamasco,  and  employed  by  Philip  II.,  in 
conjunction  with  other  painters,  to  decorate  parts 
of  the  Escorial.  One  of  the  subjects  on  which 
they  were  employed  was  the  victory  gained  by 
John  II.  over  the  Moors  of  Granada  ;  it  was  copied 
from  a  painting  by  Dello  on  a  canvas  130  feet  in 
length,  which  was  found  in  an  armoire  of  the 
Alcazar  at  Segovia,  and  is  a  most  curious  com- 
position. He  also  painted  at  the  Pardo,  where  he 
executed  several  frescoes  ;  and  he  coloured  forty- 
eight  busts  of  Saints  sculptured  by  Juan  de  Arf e  for 
the  Escorial.  He  was  considered  to  be  an  artist  of 
great  talent.     He  died  at  Madrid  in  1617. 

CASTELLO,  Felice,  (or  Castelli,)  a  Spanish 
historical  painter,  was  born  at  Madrid  in  1602. 
Receiving  his  first  instruction  in  art  from  his  father, 
Fabrizio  Castello,  he  afterwards  became  a  pupil  of 
Vicente  Card ucho,  whose  style  he  sought  to  imitate, 
producing  some  works  of  merit,  although  not  equal 
to  those  of  his  master.  The  Madrid  Gallery  has 
two  excellent  paintings  by  him,  '  The  Disembaroa- 
tion  of  General  Don  Fadrique  de  Toledo  in  the  Bay 
of  San  Salvador,'  and  '  Spanish  Soldiers  under  the 
command  of  Don  Baltasar  de  Alfaro  swimming  to 


attack  the  Dutch.'  Cardiicho  was  so  pleased  with 
the  composition  of  these  pictures  that  he  re()uested 
permission  to  paint  the  head  of  Don  Fadrique  in 
the  first.     Castello  died  at  Madrid  in  1656. 

CASTELLO,  Francisco  de,  was  born  in  Flan- 
ders, of  Spanish  parentage,  in  1566.  He  visited 
Rome,  for  the  purpose  of  study,  when  quite  young, 
during  the  pontificate  of  Gregory  Xlll.  He  painted 
historical  pictures,  generally  small  in  size,  which 
were  much  sought  after.  He  also  executed  some 
pictures  for  the  churches  at  Rome.  In  the  church 
of  San  Giacomo  degli  Spagnuoli  is  an  altarpiece  of 
the  '  Assumption  of  the  Virgin,'  with  a  Glory  of 
Angels,  and  the  Apostles  below:  and  in  that  of 
San  Rocco  di  Ripetta  is  a  picture  of  the  '  Madonna 
and  Child,  with  SS.  Nicholas  and  Julian.'  He 
died  at  Rome  in  1636. 

CASTELLO,  Giovanni  Battista,  (or  Castelli,) 
called  II  Bergamasco,  was  born  at  Gandino,  in  the 
Valle  Seriana,  in  the  Bergamese,  in  1509.  He  was 
called  11  Bergamasco  to  distinguish  him  from  the 
Genoese  painter  of  the  same  name,  who  excelled 
in  miniature.  When  he  was  young  he  was  entrusted 
to  the  care  of  Aurelio  Basso,  of  Crema,  a  scholar 
of  Polidoroda  Caravaggio,  by  whom  he  was  taught 
the  first  principles  of  the  art.  That  painter  took 
him  with  him  to  Genoa,  and  after  some  time  left 
him  in  that  city,  unprotected  and  abandoned,  but 
considerably  advanced  by  his  studies  after  the  best 
masters  of  that  school.  He  had  the  good  fortune 
to  attract  the  attention  of  a  Genoese  nobleman, 
Tobia  Pallavicino,  who  took  him  under  his  pro- 
tection, and  sent  him  to  Rome  to  study  the  works 
of  the  great  masters,  and  supported  him  until  he 
arrived  at  great  proficiency  in  painting,  sculpture, 
and  architecture.  On  his  return  to  Genoa,  he  first 
exhibited  his  talents  in  decorating  the  palace  of 
his  protector,  and  in  painting  some  frescoes  in  the 
church  of  San  Marcellino.  In  the  monastery  of 
San  Sebastiano  is  his  justly  celebrated  picture  of 
the  Martyrdom  of  that  Saint,  by  which  he  acquired 
great  reputation.  Whilst  he  was  in  full  possession 
of  the  public  favour,  Luca  Cambiaso  returned  to 
Genoa,  after  completing  his  studies  at  Florence 
and  at  Rome,  when  an  honourable  and  laudable 
emulation  seems  to  have  taken  place  between  these 
artists,  and  to  have  been  advantageous  to  both. 
They  were  together  employed  by  the  Duke  Gri- 
maldi,  in  the  Nunziata  di  Portoria,  where  Castello 
represented  in  the  ceiling  of  the  choir  the  Saviour  ^ 
sitting  as  the  Judge  of  the  World,  surrounded  by 
angels,  some  bearing  the  instruments  of  the  Pas- 
sion, and  others  displaying  a  scroll,  inscribed  Veiiiie 
Benedicti,  painted  with  a  beauty  of  colour,  and  an 
efiect  of  light  emanating  from  the  figure  of 
Christ,  which  dazzle  the  beholder.  Luca  Cam- 
biaso painted  the  laterals,  representing  the  fate 
of  the  Blessed  and  the  Reprobate,  which,  though 
possessed  of  great  merit,  are  eclipsed  by  the  tran- 
scendent powers  of  Castello  in  composition  and 
expression.  On  visiting  his  native  country,  am- 
bitious of  leaving  something  worthy  of  his  fame, 
he  undertook  his  great  work  in  the  saloon  of  the 
Lanzi  Palace  at  Gorlago,  where  he  has  represented 
some  of  the  most  interesting  subjects  of  the  '  Iliad  ' 
with  a  grandeur  that  resembles  the  style  of  Giulio 
Romano.  Towards  the  latter  part  of  his  life  he  was 
invited  by  Charles  V.  to  visit  Spain,  and  was  em- 
ployed by  that  monarch  in  the  palace  of  the  Pardo, 
which  he-  ornamented  with  some  subjects  from 
Ovid,  and  in  several  other  works.  He  died  at 
Madrid  in  1579. 

249 


Castello 


A  BIOGRAPHICAL  DICTIONARY  OF 


Castiglioue 


CASTELLO,  Giovanni  Battista,  (or  Castelli,) 
called  in  Castile  El  Genovbse,  to  distinguish  him 
from  the  painter  of  the  same  name  called  II  Ber- 
gamasco,  was  a  skilful  painter  of  illuminations  and 
miniatures,  employed  upon  the  choir  books  of  the 
Escorial.  He  was  born  in  Genoa  in  1547,  and  was 
the  brother  of  Bernardo  Castello.  He  went  to  Spain 
with  Cambiaso  in  1583,  returned  to  Genoa  about  the 
end  of  thecentury,  and  died  in  his  native  city  in  1637. 

CASTEI;LO,  Niccol6  Geanello.    See  Gkanello. 

CASTELLO,  Valeeio,  (or  Castelli,)  was  the 
son  of  Bernardo  Castello.  He  was  born  in  Genoa 
in  1625,  and  was  a  scholar  of  Domenico  Fiasella. 
He  did  not,  however,  follow  the  style  of  either  his 
father  or  instructor,  but  made  choice  of  prototj'pes 
more  suited  to  his  genius,  by  studying  the  works 
of  Procaccini  at  Milan,  and  of  Correggio  at  Parma, 
from  whose  example,  and  a  graceful  manner  of 
disposing  his  figures,  which  was  natural  to  him,  he 
formed  a  style  which  may  be  called  entirely  his 
own.  His  design  is  sometimes  not  the  most 
correct,  but  his  works  are  judiciously  composed, 
harmoniously  and  vigorously  coloured,  and  admir- 
able in  their  chiaroscuro.  In  his  fresco  paintings 
he  nearly  approaches  the  excellence  of  Carloni,  as 
is  evident  in  the  cupola  of  the  Nunziata  at  Genoa, 
and  in  Santa  Maria.  In  the  church  of  Santa  Maria 
del  Gerbino  is  his  picture  of  the  '  Conception,' 
with  two  laterals  of  the  '  Marriage  of  the  Virgin ' 
and  the  'Presentation  in  the  Temple  ; '  and  in  the 
ceiling,  in  fresco,  the  '  Coronation  of  the.  Virgin,' 
with  a  choir  of  angels  ;  in  the  church  of  the  Bene- 
dictines, the  '  Annunciation  ;  '  at  the  Franciscans, 
the  '  Conversion  of  St.  Paul '  :  at  the  Augustines, 
the  ceiling  representing  the  '  Descent  of  the  Holy 
Ghost.'  Valeric  Castello  also  excelled  in  painting 
battles,  and  subjects  of  profane  history,  in  which 
he  seems  to  have  followed  the  style  of  'Tintoretto 
and  Paolo  Veronese.  Several  of  these  are  in 
the  palaces  at  Genoa.  In  the  Louvre  there  is 
a  '  Moses  striking  the  Rock  '  by  him  ;  and  in  the 
Uffizi,  Florence,  a  '  Rape  of  the  Sabine  Women.' 
He  died  at  Genoa  in  1659. 

CASTELLUCCI,  Salvi,  was  born  at  Arezzo  in 
1608,  and  was  brought  up  in  the  school  of  Pietro 
da  Cortona  at  Rome,  and  became  a  successful 
imitator  of  the  facile  and  pleasing  style  of  that 
master.  Some  of  the  churches  in  Arezzo  possess 
paintings  by  this  artist  which  are  admired  for  their 
freedom  of  hand  and  their  agreeable  colouring, 
•  but  his  chief  employment  was  the  production  of 
easel  pictures  for  private  collections.  He  died  in 
1672.  His  son,  Pieteo  Castellucci,  painted  in 
his  style,  but  in  a  very  inferior  manner. 

CASTIGLIONE,  Feancesco,  was  the  son  and 
pupil  of  Giovanni  Benedetto  Castiglione,  and 
painted  landscapes  with  figures  and  animals.  He 
was  most  successful  in  imitating  the  style  of  his 
father,  and  his  works  are  often  taken  to  be  by 
Benedetto  himself.  A  picture  of  '  Two  Negroes 
and  a  Dwarf  by  him  is  in  the  Dresden  Gallery. 
He  died  in  1716. 

CASTIGLIONE,  Giovanni  Benedetto,  (called 
II  GEEOHErro,  or  sometimes  II  Benedetto,)  was 
born  at  Genoa  in  1616.  He  studied  first  under  Gio- 
vanni Battista  Paggi,  and  then  entered  the  school 
of  Giovanni  Andrea  de'  Ferrari,  but  subsequently 
he  became  a  disciple  of  Van  Dyck  at  Genoa,  and 
after  the  death  of  that  master  visited  Florence, 
Venice,  Rome,  and  Naples,  in  each  of  which  cities 
he  left  examples  of  his  skill  and  ability.  Although 
Benedetto  is  distinguished  throughout  Europe  by 

250 


his  easel  pictures  of  landscapes  with  figures  and 
cattle,  yet  he  was  not  incompetent  to  reach  a 
higher  standard  in  art,  as  is  evident  from  his 
fine  picture  of  '  The  Nativity '  in  the  church  of 
San  Luca,  and  his  '  SS.  Mary  Magdalene  and  Catha- 
rine,' in  the  church  of  the  Madorma  di  Castello, 
alike  in  Genoa.  He  painted  historical  subjects, 
portraits,  landscapes,  and  animals.  In  his  his- 
torical works  he  appears  not  to  have  had  in  view 
the  ideal  beauty  which  is  found  in  the  great  masters 
of  the  Roman  school,  nor  to  have  attempted  the  ele- 
gance of  form,  the  purity  of  contour,  or  the  nobility 
of  expression,  which  form  the  essence  of  historical 
painting.  He  was,  however,  completely  successful 
in  the  style  which  he  seems  to  have  preferred — 
pastoral  subjects,  the  march  of  caravans,  and 
troops  of  animals.  His  pictures  of  that  descrip- 
tion are  distinguished  by  a  clear  and  vigorous 
colour,  a  lively  and  spirited  touch,  and  an  admirable 
effect  of  chiaroscuro.  His  figures  and  animals  are 
grouped  in  the  most  picturesque  manner,  and  his 
landscape  is  always  of  appropriate  and  pleasing 
scenery.  The  latter  part  of  his  life  was  passed  in 
the  service  of  the  Duke  of  Mantua,  who  accom- 
modated him  with  apartments  in  his  palace,  and 
treated  him  with  great  liberality  and  munificence, 
and  he  there  painted  some  of  his  finest  works. 
Benedetto  died  at  Mantua  in  1670.  The  following 
paintings  are  by  him : 

Brussels.  Gallery.  Portrait  of  a  Man. 

Dresden.  Gallery.  Noah  going  into  the  Ark. 

Florence.  TJ^zi.  His  own  Portrait. 

„  „  Noah  going  into  the  Axk. 

„  „  Animals. 

Genoa.      S.  Luca.  The  Nativity. 

„       SS.Annunziata.  AAoT^on.  of  the  Magi. 
„         Ducal  PaZ.      Jacob's  Journey. 
„  Brignola  Pal.  Abraham's  Journey. 

„  „  Entry  of  Animals  into  the  Ark. 

„         Durazzo  Pal.  Hagar  and  Ishmael. 
„         Balbi  Pal.       Komulus  and  Eemus. 
Madrid.  Gallery.  A  Concert. 

J,  „  Elephants  in  an  Amphitheatre. 

„  „  Roman  Gladiators. 

„  „  AtuI  others. 

Munich.  Pinakothek.      A  Caravan. 
Paris.      Louvre.  Melchizedek  and  Abraham. 

„  „  The     Dealers    driven    from    the 

Temple. 
„  „  Animals  and  Utensils. 

'P^iv^vg.Hermitage.      Animals  in  a  Landscape. 
Vienna.  Belvedere.        Noah  going  into  the  Ark. 

As  an  engraver,  Benedetto  is  deserving  of  par- 
ticular notice.  He  has  left  us  about  seventy  plates, 
executed  with  all  the  taste  and  spirit  that  are  seen 
in  his  pictures.  They  are  etched,  and  sometimes 
a  little  assisted  by  the  graver,  masterly  in  their 
effect  of  light  and  shade,  and  may  be  favourably 
compared  with  Rembrandt,  Delia  Bella,  and  other 
engravers  in  that  style.  The  following  are  liis 
principal  prints,  which  are  frequently  marked  with 

the  cipher   Jj^.,  G.B.C.,  or  BENEDto  CAS.: 

The  Genius   of  Benedetto   Castiglione,  serving  as  a 

frontispiece  to  his  work. 
Portrait  of  Agostino  Mascardi. 
Portrait  of  Antonio  Pignolesale. 

Sixteen  small  Heads,  among  which  is  his  own  portrait. 
Six  large  Heads,  one  of  them  his  own  portrait. 
Two  plates  of  the  Heads  of  Men  and  Animals. 
Noah  and  his  Children  collecting  the  Animals. 
Noah  driving  the  Animals  into  the  Ark. 
The  Departure  of  Jacob. 
Rachel  hiding  her  Father's  Gods. 
Tobit  burying  the  Dead ;  a  night-piece. 
A  similar  subject ;  in  chiaroscuro. 


Castiglione. 


PAINTERS  AND  ENGRAVERS. 


Catesby 


The  Nativity,  with  Angels  adoring  the  Infant. 

The  Adoration  of  the  Shepherds. 

The  Angel  appearing  to  Joseph  in  his  Dream. 

The  Flight  into  Egypt. 

The  Kesarrection  of  Lazams. 

St.  Roch  in  profile,  behind  him  the  Head  of  his  Dog. 

The  Melancholy ;  a  print  so  called. 

The  Little  Melancholy. 

The  Finding  of  the  Bodies  of  St.  Peter  and  St.  Paul. 

Four  old  Men  visiting  the  Tombs  by  torch-light. 

Circe  in  search  of  the  Arms  of  Achilles. 

A  Man  with  some  pieces  of  Armour,  and  another  ex- 
amining a  Tomb. 

A  Man  pushing  a  Boat  in  which  are  some  Animals. 

Diogenes  with  his  Lantern. 

Pan  instrocting  Apollo  to  play  on  his  Flute. 

Silenus  playing  on  a  Flute,  with  a  Shepherdess. 

A  Combat  of  Sea  Gods. 

Silenus  drunk,  with  three  Satyrs. 

A  Bacchanal,  with  a  Satyr  on  a  Pedestal. 

A  Woman  beating  a  Boy. 

A  Menagerie  of  various  Fowls. 

A  Landscape.    165S. 

A  Landscape ;  apparently  a  frieze. 

A  Shepherd  driving  his  Flock. 

Two  Shepherds,  one  on  Horseback,  driving  their 
Flocks. 

A  Capuchin  discovering  the  Body  of  St.  Jerome. 

Eleven  plates  of  Vignettes,  &c. 

CASTIGI.IONE,  Salvatoke,  was  the  brother  of 
G-iovanni  Benedetto  Castiglione,  by  whom  he  was 
instructed  in  the  art,  and  he  painted  landscapes  and 
pastoral  subjects  so  much  in  tlie  style  of  his  master 
that  the  most  sagacious  are  often  deceived.  We 
have  also  by  him  a  highly-finished  etching  repre- 
Benting  the  '  Resurrection  of  Lazarus,'  signed,  and 
dated  1645. 

CASTILLO.    See  Del  Castillo. 

CASTREJON,  Antokio  de,  a  Spanish  painter, 
was  bom  at  Madrid  in  1625.  He  was  a  scholar  of 
Francisco  Fernandez,  and  possessed  more  facility 
in  colouring  than  skill  in  drawing.  His  best  works 
are  of  small  dimensions,  but  he  sometimes  painted 
large  altar-pieces,  as  the  'Martyrdom  of  Santa 
Lucia,'  in  the  church  of  San  Fehpe  el  Real  at  Madrid, 
which  perished  by  fire  in  1718.  He  likewise 
painted  figures  in  the  architectural  pieces  of  Roque 
Ponce  and  of  Josef  Garcia,  as  well  as  groups 
within  the  flower-garlands  of  Gabriel  de  La  Corte. 
He  died  at  Madrid  in  1690. 

CASTRO,  Antokio  Fernandez  de.   See  Feexan- 

DEZ   DE   CaSTEO. 

CASTRO,  GiAcoMO  di,  according  to  Dominici, 
was  bom  at  Sorrento  about  the  year  1597.  He 
was  a  pupil  of  Giovanni  Battista  Caracciolo,  but 
afterwards  received  the  instructions  of  Domeni- 
chino  when  that  master  visited  Naples  to  decorate 
the  chapel  of  the  Treasury.  The  churches  of  Sor- 
rento possess  works  by  him,  one  having  a  picture 
of  'The  Marriage  of  the  Virgin'  that  is  highly 
esteemed.     He  died  in  1687. 

CASTRO,  Juan  Sanchez  de.  See  Sanchez  de 
Casteo. 

CASTRO,  Mangel  de,  a  Portuguese  painter  and 
scholar  of  Claudio  Coelho  at  Madrid.  He  was  in 
1698  appointed  painter  to  Charles  II.  of  Spain,  in 
succession  to  Bartolom^  Perez,  on  account  of  the 
ability  which  he  had  displayed  in  two  pictures 
which  he  had  painted  for  the  Convent  of  the  Trinity, 
'  Our  Lady  attended  by  Angelic  Choristers,'  and 
'  Our  Lady  redeeming  Captives,'  and  a  fresco  in  the 
Convent  of  Mercy.  According  to  Cean  Bermudez 
his  drawing  was  incorrect  and  his  compositions  of 
very  unequal  merit.  He  died  at  Madrid  in  1712, 
after  executing  works  for  the  churches  of  San  Juan 
de  Dios,  and  San  Felipe  Keti. 


CASTRO,  Pedeo  de.  was  a  Spanish  artist  who  is 
known  as  an  admirable  painter  of  still-ItEe.  His 
subjects  are  arranged  skilfully  and  coloured  truth- 
fully, great  force  being  added  to  them  by  Lis  know- 
ledge of  chiaroscuro.  Very  little  is  known  of  his 
life ;  his  death  occurred  in  1663. 

CATALANI,  Antokio,  called  II  Siciliano,  was 
bom  at  Messina  in  1560.  Lanzi  is  of  opinion  that 
he  studied  at  Rome,  and  formed  his  style  from  the 
works  of  Federigo  Barocci,  from  whence  he  ac- 
quired that  harmony  of  colour  and  softness  of 
effect  which  are  seen  in  his  works.  Such  is  his 
large  picture  of  '  The  Nativity '  in  the  church  of 
the  Capuchins  at  Gesso.     He  died  in  1630. 

CATALANI,  Antonio,  called  II  Romano,  was 
bom  at  Bologna  about  the  year  1596,  and  was 
educated  under  Francesco  Albani.  He  was  a  close 
imitator  of  the  pleasing  style  of  his  master,  and 
painted  several  pictures  for  the  churches  at  Bo- 
logna, although  he  was  more  employed  on  easel 
pictures  for  the  private  collections.  In  the  church 
of  La  Madonna  del  Grado  are  four  pictures  of  the 
patron  Saints  of  the  city,  in  four  niches ;  and  in 
the  church  of  the  Gesu, '  St.  Peter  healing  the  Lame 
at  the  Gate  of  the  Temple.' 

CATE,  Hendbik  Geebit  ten.     See  Tek  Gate. 

CATEL,  Feakz  Ludwig,  was  bom  at  Berlin  in 
1778.  He  commenced  his  artistic  career  by  carv- 
ing in  wood,  and  then  designed  illustrations  for 
unimportant  works,  executing  in  1799  ten  plates 
for  Goethe's  'Hermann  and  Dorothea.'  He  next 
worked  in  Indian  ink  and  water-colours,  producing 
in  1806  a  large  piece  in  the  latter  medium,  repre- 
senting 'The  Death  of  Nicholas  of  Bemau,'  which 
gained  him  admission  into  the  Berlin  Academy.  In 
1807  he  went  to  Paris,  where  he  studied  oil  painting. 
The  year  1812  found  him  at  Rome,  and  there  his 
education  as  an  artist  was  much  advanced  by  his 
connection  with  Koch,  Overbeck,  Schadow,  and 
Cornelius.  His  inclination  led  him  more  especially 
in  the  direction  of  painting  landscapes  with  archi- 
tectural details  or  prominent  figures  introduced. 
He  attached  himself  to  the  new  classic  school  of 
landscape,  labouring  especially  to  make  his  per- 
spective tell  efEectively,  and  to  gain  a  great  mastery 
over  light  and  shade.  His  ideas  gained  much  in 
point  of  breadth  from  a  visit  to  Sicily,  which  he 
made  in  company  with  Prince  Golitsuin  in  1818.  He 
settled  at  Macerata  in  1830,  but  returned  home  on 
a  visit  in  1840,  on  which  occasion  a  professorship 
was  bestowed  on  him  by  the  King  of  Prussia. 
Amongst  Catel's  landscape  subjects,  which  are 
marred  by  a  certain  touch  of  conventionality,  the 
best  perhaps  are  'The  Moonlight  View  of  the 
Colonnade  of  St.  Peter's,'  and  'The  Storm  on 
Mount  Etna.'  In  the  Berlin  Gallery  are  two  Nea- 
politan views,  both  painted  in  1822,  and  in  the  New 
Pinakothek,  Mvmich,  are  eight  works  by  him,  views 
in  Italy.  His  works  may  be  seen  in  Munich  and 
Copenhagen.     He  died  at  Rome  in  1856. 

CATENA,  ViNCEKZO.     See  Biagio. 

CATENARO,  Juan  Badtista,  was  a  portrait- 
painter  and  engraver,  of  whom  nothing  more  is 
known  than  that  he  worked  in  London  and  in 
Madrid  at  the  beginning  of  the  18th  century.  He 
etched  the  portrait  of  Luca  Giordano,  and  from  his 
own  designs  '  A  Woman  with  Children,  seated  in  a 
landscape,'  and  '  Apollo  surrounded  by  Cupids.' 
He  was  still  living  in  1720. 

CATESBY,  Mabk,  was  bom  in  England  in  1679, 
and  in  1712  visited  America,  where  he  remained 
seven  years,  studying  the  botany  of  the  country. 

251 


Cathelin 

He  then  returned  home,  but  being  encouraged  by 
the  friends  of  science,  made  a  second  visit  to  the 
colonies,  and  took  up  his  headquarters  at  Charles- 
ton, South  Carolina,  from  which  place  he  made 
excursions  into  the  interior,  through  Georgia  and 
Florida.  He  returned  to  England  in  1726,  and 
studied  the  art  of  etching  that  lie  might  engrave 
the  plates  for  bis  intended  publioation_from_  his 
own  drawings  and  paintings.  The  work  is  entitled 
'  The  Natural  History  of  Carolina,  Florida,  and  the 
Bahama  Islands,'  and  is  illustrated  with  plates  of 
birds,  beasts,  lishes,  plants,  &c.  He  was  elected  a 
Fellow  of  the  Eoyal  Society,  and  died  in  1749. 

CATHELIN,  Louis  Jacques,  a  French  engraver, 
born  in  Paris  in  1738,  was  one  of  the  best  pupils 
of  Le  Bag.  He  engraved  some  excellent  small 
portraits  of  historical  personages,  literary  men, 
and  artists ;  and,  although  his  work  was  singu- 
larly unequal,  he  may  be  classed  with  Le  Mire, 
Ficquet,  Gaucher,  and  other  engravers  of  the  18th 
century,  who  were  distinguished  by  the  skill  and 
delicacy  of  their  work.  He  was  received  into  the 
Academy  in  1777,  on  which  occasion  he  executed 
the  portrait  of  the  Abb6  Terray,  after  Roslin. 
Cathelin  died  at  Paris  in  1804.  Among  bis  best 
works  are  the  following: 

PORTEAITS. 

Louis  XY. ;  after  Van  Loo. 

Marie  Antoinette,  Queen  of  IVance ;  after  Fredou. 

The  same  ;  after  Vrouais. 

Countess  of  Artois  ;  after  the  same. 

Countess  of  Provence ;  after  the  same. 

Moliere  ;  after  Mignard. 

Pierre  Noel  Le  Cauchois ;  after  JUUe.  de  Noireterre. 

Jean  Paris  de  Montmartel ;  after  M.  Q.  de  La  Tour. 

Louis  Tocqufi,  painter  ;  after  Nattier. 

Stanislaus,  King  of  Poland  ;  after  Masse. 

Joseph  Ternet,  marine  painter  ;  after  Van  Loo. 

Joseph  II.,  Emperor  of  Germany ;  after  Dtwrmx. 

Maria  Theresa,  Empress  of  Germany  ;  after  the  same. 

VARIOUS   SUBJECTS. 

La  Nouvelle  Afligeante ;  after  P.  A .  Wille. 

The  Death  of  Lucretia ;  after  Pellegrini. 

Latona  revenged  ;  after  Laun;  begun  by  Balechou,  and 

finished  by  Cathelin. 
Erigone ;  after  Monsiau. 

A  Waterfall,  with  Fishermen  ;  after  J.  Vernet. 
The  Four  Hours  of  the  Day ;  after  the  same. 

CATHELINEAU,  Gaetan,  a  French  painter  of 
portraits  and  of  historical  and  genre  subjects,  was 
born  at  Montriohard  (Loir-et-Cher)  in  1787.  He 
was  a  pupil  of  David,  and  professor  of  drawing  at 
the  Lyceum  of  Tours  from  1835  to  1858.  He  died 
at  Tours  in  1859,  bequeathing  to  the  Museum  of 
that  city  fifty  pictures  by  different  masters,  as  well 
as  eleven  by  his  own  hand. 

CATI,  Pasquale,  a  native  of  Jesi,  according  to 
Baglione,  flourished  at  Rome  during  the  pontificates 
of  Gregory  XIII. ,  Sixtus  V. ,  and  Clement  VIIL  He 
was  employed  in  the  Loggie  of  the  Vatican,  where 
he  painted  '  The  Passion  of  Christ,'  as  also  some 
friezes  in  the  Sala  Clementina.  The  chapel  of 
Cardinal  Altemps,  in  Santa  Maria  in  Trastevere,  is 
decorated  by  Cati  with  subjects  taken  from  the 
'Life  of  the  Virgin.'  He  died  at  Home  duiing  the 
pontificate  of  Paul  V.  (1605—1621),  in  his  70th  year. 

CATLIN,  George,  a  designer  and  painter,  was 
born  in  1794  in  Wyoming  Valley,  Pennsylvania. 
After  first  studying  law  he  turned  his  attention  to 
painting,  and  is  well  known  for  his  depicting  of 
the  North  American  Indians.  In  1832  he  com- 
menced a  prolonged  course  of  visits  to  their  native 
haunts,  and  after  intercourse  with   no  less   than 

252 


A  BIOGRAPHICAL  DICTIONARY  OF 


Cattermole 


forty-eight  different  tribes,  he  published  a  work  in 
1851,  containing  portraits  of  200  chiefs  and  war- 
riors, together  with  miscellaneous  sketches.  He 
died  at  Jersey  City  in  1872. 

CATS,  Jacob,  an  excellent  draughtsman,  who 
also  etched  and  painted,  was  born  at  Altona 
in  1741.  He  studied  under  Abraham  Starre  and 
Pieter  Louw.  He  was  celebrated  for  drawing  land- 
scapes with  animal  accessories,  his  works  having  a 
distinct  originality,  and  being  marked  by  a  poetical 
rendering  of  the  features  of  nature,  as  well  as  by 
careful  manipulation.  They  are  often  suggestive 
of  Adriaan  van  de  Velde  and  of  Berohem,  and  are 
highly  valued.  He  also  painted  some  pictures  on 
a  smaller  scale,  and  has  left  ua  some  etchings. 
He  died  at  Amsterdam  in  1799.  Amongst  his 
plates  may  be  mentioned  : 

A  View  of  Amsterdam. 

Another;  after  W.  Weits. 

Another ;  after  J.  de  Beyer. 

Six  plates  of  Landscapes. 

CATTAMARA,  Paoluccio,  was  an  artist  of 
Naples,  who  flourished  about  1718,  and  painted 
fruit,  birds,  medals,  &c.,  with  marvellous  resem- 
blance to  nature. 

CATTANEO,  Santo,  called  Santino,  an  Italian 
painter,  was  born  at  Salo  in  1739.  He  at  first 
practised  wood-engraving,  but  afterwards  studied 
painting  under  Antonio  Dusi  of  Brescia  and  Fran- 
cesco Monti  of  Bologna.  He  settled  at  Brescia  in 
1773,  and  in  1810  became  professor  of  drawing  in 
the  Lyceum  of  that  city,  where  he  died  in  1819. 
Many  of  the  churches  and  residences  of  Brescia 
and  its  neighbourhood  are  rich  in  his  works,  which 
are  remarkable  for  the  devout  expression  of  the 
Saints. 

CATTANIO,  CoSTANZA,  was  bom  at  Ferrara  in 
1602.  He  was  first  a  pupil  of  Ippolito  Scarsellino, 
but  afterwards  frequented  the  school  of  Guido  Eeni 
at  Bologna.  Lanzi  states  that  this  artist  was  of  so 
quarrelsome  and  turbulent  a  disposition  that  he 
passed  the  greater  portion  of  his  life  in  exile  or  in 
disgrace.  This  turbulence  of  his  nature  is  evinced 
in  many  of  his  works,  which  generally  represented 
soldiers  and  banditti,  painted  in  a  warm  and  men- 
acing tone  of  colour.  That  he  could,  when  so  dis- 
posed, divest  himself  of  this  peculiarity,  is  evident 
from  his  pictures  of  'The  Flagellation,'  and  the 
'  Ecce  Homo,'  in  the  church  of  San  Giorgio  at 
Ferrara.  His  'Christ  praying  on  the  Mount'  in 
the  church  of  San  Benedetto,  and  his  'Annuncia- 
tion '  in  the  church  of  San  Spirito,  both  in  Ferrara, 
have  something  of  the  grace  and  suavity  of  Guido. 
He  died  in  1665. 

CATTAPANI,  LucA,  was  born  at  Cremona  about 
the  year  1570,  and  was  instructed  in  the  school  of 
the  Campi.  He  distinguished  himself  by  an  un- 
common facility.  Many  of  the  works  of  his  masters 
were  copied  by  him,  with  a  precision  that  might 
deceive  the  most  experienced.  Of  bis  own  com- 
positions, the  most  nieritorious  was  his  picture  of 
'  The  Decollation  of  St.  John,'  in  the  church  of  San 
Donate  at  Cremona.  He  painted  some  works  in 
fresco,  but  was  not  so  successful  as  in  oil.  One  of 
his  pictures  is  signed  Luca  Catapan.  1597. 

CATTERMOLE,  Geoege,  a  water-colour  painter, 
was  born  at  the  village  of  Dickleborough,  near 
Diss,  in  Norfolk,  in  1800.  At  an  early  age  liia_ 
attention  was  directed  to  the  delineation  and 
study  of  the  architectural  antiquities  which  par- 
ticularly abound  in  his  native  county ;  and 
when  only  sixteen  years  old,  his  name  appeared 


Cattermole 


PAINTERS  AND  ENGBAVEES. 


Caula 


as  one  of  the  illustrators  of  Britton's  'English 
Cathedrals.'  These  pursuits  determined,  as  it  were, 
the  scene  upon  which  his  imagination  was  after- 
wards to  work ;  and  he  soon  began  to  people  the 
quiiint  remains  of  feudal  times  with  incidents  of 
history  or  romantic  adventure  appropriate  to  each. 
In  1830  he  travelled  into  Scotland  for  the  purpose 
of  making  sketches  of  localities  mentioned  in  the 
writings  of  Scott ;  many  of  these  have  been  pub- 
lished in  various  forms,  and  a  large  number  of  them 
are  widely  known  as  illustrations  of  the  '  Waverley 
Novels.'  He  illustrated  the  '  Historical  Annual,' 
devoted  to  the  history  of  the  civil  war,  written  by 
his  brother  the  Rev.  R.  Cattermole ;  and  contri- 
buted illustrations  to  '  Barnaby  Rudge,'  and  other 
of  Dickens's  novels.  Cattermole  was  from  1833  to 
1850,  in  which  year  he  withdrew  his  name  from  the 
roll  of  the  institution,  a  member  of  the  Society  of 
Painters  in  Water-Colours,  and  during  that  period 
was  a  constant  exhibitor.  He  died  in  1868,  at 
Clapham  Common.  He  was  a  member  of  the 
Royal  Academy  of  Amsterdam,  and  of  the  Belgian 
Society  of  Water-Colour  Painters. 

The  following  are  some  of  his  principal  works : 
In  the  South  Kensington  Museum — 
The  Silent  Warning.     1837. 
Hamilton  of  Bothwellliaugh  preparing  to  shoot  the 

Eegent  Murray.     1843. 
Lady  Macbeth.     1850. 
Cellini  and  the  Robbers. 
Macbeth  and  the  Murderers. 
The  Arnionrer's  Tale. 
Interior  with  Figures  and  Armour.     {In  the  Edinburgh 

National  Gallery.) 
Sir  Walter  Ealeigh  witnessing  the  execution  of  the  Earl 

of  Essex  in  the  Tower.     1839. 
Old  English  Hospitality.     1839. 
The  Castle  Chapel.     1842. 
After  the  second  Battle  of  Newbury.    1843. 
Benvenuto  Cellini  defending  the  Castle  of  Sant'  Angelo. 

1845. 
The  Unwelcome  Return.     1846.     {A  forest-scene.) 
A   Terrible    Secret.     1862.     {hi   oil:    the  only  jncture 
exhibited  at  the  Royal  Acadeiny.) 

CATTERMOLE,  Rev.  Eichaed,  an  elder  brother 
of  George  Cattermole,  born  in  1795,  w;is  a  water- 
colour  painter,  and  exhibited  drawings  of  interiors 
at  the  Water-Colour  Society  from  1814  to  1818. 
He  afterwards  gave  up  art,  and  entering  the 
Church,  became  Vicar  of  Little  Marlow,  Bucks. 
He  died  at  Boulogne  in  1858. 

CATTINI,  Giovanni,  an  engraver,  was  born  at 
Venice  in  1726.  He  was  a  pupil  of  Faldoni,  and 
executed  plates  of  some  antique  statues  which  are 
at  Venice,  and  a  set  of  fourteen  large  heads,  after 
Piazetta.  He  also  engraved  some  portraits  of  Vene- 
tian nobles,  and  one  of  Francesco  Zuocarelli,  the 
artist ;  as  well  as  seme  of  the  statues  in  the 
Giustiniani  Gallery,  Venice,  in  the  manner  of 
Claude  Mellan,  with  a  single  stroke. 

CATTON,  Chakles,  was  born  at  Norwich  in 
1728,  and  apprenticed  to  a  coach-painter  in  London. 
He  afterwards  became  a  member  of  the  St.  Mar- 
tin's Lane  Academy,  and  in  1784  served  the  ofSoe 
of  Master  of  the  Company  of  Painter-Stainers,  the 
fraternity  of  English  artists  in  olden  time.  He 
was  the  first  herald-painter  who  designed  the  sup- 
porters to  coats  of  arms  with  any  resemblance  to 
nature,  which  probably  obtained  for  him  the  honour 
of  being  appointed  coach-painter  to  his  Majesty, 
George  III.,  who  also  nominated  him  one  of  the 
foundation  members  of  the  Royal  Academy  in 
1768.  He  exhibited  at  the  Academy  chiefly  land- 
scapes, and  occasionally  composition, pictures  and 


animals.  He  died  in  London  in  1798.  In  St. 
Peter  Mancroft,  Norwich,  there  is  a  picture  by 
him  of  'The  Angel  delivering  St.  Peter.' 

CATTON,  Chaei.es,  the  son  of  the  Royal  Acade- 
mician of  the  same  name,  was  born  in  London  in 
1756,  and  studied  in  the  Academy  Schools.  His 
first  efforts  were  devoted  to  architectural  subjecrs. 
In  1788  he  published  a  series  of  drawings  of  animal 
life  engraved  bj'  himself,  and  shortly  afterwards,  in 
conjunction  with  Edward  Burney,  he  illustrated  an 
edition  of  Gay's  'Fables.'  In  1804  he  emigrated 
to  America,  where  he  died  in  1819.  In  the  South 
Kensington  Museum  there  are  four  small  drawings 
of  animals  by  him. 

CADCIG,  Franz,  an  Austrian  historical  painter, 
was  born  at  Gorz  in  17G2.  He  studied  the  first 
principles  of  art  at  Vienna,  and  went,  aided  by  a 
grant,  in  1781,  to  Bologna  and  to  Rome,  where 
he  spent  seven  years.  In  1791,  he  was  enabled 
in  the  same  way  to  visit  Mantua,  and  to  reside  for 
upwards  of  five  years  at  Venice.  He  returned  to 
Vienna  in  1797,  and  in  1799  became  professor  of 
historical  painting  at  the  Vienna  Academy,  and,  in 
1820,  Director  of  the  School  of  Art,  which  office 
he  held  until  his  death.  Specimens  of  his  paint- 
ings, which  were  numerous,  may  be  seen  at  Prague, 
and  in  the  Belvedere  and  other  galleries  at  Vienna. 
He  was  clever  as  a  draughtsman,  and  has  left  us 
upwards  of  2000  historical  designs.  His  colour- 
ing, however,  was  feeble  and  indifferent.  He  died 
at  Vienna  in  1828. 

CAUKEHCKEN,  Coenelis  van,  was  a  Flemish 
engraver  and  printseller,  born  at  Antwerp  in  1626. 
He  engraved  several  plates  of  portraits,  and  other 
subjects,  from  the  works  of  Rubens,  Van  Dyck, 
and  otlier  Flemish  painters.-  They  are  executed 
with  the  graver  in  a  stiff  and  laboured  style,  but 
are  not  without  merit.  The  following  are  his  best 
prints : 

POETBAITS. 

Peter  Snayers,  painter  of  battles ;  after  B.  van  Heil. 
Tobias  Verhaect,  painter ;  after  Otto  van  Veen, 
Robert  van  Hoeck,  painter  ;  after  G.  Coques. 
Peeter  Meert,  portrait  painter ;  after  C.  Ouuherclzen, 
Charles  van  den  Bosch,  Bishop  of  Bruges. 
Charles  II.,  Eng  of  England ;  the  figure  by  Caukercken, 
the  rest  by  Hollar. 

VAEIOUS   SUBJECTS. 
The  Dead    Christ    in  the  lap  of   the  Virgin;    after 

A/nnibale  Carracci. 
The  Dead  Christ,  with  the  Virgin,  Magdalene,  and  St. 

John ;  after  Van  Dyck. 
The  Descent  of  the  Holy  Ghost ;  after  the  same. 
Charity,  with  three  Children ;  after  the  same. 
Roman  Charity ;  after  Rubens. 
St.  Anne  teaching  the  Virgin  ;  after  the  same. 
The  Martyrdom  of  St.  Lievin ;  after  the  same. 

The  best  impressions  are  those  before  the  name  of 
De  Hollander. 
A  Woman  suckling  an  Infant ;  after  A.  Diepenbeeck. 
Boors  in  a  Tavern ;  after  J.  Molenaer. 

CAULA,  SlGiSMONDO,  was  born  at  Modena  in 
1637.  He  was  the  pupil  of  Jean  Boulanger,  but 
finished  his  studies  at  Venice,  from  the  works  of 
Titian  and  Tintoretto.  Besides  his  altar-pieces, 
he  painted  cabinet  pictures  for  private  collections. 
His  best  production  was  his  large  picture  of  '  St. 
Charles  Borromeo  assisting  the  plague-stricken 
people  of  Modena,'  which  was  painted,  with  great 
vigour  and  expression,  for  the  church  of  San  Carlo. 
It  is  now  in  the  Este  Gallery  at  Modena,  which 
also  possesses  a  figure  of  '  St.  Ambrose '  by  him.  In 
the  latter  portion  of  his  life  he  became  more  languid 

253 


Caulitz 


A  BIOGRAPHICAL  DICTIONARY  OF 


Cavalluoci 


in  his  colon  I'ing  and  execution.  He  painted  as  late 
as  1694. 

CAULITZ,  Peter,  a  painter  of  animals  and 
landscapes,  was  born  at  Berlin  about  1650,  and 
studied  art  in  Italy.  The  Berlin  Museum  has  by 
him  a  well-painted  scene  representing  a  poultry- 
yard.  Other  examples  may  be  seen  "  at  Potsdam 
and  at  Brunswick.  He  was  Court-Painter  when 
he  died  at  Berlin  in  1719. 

CAUSE,  Hbndrik,  was  a  Flemish  engraver,  who 
flourished  about  the  year  1690.  We  have  some 
portraits  by  him,  among  which  is  that  of  Cardinal 
Perdinando  d'Adda.  He  also  engraved  some  plates 
of  buildings,  &c.,  which  possess  considerable  merit. 

CAUWER.     See  De  Cauweb. 

CAVAGNA,  Feancesco,  called  Cavagnuolo, 
was  the  son  of  Giovanni  Paolo  Cavagna,  and 
flourished  about  the  year  1626.  He  painted  his- 
tory in  the  style  of  his  father,  but  never  rose  above 
mediocrity.  His  best  work  is  in  the  church  of  the 
Padri  Zoccolanti  del  Romacolo,  representing  the 
Virgin  and  Infant  Jesus  in  the  clouds,  with  St. 
Louis,  St.  Clara,  and  St.  Catharine.  He  died  young 
of  the  plague  at  Bergamo  in  1630. 

CAVAGNA,  Giovanni  Paolo,  was  bom  at 
Borgo  di  San  Leonardo,  in  the  Bergamese,  in  1656. 
His  inclination  for  painting  led  him  to  Venice  at 
the  period  when  Titian  was  in  the  zenith  of  his 
fame,  and,  according  to  Tassi,  he  had  the  advan- 
tage of  studying  under  that  great  artist.  On  his 
return  to  Bergamo  he  finished  his  studies  under 
Giovanni  Battista  Moroni,  and  acquired  from  him 
an  admirable  impasto  of  colour,  and  a  firm  pencil. 
He  appears  to  have  adopted  the  style  of  Paolo 
Veronese,  and  his  best  works,  both  in  oil  and 
fresco,  strongly  resemble  those  of  that  -painter. 
He  particularly  excelled  in  painting  old  men  and 
children,  as  may  be  seen  in  his  fresco  of  'The 
Assumption  of  the  Virgin,'  with  a  glory  of  angels, 
and  the  apostles  beneath,  in  the  choir  of  the  church 
of  Santa  Maria  Maggiore,  Venice.  The  same 
church  possesses  his  oil  paintings  of  'The 
Nativity,'  and  of  '  Queen  Esther  before  Ahasuerus.' 
In  the  church  of  Santa  Lucia  is  his  famed  '  Cruci- 
fixion.'   He  died  at  Bergamo  in  1627. 

CAVAGNUOLO.     See  Cavagna,  Fkancesoo. 

CAVALCABO.     See  Baeoni  Cavalcabo. 

CAVALIERI.     See  Cavalleriis. 

CAVALLERI,  Ferdinando,  who  was  a  painter 
of  history  and  portraits,  was  born  at  Turin  in  1794, 
and  studied  art  at  Rome.  His  paintings  are  justly 
esteemed  for  their  fidelity  and  truth.  He  was  in 
later  life  a  professor  at  the  Academy  of  St.  Luke. 
He  died  in  1867.     His  best  works  are : 

Beatrice  Cenci  ascending  the  Scaffold. 

The  Burning  of  Old  St.  Paul's. 

The  Death  of  Leonardo  da  Vinci. 

Prince  Eugene,  after  the  Battle  of  Peterwardein. 

His  own  Portrait  {in  the  Uffizi,  Florence). 

CAVALLERIIS,  Giovanni  Battista  de,  (or 
Cavalieei,)  an  Italian  engraver,  was  born  at 
Lagherino  in  1526,  and  died  at  Rome  in  1597.  His 
style  of  engraving  resembles  that  of  iEneas  Vico, 
although  inferior  to  it.  Many  of  his  plates  are 
copies  after  the  great  Italian  masters ;  they  are 
etched,  and  finished  with  the  graver.  He  was 
very  laborious,  and  his  plates  number  nearly  380. 
The  following  are  those  most  worthy  of  notice, 

some  of  them  being  marked  with  the  cipher  (^ . 

The  Frontispiece,  and  Heads  of  the  Popes,  for  the  Vite 
de'  Pontifici. 
254 


Thirty-three  plates  of  the  Euins  of  Rome ;  after  Doii- 

sio.    1579. 
A  series  of  plates  entitled  £eati  Apollinaria  Martyrit 

priTni  Bavennatu-m  episcopi  Res  ye'sta;  after  ^,  Civ'' 

cianani.     1586. 
Eeclesise  Anglicanse  Trophse ;  after  the  same. 
Christ  among  the  Doctors;  supposed  to  be  from  his  oum 

design. 
The  Last  Supper ;  the  same. 
The  Image  of  the  Virgin  of  Loreto.    1566. 
The  House  of  Loreto,  and  the  Miracles  wrought  there. 

1569. 
The  Jubilee  in  1585,  with  a  view  of  the  old  Church  of 

St.  Peter's. 
A  Sea-fight  against  the  Turks;  for  Chacon's  Historia 

utriusque  Belli  Dacici,  1576. 
The  Virgin,  called  '  Le  Silence ' ;  after  Michelangelo. 
The  Dead  Christ  in  the  lap  of  the  Virgin ;  after  the  same. 
The  Con-version  of  St.  Paul ;  after  the  same. 
The  Martyrdom  of  St.  Peter ;  after  the  same. 
The  Animals  coming  out  of  the  Ark ;  after  Raphael. 
Moses  showing  the  Tables  of  the  Law ;  after  the  soine. 
The  Miracle  of  the  Loaves ;  after  the  same. 
Christ  appearing  to  St.  Peter ;  after  the  same. 
The  Battle  of  Constantino  with  Ma,xentius ;  after  the 

same. 
The  Murder  of  the  Innocents ;  after  the  same. 
Susannah  and  the  Elders ;  after  Titian.    1586. 
St.  John  preaching  in  the  "Wilderness:  after  A.  del 

Sarto. 
The  Descent  from  the  Cross ;  after  Daniele  da  Votterra. 
The  Virgin  and  Infant  in  the  Clouds;   after  JAvio 

Agresti. 
The  Elevation  of  the  Cross ;  after  the  same. 

CAVALLI,  ViTALB,  called  Vitale  da  Bologna 
and  Vitale  dellb  Madonne,  was  a  painter  of  the 
13th  and  14th  centuries,  who  was  a  pupil  of  Franco 
Bolognese.  As  one  of  his  appellations  denotes,  he 
was  especially  noted  for  the  painting  of  Madonnas, 
one  of  which  (1320)  is  in  the  Pinacoteca  of  Bologna, 
another  in  San  Giovanni  in  Monte  of  the  same 
city,  and  a  third  (1345)  in  the  Vatican ;  the  last 
has  been  engraved  by  D'Agineourt.  An  '  Annun- 
ciation '  and  '  The  Manger '  are  in  Santa  ApoUonia 
at  Mazzaratta. 

CAVALLINI,  Pieteo,  was  a  painter  of  the  14tli 
century,  who  studied  mosaic  painting  in  Rome  under 
the  Cosmati ;  but  his  works  are  executed  in  the 
Florentine  style.  He  was  employed  upon  tlie 
mosaics  which  Giotto  executed  in  the  Basilica  of 
St.  Peter  at  Rome,  and  is  said  to  have  also  worked 
from  that  master's  designs  in  San  Paolo  fuori  le 
Mura  about  the  year  1305,  and  to  have  restored  the 
lost  mosaics  in  San  Crisogono  in  the  same  city. 
Several  paintings  at  Florence  are  attributed  to  him ; 
they  are  in  the  churches  of  SS.  Annunziata,  Santa 
Lucia,  and  San  Marco.     He  died  about  1364. 

CAVALLINO,  Bernardo,  an  Italian  painter, 
born  at  Naples  in  1622,  was  instructed  by  Massimo 
Stanzioni,  and  studied  the  works  of  Andrea  Vac- 
oaro,  Rubens,  and  Poussin.  He  died  in  1658.  His 
paintings  are  small  and  of  a  tender  character. 
Two  of  them  are  preserved  at  Naples — an  '  Im- 
maculate Virgin'  at  the  church  of  San  Lorenzo 
Maggiore,  and  a  '  St.  Cecilia '  at  that  of  San  Gio- 
vanni di  Porta  Alba. 

CAVALLUCCI,  Antonio,  was  born  at  Ser- 
moneta  in  1752,  and  was  perhaps  the  most  admired 
painter  of  the  modern  Roman  school  after  A.  E. 
Mengs  and  Pompeo  Batoni.  The  Duke  of  Gaetani 
sent  him,  at  his  own  expense,  to  Rome,  where  he 
studied  under  Pozzi  and  Lapis ;  he  afterwards 
went  to  Parma,  and  studied  the  works  of  Cor- 
reggio.  He  painted  several  important  works  for 
the  Duchess  of  Gaetani,  amongst  them  '  Christ 
appearing  to  St.  Theresa,'  '  Anatolio  Gaetani  con- 


Cavalori 


PAINTERS  AND  ENGRAVERS. 


Cavedone 


quering  the  Saracens,'  and  the  portraits  of  the 
Pope  and  of  Prince  Eospigliosi.  Other  paintings 
by  him  may  be  found  at  Catania,  Rieti,  and 
Bovigo ;  at  Pisa,  where  is  his  '  St.  Bona  distribut- 
ing his  Wealth  to  the  Poor,  and  talking  the  Re- 
ligious Garb  ; '  at  the  Palazzo  Gesarini  at  Rome, 
his  '  Venus  with  Ascanius  ; '  and  in  the  Basilica  of 
Loreto,  his  '  St.  Francis  of  Paola.'  He  died  at 
Rome  in  1796. 

CAVALORI.  'See  Salincobno. 

CAVARAZZI,  Baktolommeo,  also  called  Cbes- 
CENzi,  was  bom  at  Viterbo  about  the  year  1690, 
and  was  a  pupil  of  Cavaliere  Ronoalli,  called 
Pomarancio.  He  had  made  great  progress  under 
that  master  at  Rome,  when  he  was  taken  into  the 
protection  of  the  noble  family  of  the  Crescenzi, 
whence  his  acquired  name.  He  painted  many 
pictures  for  his  patron,  and  was  also  employed  at 
several  of  the  public  edifices  of  Rome,  where  he 
died  in  the  prime  of  life  in  1626.  Of  his  paintings 
we  note  : 

Borne.  S.  Andrea  delta  \  St.  Charles  kneeling,  with  a  choir 

„  Voile.         f     of  angels. 

„  S.  Ursula.             The  Legend  of  that  Saint. 

„  S.  Anna  Conv.     Virgin  and  Child,  with  St.  Anne. 

CAVAZOLA.     See  Mohando. 

CAVAZZA,  Giovanni  Battista,  was  a  painter 
and  engraver,  who  was  born  at  Bologna  about  the 
year  1620.  He  studied  under  Cavedone  and  Guido, 
and  painted  some  pictures  for  public  buildings  at 
Bologna.  The  church  of  the  Nunziata  has  frescoes 
of  saints  painted  by  him.  He  engraved  the  fol- 
lowing plates  from  his  own  designs : 

The  Crucifixion. 

The  Eesurrection. 

The  Death  of  St.  Joseph. 

The  Assumption  of  the  "Virgin. 

CAVAZZA,  PiEH  Fkanoesco,  was  born  at 
Bologna  in  1675,  and  was  a  pupil  of  Domenico 
Viani.  He  painted  historical  pictures,  and  was 
engaged  at  several  of  the  churches  of  his  native 
city.  He  died  in  1733.  We  notice  of  his  works : 
Bologna.  ^iS.  Sehastiano  \  The  Conception,  and  SS.  Sebas- 
and  Rocco.   J      tian  and  Eoch. 

„  S.  Colomhano.     SS.  Nicholas   and   John  the 

Baptist. 

„  S.  Giuseppe.       The  Nativity. 

CAVAZZOLA.     See  Moeando. 

CAVAZZONI,  Francesco,  was  born  at  Bologna 
in  1669,  and  is  known  to  have  been  living  up  to 
1612.  He  was  first  the  pupil  of  Bartolommeo 
Passarotti,  but  afterwards  attended  the  school  of 
Lodovico  Carracci.  Less  distinguished  than  Guido 
and  Domenichino,  he  nevertheless  held  a  respectable 
rank  amongst  the  followers  of  that  great  school. 
His  principal  works  are  : 

Bologna.  S.  Maddalena  di  \  Magdalene  washing  the  feet  of 
Via  S.  Donate,  j      Christ. 
„  S.  Cecilia.  The  Crucifixion. 

"  Monte         t  ^*"  "'^"^'^  ^^^  Baptist  preaching. 

CAVAZZONI  ZANOTTI,  Giovanni  Pieteo, 
though  of  Bolognese  origin,  was  born  in  Paris 
in  1674.  He  was  sent  when  young  to  Bologna, 
where  he  became  a  scholar  of  Lorenzo  Pasinelli. 
Under  that  master  he  acquired  an  agreeable  tone 
of  colouring,  a  mellow  pencil,  and  an  intelligent 
acquaintance  with  the  principles  of  chiaroscuro. 
He  painted  several  altar-pieces  for  the  churches 
at  Bologna,  of  which  the  most  esteemed  are 
the  '  Incredulity  of  St.  Thomas,'  in  the  church 
of  San  Tommaso   dal  Mercato ;    '  The   Eesurrec- 


tion,' in  San  Pietro  ,  '  The  Nativity,'  in  La  Puriti  ; 
and  a  large  picture  representing  the  '  Ambassadors 
from  Rome  swearing  fidelity  to  the  Bolognese,' 
in  the  Palazzo  Pubblico.  He  travelled  extensively 
in  France,  Germany,  and  Italy,  and  resided  during 
a  great  part  of  his  life  at  Cortona,  where  he  also 
distinguished  himself  by  several  pictures  which  he 
painted  for  the  churches,  particularly  '  Christ  ap- 
pearing to  the  Magdalene,'  'Christ  bearing  His 
Cross,'  and  'The  Murder  of  the  Innocents.' 

Zanotti  was  a  laborious  and  intelligent  writer  on 
art,  the  most  considerable  of  his  numerous  publi- 
cations being  his  '  Storia  dell'  Accademia  Clementina 
di  Bologna,'  published  in  two  volumes,  quarto,  in 
1739.  He  died  at  Cortona  in  1765. 
CAVE,  F.  Morellan  de  la.  See  Moeellan. 
CAVE,  Henky,  an  architectural  draughtsman, 
born  in  1780,  is  best  known  by  his  'Antiquities  of 
York,'  in  forty  plates,  drawn  and  etched  by  him- 
self, and  published  in  1813.  He  died  at  York  in 
1836. 

CAVE,  James,  an  architectural  draughtsman, 
illustrated  Milner's  'History  of  Winchester,'  pub- 
lished in  1809.  He  occasionally  exhibited  drawings 
at  the  Royal  Academy. 

CAVEDONE,  Jacopo,  an  eminent  but  unfortun- 
ate painter,  was  born  at  Sassuolo  in  the  Modenese, 
in  1677.  Driven,  when  a  boy,  from  his  home  by 
the  severity  of  his  father,  he  sought  a  subsistence 
by  becoming  a  page  to  a  nobleman,  a  great  lover 
of  art,  who  possessed  a  valuable  collection  of  pic- 
tures. The  young  Cavedone  had  employed  him- 
self in  his  moments  of  leisure  in  copying  some 
of  them  with  a  pen,  and  the  copies  appeared  to  his 
master  such  extraordinary  efforts  of  untaught 
genius,  that  he  showed  them  to  Annibale  Carracci, 
and  introduced  the  young  artist  to  him,  who 
encouraged  the  youth  to  persevere,  gave  him 
some  of  his  drawings  to  copy,  and  soon  after- 
wards received  him  into  his  school.  The  pro- 
gress of  Cavedone  under  such  an  instructor  was 
surprising.  He  also  studied  under  Passarotti,  and 
then  went  to  Venice,  where  he  applied  himself  to 
study  the  works  of  Titian,  and  acquired  that 
admirable  style  of  colouring  in  which  he  may  be 
said  to  have  surpassed  every  other  painter  of  his 
school.  On  his  return  to  Bologna,  he  commenced 
the  display  of  his  talents  with  such  eclat,  that  some 
of  the  pictures  he  painted  for  the  churches  were 
esteemed  almost  equal  to  the  works  of  Annibale 
Carracci.  At  this  time  his  design  was  elegant 
and  correct,  and  his  colouring  so  tender,  and  at  the 
same  time  so  vigorous,  that  it  is  recorded  by  Lanzi, 
that  Albani,  on  being  asked  by  a  stranger  if  there 
were  any  pictures  by  Titian  at  Bologna,  replied, 
"  No,  but  there  are  two  by  Cavedone  in  San  Paolo, 
which  amply  supply  the  want  of  them,  and  are  even 
painted  with  more  spirit."  In  his  fresco  works  he 
was  singularly  harmonious,  using  tints  with  little 
variety,  but  so  admirably  appropriated  to  that 
style  of  painting,  that  Guido  adopted  him  as  a 
model.  Cavedone,  who  in  the  prime  of  his  career 
promised  to  be  the  honour  and  support  of  art 
in  his  country,  was  reduced  in  later  life  to  the 
miserable  necessity  of  painting  ex  voti  for  sub- 
sistence. Superstition  had  charged  his  wife  with 
witchcraft,  and  that  absurd  accusation  plunged 
him  into  the  deepest  afBiction.  The  loss  of  an 
only  son,  who  had  shown  the  most  marked  and 
promising  disposition  for  art,  filled  the  cup  of 
his  affliction.  He  sank  into  a  childish  and  stupid 
despondency,  and  died  in  wretchedness  and  want, 

265 


Cavenag 

in   Bologna,,   in   1660, 
works  are : 


A  BIOGBAPHICAL  DICTIONARY  OP 


Cazenave 


aged    83.      His    principal 


Bologna.     Pinacoteca. 


San  Faolo. 


,         Ospiiale  di  S.  \ 
Francesco.  J 
,         S.  Salvatore. 
,  S.  Michele  in  JBosco. 


Virgin  adored  by  SS.  A16   and 

Petronius.     1614. 
The  Martyrdom  of  St.  Peter  of 

Verona. 
The  Nativity. 
The  Adoration  of  the  Magi  {Ms 

'masterpiece). 
Holy  Family,  with  SS.  John  and 

Francis. 
The  Four  Doctors  of  the  Church. 
.  St.  Cecilia. 
The  Martyrdom  of  SS.  Tiburtius 

and  Valerian. 
Death  of  St.  Benedict. 
The  Virgin  and  Child,  with  three 

Saints. 
His  own  Portrait. 
Adoration  of  the  Shepherds. 
Magdalen. 

St.  Stephen  borne  up  to  Heaven. 
Pieta  {Uw). 
St.  Cecilia. 
St.  Sebastian. 


„    S.  Maria  delle  \ 
Laudi.       J 
Florence.      XJ;^zi. 
Madrid.        Gallery. 
Modena.      Este  Gall. 

))  »> 

Munich.  Pivxikothek. 

Paris.  Louvre. 

Vienna.  Belvedere. 

CAVENAGHI,  Emiho,  an  Italian  painter  of 
landscapes  and  genre  pieces,  was  born  in  1852. 
'  La  Stanza  Poldi,'  and  '  The  Music  Amateur,'  are 
two  of  his  best  performances.  He  also  designed 
many  woodcuts  for  book-illustrations.  He  died  at 
Milan  in  1876. 

CAWSE,  John,  who  was  born  about  1779,  ex- 
hibited portraits  at  the  Academy  in  1802,  and 
afterwards  historical  pictures.  He  is  best  remem- 
bered by  his  work  '  The  Art  of  Painting  Portraits, 
Landscapes,  Animals,  Draperies,  &c.,  in  oil  colours,' 
published  in  1840.     He  died  in  1862. 

CAXES,  EuGENio,  (Caxesi,  or  Caxete,)  the  son 
and  scholar  of  Patricio  Cases,  was  born  at  Madrid 
in  1577.  He  assisted  his  father  in  several  of  his 
works  for  the  court,  and  was  made  painter  to 
Philip  III.  in  1612,  after  having  finished  the 
'  Judgment  of  Solomon,'  in  the  king's  audience 
room  in  the  Pardo.  He  afterwards  painted  the  large 
altar-piece  in  the  convent  of  Our  I^ady  of  Mercy 
at  Madrid,  and  scenes  from  the  life  of  Agamemnon 
in  the  Alcazar.  He  was  reappointed  court  painter 
by  Philip  IV.  in  1621,  and  painted  the  portrait  of 
that  king,  as  well  as  some  historical  works  for 
the  royal  palaces.  He  executed  several  works  in 
fresco,  in  conjunction  with  Vicente  Carducho,  for 
the  cathedral  of  Toledo.,  It  is  remarkable  that 
almost  all  the  works  of  this  artist,  except  those 
mentioned  below,  have  been  destroyed  by  fire. 
The  convent  of  San  Felipe  el  Real  at  Madrid, 
where  were  many  of  his  works,  was  burned  in 
1718,  and  the  Palace  of  the  Pardo  also  perished 
by  fire.  He  died  at  Madrid  in  1642.  The  following 
pictures  are  by  him  : 

Copenhagen.  Iluseum.    Fall  of  the  Rebel  Angels.     1605. 
Madrid.    S.  Martin.        The  Nativity,  and  the  Adoration 
of  the  Magi. 
„        Monastery  of\ 

San  Auc/tisiin  J-SS.  Joachim  and  Anne. 


Calzado. 
Museum. 


Landing  of  the  English  Fleet  at 
Cadiz  in  1625. 
„  „  Madonna  and  Child. 

„  „  St.  Ildefonso. 

At\d  many  chalk  and  Indian  ink 
draioincfs. 

CAXES,  Patricio,  (Caxesi,  or  Caxete,)  was  a 
native  of  Arezzo.  It  is  not  known  by  whom  he 
wns  instructed,  but  he  became  an  artist  of  sufficient 
celebrity  to  be  invited  to  Spain  by  Phihp  II.,  who 

256 


employed  bim  in  the  palaces  of  Madrid.  He  was 
commanded  to  paint  the  gallery  of  the  queen  in 
the  Palace  of  the  Pardo,  on  which  occasion  he 
made  choice  of  the  very  inappropriate  subject  of 
the  '  Chastity  of  Joseph.'  It  was  destroyed  with 
many  other  valuable  works  of  art  in  the  burning 
of  that-palace.  Patricio  Caxes,  after  serving  Philip 
II.  and  Philip  III.  during  forty-four  years,  died  at 
Madrid  in  extreme  poverty,  at  an  advanced  age,  in 
1612.  The  king  being  informed  of  the  state  of 
destitution  in  which  he  had  left  his  widow  and 
eight  children,  munificently  assigned  to  them  five- 
pence  a  day  for  one  year  1  Caxes  translated  into 
Spanish  Vignola's  '  Five  Orders  of  Architecture,' 
for  which  he  engraved  the  frontispiece  and  plates. 

CAYLUS,  Anne  Claude  PniLirPE  de  Thubieres 
DE  Grimoard  de  Pestels  de  Livi,  Comte  de,  a 
celebrated  amateur,  was  born  in  Paris  in  1692.  He 
entered  the  army  and  saw  some  service  in  the  field, 
but  eventually  devoted  himself  to  the  pursuit  and 
encouragement  of  art,  in  the  service  of  which  he 
may  be  said  to  have  spent  his  life  and  fortune.  He 
visited  Italy,  Greece,  Turkey,  and  Asia  Minor,  where 
he  sought  to  discover  the  site  and  ruins  of  Troy,  and 
is  well-known  by  his  '  Recueil  d'Antiquit^s,'  an 
elaborate  publication  in  seven  volumes,  the  last  of 
which  appeared  in  1767,  two  years  after  his  death. 
His  etchings,  more  remarkable  for  the  extraordinary 
zeal  shown  in  producing  them  than  for  any  special 
talent,  are  to  be  counted  by  thousands.  His  plates, 
after  the  drawings  of  Bouchardon,  were  finished 
by  Fessard  and  his  pupils.  His  work  has  been  the 
means  of  preserving  to  us  the  subjects  of  masterly 
sketches  by  some  of  the  most  celebrated  painters. 
His  portrait  was  engraved  by  Charles  Nicolas 
Cochin,  the  younger.  He  died  in  Paris  in  1765, 
and  his  tomb  is  in  the  church  of  St.  Germain" 
I'Auxerrois.  His  etchings  are  marked  with  the 
following  monograms  :  C*.  C***.  CO.  C  de  C. 
C.S.     C*S.     MleCdeC. 

Amongst  them  the  following  are  most  worthy  of 
attention : 

A  set  of  about  three  hundred  plates  of  the  Gems  in 

the  Collection  of  the  King  of  France. 
A  set  of  ten  Antique  Subjects — from  drawings  by  Fdme 

JBotichardon,  etched  by  C.  de  Caylus,  and  finished  with 

the  graver  by  Le  Has. 
A  set  of  six  Mythological  Subjects  ;  after  Bouchardon  ; 

etched  by  C.  de  Cayltts,  and  finished  with  the  graver 

by  Tcssard. 
A  set  of  thirty  Heads ;  after  Bubens  and  Van  Byck ; 

from  the  Crozat  Collection. 
A  .set  of  fifty  grotesque  Heads ;  after  Leonardo  da 

Vinci. 
A  set  of  five  Sketches  ;  after  Bella  Bella. 
Portrait  of  Polidoro  da  Caravaggio. 
Ten  subjects  from  the  life  of  Joseph ;  after  sketches 

by  Rembrandt. 
The  Deliverance  of  St.  Peter  ;  aftei'  the  same. 
Set  of  eight  plates  for  "  Les  Chats  "  of  M.  de  Moncrif. 
The  Amusements  of  the  Country  ;  after  Watleati. 
Portrait  of  Camille  Falconet ;  after  BouMet. 

CAZENAVE,  — ,  was  a  French  engraver,  born 
in  Paris  about  1770,  who  reproduced  with  a  certain 
success  in  the  dotted  manner  some  of  the  compo- 
sitions of  Boilly  and  other  popular  artists,  and  like- 
wise executed  some  historical  scenes  of  the  Revo- 
lution. The  date  of  his  death  is  not  recorded.  His 
best  Works  are : 

L'Optique ;  after  Boilly. 

La  Kose  prise ;  after  the  same. 

L'Amonr  couronn^ ;  after  the  same. 

La  Volupt6 ;  after  Begnault. 

A  Female  Head ;  after  Fnid'hon. 


Cazes 


PAINTERS  AND  ENGRAVERS. 


Celers 


CAZES,  PiEKEE  Jacques,  bom  in  Paris  in 
1676,  was  successively  the  pupil  of  Houasse  and 
of  Bon  de  Boullongne.  He  was  noted  as  a  painter 
of  liistorical  subjects,  and  executed  several  works 
for  Notre-Dame,  and  for  the  choir  of  St.  Germain- 
des-Pres,  which  prove  him  to  have  been  an  artist 
of  no  mean  ability.  In  the  Louvre  is  a  finished 
study  of  '  St.  Peter  resuscitating  Tabitha,'  which 
he  painted  for  the  latter  church.  He  became  a 
member  of  the  Academy  in  1703,  his  reception 
painting  being  '  The  Combat  between  Hercules  and 
Achelous.'  He  became  Professor  in  1718,  Rector 
in  1743,  Director  in  1744,  and  Chancellor  in  1746. 
P.  A.  Robert,  Ch.  Parocel,  Chardin,  and  the  Swed- 
ish portrait-painter  Lundberg,  were  amongst  the 
number  of  his  scholars.  He  died  in  Paris  in 
1754. 

CAZES,  RoMAiN,  a  French  historical  painter,  was 
born  at  St.  Beat  (Haute-Garonne)  in  1810.  He  was 
a  pupil  of  Ingres,  and  is  known  chiefly  by  his  por- 
traits and  subjects  from  sacred  history.  He  also 
decorated  with  mural  paintings  the  church  of  St. 
Francois  Xavier  at  Paris,  and  other  churches  in  the 
provinces.  Like  all  the  pupils  of  Ingres,  except 
Flandrin,  he  never  rose  above  mediocrity,  and 
died  in  1881. 

CEA,  Juan  de,  a  Spanish  painter,  flourished  in 
the  middle  of  the  16th  century  at  Burgos,  in  the 
cathedral  of  which  city  he  executed,  in  1565,  in 
conjunction  with  Juan  de  Aneda,  several  paintings 
of  merit. 

CECCARINI,  Sebastiano,  was  born  at  Urbino 
about  the  year  1700,  and  was  a  pupil  of  Agostino 
Castellacci.  He  painted  historical  subjects  at  Rome 
with  distinction  during  the  pontificate  of  Clement 
XII.  The  surporta  of  the  church  of  Sant'  Urbano 
■•  in  Campo  Carleo,  representing  that  saint,  and  the 
high  altar-piece  in  the  same  church,  are  by  him, 
as  is  also  the  altar-piece  in  the  Cappella  degli 
Svizzeri  in  the  Quirinal.  His  best  works  are  at 
Fano,  where  he  chiefly  resided ;  amongst  them 
may  be  mentioned  his  '  St.  Lucia '  at  the  Augus- 
tines,  and  several  sacred  historical  subjects  in  the 
Piazza  del  Popolo.     He  died  in  1780. 

CECCHI,  Gaetano,  was  a  painter  born  at  Flor- 
ence, who  flourished  there  about  the  year  1770. 
He  engraved  some  plates  of  historical  subjects, 
after  the  Italian  painters,  which  are  etched,  and 
finished  with  the  graver,  in  a  style  which  does  him 
considerable  credit. 

CECCHI,  Giovanni  Battista,  was  a  Florentine 
engraver,  born  at  Florence  about  the  year  1748. 
He  engraved  several  portraits  for  the  work  entitled 
'  Serie  degl'  Uomini  illustri,'  and  also  for  the  '  Life 
of  the  Marquis  de  Pombal.'  We  have  also  by  him 
the  following  plates : 

The  Calling  of  St.  Andrew  to  the  Apostleship ;  after 

L.  Cardi. 
The  Martyrdom  of  St.  Laurence ;  after  Fietro  da  Cor- 

tona. 
The  Martyrdom  of  St.  Vitalis ;  after  F.  Barrocci. 
The  Stoning  of  St.  Stephen ;  after  the  same. 
The  Entombment  of  Christ ;  after  Saniele  da  Volterra, 
Catiline's  Conspiracy ;  after  Salvator  Eosa. 

CECCHINI,  Francesco,  a  Roman  engraver,  who 
flourished  about  the  close  of  the  18th  century,  is 
best  known  by  a  set  of  five  engravings  after 
Perugino's  frescoes  in  the  Sala  del  Cambio  at 
Perugia.  He  also  engraved  the  '  Visitation  of  the 
Virgin  to  St.  Elizabeth,'  after  Moretto,  and  several 
other  subjects  from  the  Old  and  New  Testaments. 
He  was  no  longer  living  in  1811. 


CECCHINO  DA  VERONA  is  only  known  as  the 
painter  of  a  '  Virgin  and  Child,  between  SS.  Vigi- 
lius  and  Sisinius,'  in  the  cathedral  of  Trent,  sup- 
posed to  have  been  painted  about  1450. 

CECCHINO  de'  SALVIATI.  See  De'  Rossi, 
Fbancesco. 

CECCO,  Geegobio  dl,  of  Lucca,  was  the  adopted 
son  and  heir  of  Taddeo  Bartoli,  his  name  first 
appearing  on  the  roll  of  the  Sienese  Guild  in 
1389.  He  seems  to  have  assisted  his  adopted 
father  in  some  of  his  pictures,  for  there  formerly 
hung  in  the  Marescotti  Chapel  of  Sant'  Agostino  at 
Siena  a  picture  that  was  signed  taddbvs  et  gbb- 
GORivs  de  senis  pinxervnt,  m.c.c.c.c.x.x.  He  is 
also  known  to  have  painted  in  1384  the  books  at 
the  Biccherna  at  Siena.  The  dates  of  his  birth 
and  death  are  unlike  uncertain.  In  the  cathedral 
at  Siena  there  is  a  picture  by  him  of  '  The  Virgin 
and  Child,  with  Seraphs  and  Angels,'  signed,  and 
dated  1423. 

CECCO  BEAVO,  II.     See  Montelatici. 

CECCO  Dl  PIETRO  lived  at  Pisa  in  the  14th  cen- 
tury, and  according  to  Ciampi  painted  in  the  Campo 
Santo  in  1370,  in  company  with  five  other  artists. 
He  was  one  of  the  people' s  representatives  in  1380, 
and  in  1386  he  painted  a  '  Nativity  of  the  Virgin ' 
for  the  church  of  San  Pietro  in  Vincolo  at  Pisa, 
which  is  now  lost.     Of  his  works  we  find : 

Pisa.    Academy.  The  Citucifixion,between  the  Virgin 

and  Saints. 
„       Siy.  Remedio   \  Two  Madonnas,  dated  respectively 
Tezm.        J      1370  and  1380. 

CECIL,  Thomas,  was  an  English  engraver,  who 
flourished  about  the  year  1630.  The  partiality  of 
Evelyn  for  his  countryman  has  induced  him  to 
place  Cecil  on  a  level  with  the  foremost  artists 
of  his  time — a  period  which  was  distinguished  by 
some  of  the  greatest  engravers  of  France,  particu- 
larly Nanteuil,  and  at  which  engraving  was  at  a 
very  low  ebb  in  England.  However  undeserving 
of  this  flattering  character,  his  plates  are  not  with- 
out considerable  merit.  They  are  neatly  executed, 
entirely  with  the  graver,  and  chiefly  consist  of 
portraits  from  his  own  designs.  The  following  are 
his  principal  prints : 

PORTEAITS. 

Queen  Elizabeth  on  Horseback. 

Walter  Curie,  Bishop  of  'Winchester. 

"WiUiam  Cecil,  Lord  Burghley. 

Edward  Reynolds,  Bishop  of  Norwich. 

Thomas  Kidderminster  of  Langley.     1628. 

John  Talbot,  Earl  of  Shrewsbury. 

Sir  John  Burgh,  killed  at  the  Isle  de  Eh6 ;  this  print 
is  very  scarce,  as  it  is  thought  the  plate  was  altered, 
and  the  name  changed  for  that  of  Gustavus  Adolphus, 
and  inserted  in  Scudery's  '  Curia  Politia.' 

John  Weaver ;  prefixed  to  his  '  Funeral  Monuments.' 
1631. 

Archee,  the  King's  Jester ;  a  small  whole-length. 

Sir  John  Hayward,  Knt.,  LL.t). 

The  Frontispiece  to  Ambrose  Parry's  Works.    1634. 

The  Frontispiece  to  Devout  Meditations.     1629. 

The  Frontispiece  to  Lord  Bacon's  Sylva  Sylvamm.  1627 

CEDASPE.     See  Ci;sPEDES. 

CELENTANO,  Beknaedo,  an  artist  possessed 
of  much  skill  in  the  delineation  of  character  and 
expression,  was  born  at  Naples  in  1835.  Two  of 
his  paintings  quoted  are,  'Tasso  exhibiting  the 
first  Signs  of  Madness,'  and  '  The  Council  of  Ten.' 
He  studied  at  Rome,  and  died  in  1860. 

CELERS,  Zachaeie,  was  a  French  landscape 
painter,  who  flourished  at  Amiens  in  1551,  and  de- 

257 


Celesti 


A  BIOGEAPHICAL  DICTIONARY  OF 


Cerezo 


signed  the  triumphal  arches  erected  on  the  occasion 
of  the  entry  of  Henry  II.  In  1560  he  was  con- 
demned for  having  taken  a  view  of  the  city  of 
Amiens  and  its  fortifications. 

CliLESTI,  Cavaliere  Andrea,  was  a  painter  born 
at  Venice  in  1637.  He  was  a  pupil,  thoirgh  not 
an  imitator,  of  Matteo  Ponzone.  To  a  fertile 
imagination  he  added  a  vagueness  of  style,  and  a 
flowing  outline  resembling  that  of  Paolo  Veronese. 
His  colouring  is  clear,  brilliant,  and  tender,  but 
in  some  oases,  from  defective  priming  of  his  can- 
vas, his  pictures  have  lost  something  of  their 
original  freshness,  and  in  the  half-tints  appear  to 
have  in  some  degree  perished,  from  which  circum- 
stance the  harmony  of  the  effect  is  somewhat 
diminished.  He  painted  historical  subjects,  both  in 
large  and  in  easel  pictures,  and  sometimes  con- 
versations and  pastoral  subjects.  His  principal 
historical  works  are  in  the  church  of  the  Ascension 
at  Venice,  the  best  being  '  The  Adoration  of  the 
Magi.'  The  ducal  palace  possesses  a  picture  of  a 
subject  taken  from  the  Old  Testament  that  is  highly 
esteemed.  He  died  at  Venice  in  1706.  Other 
works  by  him  are  in  the  under-mentioned  galleries : 


Cassel.     Gallery. 
Dresden.  Gallery. 


The  Illness  of  Antioohus  Soter. 
The  Murder  of  the  Innocents. 
Worship  of  the  Golden  Calf. 
„  „  Bacchus  and  Ceres. 

Munich,  Pinakothek.  The  Magdalen  washing  the  feet  of 
Christ. 

CELIO,  Cavaliere  Gaspaeo,  was  a  painter  born 
at  Rome  in  1571,  and  who  died  there  in  1640. 
According  to  Baglione,  he  was  the  pupil  of  Niocolo 
Ciroignani,  called  Pomarancio.  Of  his  works  there 
are  cited : 

Borne.      S.  Giovanni  1  St.    Michael     discomfiting     the 
in  Laterano.  J      Kebel  Angels. 

„  S.  Carlo  ai     \  gj.  charles  Borromeo. 

iMtinan.    y 
„         Mendicanti.      St.  Francis  recei-ring  the   Stig- 
mata, 
„      Falazso  Mattd.    Moses  passing  the  Red  Sea. 

CELLIER,  CfeESTiN,  a  French  historical  and 
portrait-painter,  was  born  at  Valenciennes  in  1745, 
and  became  a  pupil  of  Groot.  The  Museum  of  his 
native  city  has  a  picture  representing  '  Valenci- 
ennes protecting  the  Arts,'  but  the  greater  part  of 
his  works  perished  in  the  time  of  the  first  French 
Revolution,     He  died  at  Valenciennes  in  1793. 

CELLIER,  FRANgois  Plaoide,  the  son  and  pupil 
of  Celestin  Cellier,  was  born  at  Valenciennes  in 
1768,  and  possessed  considerable  talent,  but  upon 
inheriting  a  fortune  at  the  death  of  his  father  he 
abandoned  art  as  a  profession.  His  pictures  of 
'Meleager  saving  Atalanta,'  and  an  'Idyll,'  are  in 
the  Museum  of  his  native  city.     He  died  in  1849. 

CELLONY,  Joseph,  a  French  portrait-painter, 
was  born  at  Aix  in  1663,  and  died  there  in  1731. 
His  son,  Joseph  Andej^  Cellony,  was  born  at  Aix  in 
1696,  and  was  a  pupil  of  his  father  and  of  Rigaud. 
He  worked  with  his  father,  whom  he  surpassed 
in  portraiture,  and  died  at  Aix  in  1746,  leaving  a 
son,  Joseph  Cellony,  who  painted  historical  sub- 
jects. He  was  born  at  Aix  in  1730,  studied  under 
Andrfe-Bardon,  and  died  in  1786. 

CELS,  CoENELis,  a  painter  of  portraits  and  his- 
torical subjects,  was  born  at  Lierre  in  Brabant  in 
1778.  He  studied  under  A,  Lens  at  Brussels,  and 
then  visited  Paris  and  Italy,  where  he  became  a 
professor  of  the  Academy  of  St.  Luke.  He  went 
to  Antwerp  in  1807,  and  was  appointed  in  1820  to 
the  professorship  of  drawing  at  Tournai,  a  post 

258 


which  he  resigned  in  1827.  He  subsequently  settled 
at  Brussels,  where  he  resided  till  his  death  in  1859. 
His  views  were  originally  directed  towards  tlie 
antique,  as  may  be^seen  from  a  study  of  his  '  Cin- 
cinnatus '  at  Ghent,  but  he  subsequently  took  the 
Pre-Raphaelites  as  his  model,  and  in  this  style 
painted  the  '  Descent  from  the  Cross,'  for  the  high 
altar  of  St.  Paul's  at  Antwerp,  a  picture  in  which 
the  drawing  is  bold  and  fine,  but  the  colouring 
cold,  and  the  shadows  too  dark.  '  The  Baptism  of 
St.  Catharine,'  painted  in  1809,  and  now  in  the 
cathedral  at  Bruges,  is  a  specimen  of  his  earlier 
manner.  His  portraits  were  held  in  some  estima- 
tion. In  the  Rotterdam  Museum  is  a  'Portrait  of 
Gysbert  Karel,  Count  of  Hogendorp.' 

CENNINI,  Cennino,  whose  full  name  was  Cen- 
nino  di  Drea  Cennini,  was  bom  at  Colle  di  Val  d' 
Elsa,  and  is  well  known  as  the  author  of  a  manu- 
script work  on  the  technical  process  of  painting  in 
the  14th  century,  which  has  been  translated  by 
Mrs.  Merrifield.  He  was  a  pupil  of  Agnolo  Gaddi 
for  twelve  years,  but  his  paintings  have  nearly  all 
disappeared.  A  fresco  of  the  Virgin  and  Saints  by 
him,  in  the  Hospital  of  S.  Giovanni  Battista,  at  Flor- 
ence, was  destroyed  when  the  building  was  altered 
in  1787.  Works  by  him  may  be  seen  in  the 
churches  of  San  Gimignano.  In  the  chapel  of  La 
Croce  di  Giorno  in  San  Francesco,  at  Volterra,  is  a 
series  of  frescoes,  representing  scenes  fiom  thelife 
of  Christ,  and  '  The  Finding  of  the  Cross ; '  one 
of  these,  representing  the  '  Massacre  of  the  Inno- 
cents,' bears  the  date  mocccx.,  and  the  signature, 
'  Cienni  di  Francesco  di  Ser  Cienni  da  Firenze,' 
and  it  is  considered  most  probable  that  Cienni  and 
Cennini  are  identical.  He  was  living  at  Padua  in 
1398,  but  no  dates  can  be  given  as  to  his  birth 
or  death. 

CENTO,  Pebegeini  da.     See  Peregeini. 

CEPHALUS.     See  Bloemen,  Noebebt  van. 

CEPHISODORUS,  an  illustrious  Greek  painter, 
who  is  mentioned  by  Pliny  as  having  flourished 
about  B.C.  420. 

CERAJUOLO.     See  Del  CEEAjnoLO. 

CERANO,  II.    See  Ceespi,  Giovanni  Battista. 

CERCEAU.     See  Androuet-Duceeoeau. 

CERCOZZI,  Michelangelo.    See  Ceequozzi. 

CEREGHETTI,  Joseph,  a  Bohemian  painter, 
was  born  at  Chrudim  in  1722,  and  died  there  in 
1799.  He  studied  under  Hermann,  and  is  known 
by  his  altar-pieces  and  portraits,  among  the  latter 
being  those  of  the  Empress  Maria  Theresa  and 
the  Prince  of  Auersperg. 

CERESA,  Caelo,  was  bom  at  Bergamo  in  1609, 
and  was  educated  under  Daniele  Crespi,  an  able 
painter  of  Milan.  In  a  short  time  he  acquired  a 
style  of  design  and  colouring  nearly  approaching 
in  merit  to  that  of  his  master.  A  tasteful  arrange- 
ment of  his  figures,  great  tenderness  of  colour,  and 
an  agreeable  expression  in  his  heads  and  forms,  are 
amongst  the  characteristics  of  the  works  of  this 
painter  as  given  by  Tassi.  He  was  also  eminent  as 
a  portrait  painter.  He  died  in  1679.  His  works 
are  chiefly  in  the  churches  of  Bergamo ;  among 
them  are : 

Bergamo.     Cathedral.    St,  Vincent  carried  up  to  Heaven 
by  Angels. 
„       /S.  Francesco.    Four  of  the  Prophets, 
„       S.  Pietro.  The  Resurrection. 

CEREZO,  Mateo,  a  Spanish  painter,  was  born  in 
1635  at  Burgos,  where  he  learned  the  rudiments  of 
art  from  his  father,  Mateo  Cerezo.  When  fifteen 
years  of  age  he  went  to  Madrid,  and  frequented  the 


Cermak 


PAINTERS  AND  ENGEAVEKS. 


Cesari 


school  of  Juan  Carreno  de  Miranda.  After  having 
established  his  reputation  by  his  'Conceptions,' 
painted  for  the  churches  of  Madrid,  Valladolid, 
Valencia,  Burgos,  and  Malaga,  he  was  employed 
by  Francisco  de  Herrera,  the  younger,  to  assist 
him  with  his  frescoes  in  the  dome  of  the  church 
of  Our  Lady  of  Atocha.  He  endeavoured  to  imi- 
tate the  colouring  of  Van  Dyck,  but  was  always 
inferior  to  that  master.  He  died  at  Madrid  in 
1685.  The  Galleries  of  the  Hague,  Madrid,  and 
Berlin,  and  the  Czernin  Collection  at  Vienna,  all 

Eossess  pictures  of  the  'Penitent  Magdalen'  by 
im.  His  most  esteemed  work  was  his  picture 
of  '  Christ  with  the  Disciples  at  Emmaus,'  painted 
for  the  refectory  of  the  Recolete  Friars  in  Madrid. 
The  Madrid  Gallery  has  by  him  a  fine  'Assumption 
of  the  Virgin '  and  the  '  Mystic  Marriage  of  St. 
Catharine  of  Alexandria.'  A  '  Crucifixion,'  formerly 
in  the  Suermondt  Collection,  is  now  in  the  Berlin 
Gallery  ;  a  '  Portrait  of  Cardinal  Puerto-Carrero  '  is 
in  the  Hermitage,  St.  Petersburg  ;  and  a  '  St.  John 
the  Baptist ',  in  the  Cassel  Gallery. 

CEEMAK,  Jaeoslav,  a  Bohemian  painter,  was 
born  at  Prague  in  1831,  and  was  educated  in  the 
Academy  of  that  town  under  Christian  Ruben,  in 
Antwerp,  in  Brussels  under  Gallait,  whom  he  closely 
followed  both  in  his  excellencies  and  in  his  defects, 
and  lastly  in  Paris  under  Robert-Fleury.  He  settled 
in  the  last-named  city,  and  at  first  executed  scenes 
from  Bohemian  history,  as  '  A  Night  Attack  on  the 
Hussites,'  '  Bohemian  Conversion  Scene,'  and  '  The 
Begging  Court-Poets  of  Rudolph  II.'  (1850),  the  last 
of  which  gained  him  his  first  reputation.  A  tour 
in  European  Turkey  in  1858  afforded  him  new  ma- 
terial, as  instanced  in  some  pictures  mentioned 
below.  He  was  also  particularly  successful  in  the 
portraiture  of  children.  He  died  in  Paris  in  1878. 
His  later  pictures  comprise  among  others  : 

The  Montenegrin  Woman  and  her  Child. 
Turks  assaulting  a  Herzegoviniau  "Woman, 
Eazzia  of  Bashi-Bazouks.     1861. 
The  Return  to  the  Country. 
Rendezvous  in  Montenegro.     1874. 
The  Hussites  before  Naumburg.    1875. 
Taking  of  Lauenburg.    1876. 

CERNEL,  Maeib  Louise  Sdzanne  Champion 
CE.     See  Champion  de  Cbrnel. 

CERQUOZZI,  Michelangelo,  commonly  known 
as  Michelangelo  delle  Battaglie,  from  his  fond- 
ness for  painting  battle-pieces,  was  born  at  Rome 
in  1602.  He  was  instructed  in  the  school  of  Bonzi 
(II  Gobbo  da  Cortona),  and  afterwards  under 
Leckerbetjen  and  the  bamboecia-pa.inteT  De  Laar, 
in  imitation  of  the  last  of  whom  he  depicted  low 
scenes  in  a  style  that  rivals  that  of  his  master. 
He  also  painted  fairs,  markets,  shipwrecks,  and 
doings  of  the  Lazzaroni.  His  battle  scenes  are 
full  of  life,  and  exhibit  much  richness  of  invention, 
but  are  often  too  hastily  executed.  He  finally 
took_  to  painting  flowers  and-fruits,  and  his  pro- 
ductions of  this  class  are  highly  esteemed.  He 
died  at  Rome  in  1660.  Some  of  his  productions 
are  to  be  seen  in  the  public  galleries  of  Europe ; 
but  the  best  have  been  considered  to  be  those 
representing  'The  Four  Seasons,'  which  were 
painted  for  the  Salviati  Palace  at  Rome. 

Berlin.      Gallery,        Procession  of  a  Pope  in  Rome. 
Dresden.   Gallery,       A  Battle-piece. 
Florence.  U^zi.  An  Old  Woman. 

Munich.    Pinakothek.  Hunting-scene. 

„  „  A  Cobbler. 

Paris.        Louvre,        Fruit-pieces  (two). 
S2 


CERRINI,  Giovanni  Domenico,  called  II  Cava- 
LiERE  Pebugino,  was  born  at  Perugia  in  1609.  He 
frequented  the  school  of  Guido  Reni  for  some  time, 
and  became  a  graceful  and  elegant  designer,  with 
an  expression  in  his  heads  that  occasioned  some 
of  his  works  to  be  taken  for  those  of  his  master. 
His  best  production  is  a  fresco  in  the  cupola  of  La  i 
Madonna  della  Vittoria,  aj  Perugia,  representing  St.  ' 
Paul  taken  up  into  Heaven.  Other  works  by  him 
are  in  the  galleries  and  churches  of  Brescia,  Cassel, 
Dresden,  and  Munich.     He  died  in  1681. 

CERTOSINO,  IL.     See  Cassiani. 

CERVA,  Giovanni  Battista,  was  a  native  of 
Milan,  who  flourished  about  the  year  1650.  Ac- 
cording to  Lanzi,  he  was  a  pupil  of  Gaudenzio 
Ferrari.  His  '  Incredulity  of  St.  Thomas  '  is  con- 
sidered to  be  one  of  the  finest  pictures  in  Milan, 
and  by  its  fine  design,  the  animated  expression  of 
the  heads,  and  its  entire  harmonious  effect,  gives 
this  artist  a  high  rank  amongst  the  painters  of  the 
Milanese  School. 

CERVELLI,  FE0BE1CO,  was  a  native  of  Milan, 
who  flourished  about  the  year  1690.  He  was  the 
pupil  of  Pietro  Riochi,  called  II  Lucchese,  whom 
he  equalled  in  the  freedom  of  his  pencil,  and 
surpassed  in  the  correctness  of  his  design  and  the 
impasto  of  his  colour.  One  of  his  finest  paintings 
is  in  the  Scuola  di  San  Teodoro,  Milan,  and  repre- 
sents an  episode  in  the  life  of  that  saint. 

CERVETTO,  Giovanni  Paolo,  was  born  at 
Genoa  about  the  year  1630.  According  to  Sopi-ani, 
he  was  a  scholar  of  Valerio  Castello,  whose  vigorous 
style  he  imitated  with  great  success,  but  he  died 
young,  in  1657. 

CERVI,  Bernardo,  was  a  native  of  Modena,  and 
a  scholar  of  Guido.  He  possessed  an  extraordin- 
ary genius,  and,  in  the  judgment  of  his  excellent 
instructor,  would  have  reached  a  high  rank  in 
art,  had  he  not  been  cut  off  in  the  prime  of  his 
life  by  the  plague,  which  visited  Modena  in  1630. 
His  principal  works  are  his  frescoes  in  the  cathedral 
at  Modena,  in  the  churches  of  which  city  there  are 
some  altar-pieces  by  him,  and  a  '  Deposition  from 
the  Cross  '  in  the  Este  Gallery.  There  is  a  print 
by  him,  the  '  Martyrdom  of  St.  Sebastian,'  with 
his  name  abridged,  and  the  date  1628. 

CESA,  Antonio,  who  lived  in  the  16th  century 
at  Belluno,  but  of  whose  birth  or  death  no  dates 
can  be  given,  is  the  piiinter  of  an  altar-piece  in  the 
church  of  Sant'  Andrea,  Visome,  near  Belluno, 
which  represents  the  '  Virgin  and  Child,  between 
SS.  Anthony,  Daniel,  Andrew,  and  another  saint,' 
signed  "  Opus  Antonii  de  Cesa  1500." 

CESA,  Matted,  was  an  artist  Hving  at  Belluno 
in  the  14th  and  15th  centuries,  of  whose  life  and 
death  no  exact  dates  are  known.  Paintings  and 
altar-pieces  by  this  painter  may  be  found  in  several 
of  the  private  collections  and  churches  in  and 
around  Belluno.  The  best  specimens  of  his  style 
are : 

Belluno.  S.  Stefano.      Virgin  and  Child,  with  Saints  and 

Angels  {carved  'work). 
Sala.  jS  Matteo.  Virgin  and  Child  between  gS. 
Matthew  and  Jerome. 
CESAR,  a  French  historical  painter,  who  was 
working  at  Avignon  in  1367.  He  possessed  con- 
siderable talent,  and  acquired  great  renown,  which 
was  celebrated  in  the  verses  of  Parasolz  B.,  a  con- 
temporary troubadour  of  Provence. 

CESARB   da  SESTO  (or  Cesaeb  Milanese). 
See  Sesto. 
CESARI,  Bernardino,  was  the  brother  and  pupil 

259 


Cesari 


A  BIOGRAPHICAL  DICTIONARY  OF 


Cesio 


of  Giuseppe  Cesari,  whom  he  assisted  in  many 
of  hia  works.  He  also  painted  several  pictures 
in  the  churches  of  Rome,  entirely  after  the  style 
of  his  brother.  For  Clement  VIII.  he  executed 
a  large  fresco  in  St.  John .  Lateran,  representing 
the  Emperor  Constantine  in  a  triumphal  oar,  with 
many  figures.  He  died  at  Rome  in  the  prime  of 
life  during  the  pontificate  of  Paul  V.  The  church 
of  San  Carlo  ai  Catinar*  possesses  a  picture  of 
'Christ  appearing  to  Mary  Magdalene,'  by  this 
artist. 

CESAEI,  Giuseppe  (called  Giuseppino,  and  also 
II  Cavaliere  d'Ahpino,  from  the  birthplace  of  his 
father,  in  the  kingdom  of  Naples)  was  born  at 
Rome  in  1568  (?).  His  father  was  a  very  humble 
artist,  who  earned  a  miserable  pittance  by  paint- 
■  ing  ex  voti,  and  who  taught  his  son  what  he  knew  of 
art,  with  the  view  of  his  succeeding  himself.  The 
young  Cesari  employed  his  leisure  moments  in  im- 
proving himself  in  drawing,  and,  at  the  age  of  thir- 
teen, obtained  his  father's  consent  to  go  to  Rome  in 
search  of  employment.  Arrived  in  that  capital, 
he  was  under  the  necessity  of  ofiering  his  services 
to  prepare  the  pallets  of  the  artists  who  were  then 
employed  in  the  Vatican  under  Gregory  XIII. 
He  had  been  some  time  in  that  servile  situation, 
when  he  took  an  opportunity,  in  the  absence  of 
the  painters,  to  sketch  on  the  wall  some  figures 
which  excited  the  surprise  and  admiration  of  every 
one,  particularly  Fra  Ignazio  Danti,  the  superin- 
tendent of  the  works  of  the  Vatican.  He  ac- 
quainted the  Pope  with  the  circumstance,  who 
immediately  took  the  young  artist  under  his  pro- 
tection, and  placed  him  in  the  school  of  Poma- 
rancio,  and  Giuseppino,  in  a  short  time,  was  re- 
garded as  the  most  distinguished  painter  at  Rome. 
He  was  a  perfect  master  of  the  arts  of  intrigue, 
and  had  the  talent  of  exalting  the  merits  of  his 
own  productions,  whilst  he  depreciated  the  works 
of  others.  Clement  VIII.,  who  succeeded  to  the 
papal  throne,  continued  to  him  the  favour  and 
protection  he  had  experienced  from  his  predecessor, 
and  conferred  on  him  the  knighthood  of  St.  John 
Lateran,  or,  as  some  say,  the  order  of  the  Abito  di 
Cristo ;  and  Louis  XIII.  made  him  a  Chevalier  of 
the  order  of  St.  Michael.  Abusing  a  natural  facility, 
and  yielding  to  the  fire  of  an  unrestrained  imagin- 
ation, Cesari  appears  to  have  skimmed  the  surface 
of  art,  without  venturing  to  dive  into  its  depths. 
Finding  that  he  could  satisfy  the  popular  expecta- 
tion without  the  labour  of  study,  he  did  not  think 
it  necessary  to  consult  nature  or  the  best  models  of 
antiquity.  By  straining  the  attitudes  of  his  figures, 
he  expected  to  give  them  animation  and  move- 
ment; and  when  he  attempted  expression,  he  fell 
into  distortion  and  grimace.  Those  of  his  works 
in  which  these  defects  are  least  discernible,  are 
such  as  admit  of  bustle,  and  require  a  crowded 
composition.  Such  are  his  battle-pieces  and  pro- 
cessions, in  which  the  horses  are  drawn  with  great 
spirit,  and  his  readiness  of  invention  is  surprising. 
With  all  his  deficiencies,  he  enjoyed,  during  his 
life,  an  elevated  rank  among  the  artists  of  his  time, 
and  his  school  was  one  of  the  most  frequented  in 
Rome.  He  died  at  Rome  in  1640.  Baglione  states 
that  he  lived  to  the  age  of  eighty,  but  other  writers 
assert,  with  greater  probability  of  accuracy,  that  he 
died  at  the  age  of  seventy-two.  The  following 
are  among  his  extant  paintings : 

Cassel.  Gallery.  The  Betrayal  of  Christ. 

))  „  Nymphs  and  Tritons. 

Dresden.  Gallery.  A  Eotnan  Battle. 

260 


Paris. 


Louvre. 


Petersburg.  Hermitage. 

Eeggio.        Cathedral. 

Home.      8.  Maria  in 

yallieella. 

„  S.  Frassede. 

„  Capitol  Pal. 


„  Capitol  Mus. 

„  Lateran  Mus. 

Vienna.      Belvedere. 


Fano.        Castracani     History  of  General  Castruccio  Cas- 

Falace.  tracani—  fresco. 

Florence.       Uffizi.        His  own  Portrait. 
Naples.    Carthusian   \  Scenes  from  the  Life  of  Christ— 
j'     frescoes. 
Adam  and  Eve  driven  from  Para- 
dise. 
Diana  and  Actseon. 
St.  Clara  delivering  the  Town  of 

Assisi. 
The  Visitation. 

^  Coronation  of  the  Virgin. 

The  Ascension  and  The  Prophets — 

frescoes. 
Kcmulus  and  Eemus— /)'«sco. 
Rape  of  the  Sabine  Women. 
The  Horatii  and  Curiatii. 
The  Sacrifice  of  Numa  Pompilius. 
Diana. 

The  Annunciation. 
Perseus     delivering   Andromeda. 

1602. 

Cesari  executed  several  etchings  after  his  own 
designs. 

CESARIANO,  Cesari,  born  at  Milan  in  1483, 
was  an  architect  as  well  as  a  painter  of  miniatures, 
which  branches  of  art  he  learned  under  the  tuition 
of  Bramante  and  Leonardo  da  Vinci.  He  was 
employed  in  the  decoration  of  the  cathedral  at 
Milan,  and  he  translated  the  '  Architectura '  of 
Vitruvius,  printed  at  Como  in  1521,  with  woodcuts 
from  his  designs,  the  best  of  which  are  '  The  Golden 
Age,'  '  The  Building  of  the  First  Houses,'  and 
'  The  Elect  of  the  Earth.'     He  died  in  1546. 

CESENA,  Peregeini  da.     See  Peregeini. 

CESI,  Bartolommeo,  a  •  Bolognese  historical 
painter,  was  born  at  Bologna  in  1556.  He  was 
first  a  scholar  of  Giovanni  Francesco  Brizzio,  called 
Nosadella,  but  afterwards  studied  the  works  of 
Pellegrino  Tibaldi.  Contemporary  with  the  Car- 
racci,  and  not  unfrequently  painting  in  competi- 
tion with  them,  he  preserved  their  esteem  by  the 
amiability  of  his  mind,  as  much  as  he  excited  their 
emulation  by  the  display  of  his  talents.  Careful 
and  correct  in  his  design,  without  timidity,  happy 
in  the  choice  of  his  forms,  and  delicately  tender  in 
the  purity  of  his  tints,  his  works  appear  to  have 
been  the  model  from  which  Guide  chiefly  formed 
the  suavity  and  elegance  of  his  style.  His  powers 
are  more  extensive  in  his  frescoes  than  in  his 
oil  paintings,  although  he  has  displayed  an  uncoro- 
mon  excellence  in  both  in  his  numerous  works 
in  the  public  edifices  at  Bologna.  His  principal 
works  in  that  city  are : 

Ceriosa.  Christ  in  the  Garden. 

„  Descent  from  the  Cross. 

S,  homenico.  Adoration  of  the  Magi. 

„  Descent  of  the  Holy  Ghost. 

S.  Giacomo  Maggiore.  Virgin  and  Child  with  Saints. 

*S.  Martino.  Crucifixion. 

Pinacoteca.  St.  Paul  {from  San  Francesco). 

„  St.  Peter  (  „      „  „       )• 

„  St.  Anne  and  the  Virgin. 

His  most  celebrated  work  is  his  set  of  ten  frescoes 
in  the  Palazzo  Favi,  representing  subjects  from 
the  life  of  iEneas :  other  works  by  him  are  in  the 
same  edifice.     He  died  at  Bologna  in  1629. 

CESILLES,  Juan,  a  painter  of  Barcelona,  who 
flourished  towards  the  close  of  the  14th  century. 
He  executed,  in  1389,  an  altar-piece  containing  the 
history  of  the  Twelve  Apostles  for  the  church  of 
St.  Peter  in  Reus,  but  it  was  removed  in  1557  to 
make  way  for  another  work. 

CESIO,  Carlo,  a  painter  and  engraver  of  the 


Cespedes 


PAINTERS  AND  ENGRAVERS. 


Chalon 


Roman  school,  was  born  at  Androdoco,  in  the 
Roman  States,  in  1626.  He  was  brought  up  at 
Rome,  in  the  school  of  Pietro  da  Cortona,  and  was 
employed  with  some  of  the  best  artists  of  his  time 
in  several  public  works  during  the  pontificate  of 
Alexander  VII.  He  painted  historical  subjects, 
and  his  works  are  held  in  considerable  estimation. 
He  died  at  Rieti  in  1686.  In  the  Quirinal,  he 
painted  '  The  Judgment  of  Solomon,'  and  others  of 
his  works  are  in  Santa  Maria  Maggiore  and  in  the 
Rotunda.  Carlo  Cesio  was  also  an  engraver  of 
some  eminence ;  we  have  by  him  several  plates 
after  the  Italian  painters  of  his  time.  His  plates 
are  etched  and  finished  ofE  with  the  graver,  in  a 
free,  masterly  style.  His  drawing  is  generally 
correct,  and  his  prints  have  the  effect  of  the  works 
of  a  painter.  The  following  are  his  principal 
works  as  an  engraver : 

The  Tirgin  and  Infant  Jesus  with  St.  John ;  half-length, 
St.  Andrew  led  to  Martyrdom,  prostrating  himself  before 

the  Cross ;  after  Guido. 
The  Frontispiece  to  the  book  entitled  Discord  delta 


Sixteen  plates  from  the  Pamphili  Gallery ;  after  Pietro 

da  Cortona. 
Forty-one  plates  of  the  Famese  Gallery;  after  Annib. 

Carracci. 
Eight  plates  of  the  Buongiovanni  Chapel  in  the  church 

of  St.  Augusine  at  Rome ;  after  Lanfranco. 

CESPEDES,  Pablo  de,  called  in  Rome  Cedaspe, 
a  painter,  sculptor,  and  architect,  as  well  as  a  poet, 
scholar,  and  divine,  and  equally  an  ornament  of  the 
arts  and  literature  of  Spain,  was  born  at  Cordova  in 
1538.  He  was  educated  in  the  seminary  at  Alcala  for 
the  priesthood,  was  thoroughly  acquainted  with  the 
classical  and  oriental  languages,  and  spoke  fluently 
most  of  the  European  tongues.  As  a  painter  he 
stands  amongst  the  most  eminent  that  his  country 
has  produced.  To  perfect  himself  in  this  art,  he 
went  twice  to  Rome  for  the  purpose  of  studying 
the  works  of  the  great  masters,  especially  those 
of  Michelangelo  and  Raphael ;  and  he  produced 
several  fine  paintings  for  the  public  edifices  of 
that  city.  In  the  Triniti  del  Monte  he  painted 
frescoes  of  the  '  Annunciation '  and  the  '  Nativity,' 
and  several  subjects  from  the  life  of  the  Virgin. 
Whilst  at  Rome  he  formed  a  close  friendship  with 
Federigo  Zuccaro,  from  whose  instructions  he  ac- 
quired a  pleasing  style  of  colouring.  His  learning 
and  merit  raising  him  to  the  rank  of  a  canon  of  the 
cathedral  of  Cordova,  he  left  Rome  for  that  city  in 
1577.  When  Zuccaro  was  applied  to  by  the  Bishop 
of  Cordova  to  paint  a  picture  for  his  cathedral,  he 
declined  the  commission,  saying,  that  whilst 
Cespedes  was  in  Spain  they  need  not  send  to  Italy 
for  painters.  Some  of  ^s  best  pictures,  repre- 
senting the  '  Martyrdom  and  Burial  of  St.  Catha- 
rine,' were  executed  for  the  Jesuits'  College  at 
Cordova,  but  all  have  been  destroyed  or  lost.  He 
died  at  Cordova  in  1608,  and  was  buried  in  the 
cathedral  of  that  city.  For  a  full  account  of  this 
remarkable  man,  see  Cean  Bermudez's  '  Diccionario 
Historico.'    We  note  of  his  paintings : 

Cordova.    Cathedral.    Last  Supper. 

„  „  Tirgin  and  Child,  with  St.  Anne. 

Seville.       Cathedral.    Four  Allegorical  Figures  of   the 
Virtues. 

„  Museum.      Last  Supper. 

CEULEN,  JoNSON  VAN.     See  Jonson. 

CBXSELLI.     See  Caselli. 

CHAFRION,  LOEBNZO,  known  as  Fray  Matias 
DE  Valencia,  a  painter  of  religious,  historical,  and 
other  subjects,  was  born  at  Valencia  in  1696.    After 


acquiring  some  knowledge  of  painting  he  went  to 
Rome,  and  became  a  disciplo  of  Corrado  Giaquinto, 
whose  manner  he  imitated.  He  returned  to  Va- 
lencia, and  passed  on  to  Grauada  to  seek  assistance 
from  an  uncle  who  was  one  of  the  judges  of  the 
Court  of  Chancery,  but  not  receiving  the  aid  which 
he  needed,  he  entered  the  Capuchin  convent  in 
that  city  in  1747.  He  was  drowned  in  1749.  In 
the  refectory  of  the  convent  to  which  he  belonged 
there  was  a  picture  of  the  '  Last  Supper  '  by  him  ; 
and  several  of  his  smaller  subjects  were  in  the 
collections  of  private  persons  in  Valencia. 

CHALETTE,  Jean,  a  French  miniature  and 
portrait  painter,  was  a  native  of  Troyes,  where  he 
at  first  practised  his  art.  In  1581  he  was  sum- 
moned to  Toulouse  to  decorate  the  H6tel-de-Ville, 
and  there  gained  so  much  renown  that  he  settled 
in  that  city,  where  he  died  in  1643. 

CHALLES,  Chables  Michel  Ange,  a  French 
painter,  architect,  and  mathematician,  was  born  in 
Paris  in  1718.  He  studied  under  Andre,  Lemoine, 
and  Boucher,  and  subsequently  visited  Rome.  A 
'  Sleeping  Diana,'  which  he  painted  in  1744,  and 
a  '  Venus '  by  him  are  to  be  seen  in  Brunswick. 
He  also  painted  many  ceilings  for  palaces  and 
churches,  but  never  gained  much  reputation  as  a 
painter,  although  elected  an  Academician  in  1753. 
As  an  architect  and  as  draughtsman  to  the  king  he 
directed  the  theatrical  entertainments  at  Fontaine- 
bleau  in  1766,  and  the  fetes  and  illuminations  at 
Versailles  on  the  occasion  of  the  birth  of  Louis 
XVI.  in  1764,  as  well  as  the  funerals  of  the 
Dauphin  and  the  Dauphiness,  of  Stanislaus,  King 
of  Poland,  of  the  Queen  of  Spain,  and  of  Louis 
XV.  and  his  queen,  Marie  Leszczynska.  He  was  a 
knight  of  the  Order  of  St.  Michael,  married  the 
daughter  of  the  painter  Nattier,  and  died  in  Paris 
in  1778. 

CHALMERS,  Sir  George,  Bart.,  a  native  of 
Edinburgh  and  a  pupil  of  Allan  Ramsay,  exhibited 
portraits  at  the  Royal  Academy  from  1776  to  1790. 
He  died  in  London  in  1791. 

CHALMERS,  Geoegb  Paul,  a  Scotch  portrait 
and  landscape  painter,  was  born  at  Montrose  in 
1836.  He  at  first  served  an  apprenticeship  to  a 
ship-chandler,  but  afterwards  went  to  Edinburgh, 
and  entered  the  School  of  Design,  then  under  the 
direction  of  Lauder.  His  earlier  works  were  por- 
traits, and  it  was  only  at  a  later  period  that  he 
took  to  landscape  painting.  He  was  elected  an 
Associate  of  the  Scottish  Academy  in  1867,  and  an 
Academician  in  1871.  He  died  in  Edinburgh, 
February  20,  1878,  from  the  effects  of  an  accident 
that  befell  him  in  the  streets  of  that  city  on  the 
16th  of  the  same  month.     Among  his  works  were: 

The  End  of  the  Harvest.    1873. 

Eunning  Water.     1875. 

The  Love  Song. 

Prayer.    1871. 

The  Potato  Harvest. 

The  Legend  {in  the  Edinlurgk  National  Gallery). 

CHALMERS,  W.  A.,  a  water-colour  painter, 
who  practised  in  London  towards  the  close  of  the 
18th  century,  and  is  believed  to  have  died  young. 
His  works  are  chiefly  interiors  of  churches  with 
some  ceremony  introduced :  occasionally  he  painted 
subject-pieces,  as  "  Mrs.  Jordan  as  '  Sir  Harry 
Wildair,'"  and  "Kemble  in  the  'Stranger.'" 

CHALON,  Alfred  Edward,  was  born  at  Geneva, 
in  1781.  His  family,  whilst  he  was  yet  a  youth,  re- 
moved to  London,  where,  together  with  his  brother 
John  James  Chalon,  he  was  destined  for  mercantile 

261 


Chalon 


A  BIOGBAPHICAL  DICTIONABY  OF 


Chambers 


pursuits.     But  an  inclination  for  the  arts  overruled 
this  intention,  and  the  establishment  of  the  Sketch- 
ing Society,  in  which  the  two  young  Chalons  were 
mainly  instrumental,  confirmed  them  in  the  adop- 
tion of  the  pursuit  of  their  choice.    Alfred  became 
a  student  of  the  Royal  Academy  in  1797,  an  Asso- 
ciate in  1812,  and  a  Royal  Academician  in  1816. 
His  reputation  was  first  established  and  principally 
rests  upon  the  portraits,  mostly  in  water-colours, 
which  he  exhibited  during  many  years  at  the  Royal 
Academy ;    and  in  which  he  displayed  a  certain 
turn  of   piquancy  and  elegance,  and  a  free  and 
sparkling  pencil.     So  much  in  vogue,  indeed,  was 
he  at  one  time,  that  the  ladies  of  the  aristocracy 
flocked  to  him  to  sit  for  their  portraits.     He  made 
a  striking  portrait  of  Queen  Victoria,  shortly  after 
her  accession,  and  was  appointed  portrait-painter 
in  water-colours  to  Her  Majesty.    When  somewhat 
advanced  in  life,  he  essayed  oil-painting,  but,  as 
may  be  supposed,  with  a  success,  in  a  technical 
point  of  view,  subordinate  to  that  which  he  had 
achieved  in  the  more  familiar  vehicle  of  water- 
colours  ;  whilst,  as  regards  composition  and  treat- 
ment, the  delineator  of  the  reigning  belle  of  the 
season  was  hardly  endowed  with  the  grandeur  of 
purpose  and  style  to  do  full  justice  to  such  subjects 
as    'Samson   and    Delilah,'  'John   Knox  reprov- 
ing the  Ladies  of   Queen  Mary's  Court'   (1837), 
'Christ  mocked  by  Herod'  (1841),  'A  Madonna' 
(1845),  or  even  to  fancy  and  poetic  subjects  of  less 
lofty  aim.    He  died  at  Kensington  in  1860,  and  was 
buried  in  Highgate  Cemetery. 

CHALON,  Christina,  was  born  in  Amsterdam 
in  1748,  and  studied  painting  under  Sara  Troost 
and  PIoos  van  Arastel.  She,  however,  devoted 
herself  more  particularly  to  etching,  in  which  she 
acquired  great  proficiency.  She  has  left  us  some 
thirty  plates,  for  the  most  part  in  the  style  of 
Ostade.  She  died  at  Leyden  in  1808.  Her  etch- 
ings are  marked  with  CAr"  Gha.,  or  Chr<^  Ghal, 
or  else  GG.    Amongst  the  best  may  be  noticed : 

An  Interior,  with  three  Boors. 

A  Mother  taldng  three  children  to  School. 

An  Old  Woman  saluting  a  peasant  Boy. 

CHALON,  Heney  Beenaed,  an  animal  painter, 
was  bom  of  Dutch  parentage  in  London  in  1770. 
He  was  a  student  of  the  Academy,  and  first  exhi- 
bited a  landscape  with  cattle  in  1792.  He  met 
with  much  patronage  at  court,  being  appointed 
animal  painter  to  the  Duchess  of  York  in  1795,  as 
well  as  to  the  Prince  Regent,  and  afterwards  to 
William  IV.  His  pictures  were  chiefly  devoted  to 
the  portraiture  of  horses.  He  met  with  a  severe 
accident  in  1846,  and  died  in  1849.  His  daughter, 
Miss  M.  A.  Chalon  (afterwards  Mrs.  H.  Moseley), 
was  miniature-painter  to  the  Duke  of  York.  She 
died  in  1867. 

CHALON,  John  James,  was  born  at  Geneva 
in  1778,  of  an  old  French  family  who  had  taken 
refuge  there  after  the  Revocation  of  the  Edict 
of  Nantes.  He  was  a  painter  of  a  wide  range 
of  subjects  —  landscapes,  marine  scenes,  animal 
life,  and  figure-pieces.  He  went  to  England  when 
quite  young,  and  entered  the  Schools  of  the  Aca- 
demy m  1796.  His  first  picture,  'Banditti  at 
their  Repast,'  appeared  in  1800.  In  1808,  he,  his 
brother  Alfred  Edward  Chalon,  and  some  friends, 
founded  the  Sketching  Society,  and  in  the  same 
year  he  ]omed  the  Water-Colour  Society,  but  in 
1813  he  seceded  from  it,  and  again  devoted  himself 
to  painting  pictures  in  oil  for  the  Royal  Academy. 


He  was  elected  an  Associate  of  that  institution 
in  1827,  and  an  Academician  in  1841.    In  1820 
Chalon  published  a  series  of  '  Sketches  from  Parisian 
Manners,'  in  which  the  incidents  were  admirably 
varied,   and   so  selected   as   to  display  the  most 
amusing  points  of  national  character  in  connection 
with  all  that  was  most  picturesque  in  the  costume 
of  the  time,  and  with  that  true  humour  which  never 
degenerates  into  caricature.     He  was  fond  of  the 
scenery  of  Switzerland,  the  land  of  his  father  and 
mother,   and   some   of   his   finest   landscapes  are 
faitliful  transcripts  of  its  mountains  and  lakes. 
Among  these,  a  very  noble  work  is  his  '  Castle  of 
Chillon,'  its  lonely  white  walls  strongly  contrasting 
with  the  dark  mountains  that  rise  behind  them,  and 
glittering  in  the  ripple  of   the   clear  blue  lake. 
Amongst  his  later  productions  were  '  Gil  Bias  in 
the  Robbers'  Cave,'  in  1843,  and  the  'Arrival  of 
the  Steamer  at  Folkestone,'  in  1844.     In  1847  he 
was  seized  by  an  attack  of  paralysis,  and,  after 
a  long  and  painful  illness,  died  at  Kensington  m 
1854.   The  Gallery  of  Greenwich  Hospital  possesses 
his  'Napoleon  on  board  the  Bellerophon,' painted 
in  1816,  and  in  the  Sheepshanks  Collection  at  the 
South  Kensington  Museum  are  '  Village  Gossips,' 
painted   in   1815,   and  '  Hastings,   Fishing  Boat's 
making  the  Shore  in  a  Breeze,'  painted  in  1819. 

CHALON,  Louis,  was  a  landscape-painter,  who 
is  thought  to  have  been  bom  in  Holland  about 
1687.  He  painted  some  views  on  the  Rhine,  en- 
livened with  figures,  in  a  very  artistic  manner  and 
with  an  agreeable  colouring.  He  died  at  Amster- 
dam in  1741. 
CHAM.  See  Noi,  Comte  Am^d^e  de. 
CHAMBERLAIN,  William,  who  was  bom  in 
London,  studied  in  the  Royal  Academy  Schools 
and  under  Opie.  His  works,  sometimeb  exhibited 
at  the  Royal  Academy,  were  for  the  most  part 
portraits.     He  died  at  Hull  in  1807. 

CHAMBEHLIN,  Mason,  a  pupil  of  Frank  Hay- 
man,  was  a  portrait-painter,  who  gained  some  suc- 
cess on  account  of  the  fidelity  of  his  likenesses. 
He  was  an  exhibitor  at  Spring  Gardens  in  1768,  and 
at  the  Royal  Academy  (of  which  he  was  one  of 
the  original  members)  from  1769  to  1786.  He 
died  in  London  in  1787.  The  Royal  Academy  pos- 
sesses his  portrait  of  Dr.  Hunter,  which  was  his 
presentation  picture,  and  the  Royal  Society  has  his 
portrait  of  Dr.  Chandler.  Both  these  portraits 
have  been  engraved. 

CHAMBERS,  Geoege,  a  painter  of  shipping 
scenes,  was  a  son  of  a  poor  seaman  of  Whitby 
in  Yorkshire,  where  he  was  born  in  1803.  During 
his  apprenticeship  on  board  a  trading  sloop  he 
gave  evidence  of  the^lent  by  which  he  was 
subsequently  distinguisEEd,  by  making  sketches 
of  shipping  for  the  amusement  and  gratification 
of  the  seamen.  At  Whitby,  he  took  lessons  of  a 
drawing-master  of  the  name  of  Bird,  and  em- 
ployed his  spare  time  in  painting  small  pictures  of 
shipping,  for  which  he  found  a  ready  sale.  Go-  • 
ing  to  London  three  years  later,  he  obtained  an 
introduction  to  Mr.  Thomas  Horner,  who  employed 
him  for  seven  years  to  assist  in  painting  the  great 
Panorama  of  London  at  the  Colosseum,  in  the 
Regent's  Park.  He  was  also  engaged  as  scene- 
painter  at  the  Pavilion  Theatre.  Here  he  attracted 
the  notice  of  Admiral  Lord  Mark  Kerr,  who  became 
his  sincere  patron,  and  procured  him  an  introduc- 
tion to  King  William  IV.  He  was  admitted  as  an 
Associate  Member  of  the  Water-Colour  Society  in 
1834,  and  was  elected  a  full  member  in  1836 ;  but 


Chambers 


PAINTERS  AND  ENGBAVEES. 


Champaigne 


a  constitution  originally  very  weak,  and  much  shat- 
tered by  a  sea-faring  life,  was  unable  to  bear  the 
incessant  application  to  which  his  mind  would  sub- 
ject it :  his  strength  gave  way,  and  he  died  in  1840. 
His  pictures  are  now  appreciated  by  collectors,  and 
obtain  good  prices.  His  best  productions  are  his 
naval  battles,  in  which  he  is  excellent,  though  in 
the  colouring  there  is  perhaps  too  much  redness 
pervading  everything,  the  smoke  in  particular. 
There  are  in  the  hall  at  Greenwich  Hospital  three 
battles  by  him  :  the  '  Bombardment  of  Algiers,' 
the  '  Capture  of  Pbrtobello,'  and  a  copy  of 
West's  picture  of  the  '  Destruction  of  the  French 
Fleet  at  La  Hogue.'  In  the  South  Kensington 
lyius'eum  are  four  water-colour  drawings  by 
him. 

CHAMBERS,  Thomas,  an  English  engraver,  was 
born  in  London  about  the  year  1724,  and  drowned 
himself  in  the  Thames  in  1789.  He  engraved 
many  of  the  plates  for  Boydell's  collections,  and 
several  portraits  of  artists  for  Lord  Orford's 
'  Anecdotes.'  They  are  executed  with  the  graver, 
in  a  firm,  but  not  a  pleasing  style.  The  following 
are  some  of  his  best  prints  : 

A  Concert ;  after  Caravaggio. 
Raphael's  Mistress  ;  after  Eaphad. 
The  Holy  Family ;  after  Murillo. 
St.  Martin  dividing  his  Cloak ;  after  Euiens. 
St.  Peter  and  St.  John  healing  the  Sick ;  after  S.  Bour- 
don. 
Jupiter  and  Antiope ;  after  Casali. 
Helena  Forman ;  after  Van  Dyck. 
The  Good  Man  at  the  Hour  of  Death ;  after  Hayman. 
The  'Wicked  Man ;  the  companion ;  after  the  same. 
The  Death  of  Turenne ;  after  Palmieri. 
Mrs.  Quarrington  as  St.  Agues ;  after  Reynolds. 

CHAMOERO,  Juan,  a  Spanish  historical  painter, 
was  a  pupil  of  Francisco  de  Herrera,  the  elder,  and 
was  president  of  the  Seville  Academy  in  the  years 
1669  and  1670.  He  was  living  in  1673,  but  the 
date  of  his  death  is  not  known.  The  pictures  of 
the  '  Four  Doctors  of  the  Church,'  and  those  repre- 
senting scenes  from  the  life  of  the  Virgin,  in  the 
church  of  Our  Lady  of  Mercy  at  Madrid,  attest 
his  merits  as  a  painter  and  a  colourist. 

CHAMPAIGNE,  Jean  Baptiste  de,  a  Flemish 
painter  of  historical  subjects,  genre  pictures,  and 
portraits,  was  born  at  Brussels  in  1631.  He  was  a 
nephew  of  Philippe  de  Champaigne,  who  sent  for 
him  to  Paris  when  only  eleven  years  of  age;  and 
gave  him  instruction  in  painting.  He  adopted  the 
style  of  his  uncle,  but  did  not,  however,  attain  his 
eminence,  though  his  works  have  sometimes  passed 
current  under  the  uncle's  name.  He  visited  Italy, 
returned  to  Brussels,  and  thence  went  to  Paris, 
where  he  was  in  1663  elected  a  member  of  the 
Academy.  He  died  in  Paris  in  1681.  The  follow- 
ing are  some  of  his  principal  works : 

Brnssels.      Museum.     The  Assumption    of   the  Virgin 

(painted  for  the  church  of  St. 

Gvdule,  Brussels). 
„  „         St.  Peter. 

Grenoble.     Museum.     The  Benediction  of  the  Order  of 

St.  Dominic. 
Lyons.         Museum.     The  Adoration  of  the  Shepherds. 
Marseilles.  Museum.     The  Stoning  of  St.  Paul  at  Lystra 

(a  'mai'  painted   in  1667  for 

Notre-Dame  at  Paris). 
Nancy.         Museum.     St.  Paul. 

Versailles.  Falace :  ■)  The  ceiling  representing '  Mercury 
Salon  de  >  in  his  chariot  drawn  by  two 
Mercure.  }     cooks,'  and  four  subjects  from 

the  lives  of  Alexander,  Ptolemy, 

and  Augustus. 


CHAMPAIGNS,  Philippe  de,  a  painter  of  his- 
torical subjects  and  portraits,  was  born  at  Brus- 
sels in  1602.  Though  a  native  of  Brabant,  he  is 
generally  reckoned  as  belonging  to  the  French 
school.  He  studied  under  Bouillon,  Michel  Bour- 
deaux,  and  Fouquiere,  but  went  to  Paris  at  the 
age  of  nineteen,  where  he  placed  himself  under 
the  direction  of  L'AUemand.  Shortly  afterwards 
he  was  employed  by  Du  Chesne,  the  painter  royal, 
to  work  at  the  Luxembourg  in  concert  with  Nicolas 
Poussin.  His  extraordinary  success  arousing  the 
envy  of  Du  Chesne,  he  quitted  Paris  for  Brussels  in 
1627,  but  was  almost  immediately  recalled  by  the 
Queen-Mother,  Marie  de  Medicis,  to  be  appointed 
to  the  post  held  by  Du  Chesne,  who  had  just  died. 
At  Paris  he  executed  numerous  works  for  the 
churches  and  royal  residences,  and  especially  for 
Cardinal  Richelieu's  palace.  He  was  one  of  the 
first  members  of  the  Academy,  of  which  he  was 
also  Professor  and  Rector.  His  star,  however, 
began  to  pale  somewhat  before  the  brilliancy  of 
Le  Brun's  rising  fame.  But  this  aroused  no  un- 
worthy feeling  in  Champnigne's  mind.  He  retired 
quietly  and  modestly  from  active  and  public  life, 
and  died  in  Paris  in  1674.  His  pictures  show  a 
certain  affinity  with  those  of  Poussin,  whose  in- 
fluence he  felt,  but  they  surpass  them  in  point  of 
colouring,  being  remarkable  in  that  respect  for 
truth,  brilliancy,  and  technical  skill.  His  weak 
point  was  in  the  conception  and  the  composition. 
As  a  portrait-painter  he  holds  high  rank.  His 
likenesses  are  distinguished  by  a  fine,  noble,  and 
life-like  execution,  vivid  appreciation  of  the  natural, 
a  skilful  luminosity  of  colouring,  and  careful  exe- 
cution and  masterly  handling.  'The  following  are 
some  of  his  principal  works  : 


Althorp.  Earl  Spencer. 
Brussels,  Museum. 


Dijon.        Museum. 
Florence.  Uffid. 

„  Fitti  Pal. 

Hague.  Gallery. 

Lille.  Museum. 

London.  Nat.  Gall. 


Lyons.  Museum. 

)»  j» 

Madrid.  Gallery. 

))  ») 

Munich.  Pinakothek. 

»>  J) 

Paris.  Louvre. 


'.  Portrait  of  Robert  Arnaud  d'An- 
dilly. 

Presentation  in  the  Temple 
(paznted  for  the  church  of  the 
Carmelite  Monastery  at  Paris). 

St.  Genevieve. )  Painted  for  Saint 

St.  Joseph.     J     Severin,  Paris. 

St.  Ambrose.  \  Painted  for    Saint 

St.  Stephen.    J     Germam-l'Auxer- 
rois  at  Paris. 

The  Life  of  St.  Benedict  {ten  sub- 
jects probably  executed  for  the 
Abbey  of  the  Val-de-Grdce  at 
Paris), 

Portrait  of  Himself  (a  replica  of 
that  in  the  Louvre). 

The  Presentation  in  the  Temple. 

Portrait  of  a  Man. 

The  Calling  of  St.  Peter. 

Portrait  of  a  Man. 

Portrait  of  Joseph  Govaerts.   1665. 

Adoration. 

Three  Portraits  of  Cardinal  de 
Richelieu  (a  fullface  and  two 
profiles :  painted  for  the  use  of 
the  Eoman  sculptor  Mocchi  in 
making  a  bust). 

The  Last  Supper  (replica  of  the 
painting  in  the  Louvre). 

Finding  the  Relics  of  St.  Gervais. 

St.  Anne  and  the  Virgin. 

Portrait  of  Louis  XIII. 

Portrait  of  Marshal  de  Turenne. 

Madonna  and  Christ. 

The  Feast  in  the  house  of  Simon. 

The  Last  Supper.    1648. 

Christ  on  the  Cross  (repetition  of 
the  picture  in  the  Luxembourg). 

The  Dead  Christ. 

Apparition  of  St.  Gervais  and  St. 
Frotais  to  St.  Ambrose. 

263 


Champaigue 


A  BIOGRAPHICAL  DICTIONARY  OP 


Chardin 


Paris.       Louvre  Translation  of  the  bodies  of  St. 

Gervais  and  St.  Protais. 
„  „  Portrait   of   Catlierine  Agnes  Ar- 

nauld,  and  tlie  daugliter  of  the 
painter. 
„  „  Landscape. 

„  „  Louis  XIII.  crowned  hy  Victory. 

„  „  Portrait  of  Cardinal  de  Eichelieu 

(full-length). 
Portrait  of  Eobert  Arnaud  d'An- 
dilly.     1650. 
„  „  Portrait  of  Himself. 

J,  Portraits  of  Franijois  Mansard  and 

Claude  Perrault. 
„  „  Christ  on  the  Gross.     1674. 

„  „  Portrait    of    Jean    Antoine     de 

Mesme.     1653. 
„  „  And  six  others. 

Petrsbrg.  Hermitage.    Moses  with  the  Tables  of  the  Law. 
Vienna.     Belvedere.      Adam  and  Eve  mourning  for  Abel. 

CHAMPAIGNE,  Pierre.     See  De  Kempeneek. 

CHAMPIN,  Jean  Jacqub?,  a  French  painter  in 
water-oolours  and  lithographer,  was  born  at  Sceaux 
in  1796.  He  was  a  pupil  of  Storelli  and  of  Regnier, 
and  devoted  himself  chiefly  to  historical  land- 
scapes. He  lithographed  a  series  of  views  of  Old 
Paris,  and  in  conjunction  with  Regnier  produced 
the  '  Habitations  des  personnages  les  plus  c^l^bres 
de  la  Prance  depuis  1790  jusqu'a  nos  jours.'  He 
also  contributed  designs  to  the  '  Magasin  Pittor- 
resque,'  the  '  Illustration,'  and  many  other  illus- 
trated publications  of  his  time.     He  died  in  1860. 

CHAMPION  de  CERNEL,  Marie  Louise  Su- 
zanne, a  French  engraver  who  lived  in  the  latter  part 
of  the  18th  century,  was  a  sister  of  General  Marceau. 
Married  at  the  early  age  of  fourteen  to  a  profligate 
husband,  she  sought  to  relieve  the  unhappiness  of 
her  life  by  studying  drawing  and  engraving  under 
an  artist  named  Sergent,  whose  wife  she  became 
after  the  death  of  her  first  husband.  She  engraved 
vignettes  after  Cochin,  Moreau,  Bisen,  and  Maril- 
lier,  and  some  portraits  in  aquatint  for  the  collec- 
tion published  by  Blin  and  Le  Vacbez.       • 

CHANDLER,  J.  W,,  a  natural  son  of  Lord  War- 
wick, painted  portraits  in  London  towards  the  close 
of  the  18th  century,  and  afterwards  in  Aberdeen- 
shire and  Edinburgh.  He  died  young  about  1804. 
t  CHANTBREAU,  J.,  a  French  painter,  who  was 
born  in  Paris  about  1710.  His  works  were  chiefly 
battle-pieces  and  hunting-scenes,  painted  with  con- 
siderable life  and  movement.  It  is  probable  that 
he  studied  under  Watteau  or  Pater.  A  scarce 
etching  of  his  exists,  entitled,  '  Divertissement  par 
eau  et  par  mer,'  or,  as  it  is  sometimes  called, 
'L'lledeCythere.' 

CHANTRY,  John,  was  an  English  engraver  of 
the  time  of  Charles  II.,  who  worked  chiefly  for  the 
booksellers.  He  lived  some  time  at  Oxford,  and 
died  about  1662.  His  plates  are  executed  with  the 
graver  in  a  formal,  stifE  style.  Vertue  mentions 
the  following  portraits  by  him  : 

James  I. 

Charles  II. ;  three  prints. 

James,  Duke  of  Monmouth. 

John  Selden. 

Edward  Leigh,  M.A.,  of  Magdalen  College,  Oxford. 

Thomas  "Whitaker,  Physician  to  Charles  II. 

Eichard  Gethinge,  a  Writing  Master. 

CHANUBL,  GoNNBT,  a  French  historical  painter, 
was  born  at  Avignon,  where  he  flourished  in  1560. 
He  painted  some  pictures  of  which  the  composition 
and  colour  were  much  admired. 

CHAPELLB,  George  de  la.  See  De  la 
Chapelle. 

264 


CHAPONNIER,  Alexandre,  a  Swiss  enamel- 
painter  and  engraver,  was  born  at  Geneva  in  1753. 
He  settled  in  Paris,  and  executed  in  the  dotted 
style  many  mythological  and  fancy  subjects  after 
Huet,  Schall,  Boilly,  Cazenave,  and  other  painters 
of  the  French  school  of  the  18th  century.  He  died 
about  1824.  His  best  works  are  '  Le  Prelude  de 
Nina,'  '  L'Amant  favorise,'  '  La  Comparaison  des 
petits  Pieds,'  and  '  Le  Bouquet  cheri,'  all  after 
Boilly. 

CHAPRON,  Nicolas,  a  French  historical  painter 
and  engraver,  was  born  at  Chateaudun  in  1612. 
He  was  a  pupil  of  Simon  Vouet,  and  went  to  Rome 
about  1640,  where  he  painted,  under  the  direction 
of  Poussin,  a  copy  of  Raphael's  'Transfiguration.' 
He  also  painted  a  '  Holy  Family,'  and  '  Mary  going 
to  the  Temple  ; '  the  latter  has  been  engraved  by 
Picquot.  He  remained  at  Rome  several  years,  and 
in  1649  published  his  set  of  fifty-two  plates  from 
Raphael's  works  in  the  Vatican.  Several  artists 
have  engraved  these  admirable  productions,  but  in 
all  of  them  we  seek  in  vain  for  the  nobihty  of  cha- 
racter and  purity  of  design  of  their  great  author. 
Chapron's  transcripts  are  perhaps  the  least  faulty  of 
those  that  have  appeared.  He  died  at  Rome  pro- 
bably about  1656.  Chapron  is  better  known  by 
his  engravings  than  by  his  paintings,  very  few  of 
which  have  descended  to  us.  The  Louvre,  and 
the  museums  of  Rennes,  Perpignan,  Nantes,  and 
Alenfon  possess  drawings  and  paintings  by  him. 
We  have,  besides  the  Bible  of  Raphael,  the  follow- 
ing plates  by  him,  sometimes  marked  N  G  F.,  or 
N  C  H F,  some  of  which  are  from  his  own  designs: 

His  own  Portrait,  seated  at  the  foot  of  the  Bust  of 
Eaphael.    The  title  to  Eaphael's  Bible. 

Henry  IV.,  King  of  Prance ;  below,  in  basso-rilievo,the 
King  wounded  by  Du  Ch^tel ;  after  Freinlnet;  scarce. 

Another  Portrait  of  Henry  IV.,  with  a  battle  below. 

The  Virgin  suckling  the  Infant ;  said  to  be  after  Titian, 
but  considered  by  Mariette  to  be  Chapron's  own 
design. 

The  Alliance  of  Bacchus  and  Venus.    1639. 

A  drunken  Silenus,  with  a  Satyr  offering  him  drink. 

Bacchus,  with  a  Man  carrying  a  Ctiild. 

Satyrs,  with  Women  and  Children. 

A  Bacchanal,  with  a  Child  pouring  out  wine  to  a  Bac- 
chante. 

Another  Bacchanal,  with  Silenus  riding  on  a  Goat. 

Young  Bacchanalians,  one  riding  on  a  Goat, 

Another  Bacchanal.    1639. 

CHAPUY,  Jean  Baptiste,  a  French  engraver, 
was  born  in  Paris  in  1760.  He  worked  with  Jani- 
net  upon  the  '  Costumes  des  Th^4tres  de  Paris,'  and 
executed  some  fancy  subjects  after  Lavreince  and 
others,  but  more  especially  devoted  himself  to  en- 
graving in  colour.  The  best  of  the  many  prints  of 
the  fSte  of  the  Federation  in  the  Champ  de  Mars, 
July  14, 1790,  is  by  him,  after  Le  Roy,  and  he  also 
engraved  a  very  curious  set  of  fourteen  plates  of 
'  Coifiures  de  Dames,'  as  well  as  a  series  of  por- 
traits of  Louis  XVI.,  Marie  Antoinette,  Cagliostro, 
and  others  concerned  in  the  affair  of  the  Diamond 
Necklace.     He  died  in  Paris  in  1802, 

CHAPUY,  Nicolas  Marie  Joseph,  a  French 
architect,  lithographer,  and  naval  engineer,  was 
born  in  Paris  in  1790.  He  executed  the  drawings 
and  plates  for  the  '  Vues  pittoresques  des  Cath^ 
drales  fran9aises,'  1823-31;  'Voyage  pittoresque 
dans  Lyon,'  1824 ;  '  Le  Moyen-Age  monumental  et 
arch^ologique,'  1839-44,  and  several  other  works. 
He  also  edited,  with  Beugnot,  the  complete  works 
of  Palladio,  1825-42.     He  died  in  Paris  in  1858. 

CHARDIN,  Jean  Simeon,  was  born  in  Paris  in 


Charles 


PAINTERS  AND  ENGRAVERS. 


Charpentier 


1699.  His  father  at  first  placed  him  with  Gazes, 
hut  as  that  master's  habit  was  to  give  his  pupils 
his  own  work  to  copy,  he  did  not  make  much 
progress.  He  subsequently  entered  the  atelier  of 
Noel  Nicolas  Coypel,  and  was  chosen  among  other 
of  Coypel's  pupils  to  assist  Jean  Baptiste  van  Loo 
in  restoring  one  of  the  galleries  at  Fontainebleau. 
In  the  establishment  of  his  reputation  he  now  de- 
voted himself  to  the  painting  of  dead  animals 
and  still-life.  His  old  master,  Cazes,  is  said  to 
have  taken  some  of  his  productions  for  original 
works  of  the  Dutch  masters.  His  success  became 
assured,  and  he  was  made  a  member  of  the  Aca- 
demy in  1728,  and  Treasurer  in  1755.  About 
1737  he  began  to  turn  his  attention  to  figure 
painting,  and  his  well-known  '  Benedicite '  was 
exhibited  in  1740.  His  works  are  remarkable  for 
truth,  simplicity,  and  neatness  of  finish,  as  well 
as  for  the  harmony  of  their  tone,  and  the  generally 
careful  management  of  light  and  shade.  It  is 
worthy  of  note  that  they  fell  into  disrepute  towards 
the  close  of  the  last  century,  but,  with  the  revival 
of  a  truer  feeling,  they  have  again  won  a  high 
position  in  public  estimation.  Chardin's  second 
wife  having  been  a  lady  of  Rouen,  he  spent  several 
years  in  that  city,  but  died  in  Paris  in  1779.  The 
following  are  some  of  his  principal  works : 


Dulwich.      Gallery. 
Moutpellier,  Musee 
Fabre. 


Paris. 


Zouvre. 


„  Im  Caze 
Coll. 


Petrsbrg.  Hermitage. 
Liechtenstein 


Vienna. 


Gallery. 


Girls  at  Work, 
t  Madame  Geofirin. 

(Kitchen  Utensils, /^3*''°»  f^ 
iFruit,Animals,&4^--/\,|^ 

The    Blessing    (Le     Eenedicite). 

1740. 
DeadEabbit.     1757? 
Kitchen  Utensils.     1731. 
The  Attributes  of  the  Arts.    1765. 
The  Attributes  of  Music.     1765. 

(The  Blessing  {replica  of  above). 
Boy  with  Cards. 
Monkey  Painting. 
The  Silver  Goblet. 
The  Basket  of  Grapes. 
Kitchen  Utensils. 
And  others. 
The  Blessing. 
The  Washerwoman. 
fMotherandSon.     1739. 
\  Interiors  with  figures  {three). 


Chardin  had  a  son  who  won  the  '  grand  prix '  for 
painting  in  1754,  but  died  young. 

CHARLES  XV.,  King  of  Sweden  and  Norway, 
was  born  May  3rd,  1826,  and  succeeded  to  the 
throne  on  the  death  of  his  father.  King  Oscar  I., 
on  the  8th  of  July,  1859.  He  received  instruction 
in  the  art  of  landscape  painting  first  from  his 
father,  but  was  afterwards  more  fully  instructed 
by  Boklund,*  and  his  style  was  still  further  influ- 
enced by  Bergh  and  Wahlberg.  The  subjects 
he  chose  were  scenes  in  Sweden  and  Norway, — 
broad  sketches  of  coast  scenery,  or  summer  wood- 
lands. He  often  painted  in  conjunction  with 
Malmstrom  and  Winge,  who  supplied  the  figures. 
Among  his  works  may  be  mentioned  'In  the 
Forest,'  painted  in  1869,  '  View  on  the  Waldbach,' 
and  the  '  Castle  of  Ulricsdal.'  He  died  at  Malmo, 
Sept.  18,  1872.  The  position  in  which  Charles 
XV.  stood  towards  the  arts  had  much  influence  on 
their  development  in  Sweden.  He  was  tTie  rally- 
ing-point  of  the  art  world  in  his  own  kingdom,  and 
was  the  means  of  turning  the  attention  of  Swedish 
artists  to  the  beauties  of  their  own  country. 

CHARLES,   Claude,   a  French  historical  and 


decorative  painter,  was  born  at  Nancy  in  1661. 
He  studied  under  Gferard,  and  became  herald  at 
arms  and  painter  to  Leopold,  Duke  of  Lorraine. 
He  painted  numerous  pictures  for  the  churches  of 
Nancy,  and  died  in  that  city  in  1747. 

CHARLET,  Nicolas  Toussaint,  a  French  painter 
and  lithographer,  was  bom  in  Paris  in  1792.  He 
showed  much  taste  for  drawing  whilst  at  school, 
and  later  on  studied  under  Lebel  and  Gros.  The 
first  work  that  brought  him  into  notice  was  a  litho- 
graph, '  La  Garde  meurt  mais  ne  se  rend  pas,'  pub- 
lished in  1817.  There  is  a  touch  of  humour  in  his 
representations,  especially  in  those  in  which  grena- 
diers are  introduced.  He  perhaps  had  a  natural  in- 
clination towards  subjects  of  that  class  from  the  fact 
of  his  father  having  been  in  the  army.  Figures  of 
street  Arabs,  market  women,  and  concierges  were 
also  handled  by  him  in  a  life-like  and  picturesque 
manner.  The  Louvre  possesses  twelve  of  his  draw- 
ings. Versailles  has  a  '  Scene  from  the  Russian  Cam- 
paign,' exhibited  in  1836 ;  the  Museum  of  Lyons, 
'  Moreau'  s  Passage  of  the  Rhine  ; '  and  the  Museum 
of  Bordeaux,  '  Wounded  Soldiers  on  the  March.' 
He  died  in  Paris  in  1845.  Charlet's  lithographs 
number  nearly  two  thousand,  besides  which  he 
produced  a  large  number  of  water-colour  and  sepia 
drawings  and  some  etchings. 

CHARMADAS,  (or  Charmas,)  was  one  of  the 
earliest  of  the  Greek  monochromists,  who  flourished 
about  B.C.  850. 

CHARMETTON,  Geoegbs,  a  French  historical 
painter,  was  born  at  Lyons  in  1619.  He  was  a 
pupil  of  Jacques  Stella,  and  was  made  an  Academi- 
cian in  1663,  in  which  year  Sebastien  Bourdon 
entrusted  to  him  the  whole  of  the  architectural 
decorations  of  the  H6tel  de  Bretonvilliers.  He 
died  in  Paris  in  1674. 

CHARPENTIER,  Constance  Makib,  whose 
maiden  name  was  Blondeld,  was  born  in  Paris  in 
1767.  She  studied  under  Wilk,  David,  Lafitte, 
Gerard,  and  Bouillon,  and  devoted  herself  chiefly 
to  portraiture,  but  likewise  painted  some  genre 
subjects.     She  died  in  Paris  in  1849. 

CHARPENTIER,  Edg^nb  Louis,  who  was  born 
in  Paris  in  1811,  studied  under  Gerard  and  Cogniet, 
and  became  celebrated  as  a  painter  of  historical 
pictures.  These  were  frequently  battle-scenes, 
some  of  which  are  at  Versailles.  He  was  also  a 
portrait  painter,  and  one  of  his  most  successful 
works  was  a  likeness  of  Georges  Sand,  painted  in 
1839.  His  'Pupils  of  the  Illcole  Polytechnique  at 
the  Battle  of  Paris,  March  30,  1814,'  which  was 
exhibited  in  1852,  is  now  in  the  Museum  of  Bou- 
logne-sur-Mer.     He  died  in  1880. 

CHARPENTIER,  FEANgois  Philippe,  a  French 
engraver,  who  invented  a  machine  for  engraving  in 
aquatint,  and  another  for  engraving  patterns  for 
lace,  was  born  at  Blois  in  1734,  and  died  there  in 
1817.  By  this  artist  we  have  among  other  prints 
the  following : 

The  Education  of  the  Virgin ;  after  Boucher. 
Cupids  playing  with  the  Graces ;  the  same. 
The  Death  of  Archimedes ;  after  Ciro  Ferri. 
The  Shepherdess ;  after  Berchem. 
The  Shepherd  reposing ;  after  the  same. 
The  Descent  from  the  Cross ;  after  C.  van  Loo. 
Astyanax  torn  from  the  arms  of  Andromache  by  order 
of  Ulysses ;  after  Doyen. 

CHARPENTIER,  Jean  Baptiste,  a  French 
painter  of  genre  subjects  and  portraits,  was  born 
in  Paris  in  1728,  and  died  there  in  1806.  The 
Museum  of  Rennes  has  by  him  a  full-length  por- 

265 


Charpentier 


A  BIOGRAPHICAL  DICTIONARY  OP 


Chasteau 


trait  of  the  Duke  of  Penthievre,  High  Admiral  of 
France  and  Governor  of  Brittany.  His  son  and 
pupil,  Jean  Baptistb  Charpentiee,  bom  in  1779 
in  Paris,  where  he  died  in  1835,  painted  historical 
subjects  and  portraits. 

C'HARPENTIER,  Een]!;  Jacques,  a  French 
engraver,  was  born  at  Caen  in  1733,  and  died  in 
1770.  We  have  by  him  '  The  Last  Supper,'  and 
'  Christ  washing  the  Disciples'  Feet,'  after  Lam- 
bert Lombart,  and  a  '  Crucifixion,'  after  his  own 
design. 

CHAEPENTIERE,  Adeien.    See  Cahpentiers. 

CHARPIGNON",  Claude,  was  a  French  engraver 
who  flourished  in  the  17th  century,  by  whom  we 
have  a  '  Virgin  and  Child,'  after  Guido  Reni ;  a 
'  Holy  Family,'  after  Laurent  de  La  Hyre ;  '  St.  Mary 
of  Egypt,'  after  Blanchard,  and  some  portraits. 

CHAREETIE,  Anna  Maeia,  was  born  at  Vaux- 
liall  in  1819.  Through  misfortunes  after  the  death 
of  her  husband,  she  adopted  art  as  a  profession. 
Amongst  her  pictures  are  '  Lady  Betty  Germain,' 
'  Lady  Betty's  Maid,'  '  Lady  Betty  shopping,'  and 
'  Mistress  of  herself  though  China  fall.'  She. died 
at  Kensington  in  1875. 

.  CHAERIN,  Fanny  and  Sophie,  were  sisters,  and 
natives  of  Lyons.  Fanny  was  a,  pupil  of  Legay, 
and,  adopting  miniature  painting,  was  attached  to 
the  porcelain  manufactory  at  Sevres.  She  died  in 
Paris  in  1854.  Sophie  painted  portraits,  and  died 
in  Paris  in  1866. 

CHARTIER,  Jean,  a  French  painter  and  en- 
graver, was  born  at  Orleans,  in  the  early  part  of 
the  16th  century.  In  1674  he  published  a  set  of 
ten  engravings  from  his  own  designs,  entitled, 
'  Les  Blasons  de  vertu,'  the  frontispiece  to  which 
contains  a  portrait  of  the  artist.  He  died  at 
Orleans  in  1686.  Among  other  works  by  him  we 
have  the  following  plates : 

The  Virgin  and  Infant  Jesus,  -with  St.  John. 

A  Man  sitting  in  a  Landscape,  with  ruins. 

A  nude  figure  of  a  Man  carrying  the  base  of  a  column. 

The  Artist  himself'  seated  in  his  studio. 

CHASE,  John,  was  born  in  London  in  1810. 
When  very  young  he  showed  a  love  for  art,  and 
was  greatly  helped  in  his  studies  by  Constable, 
who  took  a  warm  interest  in  his  efforts  and  pro- 
gress. At  fourteen  he  exhibited  his  first  picture 
at  the  Royal  Academy,  and  ten  years  later  he  was 
chosen  one  among  the  earliest  members  of  the 
New  Society  of  Painters  in  Water-Colours  (now 
the  Institute),  to  which  he  was  a  constant  contri- 
butor. He  generally  painted  landscapes  and  archi- 
tectural subjects,  especially  Haddon  Hall.  He 
died  in  London  in  1879.  In  the  South  Kensington 
Museum  there  is  a  drawing  by  him  of  '  Windmills 
by  a  River.' 

CHASSELAT,  Charles  Abraham,  a  French  his- 
torical painter,  was  the  son  of  Pien-e  Chasselat. 
He  was  born  in  Paris  in  1782,  and  became  a  pupil 
of  his  father  and  of  Vincent.  He  exhibited  in  1812 
'  The  Repose  of  Belisarius.'  He  also  illustrated 
the  works  of  Voltaire,  Racine,  Molidre,  and  other 
authors ;  and  was  employed  in  making  drawings 
of  state  ceremonials,  as  the  '  Funeral  of  Louis 
XVIII.'  and  the  'Coronation  of  Charles  X.'  He 
died  in  Paris  in  1843.  His  son  Henki  J.  Saint- 
Ange  Chasselat,  who  was  a  pupil  of  Lethi^re, 
painted  historical  and  genre  subjects.  He  was 
born  in  1813,  and  died  in  1880. 

CHASSELAT,  Pierre,  a  French  miniature 
painter,  was  a  pupil  of  Vien.  He  exhibited  water- 
colour  drawings  and  miniatures  from  1793  to  1810. 

266 


He  was  a  native  of  Paris,  and  died  in  that  city  in 
1814. 

CHASSERIAU,  THioDORE,  a  French  historical 
and  portrait  painter,  was  born  at  Sainte-Barbe 
de  Samana  in  the  Antilles  in  1819.  Brought  to 
France  whilst  quite  a  boy,  he  was  placed  in  the 
studio  of  Ingres,  and  he  afterwards  followed  that 
master  to  the  French  school  at  Rome,  but  subse- 
quently quitted  him  in  order  to  give  himself  up  more 
freely  to  his  own  inspirations.  He  next  fell  under 
the  influence  of  the  leader  of  another  great  school 
Delaroche.  Chassdriau  executed  several  large 
mural  paintings  on  the  grand  staircase  of  the  Cour 
des  Comptes  in  the  palace  of  the  Conseil  d'!^tat 
and  in  the  churches  of  St.  Merry,  St.  Eoch,  and  St.' 
Philippe-du-Roule  at  Paris.  Among  his  works 
may  be  cited  the  '  Tepidarium  at  Pompeii '  (now 
in  the  Louvre),  'Arab  Cavaliers  carrying  away 
their  Dead,'  'The  Arabian  Challenge,'  'Susannah 
and  the  Elders,' '  Christ  in  the  Garden  of  Olives,'  and 
'Mary  Stuart  defending  Rizzio  against  his  Assas- 
sins.' His  chief  portraits  are  those  of  Lacordaire 
and  of  Madame  de  Girardin.  He  also  left  behind 
him  fifteen  etchings  of  subjects  from  Shakespeare's 
'  Othello,'  and  thirty  from  '  Hamlet.'  He  died  in 
Paris  in  1856. 

CHASTEAU,  Guillaume,  a  French  engraver, 
was  born  at  Orleans  in  1635.  He  was  instructed 
by  Greuter,  btit  afterwards  studied  under  Cornelis 
Bloemaert,  and  went  for  further  improvement  to 
Italy.  After  passing  several  years  at  Rome  he 
returned  to  Paris,  where  he  was  employed  by  Col- 
bert. His  first  productions  were  some  portraits  of 
the  Popes.  He  afterwards  engraved  several  prints 
after  N.  Poussin  and  some  of  the  Italian  painters, 
some  of  which  are  entirely  executed  with  the 
graver,  in  the  style  of  Poilly  and  Bloemaert,  whilst 
others  are  the  work  of  the  point,  which  he  handled 
with  spirit  and  taste.  Indeed  it  is  to  be  regretted 
that  he  did  not  always  follow  that  style,  as  being 
more  picturesque  and  free.  The  plates  which  he 
engraved  at  Rome  are  usually  marked  Gulielmvs 
Castellus  Gallus.  He  became  an  academician  in 
1663,  and  died  in  Paris  in  1683.  The  following 
are  his  principal  works  : 

A  set  of  Portraits  of  the  Popes. 

Portrait  of  Jean  Baptists  Colbert;  oval. 

Portrait  of  the  Bishop  of  Rnette. 

The  Virgin  with  the  Infant  Jesus,  embracing  a  Cross. 

The  Life  of  St.  Theresa. 

The  Miraculous  Draught  of  Fishes ;  after  Eaphael. 

The  Baptism  of  Christ ;  after  Albani. 

St.  Paul  restored  to  sight  by  Ananias ;  after  Pietro  da 

Cortona. 
The  Martyrdom  of  St.  Stephen ;  after  Anmlale  Carracci. 
The_  Assumption  of  the  Virgin ;  after  the  same. 
Christ  appearing  to  St.  Peter ;  after  the  same. 
The  Eepose  in  Egypt ;  after  Correggio. 
The  Holy  Family,  with  St.  John ;  after  N.  Fousdn. 
The  Israehtes   gathering  Manna  in  the  Wilderness; 

after  the  same, 
Christ  healing  the  Blind ;  after  the  same 
St.  Paul  taken  up  to  Heaven  ;  after  the  same. 
The  Preservation  of  the  Young  Pyrrhus ;  after  the  same. 
Binaldo  and  Armida ;  after  the  same. 
The  Death  of  Germanicus ;  after  the  same. 
The  Virgin  and  Infant  Jesus ;  after  Noel  Coypel. 
The  Holy  Family ;  o/te-  the  same. 

Antoinette  Chasteatj,  the  wife  of  Guillaume 
Chasteau,  was  a  daughter  of  the  landscape  painter, 
Antoine  H4rault.  She  was  born  in  Paris  in  1642, 
and  distinguished  herself  as  a  painter  of  miniatures, 
executing  both  portraits  and  copies  of  the  works  of 
great  masters,  among  the  latter  being  the  '  Family 


Chasteau 


PAINTERS  AND  ENGEAVBES. 


Chaubert 


of  Darius,'  after  Lebrun.  She  married  in  1686,  as 
her  second  husband,  the  painter  Jean  Baptiste 
Bonn  art,  and  died  in  Paris  in  1G95. 

CHASTEAU,  Nicolas,  (or  Chateau,)  a  French 
engraver,  was  born  in  Paris  about  the  year  1680, 
and  died  about  1750.  We  have  the  following 
plates  by  him : 

A  Young  Lady,  with  a  Mask  in  her  Hand ;  half-length ; 

after  Sanievre, 
A  Young  Lady  in  a  Spanish  Dress ;  half-length ;  after 

the  same. 
Summer,  represented  by  a  female  figure ;  half-length ; 

after  P.  van  den  Berye. 
"Venus  and  Adonis ;  after  L.  Silvestre. 
Daphne  and  Apollo ;  after  the  same. 
Binaldo  and  Armida;  after  the  same;  finished  by  J. 

Audran. 

There  was  likewise  a  painter  named  Nicolas 
Chasteau,  who  died  in  Paris  in  1704,  at  the  age 
of  44. 

CHASTEL,  Fkanijois  du.     See  Duchatel. 

CHASTILLON,  Claude,  a  French  engineer,  topo- 
grapher, and  engraver,  was  born  at  Clialons-sur- 
Marne  in  1547,  and  died  in  Paris  in  1616.  There 
is  by  him  a  valuable  series  of  plates  entitled, '  Topo- 
graphie  franfoise,  ou  representation  de  plusieurs 
villes,  bourgs,  chasteaux,  maisons  de  plaisance, 
ruines  et  vestiges  d'antiquitez  da  royaume  de 
France,'  published  in  1641,  and  again  with  additions 
in  1647. 

CHASTILLON,  Louis  db,  a  French  painter  in 
enamel  and  miniature,  and  an  engraver,  was  born 
at  Ste.  M^nehould  in  Champagne  about  1639.  He 
excelled  in  enamel  painting,  and  executed  all  the 
portraits  which  the  king  gave,  set  in  jewels,  to 
the  foreign  ambassadors.  He  engraved  several 
large  plates  after  the  designs  of  Tortebat,  and  ap- 
pears to  have  been  an  imitator  of  the  fine  style  of 
Gerard  Audran.  His  prints  are  not  without  merit, 
though  greatly  inferior  to  those  of  his  model.  He 
died  in  the  Louvre  in  1734.  We  have  by  him  the 
following  plates : 

The  Adulteress  before  Christ ;  after  S.  Bourdon. 

The  Conversion  of  St.  Paul ;  after  the  same. 

The  Seven  Sacraments ;  after  Poussin. 

St.  John  in  the  Isle  of  Patmos ;  after  the  same. 

Jupiter  and  Leda ;  after  the  same. 

The  Pates  spinning  the  Destiny  of  Marie  de'  Medici ; 

after  JRubens. 
Two  sets  of  prints  of  the  Fountains  at  Versailles. 
A  set  of  plates  of  the  Pavilions  at  Marly. 

CHATAIGNIER,  Alexis,  a  French  engraver, 
born  at  Nantes  in  1772,  was  a  pupil  of  Qu^verdo. 
He  executed  a  large  number  of  plates  for  Filhol's 
'Mus^e  Franfais,'  and  died  in  Paris  in  1817. 

CHATABINUS.    See  Venetiis. 

CHATEL,  FEANgois  du.     See  Duohatbl. 

CHATELAIN,  Jean  Baptiste  Claude,  an  en- 
graver, was  born  in  Paris  about  1710.  One  account 
given  of  his  history  states  that  his  proper  name 
was  Philippe,  and  that  he  served  as  a  French 
ofBcer  in  the  campaign  in  Flanders,  but  afterwards 
devoted  himself  to  the  pursuit  oJE  art.  He  was 
endowed  with  extraordinary  capacity ;  and  had  his 
application  been  but  equal  to  his  genius,  few 
would  have  surpassed  him  in  the  branch  of  art  to 
which  his  natural  disposition  directed  him.  He 
had  a  peculiar  talent  for  drawing  landscapes, 
either  from  nature  or  his  own  fancy,  with  a  readi- 
ness that  was  altogether  surprising.  Unfortunately, 
from  his  idle  and  dissolute  course  of  life,  he  seldom 
exercised  his  abilities  until  compelled  by  necessity. 
The  drawings,  in  chalk  and  with  the  pen,  which 


he  has  left  make  us  deeply  regret  that  the  irregu- 
larity of  his  life  has  limited  these  admirable  pro- 
ductions to  a  much  smaller  number  than  his 
uncommon  facility  would  otherwise  have  secured 
to  us.  Chatelain  was  much  employed  by  Boydell, 
especially  in  engraving  with  Vivares  the  series  of 
landscapes  after  Claude,  Eembrandt,  Guaspre,  and 
others.  Vivares  being  more  appreciated  by  tlie 
public,  his  naine  was  often  placed  on  plates  en- 
graved by  Chatelain  alone,  as  in  the  case  of  a  fine 
landscape  after  Pietro  da  Cortona,  and  another 
named  '  The  Storm,'  in  which  Poussin  has  intro- 
duced the  story  of  Pyramus  and  Thisbe.  He  en- 
graved, also  for  Boydell,  eleven  views  in  London 
and  in  Italy.  He  died  in  London  in  1771.  The 
following  list  comprises  his  most  important  works  : 

The  Four  Times  of  the  Day;  etched  by  Chatelain, 
afterwards  finished  in  mezzotint  by  Houston, 

Eight  Landscapes  ;  afttr  Gaspard  Poussin. 

A  Landscape ;  after  Rembrandt. 

Eight  Views  of  the  Lakes  in  Cumberland  and  West- 
moreland ;  after  Sellers. 

Three  Landscapes  ;  after  Pietro  da  Cortona,  N.  Poussin, 
and  F.  Bolognese. 

Portrait  of  Cr6billon. 

Portrait  of  Meunier  de  Querlon. 

CHATELET,  Claude  Louis,  a  French  painter, 
was  born  in  Paris  in  1753.  fie  produced  Swiss 
views,  sea-pieces,  and  pastoral  scenes  in  the  style 
of  Vernet.  Examples  of  his  work  are  in  the 
Orleans  Museum,  the  Palace  at  Fontainebleau,  and 
the  Cottier  Collection.  He  embraced  with  ardour 
the  cause  of  the  Eevolution,  allied  himself  with 
Eobespierre  and  the  leaders  of  the  Jacobins,  and 
became  a  member  of  the  Revolutionary  Tribunal. 
He  was  arrested  some  months  after  the  9th  Ther- 
midor,  tried,  condemned,  and  executed  in  Paris, 
May  7th,  1795. 

CHATFIELD,  Edward,  a  portrait  painter,  was 
born  in  1802.  He  was  a  pupil  of  Haydon,  and  ex- 
hibited at  the  Eoyal  Academy  from  1827.  He  also 
painted  some  historical  subjects — the  '  Death  of 
Locke '  in  1833,  the  '  Battle  of  Killiecrankie '  in 
1836,  and  'Ophelia'  in  1837 — but  his  powers  were 
not  equal  to  such  works.  He  wrote  some  articles 
for  '  Blackwood's  Magazine,'  and  the  '  New  Monthly 
Magazine,'  and  died  in  1839. 

CHATILLON,  Chakles  de,  a  native  of  DouUens, 
was  a  French  painter  who  executed  a  fine  portrait 
of  Napoleon  I.  as  Emperor,  of  which  there  is  an  ex- 
cellent engraving  by  Audouin.  This  engraving  is 
found  surmounting  a  plate  of  'The  Battle  of  Aus- 
terlitz,'  engraved  by  Duplessis-Bertaux,  and  finished 
by  Bovinet. 

CHATILLON,  Henri  Guillaume,  a  French  line- 
engraver,  and  professor  of  drawing  at  the  Military 
School  of  St.  Cyr,  was  born  in  Paris  in  1780.  He 
was  a  pupil  of  both  Girodet  and  Girardet.  There 
exists  a  large  series  of  lithographs  of  the  drawings 
which  he  made  for  the  use  of  his  pupils.  He  died 
at  Versailles  about  1856.  The  following  are  con- 
sidered his  best  works  : 

The  Madonna  with  the  Fish ;  engraved  under  Chatil- 
lon's  directions  from  his  own  drawing ;  after  Raphael. 

The  Holy  Family ;  ffl/*er  Giulio  Somano.  (Mus^eFran- 
^ais.) 

St.  Michael  and  the  Dragon ;  after  Raphael. 

Endymion ;  after  Girodet. 

An  Offering  to  .Slsoulapius ;  after  Guerin. 

Angelica  and  Medora ;  after  the  same. 

CHATILLON,  Louis  de.    See  Chastillon. 
CHATILLON,  Pauline.    See  Gauffieb. 
CHAUBEET,  Germain,  a  French  painter  and 

267 


A  BIOGBAPHICAL  DICTIONAEY  OF 


Chaudet 

engraver,  waa  born  at  Grisolles  in  1784.  He 
painted  an  '  Assumption  of  the  Virgin,'  and  en- 
graved an  '  Eoce  Homo,'  after  Mignard.  He  was 
designer  and  engraver  to  tlie  Academy  of  Sciences 
at  Toulouse,  and  died  in  1821.  . 

CHAUDET,  Antoine  Denis,  a  distmgmshed 
French  sculptor,  who  was  also  an  historical 
painter,  was  born  in  Paris  in  1763.  When  a,t 
Eorae  he  studied  particularly  the  works  of  Raphael, 
and  has  left  behind  him  a  picture  on  the  subject  of 
'.fflneas  and  Anchises.'  The  edition  of  Racme 
published  by  Didot  in  1801—1805,  contains  some 
illustrations  after  his  designs.  He  was  elected  a 
member  of  the  Institute  in  1806,  and  died  in  Pans 
in  1810.  , 

His  wife,  Jeanne  Elisabeth  Gabiou,  was  like- 
wise an  artist  of  talent.  She  was  born  in  Paris  in 
1767,  and  married  in  1793.  Her  studies  were 
made  under  the  direction  of  Madame  Lebrun  and 
of  her  husband,  and  in  1799  she  exhibited  her  best 
work,  '  L':^ducation  du  Carlin.'  She  also  painted 
some  good  portraits.  After  the  decease  of  Chaudet 
she  married,  in  1812,  M.  Husson,  and  died  in  Paris 
in  1832. 

CHAUFOURIER,  Jean,  a  French  landscape 
painter  and  engraver,  was  born  in  Paris  in  1675. 
He  married  a  daughter  of  the  celebrated  engraver, 
Gerard  Edelinck,  and  taught  drawing  to  Mariette. 
He  was  received  into  the  Academy  in  1735,  and  died 
at  St.  Germain-en-Laye  in  1757.  There  are  three 
of  his  drawings  in  the  Louvre,  and  we  have  a  set 
of  eight  landscapes  engraved  by  him. 

CHAUVEAU,  Bveakd,  a  French  painter,  the  son 
of  Fran9ois  Chauveau,  was  bom  in  Paris  in  1660, 
and  studied  under  his  father  and  Henri  Lefebvre. 
He  was  largely  employed  at  Gaillon  by  Archbishop 
Colbert,  and  in  1695  went  to  Sweden,  where  he 
painted  many  ceilings  and  decorations  for  the 
palaces  of  the  Queen  and  nobles.  He  died  in 
Paris  in  1739. 

CHAUVEAU,  FBAN901S,  a  French  painter  and 
engraver,  was  born  in  Paris  in  1613.  He  studied 
under  Laurent  de  La  Hyre,  and  painted  small  pic- 
tures in  the  style  of  that  master,  but  not  meeting 
with  much  success,  he  devoted  himself  entirely 
to  engraving.  His  first  attempts  were  with  the 
graver,  but  he  soon  exchanged  it  for  the  point, 
with  which  he  could  give  more  rapid  expression  to 
the  creations  of  a  lively  and  fertile  genius.  His 
smaller  plates  are  much  in  the  manner  of  S^bastien 
Leclerc,  and  these  are  his  best  works.  He  is 
said  to  have  produced  upwards  of  three  thousand 
plates,  most  of  which  were  for  the  illustration  of 
books.  He  was  received  into  the  Academy  in 
1663,  and,  died  in  Paris  in  1676.  He  was  the 
father  of  Bvrard  Chauveau,  the  painter,  and  Rene 
Chauveau,  the  sculptor.  His  plates  are  signed 
FG  fe. ;  FG  in  et  fc. ;  FG.  in  et  sc.  ;  F.  G.  ; 
F.  Gh.  d.  ;  or  with  ciphers.  The  following  are 
his  principal  works : 

SETS   OE   PRINTS. 

Les  DSlices  de  I'Esprit ;  fifty  plates,  designed  and  en- 
graved by  himself. 

Nineteen  plates  for  the  History  of  Greece. 

Many  plates  for  Benserade's  translation  of  Ovid's '  Meta- 
morphoses.'   1676. 

The  Bible  History ;  in  nineteen  plates. 

Several  plates  for  Tasso's  '  Jerusalem.' 

The  same  for  the  Fables  of  La  Fontaine. 

Some  plates  for  Scarron's  '  Virgile  Travesti.' 

Twenty-one  plates  for  the  poem  of  Clevis. 

Twelve  plates  for  the  PuceUe  d'Orleaus. 

268 


Chedel 


Two  hundred  and  forty-three  medals  in  the  collection 
of  F.  Orsini. 

DETACHED   PRINTS   AFTER  HIS   OWN   DESIGNS. 
The  Annunciation. 
The  Eepose  in  Egypt. 
The  Virgin  and  Child,  with  St.  John. 
The  Crucifixion. 

The  Mystery  of  the  Sacrament ;  1676 ;  in  two  sheets. 
Meleager  and  Atalanta ;  circular. 
Venus  and  Adonis  ;  the  same. 
The  Carrousel  of  1662. 
His  own  Portrait. 

SUBJECTS   AFTER  VARIOUS  MASTERS. 
Christ  with  the  Disciples  at  Emmaus ;  after  Titian ; 

the  same  subject  that  is  so  finely  engraved  by  Masaon, 

called  the  'Table-Cloth.' 
A  Concert;  after  Domenichi-no  ;  also  engraved  by  Pt'cart. 
The  Life  of  St.  Bruno ;  after  the  pictures  by  Ze  Sueur, 

originally  in  the  Convent  of  the  Carthusians  at  Paris ; 

twenty-three  plates. 
The  Nativity ;  ^ter  L.  de  La  Hyre. 
The  Holy  Family  ;  after  the  same. 
Meleager  presenting  the  Head  of  the  Boar  to  Atalanta; 

after  the  same. 
The  Triumphal  Arch  for  the  Place  Dauphine;  after 

Lehrun. 
Portrait  of  Eabelais ;  frontispiece  to  the  first  edition  of 

his  '  Epitres,'  1651. 

CHAUVIN,  Pierre  Athanase,  a  French  land- 
scape painter,  was  born  in  Paris  in  1774.  He  was 
a  pupil  of  Valenciennes,  and  passed  the  greater 
part  of  bis  life  at  Rome,  where  he  died  in  1832. 
Many  of  his  works  are  in  England,  Russia,  and 
Germany.  A  '  View  in  the  environs  of  Naples '  is 
in  the  Museum  of  Montpellier. 

CHAVANNE,  Pierre  Salomon  Domenchin  de. 
See  Domenchin  de  Chavanne. 
GHAVANNES,  Pierre  Puvis  de.  See  Puvis. 
CHAVARITO,  Domingo,  a  Spanish  historical 
painter,  was  bom  in  Granada  in  1676,  and  there 
learned  the  rudiments  of  art  from  Josef  Risuefio. 
He  afterwards  went  to  Rome  and  studied  under 
Benedetto  Luti,  but  returned  to  his  native  city,  and 
died  there  in  1750.  His  works,  which  are  chiefly 
in  the  private  houses  of  Granada,  are  good  in 
colour  and  in  composition. 

CHAZAL,  Antoine,  a  French  painter  of  flowers 
and  of  portraits,  as  well  as  an  engraver,  was  bom 
in  Paris  in  1793.  He  studied  under  Misbach, 
Bidauld,  and  Van  Spaendonck,  and  became  Pro- 
fessor of  Iconography  at  the  Jardin  des  Plantes. 
Besides  portraits,  flowers,  and  fruit,  he  painted  a 
few  landscapes  and  altar-pieces  for  churches.  He 
also  engraved  a  portrait  of  Cardinal  La  Fare. 
Chazal  died  in  Paris  in  1854. 

CHAZAL,  Charles  Camille,  a  French  painter, 
and  son  of  Antoine  Chazal,  was  born  in  Paris  in 
1825.  He  studied  under  Drolling  and  Picot,  and 
entered  the  ililoole  des  Beaux-Arts  in  1842.  His 
'  Institution  of  the  Eucharist,'  painted  in  1863,  is 
in  the  church  of  St.  Louis-en-l'Ile  at  Paris.  He 
died  in  1875. 

CHAZERAND,  Claude  Louis  Alexandre,  a 
French  historical  painter,  was  bom  at  Besan5on 
in  1757.  The  Museum  of  his  native  city  has  some 
paintings  and  sketches  by  him  which  are  not  with- 
out merit.     He  died  at  Besan9on  in  1795. 

CHEDEL,  QuiNTiN  Pierre,  a  French  designer 
and  engraver,  was  born  at  Chilons-sur-Mame  in 
1705.  He  received  his  earliest  instruction  in  the 
studio  of  Le  Moine,  but  having  chosen  engraving 
as  his  profession,  he  afterwards  became  a  pupil  01 
Laurent  Cars.  His  talent  in  designing  and  engrav- 
ing vignettes  caused  him  to  be  much  employed  by 


Cheesman 


PAINTERS  AND  ENGRAVERS. 


Chereau 


the  booksellers  of  Paris.  His  plates  are  etched 
with  great  spirit,  and  sometimes  finished  with  the 
grayer  in  a  style  of  unusual  ability.  He  died  at 
Paris  in  1762.  Among  his  numerous  works  the  best 
known  is  the  series  of  illustrations  after  Boucher 
to  Duclos'  romance,  '  Acajou  et  Zirphile ' ;  the 
following  are  also  deserving  of  notice : 

SUBJECTS   FROM   HIS   OWN  DESIGNS. 

A  set  of  six  Landscapes ;  dedicated  to  Madame  de  Pom- 
padour. 

Six  plates  of  Battles ;  dedicated  to  Oomit  Turpin  de 
Oeisse. 

The  Village  Wedding,  and  the  Village  Feast. 

Two  Landscapes  with  Eoins,  called  'Les  Euines  de 
Cumes.' 

SUBJECTS  AFTER   VARIOUS   MASTERS. 

Four  of  Attacks  of  Cavalry  ;  after  Van  derMmlen. 

Four  of  Landscapes  with  Buius ;  after  Boucher. 

Two  of  Sea-pieces  with  Fishermen ;  after  A .  Willaerts. 

Day-break,  a  Landscape  ;  after  Teniers, 

A  Landscape,  figures  and  horses  ;  after  Wouwerman. 

A  Sea-port ;  after  the  same. 

The  Writiug  School ;  after  Ostade. 

The  Heading  School ;  after  the  same. 

CHEESMAN,  Thomas,  a  pupil  of  Bartolozzi, 
was  a  well-known  engraver,  who  was  born  in  1760. 
He  worked  both  in  stipple  and  in  mezzotint.  Among 
his  best  works  are  some  portraits  after  Romney,  and 
'The  Lady's  Last  Stake'  after  Hogarth.  He  also 
exhibited  water-colour  drawings  at  the  Academy. 
He  died  about  1820,  the  date  of  his  last  exhibition. 

CHELINI,  PiERO,  a  painter  of  Florence,  who  in 
the  15th  century  executed  frescoes  in  the  Bigallo  of 
that  city,  consisting  of  scenes  from  the  life  of  St. 
Peter  Martyr,  and  representations  of  the  reception 
of  lost  children  (the  purpose  of  that  building) ;  these 
he  completed  in  1444.  A  '  Burial  of  Christ '  in  the 
belfry  of  San  Remigio  is  also  by  him. 

CHENAVARD,  Ami:,  a  French  decorative 
painter  and  draughtsman,  was  born  at  Lyons  in 
1798.  He  published  'Nouveau  Recueil  de  Decor- 
ations int^rieures,'  1833-35,  and  'Album  de  I'Gr- 
nemaniste,'  1835.     He  died  in  Paris  in  1838. 

CHENDA,  IL.     See  Rivarola. 

CHENOIS,  Claude,  a  French  historical  painter, 
was  a  native  of  Lorraine,  and  flourished  at  Nancy 
in  1627.  The  Museum  of  that  city  possesses  a 
picture  by  him  which  shows  considerable  talent. 

CHENU,  AuGUSTiN  Fleury,  a  French  landscape 
painter,  was  born  at  Lyons  about  1836.  He  re- 
ceived his  art  education  in  the  Academy  of  his 
native  city,  and  became  a  successful  painter  of 
snow-scenes.     He  died  in  1875. 

CHENU,  Pierre,  was  a  French  engraver,  born 
in  Paris  in  1718.  He  was  a  pupil  of  P.  Le  Bas, 
and  engraved  several  portraits  and  other  subjects, 
in  a  slight,  agreeable  style.  Several  of  his  engrav- 
ings were  executed  for  the  work  on  the  Dresden 
Gallery.  He  likewise  engraved  some  of  Oudry's 
designs  for  La  Fontaine's  Fables,  and  some  plates 
after  Eisen  for  the  '  Christiade '  of  the  Abb^  de 
La  Baume-Desdossat.  He  died  about  1780.  We 
have  also  by  him  the  following : 

PORTRAITS. 

Francis  I.,  Bling  of  France ;  after  Niccolb  delP  Ahhate. 

Antoine  Perrenot,  Cardinal  de  Granvelle. 

Pierre  Carlet  de  Champlaiu  de  Marivaux,  of  the  French 

Academy. 
Madame  Favart,  actress  ;  after  Garand, 
Bust  of  Diderot. 
Count  Caylus's  Monument  at  St.  Germain  I'Auxerrois. 


SUBJECTS  AFTER  VARIOUS  MASTERS. 
The  Adoration  of  the  Shepherds ;  after  Bassano, 
Christ  driWng  the  Money-changers  from  the  Temple; 

after  the  same. 
The  ancient  Temple  at  Ephesus ;  after  Breenierg. 
Kuins  at  Ephesus  ;  after  the  same. 
A  Landscape,  with  cattle ;  after  A.  van  de  Velde, 
The  Sailor's  Amusement ;  a/iw  1),  Teniers. 
The  Dutch  Baker  ;  after  A.  Ostade. 
View  of  the  Castle  of  St.  Angelo ;  after  Vemet. 

His  two  sisters,  Th^resb  and  Victoire  Chenu, 
also  received  lessons  from  Le  Bas,  and  engraved 
some  landscapes. 

CHEREAU,  FRANgois,  a  French  engraver,  was 
born  at  Blois  in  1680.  He  was  a  pupil  of  Gerard 
Audran,  and  of  Pierre  Drevet,  the  elder,  and  proved 
himself  a  worthy  successor  of  these  masters.  He 
distinguished  himself  by  the  beauty  of  his  touch 
and  the  correctness  of  his  drawing,  particularly  in 
his  portraits,  some  of  which  are  admirable.  His 
portrait  of  the  Duke  of  Antin,  after  Rigaud,  which  he 
engraved  twice,  has  rarely  been  surpassed.  He  died 
in  Paris  in  1729.  The  number  of  his  plates  is  con- 
siderable, but  the  following  are  the  most  esteemed  : 

portraits. 

Louis  de  Boullongue ;  after  himself;  engraved  by  Chereau 
for  his  reception  into  the  Academy  in  1718. 

Nicolas  de  Largilliere,  painter ;  after  himself. 

Cardinal  Andre  Hercule  de  Fleury  ;  after  Riyaud  ;  fine. 

Cardinal  Melchior  de  Polignac ;  after  the  same ;  very 
fine. 

Louis  Antoine  de  Pardaillan  de  Gondrin,  Duke  of  Antin ; 
after  the  same. 

Nicolas  de  Launay  ;  after  the  same. 

Conrad  Detlev  von  Dehn ;  after  the  same  ;  very  fine. 

Louis  Pecour,  Maitre  de  Ballet ;  after  Tournieres. 

Elisabeth  Sophie  Cherou,  painter ;  after  herself. 

Louisa  Mary,  Princess  of  England  ;  after  A.  S.  Belle. 

The  Princess  Sobieska ;  after  Trinisani. 

SUBJECTS   AFTER  VARIOUS   MASTERS. 

St.   John  in  the  Wilderness ;   after  the   picture  by 

Raphael,  in  the  Orleans  Gallery. 
The  Crucifixion  ;  after  Guido. 
St.  Catharine  of  Siena ;  after  J.  Andrd. 
St.  Cecilia ;  after  Mignard. 
St.  Theresa  in  Contemplation. 
St.  Ignatius  de  Loyola,  Founder  of  the  Society  of  Jesus. 

CHEREAU,  Jacques,  the  brother  and  pupil  of 
Franfois  Chereau,  was  born  at  Blois  in  1688.  He 
engraved  portraits  and  historical  subjects,  and  was 
little  inferior  to  his  brother,  but  he  did  not  execute 
many  plates,  having  quitted  the  graver  to  follow 
the  business  of  a  printseller.  He  came  to  England, 
but  not  meeting  with  much  encouragement,  he 
returned  to  Prance,  and  died  in  Paris  in  1776.  The 
following  are  his  best  works  : 

PORTRAITS. 

Marie  Leszczynska,  Queen  of  France ;  after  Van  Loo, 

Madame  de  Sabran  ;  after  the  same. 

Madame  de  Prie  ;  after  the  same. 

Henri,  Duke  of  Harcourt,  marshal  of  France;  after 


Madame  de  Sevigne. 

George  I.,  King  of  Great  Britain ;  profile,  after  Kneller. 

Jeanne  d'Aragon,  Queen  of  Sicily  ;  after  Raphael. 

SUBJECTS  AFTER  VARIOUS  MASTERS. 

The  Holy  Family ;  after  Raphael ;  in  the  Crozat  Collec- 
tion. 

La  Belle  Jardiniere ;  after  the  same  ;  in  the  same  Collec- 
tion. 

The  Transfiguration ;  after  the  same. 

David  with  the  Head  of  Goliath ;  after  Teti;  very  fine, 

David  and  Bathsheba ;  after  Baoux, 

269 


Cheret 


A  BIOGRAPHICAL  DICTIONARY  OF 


Ctevalier 


Christ  washing  the  Feet  of  the  Apostles;  after  N. 

Berlin. 
Vertumnus  and  Pomona  ;  after  F.  Marot. 
The  Descent  from  the  Cross ;  after  Omrpentier. 

Jacques  FKANgois  Chereah,  the  grandson  of 
Franfois  Chereau,  born  in  1748,  was  likewise  an 
engraver  and  printseller. 

CHERET.     See  Lachaume. 

CHARON,  Elisabeth  Sophie,  a  miniature 
painter,  was  the  daughter  of  Henri  Cheron,  and 
was  born  in  Paris  in  1648.  She  learnt  the  element- 
ary principles  of  design  from  her  father,  and  exe- 
cuted with  much  grace  portraits,  many  of  which 
were  of  ladies,  in  water-colour,  oil,  pastel,  and 
enamel;  her  colouring  being  pleasing  and  her 
draperies  well  handled.  She  produced  also  numer- 
ous drawings  of  bas-reliefs  and  cameos  after  the 
antique.  She  was  admitted  as  a  painter  into  the 
Academy  at  Paris  in  1672,  painting  her  own  por- 
trait upon  the  occasion,  and  into  that  of  Padua 
in  1699.  She  was  a  lady  of  some  literary  power, 
accomplished  as  a  musician  and  a  poetess.  It  is 
stated  that  she  was  enrolled  in  the  Academy  in  the 
latter  capacity  in  1676.  She  married,  in  1708, 
Jacques  Le  Hay,  an  engineer,  being  at  that  time  a 
member  of  the  Roman  Catholic  Church,  thoug:h  she 
had  been  brought  up  in  the  Protestant  religion. 
There  is  an  engraved  portrait  of  her  which  she 
executed  in  part  in  1694,  and  which  was  subsequent- 
ly finished  by  C.  Simonneau.  She  died  in  Paris  in 
1711.  She  has  left  us  some  59  plates  either  etched  or 
engraved,  among  which  may  be  mentioned  : 

The  Descent  from  the  Cross  (1710) ;  from  her  own 
painting  after  a  design  of  the  Abbe  Zumbo. 

St.  Cecilia,  St.  Mary  Magdalen,  St.  Augustin,  St.  John, 
and  St.  Paul ;  after  Raphael. 

Four  plates  of  Gems  (two  dated  1710). 

A  drawing-book  of  thirty-six  prints ;  published  in  1706. 

CH^^RON,  Henm,  a  miniature  painter  and  en- 
graver, was  a  native  of  Meaux,  where  he  worked 
about  the  middle  of  the  17th  century.  We  have  but 
one  engraving  by  him;  a  spirited  portrait  touched 
with  considerable  delicacy,  representing  Peter  Du- 
moulin,  a  Calvinist  Minister,  who  died  at  Sedan  in 
1658.  Henri  Chgron  was  the  father  of  Louis, 
ii&lisabeth  Sophie,  and  Marie  Anne  Charon.  He 
died  at  Lyons  in  1677. 

CHERON,  Louis,  a  French  painter  and  engraver, 
was  born  in  Paris  in  1655.  He  was  instructed  by 
his  father,  Henri  Cheron,  and  went  to  Italy,  where 
he  studied  the  works  of  Raphael  and  Giulio  Romano. 
Returning  to  Paris  in  1688,  he  painted  for  the  cathe- 
dral of  Notre-Dame  two  pictures,  representing  the 
'  Prophet  Agabus  before  St.  Paul,'  and  '  Herodias 
with  the  Head  of  St.  John  the  Baptist.'  His  drawing 
is  oorrect,  but  his  colouring  is  cold  and  feeble,  and 
his  composition  tame  and  inanimate.  Being  a 
Calvinist,  the  religious  troubles  which  were  then 
rife  obliged  him  in  1695  to  leave  France,  when  he 
came  to  England,  and  was  employed  by  some  of 
the  nobility,  and  more  particularly  by  the  Duke  of 
Montagu,  for  whom  he  painted  some  ornamental 
works.  His  '  Diana  and  her  Nymphs  bathing '  has 
been  engraved  by  Baron  ;  and  his  picture  of  '  The 
Marriage  of  Charles  I.  and  Henrietta  Maria,'  by 
•  Dupuis.  He  died  in  London  in  1713.  This  artist 
engraved  some  plates  from  his  own  designs,  which 
are  for  the  most  part  well  drawn,  with  a  distinct 
attempt  at  Raphael's  style,  but  are  deficient  in 
general  efEect,  the  smaller  plates  for  the  Psalms 
being  very  indifferent  works.  He  also  made  designs 
270 


for  an  edition  of  '  Paradise  Lost '  published  in  1720. 
We  have  by  him : 

St.  Peter  healing  the  Lame  at  the  Gate  of  the  Temple. 

The  Death  of  Ajnanias  and  Sapphira. 

The  Baptism  of  the  Eunuch  by  St.  Philip. 

Hercules  reposing  after  his  Labours ;  fine. 

Hercules  slaying  the  AVild  Boar :  Jmished,  by  Van  der 
Gucht. 

Twenty-three  subjects  for  his  sister  Sophie's  poetical 
version  of  the  Psalms  of  David.    1694. 

CH:^R0N,  Marie  Anne,  a  French  miniature 
painter,  and  sister  of  Elisabeth  Sophie  and  Louis 
Cheron,  was  bom  in  Paris  in  1649.  She  was  by 
birth  a  Protestant,  but  in  1668  became  a  convert  to 
the  Roman  Catholic  faith.  In  1701  she  married 
the  painter  Alexis  Simon  Belle,  and  died  not  later 
than  1718. 

CHERPIGNON,  — ,  was  a  French  engraver, 
by  whom,  amongst  otlier  prints,  we  have  a  plate 
representing  the  '  Holy  Family,'  in  which  the  Virgin 
is  seated  with  the  Child  asleep  on  her  lap,  whilst 
St.  Joseph  leans  on  a  large  stone  behind  her  ;  it  is 
after  a  picture  by  Laurent  de  La  Hyre.  It  is  etched 
in  a  free  and  spirited  style,  and  retouched  with 
the  graver  in  a  masterly  manner. 

CH^^RY,  Philippe,  a  French  historical  and  por- 
trait painter,  born-in  Paris  in  1759,  was  a  pupil  of 
Vien.  He  took  an  active  part  in  the  French  Revo- 
lution, was  wounded  at  the  siege  of  the  Bastille, 
and  on  the  18th  Brumaire  left  France,  to  which  he 
did  not  return  till  1802.  He  painted  'The  Annun- 
ciation '  in  the  church  of  Generville,  '  St.  Benedict 
receiving  the  Viaticum,'  and  two  other  religious 
subjects,  which  are  in  the  church  of  Boulogne-sur- 
Mer,  '  St.  Cecilia,'  in  the  Benedictine  Convent  in 
the  same  town,  and  several  other  scriptural  and 
religious  subjects.  He  also  painted  '  The  Treaty  of 
Amiens,'  for  which  he  received  the  prize  of  12,000 
francs  in  the  competition  in  the  year  XI. ;  '  The 
Death  of  the  Father  of  Louis  XVI.,'  exhibited  in 
1817 ;  'Thrasybulus  re-establishing  the  Democratic 
Government  at  Athens,'  which  passed  into  England, 
'The  Death  of  Alcibiades,'  'The  Birth  of  Venus,' 
'  The  Toilet  of  Venus,'  and  portraits  of  many  of 
the  men  of  mark  of  the  time.  He  died  in  Paris  in 
1838. 

CHESHAM,  Francis,  a  designer  and  engraver, 
was  born  in  1749,  and  died  in  London  in  1806.  We 
find  mention  of  the  following  plates  by  him  : 

Moses  striking  the  Rock  ;  after  his  own  design. 

Distant  View  of  the  Iron  Mines  in  Coalbrookdale ;  after 
G.  Robertson.    1788. 

Several  Views  ;  after  PdvZ  iSandhy. 

Britannia ;  after  Cipriani. 

Admiral  Parker's  Victory  in  1781. 

CHESNE,  Nicolas  du.     See  Du  Chesne. 

CHEVALIER,  Hipfolyte  Guillaume  Sulpice, 
better  known  as  Gavaeni,  a  pseudonym  which  he 
appears  to  have  borrowed  from  the  place  from 
which  he  dated  his  first  designs,  was  born  in  Paris 
in  1804.  He  began  life  in  the  workshops  of  an 
engineer,  where,  showing  a  talent  for  drawing,  he 
was  employed  in  sketching  professional  plans  ;  but 
not  till  1835  did  he  exhibit  any  signs  of  his  future 
skill  as  a  caricaturist.  About  that  date  he  under- 
took the  editorship  of  '  Les  Gens  du  Monde,'  a 
series  of  satirical  sketches  of  Parisian  youth. 
He  afterwards  conducted  the  '  Charivari,'  and 
came  to  England  in  1848  in  consequence  of  the 
French  Revolution.  Whilst  here  he  published  a 
series  of  sketches,  entitled  'Gavami  in  London,' 
but  these  did  not  meet  with  any  great  success. 
He  was  one  of  the  most  clever  caricaturists  that 


Chevillet 


PAINTERS  AND  ENGRAVERS. 


Childe 


has  ever  lived,  and  hit  off,  with  a  few  strokes  of  the 
pencil,  the  social  life  of  Paris,  from  the  highest 
to  the  lowest  grade,  with  great  truth  and  skill. 
Among  his  works  we  may  mention  '  Les  Bnfants 
Terribles,'  '  Les  Parents  Terribles,'  and  his  '  Maris 
Veng6s ; '  he  also  illustrated  some  of  Hoffmann's 
and  Schmidt's  tales  in  quite  a  different  style.  He 
died  at  Auteuil  in  1866. 

CHEVILLET,  Justus,  was  a  German  engraver, 
born  at  Frankfort-on-the-Oder  in  1729.  He  was 
first  a  pupil  of  G.  F.  Schmidt  at  Berlin,  but  after- 
wards went  to  Paris,  where  he  was  instructed  by 
J.  G.  Wille.  He  engraved  several  plates  of  sub- 
jects, principally  from  French  artists,  in  a  neat 
style.  He  died  in  Paris  in  1790.  We  have  by  him, 
amongst  others,  the  following  prints : 

Portrait    of    Jean    Baptists    Simeon    Chardin ;    after 

Chardin  ;  his  best  work. 
Portrait  of  M.  Lenoir  ;  after  Greuze. 
La  Sant6  port^e,  and  La  SantS  rendue ;  after  Ter  Sorch, 
A  Girl  sewing  and  another  spinning ;  after  Heilmann, 
A  young  Girl  caressing  a  bird;  after  a  drawincf  hy 

Wille. 
The  young  Coquette ;  after  J,  Raoux. 
The  dangerous  Beauty ;  after  Santerre. 
The  Death  of  General  Montcalm ;  after  Watteaw. 

CHBVREVILLE.  See  Langlois  de  CniiVBEViLLE. 

CHEVRON,  BenoIt  Joseph,  a  French  line-en- 
graver, was  born  at  Lyons  in  1824.  He  was  a  pupil 
of  Vibert,  and  died  at  Villefranche  in  1875.  His 
best  plates  are  the  'Kiss  of  Judas,'  after  Ary 
SchefEer,  the  'Assumption  of  the  Virgin,'  after 
Guido  .Reni,  and  the  '  Maison  Mame.' 

CHIALLI,  ViNCENZO,  was  born  at  Citt^  di 
Castello  in  1787.  After  having  learned  the  rudi- 
ments of  art  in  that  town,  he  visited  Rome  at  the 
age  of  seventeen  years,  and  becanie  a  disciple  of 
Camuccini,  whom  he  afterwards  imitated.  After 
leaving  Rome  he  painted  religious  subjects  at  Borgo 
San  Sepolcro,  Urbino,  Pesaro,  and  Venice,  from 
whence  he  retraced  his  steps  to  Rome  ;  but  as  the 
climate  did  not  suit  him,  he  left  that  city  in  1822 
and  returned  to  Citta  di  Castello.  He  became 
Director  of  the  School  of  Painting  at  Cortona  in 
1835,  and  died  in  1840.  His  genre  and  historical 
paintings  gained  him  considerable  credit.  The  most 
important  are : 

The  Mms"-''^*'^^  '  }  *"'* '"  **'  ■'''"'  ^'^^'^'  "'  Florence. 

Dante  in  the  Abbey  of  Fonte  Avellana. 

Baphael  and  Fra  Bartolommeo  in  the  Oonvent  of  San 

Marco. 
The  young  Baphael  with  his  Parents. 

CHIAPPB,  Giovanni  Battista,  was  born  at 
Novi  in  1723.  After  studying  some  time  at  Rome, 
he  settled  at  Milan,  where,  according-  to  the 
Cavaliere  Ratti,  he  painted  some  pictures  which 
gave  promise  of  great  ability.  His  best  work  was 
in  the  church  of  Sant'  Ignazio  at  Alessandria, 
representing  'St.  Ignatius  with  a  Glory  of  Angels,' 
grandly  conceived  and  composed,  the  figure  of  the 
Saint  commanding  and  majestic,  and  of  a  fine  ex- 
pression. This  artist  died  in  the  midst  of  a  flatter- 
ing career  in  1765 ;  and  with  him,  says  Lanzi, 
perished  the  last  remains  of  Genoese  art. 

CHIARI,  Pabeizio,  a  painter  and  engraver,  was 
bom  at  Rome,  according  to  Orlandi,  in  1621.  He 
painted  some  frescoes  in  the  palaces  at  Rome,  and 
died  in  1695.  We  have  some  etchings  by  this 
artist  after  N.  Poussin,  executed  in  a  scratchy  but 
masterly  style,  amongst  which  are : 

Mars  and  Venus,  in  a  landscape ;  Fahritius  Clarus.  1635. 
Venus  and  Adonis ;   signed   Nicolaus  Pussinus  in.  f. 


This  etching  has  been  attributed  to  N.  Poussin,  but 
it  is  by  Chiari. 
Venus  and  Mercury,  with  Children. 

CHIARI,  Giuseppe,  was  born  at  Rome,  in  1654. 
He  was  a  scholar  of  Carlo  Maratti,  with  whom  he 
executed  many  excellent  easel  pictures,  and  added  to 
the  unfinished  works  of  Berrettini  in  Santa  Maria 
del  Suffragio  at  Romej  the  'Nativity'  and  the 
'Adoration  of  the  Magi.'  His  cabinet  and  easel 
pictures  are  preferable  to  his  larger  works,  although 
he  painted  several  frescoes  of  religions,  historical, 
and  mythological  subjects  in  the  Colonna  and 
Barberini  palaces,  and  on  the  ceiling  in  Santa  Maria 
di  Montesanto.  In  the  Spada  Palace  are  four  pic- 
tures by  him  of  subjects  from  Ovid  ;  in  the  Dresden 
Gallery  is  an  '  Adoration  of  the  Magi ; '  and  his  own 
portrait  by  himself  is  in  the  UfBzi,  Florence.  Three 
examples  of  his  art  are  at  Hampton  Court,  and  in 
the  collection  of  Lord  Scarsdale  at  Kedleston  Hall, 
is  a  '  Holy  Trinity.'     He  died  at  Rome  in  1727. 

CHIARINI,  Maroantonio,  was  born  at  Bologna 
in  1652,  and  was  first  a  scholar  of  Francesco 
Quaino,  under  whom  he  remained  four  years ;  he 
afterwards  studied  under  Domenico  Santi.  He  ex- 
celled in  painting  architectural  views,  in  which  the 
figures  were  sometimes  introduced  by  Sigismondo 
Caula.  He  was  much  employed  by  the  nobility 
at  Bologna,  Modena,  and  Milan ;  and  his  pictures 
were  in  great  estimation.  He  assisted  Carlo  Carlone 
in  his  decorative  fresco  paintings  in  the  Marble 
Hall  of  the  Belvedere,  Vienna.     He  died  in  1730. 

CHIAVBGHINO,  II.     See  Mainardi. 

CHIAVISTELLI,  Jacopo,  a  Florentine  painter 
of  perspective  and  architectural  views,  was  born  in 
1618.  He  first  studied  under  Pabrizio  Boschi  and 
B.  del  Bianco  ;  but  he  received  his  best  instruction 
from  Michelangelo  Colonna.  He  painted  chiefly 
in  fresco,  and  was  employed  in  several  works  at 
Bologna  and  Florence,  particularly  in  the  palace  of 
the  Grand-Duke.  He  died  in  1698.  His  own  por- 
trait by  himself  is  in  the  Uffizi,  Florence. 

CHIBOUST,  — ,  was  a  French  engraver,  who 
flourished  about  the  year  1680.  He  etched  a  plate, 
representing  Dutch  Boors  playing  at  cards,  which 
was  probably  from  his  own  design,  as  it  is  signed, 
Ghihoust  fecit.  There  are  also  by  him  a  '  Repose,' 
and  various  landscapes  engraved  after  J.  F.  Millet, 
and  other  artists. 

CHIESA,  SiLVESTKO,  an  Italian  historical  painter, 
was  born  at  Genoa  about  1623.  He  was  a  pupil  of 
Luciano  Borzone,  and  when  not  more  than  eighteen 
years  of  age  had  gained  a  great  reputation  by  his 
portraits,  which  were  often  painted  from  memory. 
He  gave  promise  of  becoming  a  great  artist,  when 
he  was  cut  off  by  the  plague  at  Genoa  in  1657. 

CHIESB,  Giovanni  della.     See  Dbli-a  Chiese. 

CHIFFELIN,  Olivier,  a  distinguished  historical 
painter  of  the  15th  century.  He  was  a  native  of 
Angers,  and  was  commissioned  in  1487  by  Philippe 
de  Commines  to  decorate  his  chSteau  of  Dreux, 
the  chapel  of  which  has  been  described  in  the 
most  glowing  terms. 

CHILD,  James  Waeren,  a  miniature  painter, 
exhibited  for  many  years  at  the  Royal  Academy. 
His  chief  sitters  were  actors  and  actresses.  He 
died  in  1862,  aged  84. 

CHILDE,  Blias,  a  landscape  painter,  exhibited 
at  the  Society  of  British  Artists  from  1824  to  1848. 
He  also  contributed  to  the  exhibitions  of  the  Water- 
Colour  Society  and  the  Royal  Academy.  A  moon- 
light composition  by  him  is  in  the  South  Kensing- 
ton Museum. 

271 


Chimenti 


A  BIOGEAPHICAL  DICTIONARY  OF 


Chodowiecki 


CHIMENTI,  Jaoopo,  called  Jacopo  da  Empoli, 
was  born  at  Empoli,  near  Florence,  in  1564. 
He  was  a  disciple  of  Tomaso  Manzuoli  da  San 
Friano,  -whose  style  is  discernible  in  all  his  works ; 
he  also  studied  the  works  of  Andrea  del  Sarto, 
whom  he  copied  with  success.  His  pictures  pos- 
sess an  elegance  of  design,  and  a  graceful  impasto 
of  colouring,  which  distinguish  the  productions  of 
his  master.  The  Abbate  Moreni  speaks  in  favourable 
terms  of  his  fresco  works  in  the  Certosa,  and  in  the 
monastery  of  Boldrone  at  Florence,  but  a  fall  from 
the  scafEolding  obliged  him  afterwards  to  confine 
himself  to  oil-painting.  One  of  his  best  pictures  is 
his  '  St.  Ives,'  in  the  UfBzi  at  Florence,  which,  from 
its  pleasing  and  graceful  effect,  is  more  generally 
admired  than  works  of  higher  pretensions.  He 
died  in  1640.  The  following  are  among  his 
paintings : 

Florence.     Academy.    The  Call  of  St.  Matthew. 

„    SS.  Annunziata.  Virgin  and  Saints. 

„  S.  Maria  Novella.  St.  Hyacinth. 

5,  Gam  Buonarroti.  Michelangelo    before    Leo    X. — 
Fresco. 

„  Vffizi.       St.  Ives,  Protector  of  Orphans. 

„  „  His  own  Portrait. 

Madrid.         Museum.    Christ  on  the  Mount  of  Olives. 
Paris.  Louvre.       Virgin  glorified. 

Pistoia.     S.  2)omemco.  Miracles  of  St.  Charles  Borromeo. 
Vienna.      Belvedere.    Susanna  at  the  Bath. 

CHINNBEY,  George,  exhibited  portraits  at  the 
Eoyal  Academy  from  1791  to  1846.  He  at  one 
time  resided  in  Dublin,  and  in  1798  was  elected  a 
member  of  the  Royal  Hibernian  Academy.  He 
etched  some  portraits,  which  show  much  ability, 
and  made  spirited  sketches  of  scenes  in  India  and 
China,  where  he  lived  for  nearly  fifty  years.  He 
died  at  Macao  about  1860. 

CHINTRBUIL,  Antoinb,  a  French  landscape 
painter,  was  born  at  Poht-de-Vaux  (Ain)  in  1816. 
He  showed  an  early  taste  for  drawing,  and  took  to 
teaching  it  in  order  to  support  his  family.  Later 
on  he  opened  a  bookshop  in  Paris  and  continued 
his  drawing  work  in  the  evenings,  till  meeting  with 
assistance  from  Beranger  he  was  able  to  establish 
himself  in  Tournelle  Septeuil  near  Nantes,  and 
devote  himself  entirely  to  his  art.  He  painted, 
although  only  self-taught,  landscapes  remarkable 
not  merely  for  originality  but  also  for  deep  feeling. 
He  fell  a  victim  to  over-exertion  in  his  youth, 
combined  with  disappointment  at  the  difEculty  he 
experienced  in  finding  purchasers  for  pictures 
which  now  realize  very  high  prices.  Amongst  his 
works  may  be  noticed  'Morning  in  the  Country,' 
'A  Shower  on  the  Plain,'  'Entrance  to  a  Wood,' 
and  'After  a  Storm.'  Two  landscapes  by  him 
are  in  the  Lille  Museum.     He  died  in  1873. 

CHIODAROLO,  Giovanni  Maria,  a  Bolognese 
painter,  was  living  in  the  15th  century.  Little 
further  is  known  of  him  than  that  the  fresco  of 
'  An  Angel  crowning  St.  Valerian  and  St.  Cecilia,' 
executed  about  1609,  in  the  oratory  of  St.  Cecilia, 
attached  to  San  Giacomo  Maggiore,  in  Bologna,  is 
by  tradition  assigned  to  him.  It  is  part  of  a  series, 
the  rest  of  which  were  done  by  Francia,  Aspertini, 
and  Costa.  A  '  Nativity '  in  the  Bologna  Gallery 
is  also  ascribed  to  Chiodarolo. 

CHIRINOS,  Juan  de,  a  Spanish  painter,  was 
born  at  Madrid  in  1664.  He  was  probably  a 
scholar  of  El  Greco,  and  painted,  in  conjunction 
with  Bartolomd  de  Cardenas,  the  greater  part  of 
the  pictures  in  the  convent  of  Our  Lady  of  Atocha, 
at  Madrid.  He  was  an  artist  of  great  merit,  and 
died  at  Madrid  in  1620. 

272 


CHISHOLM,  Alexander,  was  born  at  Elgin 
in  the  year  1792  or  1793,  and  at  an  early  age  was 
apprenticed  by  his  father  to  a  weaver  at  Peterhead. 
He  had  a  great  aversion  to  the  trade,  and  his  predi- 
lection for  art  was  so  strong  that  he  was  accus- 
tomed to  sketch  figures  upon  the  cloth  on  which  he 
was  occupied  at  the  loom,  and  when  his  leisure  per- 
mitted him  to  resort  to  the  sea-shore,  he  found  great 
pleasure  in  sketching  on  the  smooth  sand.  When 
about  fourteen  years  of  age,  he  walked  from  Peter- 
head to  Aberdeen,  where  he  received  his  first 
lessons  in  light  and  shade.  At  this  time  there  was 
a  meeting  of  the  Synod,  the  members  of  which  he 
was  permitted  to  sketch  ;  and  his  work  gave  such 
satisfaction,  that  he  was  forthwith  commissioned 
to  paint  it,  but  this  he  was  compelled  to  deoUne, 
as  he  was  totally  ignorant  of  the  use  of  colours. 
He  must  have  employed  his  leisure  profitably,  for 
when  about  twenty  years  of  age  he  went  to  Edin- 
burgh, where  he  was  patronized  by  the  Earls 
of  Elgin  and  Buchan,  and  was  subsequently  ap- 
pointed an  instructor  at  the  Royal  Scottish  Aca- 
derriy.  In  1818  he  went  to  London,  still  under  the 
patronage  of  the  Earl  of  Buchan,  and  met  with 
much  encouragement.  In  1829  he  became  an 
Associate  Exhibitor  of  the  Water-Colour  Society 
and  frequently  sent  works  to  that  Institution.  His 
favourite  department  of  art  was  history,  hut  he  also 
painted  portraits  with  eminent  success.  Having 
sufEered  from  severe  illness  during  nine  years  be- 
fore his  death,  his  later  productions  do  not  exhibit 
that  degree  of  vigour  which  characterize  his 
earlier  works.  '  The  Pedlar,'  a  water-colour  paint- 
ing by  him,  is  in  the  South  Kensington  Museum. 
He  died  at  Rothesay,  in  the  Isle  of  Bute,  in  1847. 
The  following  are  some  of  his  most  important 
works  exhibited  at  the  Eoyal  Academy  : 

Boys  with  a  Burning  Glass.    1822. 

The  Cut  Foot.     1823. 

Baptism  of  Ben  Jonson's  Daughter  {wiih  portraits  of 

Shakespeare,  Jonsonj  Beaumont,  Fletcher  and  Raleigh). 

1837. 
The  Lords  of  the  Congregation  taking  the  oath  of  the 

Covenant.     1842. 
The   Minister  and  his  Wife  concealing  the  Scottish 

Eegalia  in  the  Church  (his  last  isoorlc).    1846. 

CHODOWIECKI,  Daniel  Nioolaus,  a  painter 
and  engraver,  was  born  at  Dantzic  in  1726.  He 
was  obliged  at  first  to  devote  himself  to  shopkeep- 
ing,  and  could  only  practice  drawing  and  painting, 
which  he  did  in  company  with  his  brother  Gott- 
fried, in  his  leisure  moments — both  of  them  having 
received  some  instruction  from  their  father.  His 
progress  at  last  enabled  him  to  follow  these  studies 
alone.  He  took  to  copying  engravings  and  then 
to  painting  enamel  snufE-boxes,  in  which  he  was 
aided  by  Haid  the  Pole,  and  in  which  he  made 
experiments  with  designs  of  his  own.  He  then  in 
1745  tried  miniature-painting;  his  portraits,  which 
were  remarkable  for  their  characteristic  resemblance 
and  lifelike  qualities,  meeting  with  a  favourable  re- 
ception in  all  quarters.  At  this  time  he  improved 
himself  by  practising  drawing  in  Eode's  stodio. 
and  then  turned  his  attention  to  oil  painting.  Thus 
far  he  had  only  the  nights  to  devote  to  these  employ- 
ments. His  first  essay  in  etching  was  made  in 
1758.  His  etchings  were  drawn  with  such  spirit 
that  they  soon  attracted  the  attention  of  connois- 
seurs, and  when  he  had  painted  the  '  Separation  of 
Jean  Galas  from  his  family,'  and,  in  accordance 
with  the  wishes  of  his  friends,  had  made  an 
etching  from   that  picture,  his  fame  was  fairly 


Chodowiecki 


PAINTERS  AND  ENGRAVERS. 


ChoUet 


established.  Orders  from  amateurs  and  dealers 
became  so  numerous  that  he  was  obliged  to  aban- 
don his  miniature-painting.  The  Academy  of 
Painting  received  him  as  its  Rector  in  1764.  In 
1773,  he  made  a  journey  on  horseback  to  Dantzic, 
taking  sketches  of  whatever  there  might  be  of 
interest  on  the  route.  On  this  journey,  and  during 
nine  weeks  spent  in  Dantzic,  he  kept  a  diary  with 
drawings,  preserved  in  the  Berlin  Academy,  which 
presents  a  most  life-like  picture  of  the  then  social 
condition  of  that  city.  On  his  return  he  received 
commissions  from  Lavater,  for  whom  he  executed 
many  designs  and  some  copper-plate  engravings 
for  his '  Essays  on  Physiognomy. '  His  fame  spread 
so  wide  that  it  was  with  the  greatest  difBculty 
that  he  could  meet  the  demands  of  the  book- 
sellers for  drawings  and  engravings  for  books  and 
almanacks.  The  number  of  paintings,  designs,  and 
etchings  which  he  produced  at  this  period  was  some- 
thing prodigious.  This  severe  labour  was  injurious 
to  his  health,  and  during  the  last  twenty  years  of 
his  life  he  sufEered  from  swollen  feet — but  that  did 
not  prevent  his  following  his  ordinary  pursuits. 
He  became  Vice-Director  of  the  Academy  in  1788, 
and  Director  in  1797.  He  was  active  and  laborious 
up  to  within  a  few  weeks  of  his  death,  which  took 
place  at  Berlin  in  1801.  The  Berlin  Museum  con- 
tains '  Blindman's  BufE '  and  '  Der  Hahnenschlag,' 
both  of  the  year  1768. 

Chodowiecki  was  a  highly-gifted  artist,  who 
owed  all  his  knowledge  of  art  to  his  own  study. 
This  lack  of  instruction  was  the  real  cause  why 
works  on  a  larger  scale  lay  beyond  the  limits  of 
liis  artistic  sphere,  but  the  same  reason  led  to  his 
smaller  works  being  so  carefully  finished.  The 
genuine  originality  displayed  in  them,  and  a  cer- 
tain easy  spiritual  rendering,  stamp  most  of  his 
works  with  a  peculiar  character.  He  represents 
the  feeling's  and  afiections,  virtues  and  vices,  just 
as  he  had  observed  them  around  him,  with  singular 
acuteness.  Not  unfitly  has  he  been  spoken  of  as 
the  great  depictor  of  the  morals  of  his  day.  His 
productions  are  not  disfigured  by  anything  in  the 
way  of  excess  or  defect.  His  drawings  are  marked 
by  delicate  but  at  the  same  time  firm  and  clear 
outlines,  the  shadows  being  worked  in  with  a  light 
hand,  but  well  defined.  His  early  works  in  enamel 
are  small  masterpieces  in  respect  of  finish,  and 
are  full  of  life,  grace,  and  cheerfulness.  The  same 
holds  true  of  his  miniatures.  His  performances 
in  oil  painting  scarcely  went  beyond  the  range  of 
experiments.  As  an  engraver  of  small  subjects  he 
stands  almost  unsurpassed.  He  was  the  founder 
of  a  new  style,  representing  modern  figures  with 
such  truth  and  animation,  and  at  the  same  time 
with  such  correctness  of  outline,  as  had  till  then 
never  been  thought  possible  on  so  small  a  scale. 
Apart  from  single  plates,  he  illustrated  with  designs 
of  his  own  composition  the  principal  literary  pro- 
ductions of  his  time,  such  as  '  Minna  von  Barnhelm,' 
'The  Vicar  of  Wakefield,'  'Gellert's  Fables,'  'Gil 
Bias,'  Schiller's  '  Robbers,'  Sterne's  '  Sentimental 
Journey,'  as  well  as  '  Don  Quixote,'  and  the  works 
of  Shakespeare  and  Voltaire. 

Chodowiecki's  etchings  and  engravings  amount  to 
2075  distinct  works  upon  978  plates.  They  are  fully 
described  in  Engelmann's  'Daniel  Chodowiecki's 
Sammtliche  Kupferstiche  '  published  at  Leipsic  in 
1857-60.  Among  his  principal  plates  may  be 
mentioned  : 

Jean  Galas  bidding  farewell  to  his  "Wife.     1767-8. 

Frederick  the  Great,  accompanied  by  Peace ;  rare. 
T 


A  Review  at  Potsdam.    1777. 

Sixteen  plates  for  the  Life  of  Bankel. 

The  Progress   of  Virtue,  and  the   Progress  of  Vice. 

Twelve  plates  for  the  Gottingen  Almanac  in  1778. 
■Wilhelm  Tell. 

Ziethen  seated  before  the  King. 
Ziethen  asleep  at  the  Table  of  Frederick  II, 
The  Painter's  Studio. 
The  Artist's  own  Family.    1771. 

CHODOWIECKI,  GorrFEiBD,  a  painter  and 
engraver,  and  a  brother  of  Daniel  Chodowiecki, 
was  born  at  Dantzic  in  1728.  He  painted  land- 
scapes, battle  scenes,  hunting  pieces,  and  animal 
subjects  in  miniature  and  in  enamel.  He  also 
etched  plates  from  the  designs  of  his  brother, 
as  well  as  from  his  own.  He  died  at  Dantzic  in 
1781. 

CHODOWIECKI,  Wilhelm,  the  son  of  Daniel 
Chodowiecki,  was  born  in  1765.  He  was  a  pupil 
of  his  father,  and  followed  his  style  with  consider- 
able success :  in  fact,  the  father  published  many 
of  his  sou's  plates  with  his  own  name  attached  to 
them.     He  died  at  Berlin  in  1805. 

CHOFFARD,  Pierre  Philippe,  a  French 
draughtsman  and  engraver,  was  born  in  Paris  in 
1731.  Whilst  still  very  young  he  showed  great 
aptitude  for  drawing  flowers  and  ornaments,  and 
was  placed  with  an  engraver  of  maps  named 
Dheulland,  but  he  afterwards  received  lessons 
from  Babel,  an  engraver  of  ornaments,  and  is  said 
to  have  had  also  the  benefit  of  the  advice  of  Nicolas 
Edelinck,  Baleohou,  and  Cochin.  Commencing 
with  the  cartouches  of  maps,  which  date  from  1753 
to  1756,  he  next  engraved  invitation  and  address 
cards  and  book-plates,  and  these  drew  attention  to 
his  abilities  and  secured  for  him  the  commission  to 
execute  the  tail-pieces  for  the  celebrated  edition  of 
the  '  Contes '  of  La  Fontaine  published  by  the 
Fermiers-Gte^raux  in  1762.  The  fertility  of  in- 
vention and  the  taste  displayed  by  the  artist  in 
these  gems  of  art  are  known  and  admired  by  all. 
The  series  ends  with  his  own  portrait  in  profile  as 
the  tail-piece  of  '  Le  Rossignol.'  To  these  suc- 
ceeded, among  a  host  of  minor  pieces,  the  large 
ornaments  placed  at  the  head  of  each  book  of  the 
Ovid's  '  Metamorphoses  '  of  1767-1771,  the  head- 
pieces to  Saint-Lambert' s  pOem,  '  Les  Saisons,' 
issued  in  1769,  and  again  with  some  alterations  in 
1775,  those  to  Imbert's  poem,  'Le  Jugement  de 
Paris,'  1772,  and  the  tail-pieces  to  Desormeaux's 
'  Histoire  de  la  Maison  de  Bourbon,'  published  in  the 
years  1779-1788.  All  these  combined  to  establish 
his  reputation  as  a  designer  of  ornament  without  a 
rival.  Besides  these,  the  ornamental  pieces  which 
he  executed  forthe  '  Voyage  pittoresquede  Naples 
et  de  Sicile'  of  Saint-Non,  published  in  1781,  and 
the  plates  of  '  Les  Amants  surpris,'  '  Les  Amours 
champStres,'  and  '  Marchez  tout  doux,  parlez  tout 
has,'  after  Baudouin,  and  a  view  of  Narbonne, 
after  Monnet,  must  be  ranked  among  his  best 
works. 

ChofEard  wrote  in  1804  a  '  Notice  historique  sur 
I'art  de  la  Gravure,'  and  was  about  to  undertake 
a  more  extensive  work  when  he  was  struck  down 
by  death  at  Paris  in  1809.  MM.  Portali?  and 
Beraldi  give  in  their  '  Graveurs  du  Dix-huitieme 
Si^cle'  a  detailed  catalogue  of  his  engravings, 
which  number  855.  E  E  G 

CHOLLET,  Antoinb  Joseph,  a  French  engraver 
in  line  and  mezzotint,  was  born  in  Paris  in  1793. 
He  was  the  son  of  an  architect,  and  studied  under 
Bervic  in  Paris.    He  gained  considerable  reputation 

273 


Clioquet 


A  BIOGRAPHICAL  DICTIONARY  OP 


Ciamberlano 


by  the  excellence  of  his  plates,  amongst  which  may 
be  noticed  : 

Christ  crowned  with  Thorns ;  after  Colin. 
The  Orphan  ;  after  Eohn.     1822. 
'  J'ai  perdu ; '  after  the  same.     1824. 
Galileo  in  the  Inquisition  ;  after  Laurent.     1827. 
The  Proposal ;  after  Geirnaert.     1837. 
The  Last  Cartridge  ;  after  Horace  Vernet.     1830. 
Mile.  L^ontine  Fay,  as  Malvina  ;  after  Duhiife. 
Portrait  of  Mme.  de  "Warens ;    after  (?)  Vesenne  and 
Deveria. 

CHOQUET,  Louis,  a  French  draughtsman  and 
miniature  painter,  was  a  pupil  of  Aubry.  He 
produced  illustrations  for  the  works  of  Le  Sage, 
Marmontel,  Florian,  Fielding,  &c.  He  died  about 
1825. 

CHRlllTIEN,  GiLLES  Louis,  a  French  musician, 
was  born  at  Versailles  in  1754.  In  1787  he  in- 
vented a  machine  called  a,  '  physionotrace,'  with 
which  he  took  portraits  in  profile  from  life,  which 
were  reduced  to  silhouettes,  usually  by  Fouquet, 
and  then  engraved  in  aquatint  by  himself.  Many 
of  them  are  of  great  interest  on  account  of  the 
celebrity  of  the  persons  represented,  '  L' Incorrupt- 
ible Robespierre,'  Mirabeau,  and  Marat  being  among 
the  hundreds  which  he  produced.  Ed  me  Qu6nedey 
was  at  first  associated  with  him,  but  Chretien 
afterwards  worked  alone.  He  died  in  Paris  in 
1811. 

CHRIEGER,  Cheistoph,  called  in  Italian  Cris- 
ToroRO  GuERRA,  was  a  native  of  Nuremberg,  who 
went  to  Venice  and  died  there  in  1589.  He  exe- 
cuted a  magnificent  engraving  on  wood,  representing 
the  sea-fight  at  Lepanto,  and  containing  more 
than  three  hundred  vessels.  The  combatants  are 
exceedingly  numerous,  but  are  distributed  with 
great  judgment,  and  the  confusion  amongst  the 
vessels  on  fire  or  sinking  is  finely  represented.  The 
design  is  cut  on  two  blocks  of  wood,  in  the  form 
of  an  oval,  about  two  feet  long,  by  sixteen  inches  in 
height.  It  was  published  at  Venice  in  1572,  by 
Cesare  Vecellio,  a  relation  of  Titian,  who  is  supposed 
to  have  made  the  design.  Chrieger  also  engraved 
on  wood  the  420  illustrations  of  costumes  for 
Vecellio's  'Habiti  antichi.et  moderni  di  Diuerse 
Parti  del  Mondo,'  published  at  Venice  in  1590. 

CHRIST,  Joseph,  a  painter  of  Winterstetten, 
executed  portraits  and  frescoes  in  Augsburg  and 
St.  Petersburg  in  the  18th  centur3'. 

CHRISTFELD,  Philip?,  a  porcelain-painter,  was 
born  in  1797  at  Frankenthal,  in  the  Palatinate,  and 
placed  when  young  in  the  porcelain  manufactory 
there.  He  afterwards  pursued  academical  studies 
at  Nymphenburg,  and  then  devoted  himself  to  the 
painting  of  porcelain,  and  later  still  to  the  pro- 
duction of  fac-similes  of  celebrated  gallery  pieces, 
among  which  special  mention  is  made  of  '  The 
Spinner,'  after  Gerard  Dou,  and  'The  Elevation  of 
the  Cross,'  after  Rembrandt.  He  died  at  Munich 
in  1874. 

CHRISTIE,  Alexander,  who  was  born  at  Edin- 
burgh in  1807,  entered  the  Trustees'  Academy  in 
1833,  and  after  studying  for  a  short  time  in  London, 
settled  in  his  native  city.  In  1843,  he  was  made 
assistant,  and  two  years  later  director,  of  the  orna- 
mental department  of  the  Trustees'  Academy.  He 
was  elected  an  Associate  of  the  Scottish  Academy 
in  1848,  and  died  in  1860.  He  painted  portraits 
and  subject-pieces. 

CHRISTISON,  Mary  Sympson,  an  English  por- 
trait and  subject  painter,  was  born  about  1850. 
She  was  tne  eldest  daughter  of  Mr.  Charles  Tovey, 
274 


a  Bristol  merchant,  and  niece  of  Samuel  GrifSths 
Tovey,  who  gained  a  local  reputation  by  his  Vene- 
tian pictures.  She  received  instruction  at  the 
South  Kensington  and  Bristol  Schools  of  Art  and 
at  the  Royal  Academy.  In  1878  she  married  Mr. 
Robert  Christison  and  went  to  Queensland,  where 
she  died  at  Lammermoor  in  1879. 

CHRISTOPHE,  Claude,  a  French  historical  and 
portrait  painter,  who  flourished  at  Nancy  in  the 
early  part  of  the  18th  century,  was  a  native  of 
Verdun.  He  utudied  under  Rigaud,  and  gave  up- 
wards of  two  hundred  pictures  to  the  poor  churches 
of  Lorraine. 

CHRISTOPHE,  Joseph,  the  brother  of  Claude 
Christophe,  was  bom  at  Verdun  in  1662.  In  1696 
he  painted  as  a  "  mai  "  for  Notre-Dame  the  '  Mira- 
cle of  the  Loaves  and  Fishes.'  He  was  received 
into  the  Academy  in  1702,  and  in  1724  became 
painter  to  the  Archduke  Leopold,  for  whom  he 
executed  many  portraits.  At  Versailles  there  is  by 
him  '  The  Baptism  of  the  Dauphin,  son  of  Louis 
XIV. '     He  died  in  Paris  in  1748. 

CHUPPIN,  MiDARD,  a  French  historical  painter, 
flourished  at  Nancy  from  1542  to  1580.  He  was  a 
pupil  of  Hugues  de  La  Fare,  whose  picture  of  the 
'Last  Supper,'  in  the  church  of  the  Cordeliers  at 
Nancy,  he  finished  with  credit  to  himself  after  the 
death  of  his  master.  He  worked  almost  always  in 
conjunction  with  Claudin  Crocx.  He  was  painter 
to  the  Duke  of  Lorraine,  as  were  likewise  Charles 
Chuppin,  his  son,  and  Nicolas  Chuppin,  his 
brother. 

CHURCHMAN,  John,  was  a  miniature  painter, 
who  died  in  London  in  1780. 

CIAFFERI,  PiETEO,  called  Lo  Smargiasso,  was 
born  at  Pisa  about  1600,  and  flourished,  according 
to  Lanzi,  about  the  year  1654.  He  belongs  to  the 
Florentine  school,  and  painted  marine  subjects  and 
seaports,  which  his  residence  at  Leghorn  enabled 
him  to  study  from  nature.  His  pictures  are  highly 
finished,  and  ornamented  with  small  figures  cor- 
rectly drawn.  He  also  painted  architectural  and 
perspective  views,  and  sacred  subjects.  His  works 
are  principally  at  Pisa  and  Leghorn.  An  '  Ecce 
Homo '  by  him  is  in  the  Pitti  Palace,  Florence. 

CIALDIERI,  GlEOLAMO,  was  born  at  Urbino  in 
1593,  and  was  a  scholar  of  Claudio  Ridolfl.  He 
painted  several  pictures  at  Rome  for  the  churches. 
His  best  work  is  the  '  Martyrdom  of  St.  John,'  in 
San  Bartolommeo.  Lanzi  describes  him  as  possess- 
ing great  facility  of  hand  and  amenity  of  colour, 
and  commends  his  style  of  painting  landscape,  and 
his  knowledge  of  architecture,  which  he  was  fond 
of  introducing  in  the  backgrounds  of  his  pictures. 
He  flourished  about  1640. 

CIAMBERLANO,  LucA,  was  born  at  Urbino 
about  the  year  1580.  In  the  eariy  part  of  his  life 
he  applied  himself  to  the  study  of  civil  law,  in 
which  he  had  taken  a  doctor's  degree,  when  he 
abandoned  the  study  of  jurisprudence  to  devote 
himself  to  painting  and  engraving,  particularly  the 
latter.  From  1599  to  1641  he  resided  at  Rome, 
where  he  executed  a  great  number  of  p'ates  from 
his  own  designs,  as  well  as  after  the  works  of  the 
most  celebrated  Italian  painters,  in  the  style  of 
Agostino  Carracci.  His  plates,  amounting  to  114, 
are  entirely  executed  with  the  graver,  which  he 
handled  with  neatness  and  intelligence ;  his  draw- 
ing of  the  figure  is  tolerably  correct.  He  some- 
times signed  his  plates  with  his  name,  and  some- 
times marked  them  with  the  cipher  ^« 


Ciampelli 


PAINTERS  AND  ENGRAVERS. 


Cignani 


Among  them  are  the  following  : 

Thirteen  plates  of  Christ  and  the  twelve  Apostles ;  after 

Raphael. 
St.  Jerome  dead,  lying  upon  a  stone ;  after  the  same. 
St.  Thomas  ;  after  BassaTW. 
Nine  plates  of  Angels  carrying  the  instruments  of  the 

Passion. 
Duke  Francesco  Maria  II.  of  Urbino. 
Christ  on  the  Mount  of  Olives ;  after  A.  Casolano. 
Christ  appearing  to  Mary  Hagdaleu;  after  Federigo 

Barocd.    1609. 
Christ  appearing  to  St.  Thereaa  ;  after  Carracci. 

CIAMPELLI,  Agostino,  was  born  at  Florence  in 
1578.  He  was  educated  under  Santo  Titi,  and 
went  afterwards  to  Rome,  where  he  distinguished 
himself  by  his  efforts.  He  was  employed  by  Pope 
Clement  VIII.,  and  executed  several  paintings  in 
the  Lateran  and  Vatican  palaces.  In  the  church 
of  Santa  Maria  in  Trastevere  is  a  'Dance  of  Angels,' 
and  in  Santa  Pudenziana  is  a  picture  representing 
'Holy  Women  interring  the  bodies  of  the  Martyrs.' 
Although  inferior  to  his  instructor  in  invention, 
and  less  masterly  in  composition,  his  ideas  were 
graceful,  and  his  drawing  correct,  with  a  brilliancy 
of  colnur  unusual  in  the  Florentine  school,  though 
sometimes  vitiated  by  too  powerful  a  predomin- 
ance of  red.  In  the  Jesuit  Church  are  two  of  his 
finest  works  in  fresco,  the  '  Martyrdom  of  St. 
Andrew,'  and  in  the  ceiling  a  '  Glory  of  Saints  and 
Angels.'  In  San  Prassede  he  painted  in  oil,  for  his 
patron  the  Cardinal  de'  Medici,  the  '  Crucifixion  ;  ' 
and  in  San  Stefano  di  Pescia  is  his  celebrated  pic- 
ture of  the  '  Visitation  of  the  Virgin  to  St.  Eliza- 
beth,' with  two  laterals.    He  died  at  Rome  in  1640. 

CIAELA,  Raffaello,  a  painter  of  Urbino,  flour- 
ished about  the  middle  of  the  16th  century,  and 
excelled  in  painting  majolica  vases,  which  were 
especially  admired  at  the  Spanish  Court.  He  was 
so  skilful  in  imitating  the  great  masters,  that  his 
works  have  often  been  confounded  with  those  of 
Raphael.-  The  identity  of  Christian  name  and  of 
birthplace  have  doubtless  had  much  to  do  with  this 
confusion.     He  was  a  pupil  of  Orazio  Fontana. 

CIARPI,  Baccio,  was  born  at  Florence  in  1578, 
and  was  a  scholar  of  Santo  Titi.  He  was  a  good 
painter  of  historical  subjects,  of  which  he  gave 
proof  in  his  works  in  the  Chiesa  della  Concezione 
of  the  Capuchins  at  Rome.  Ciarpi  was  the  in- 
structor of  Pietro  da  Cortona.     He  died  in  1642. 

CIARTRES.     See  Rasset. 

CIBOT,    FBANgOIS   BABTHiLEMY    MlCHEL    EDOU- 

AED,  a  French  historical  and  landscape  painter,  was 
born  in  Paris  in  1799.  His  masters  were  Gu^rin 
and  Picot.  During  the  first  part  of  his  career  he 
devoted  himself  to  historical  painting,  producing 
many  sacred  works,  several  specimens  of  which 
are  to  be  seen  in  the  churches  of  Paris.  His  most 
important  work  of  this  kind  is  the  series  of  paint- 
ings representing  'Charity,'  in  the  church  of  St. 
Leu  at  Paris.  About  1863  he  applied  himself  to 
landscape  painting.  He  died  in  Paris  in  1877. 
Amongst  his  best  works  are : 

The  Loves  of  the  Angels.    1835. 

Eegina  Coeli.    1846. 

St.  Theresa.     1847. 

Convicts  in  1788.    1836. 

Chestnut-trees  at  Aulnay.    1855. 

Park  at  Orsay.    1857. 

The  Gouffre,  near  Seineport.    1864.    (In  the  Ijuxem- 

bourff  Gallery.) 
View  at  Soisy-sur-Boolle.    1865. 

CICCIO.     See  Solimena. 

CICERI,  Beknabdino,  was  bom  at  Pavia  in  1650, 
T  2 


and  was  one  of  the  ablest  scholars  of  Carlo  Sacchi. 
He  afterwards  passed  some  time  at  Rome  ;  and  on 
his  return  to  his  native  city,  met  with  encourage- 
ment in  painting  historical  pictures  of  a  small  size. 
He  was  also  employed  for  the  churches. 

CICERI,  Pierre  Luc  Charles,  a  French  artist, 
born  at  St.  Cloud  in  1782,  was  chiefly  engaged  as 
an  architectural  decorator  and  painter  of  theatrical 
scenes.  He  is  stated  to  have  executed  four  hundred 
opera  decorations.  He  also  produced  some  paint- 
ings in  water-colour,  among  which  are  views  of 
the  Ponte  di  Saniti  and  Piazzetta  della  Cappella 
Vecchia  in  Naples,  and  of  Interlacken,  Brunnen, 
and  Baden-Baden.  Cioeri  married  a  daughter  of 
Jean  Baptiste  Isabey,  the  miniature  painter,  and 
died  at  St.  Charon  in  1868. 

CIENNI  DI  Francesco  di  See  Cienni.  See 
Cennini. 
CIERINCX  (or  Cierings).  See  Kiehincx. 
CIBRKENS,  Jean,  a  Belgian  painter  of  histori- 
cal and  genre  subjects,  was  born  at  Bruges  in  1819. 
He  studied  in  the  Academy  of  his  native  city,  and 
under  Wallays  and  Wappers  at  Antwerp.  He  died 
at  Rome  in  1853. 

CIETENER,  D.,  was  a  painter  who  from  his 
stylo  appears  to  have  belonged  to  the  Flemish 
school.  There  is  in  the  Berlin  Gallery  the  '  Bom- 
bardment of  a  Fortified  Town,'  which  is  signed  by 
him,  and  dated  1630. 

CIEZA,  Josef  db,  the  son  and  scholar  of  Miguel 
Geronimo  de  Cieza,  was  born  at  Granada  in  1656. 
He  acquired  much  facility  in  painting  in  distemper, 
and,  going  to  Madrid  in  1686,  was  employed  to 
paint  scenes  in  the  theatre  of  Buenretiro,  and 
became  painter  to  the  king  in  1689.  He  likewise 
painted  in  oil  historical  subjects,  landscapes,  and 
flower-pieces.     He  died  at  Madrid  in  1692. 

CIEZA,  Miguel  Geronimo  db,  a  Spanish  painter, 
born  at  Granada,  was  one  of  the  best  scholars  of 
Alonso  Cano,  whom  he  imitated  both  in  drawing 
and  in  colour.  He  painted  historical  pictures  with 
reputation,  and  according  to  Palomino,  his  best 
works  are  in  the  Convent  of  the  Angel,  and  in  the 
Hospital  of  the  Corpus  Domini,  at  Granada.  Ha 
died  in  Granada  at  an  advanced  age  in  1677. 

CIEZA,  ViNCENTE  de,  a  Spanish  painter,  and  a 
native  of  Granada,  was  the  son  and  pupil  of  Miguel 
Geronimo  de  Cieza.  Having  lost  his  father  he 
went  to  Madrid  to  his  elder  brother  Josef,  whom 
he  succeeded  as  painter  to  the  king  in  1692.  He 
returned  to  Granada  in  1701,  and  died  there  soon 
after  his  arrival.  His  works  are  confounded  with 
those  of  his  father  in  Granada,  and  with  those  of 
his  brother  in  Madrid. 

CIGNANI,  Conte  Carlo,  a  distinguished  painter 
of  noble  family,  of  the  Lombard  School,  was  born 
at  Bologna  in  1628.  He  was  of  an  honourable 
family,  and  liis  first  essays  in  the  art  were  some 
drawings  he  attempted  after  the  pictures  in  his 
father's  collection.  He  was  first  placed  under  the 
tuition  of  Giambattista  Cairo,  but  he  afterwards 
entered  the  academy  of  Francesco  Albani,  and 
became  the  most  celebrated  of  his  disciples.  The 
works  of  Correggio  and  the  Carracci  had  an  in- 
fluence in  the  formation  of  his  style.  On  his  return 
to  Bologna,  he  was  employed  by  the  Cardinal 
Famese  to  ornament  the  great  saloon  of  the  palace 
at  Bologna,  where  he  painted  his  celebrated  work 
of  the  '  Entry  of  Pope  Paul  III.  into  Bologna,'  and 
the  '  Passage  of  Francis  I.'  through  that  city.  He 
afterwards  visited  Leghorn  and  Rome,  where  La 
stayed  three  years,  during  which  time  he  painted 

275 


Cignani 


A  BIOGRAPHICAL  DICTIONARY  OF 


Cima 


among  other  works  two  pictures  for  the  church  of 
Sant'  Andrea  della  Valle,  representing  subjects 
from  the  life  of  that  Saint ;  and  several  pictures 
of  Venus.  On  his  return  to  Bologna  he  was  em- 
ploj'ed  in  the  execution  of  some  important  works 
in  San  Michele  in  Bosco  ;  they  represent  scenes 
taken  from  the  time  of  the  Plague,  and  are  in 
the  style  of  Correggio,  painted  in  ovals,  supported 
by  angels  of  extraordinary  beauty,  and  are  held 
amongst  the  most  admired  features  of  that  city. 
He  also  executed  several  paintings  for  the  nobility: 
amongst  others,  for  the  Archbishop  of  Milan,  a 
'  Holy  Family  ;  '  for  Prince  Adam  of  Liechtenstein, 
'Cupid,'  'Bacchus,'  'Danae,'  and  a  'Virgin  and 
Child.'  After  decorating  the  gallery  of  Duke 
Ranuccio  II.  at  Parma,  he  was  knighted  by  that 
prince  and  by  the  Pope.  Other  important  works 
by  him  are,  '  The  Virgin  treading  on  the  head  of  a 
Serpent,'  for  the  cathedral  at  Piacenza  ;  '  Joseph 
tempted  by  Potiphar's  Wife,'  for  the  Marquis  Pal- 
lavicini ;  '  Hagar  and  Ishmael,'  for  the  King  of 
Poland  ;  '  The  Descent  from  the  Cross,'  and  '  Christ 
as  a  Gardener,'  for  Louis  XIV.  The  great  monu- 
ment of  his  fame  is  the  cupola  of  the  duomo  at 
Forli,  which  occupied  him  from  1686  to  1706.  It 
represents  the  '  Assumption  of  the  Virgin,'  an  im- 
mense work  of  the  highest  merit.  After  having 
finished  this  grand  composition,  he  was  elected 
senator  of  that  town,  and  Clement  XL  appointed  him 
president  of  the  newly-founded  Clementine  Academy 
at  Bologna.  Such  was  the  attachment  of  his  pupils 
to  Cignani,  that,  whilst  he  was  still  working  at 
Forli,  they  followed  him  there,  where  his  instruc- 
tions were  continued  until  his  death  in  1719. 
During  the  latter  period  of  his  life,  he  painted 
among  other  pictures  'Aurora,'  for  the  Marquis 
d'Albiccini ;  '  Adam  and  Eve,'  for  the  Cardinal 
Spinola ;  '  'The  Birth  of  the  Virgin,'  for  Clement 
XI. ;  '  John  the  Baptist  as  a  Child,'  and  '  Jupiter 
nursed  by  the  goat  Amalthea,'  for  the  Elector- 
Palatine  John  William.  The  following  are  some 
of  his  best  works  : 

Berlin.  Museum.  Venus  and  Anchises. 

Copenhagen.     Gallery.  Joseph  and  Potiphar's  "Wife. 

„  „  Tarquin  and  Lucretia. 

„  „  Holy  Family. 

Dresden.  Gallery.  Joseph  and  Potiphar's  Wife. 

Dulwioh.  Gallery.  The  Magdalen. 

Florence.  Uffiei.  His  own  Portrait. 

„  „  Madonna  and  Child. 

Hague.  Gallery.  Temptation  of  Adam  and  Eve. 

Munich.  PiTiakothek.  The  Infancy  of  Jupiter. 

„  „  The  Assumption  of  the  Virgin. 

Petersburg.  Hermitage.  Charity. 

Vienna.  Belvedere.  Madonna  and  Child. 

„  „  The  Boman  Charity. 

His  paintings  may  also  be  found  at  Hampton 
Court  and  in  the  collection  of  the  Duke  of  Devon- 
shire at  Chatsworth.     He  died  at  Forli  in  1719. 

Cignani's  powers  were  more  profound  than 
prompt;  he  conceived  his  subject  with  facility,  but 
he  found  difficulty  in  finishing  it  to  his  satisfaction. 
Though  his  works  always  seem  finished,  they  have 
nothing  of  the  appearance  of  labour.  In  his 
design  he  emulated  Correggio,  without  arriving  at 
the  grandeur  and  vagueness  of  contour  that  are 
peculiar  to  his  unrivalled  model.  In  his  colouring 
he  resembles  rather  the  suavity  of  Guido  than  the 
tender  blending  of  Correggio.  Like  the  Carraoci, 
he  possessed  a  faculty,  by  means  of  extraordinary 
relief,  of  making  his  figures  appear  larger  than 
they  really  are.     He  excelled  in  painting  women 

276 


and  children,  in  which  to  something  of  the  grace 
of  Albani,  he  added  a  more  elevated  character. 

CIGNANI,  Felice,  the  son  and  scholar  of  Carlo 
Cignani,  was  born  at  Bologna  in  1660.  Under  the 
able  instruction  of  his  father,  and  endowed  with 
a  natural  disposition  for  the  art,  he  became  a 
painter  of  considerable  ability.  Enriched  by  an 
ample  fortune  left  him  by  his  father,  he  appears 
to  have  exercised  the  art  rather  as  his  inclination 
prompted  him,  than  as  a  regular  professor.  In 
the  Church  of  the  Carita  at  Bologna  is  a  picture 
by  him  of  the  '  Virgin  and  Infant  Jesus,  with 
St.  Joseph,  and  St.  Anthony  of  Padua;'  and  at 
the  Cappuccini,  a  much-admired  picture  of  'St. 
Francis  receiving  the  Stigmata.'     He  died  in  1724. 

CIGNANI,  Paolo,  the  nephew  and  scholar  of 
Carlo  Cignani,  was  born  at  Bologna  in  1709.  Lanzi 
mentions  in  favourable  terms  a  picture  by  this 
painter  at  Savignano,  '  St.  Francis  appearing  to  St. 
Joseph  of  Copertino.'  The  subject  is  represented 
by  candle-light  with  a  fine  effect ;  the  figures  are 
well  designed  in  the  style  of  the  antique.  He  died 
in  1764. 

CIGNAROLI,  GiAMBBTTiNo,  was  bom  at  Salo, 
near  Verona,  in  1706.  He  first  studied  under  Santo 
Prunato  at  Venice,  but  gained  further  improve- 
ment by  travelling  'in  the  Venetian  States  and 
Lombardy,  and  by  copying  the  works  of  Paolo 
Veronese  and  Correggio.  He  may  be  ranked 
among  the  best  painters  of  the  modern  Venetian 
school.  Although  he  was  invited  to  several  of 
the  courts  in  Italy,  he  preferred  a  residence  at 
Venice.  At  Pontremoli  is  an  admirable  picture 
by  him  of  'St.  Francis  receiving  the  Stigmata.' 
Lanzi  extols  as  one  of  his  finest  pictures  the 
'  Plight  into  Egypt,'  in  Sant'  Antonio  Abbate,  at 
Parma.  The  grave  and  dignified  beauty  of  the 
Virgin,  and  the  angelic  character  of  the  cherubs 
that  are  their  guides,  partake  of  the  charming  ex- 
pression of  Carlo  Maratti,  although  unequal  to  that 
master  in  unity  of  effect  and  harmony  of  colour- 
ing. His  backgrounds  are  ingeniously  composed 
of  well-chosen  architecture  and  pleasing  landscape, 
and  his  subjects,  usually  devout,  are  enlivened  by 
groups  of  cherubs  and  angels,  which  he  introduced 
with  the  happiest  effect.  He  was  the  founder,  and 
in  1769  the  director,  of  the  Academy  at  Verona. 
He  died  at  Verona,  in  1770.  Among  his  principal 
works  are: 

Madrid. 
Venice. 


Gallery. 


Assumption  of  the  Virgin. 
The  Death  of  Rachel  (a  replica  is 
in  the  Lille  Museum). 
Verona.      Museum.       The  Triumph  of  Pomponius. 

„  Cathedral.     The  Transfiguration. 

Vienna.      Belvedere.    Madonna  and  Child,  with  SS.  Ottilia 
and  Peter  Martyr. 

CIGNAROLI,  Martino,  was  bom  at  Verona  in 
1649,  and  studied  in  the  school  of  Carpioni,  under 
whom  he  became  an  able  artist  in  landscapes  of  an 
easel  size.     He  died  at  Milan  in  1726. 

His  brother,  Pieteo  Cignaeoli,  who  was  also  a 
painter,  was  born  at  Verona  in  1665,  and  died  at 
Milan  in  1720. 

CIGNAROLI,  SciPiONE,  the  son  of  Martino,  re- 
ceived his  first  instruction  from  his  father,  and 
afterwards  went  to  Rome,  where  he  became  a 
scholar  of  Tempesta.  He  was  a  successful  imitator 
of  the  style  of  his  master,  and  of  the  works  of  G. 
Poussin  and  Salvator  Rosa.  His  pictures  are  chiefly 
at  Milan  and  Turin. 

CIGOLI.     SeeCAEDl. 

CIMA  DA  CoNEGLiANo.    See  Conegliano. 


Cimabue 


PAINTERS  AND  ENGRAVERS. 


Cincinnato 


CIMABUE,  Giovanni,  who  was  of  a  noble  family, 
was  born  at  Florence  in  1240.  He  is  extolled  by 
Vasari  as  having  ehed  the  first  light  on  the  art  of 
painting,  and  the  title  of  the  'Father  of  Modem 
Painting'  has  been  bestowed  upon  him.  Most 
writers,  however,  now  agree  in  regarding  him  as 
the  last  of  the  old,  rather  than  the  first  of  the  new, 
line  of  painters  in  Italy ;  for  although  he  undoubt- 
edly infused  a  certain  amount  of  new  life  into  the 
old  worn-out  types,  he  never  quite  rid  himself  of 
the  dismal  asceticism  of  the  Byzantine  School,  and 
therefore  can  scarcely  be  placed  on  a  level  with 
his  great  contemporary  Niccolo  Pisano,  who  really 
gave  the  new  impulse  that  art  received  at  this  time, 
an  impulse  that  was  carried  on  by  Cimabue's  pupil 
Giotto,  and  transmitted  by  him  through  all  the 
great  line  of  Italian  artists. 

Vasari  states  that  he  was  educated  in  the  Convent 
of  Santa  Maria  Novella,  and  was  trained  in  art  by 
certain  Greek  masters  who  had  been  invited  to 
Florence  to  paint  the  chapel  of  the  Gondi  in  Santa 
Maria  Novella ;  but  as  this  church  was  not  built 
until  Cimabue  was  about  forty  years  of  age,  this 
could  not  well  have  been  the  case.  There  were, 
however,  many  native  painters  in  Italy  at  this  time, 
and  from  some  of  these  he  probably  received  in- 
struction. Of  Cimabue's  works  by  far  the  most 
important  is  the  famous  colossal  Madonna  still 
preserved  in  the  church  for  which  it  was  painted 
— Santa  Maria  Novella.  This  Madonna  was  so 
admired  by  Cimabue's  contemporaries  that  they 
carried  it,  according  to  Vasari,  in  festive  procession 
through  the  streets.  It  was  the  largest  altar-piece 
that  had  as  yet  been  painted,  and  in  many  respects 
is  important  in  the  history  of  art.  The  expression 
of  the  Virgin,  though  doleful,  is  different  from  the 
hard  staring  grief  depicted  by  preceding  artists, 
and  the  Child  stretches  out  his  two  fingers  in  bene- 
diction in  quite  a  natural  manner.  In  this  work 
indeed  distinct  progress  is  visible,  but  this  was  a, 
late  work  of  the  artist;  a  Madonna  in  the  Floren- 
tine Academy,  and  another  in  the  Louvre  at  Paris, 
scarcely  attain  to  the  same  degree  of  improvement. 

Besides  his  Madonnas  and  other  altar-pieces, 
Cimabue  was  doubtless  the  master  who  executed 
many  of  the  wall-paintings  in  the  church  of  St. 
Francis,  at  Assisi.  "  Of  Cimabue's  presence  at 
Assisi,"  Messrs.  Crowe  and  Cavalcaselle  pronounce 
that  "  there  is  not  the  slightest  reason  to  doubt," 
but  it  is  very  difficult  to  assign  precisely  his  portion 
of  the  artistic  work  accomplished  there.  This 
church  has  a  peculiar  interest  in  the  history  of  Art, 
for  the  whole  progress  of  painting  in  the  13th  and 
14th  centuries  may  be  studied  on  its  walls.  It  was 
built  as  an  Upper  and  Lower  Church  during  the 
first  half  of  the  13th  century,  when  the  worship  of 
St.  Francis,  the  Patron  Saint  of  Poverty,  had  grown 
to  be  second  only  to  that  of  Christ.  It  was  first 
decorated  by  the  rude  artists  of  that  early  day,  and 
probably,  amongst  others,  by  Giunto  Pisano ;  but 
Cimabue  appears  to  have  had  the  superintendence 
of  all  the  paintings  executed  there  in  his  time. 
Vasari  indeed  assigns  the  whole  of  the  paintings 
of  the  walls  and  the  vaulted  roof  of  the  Lower 
Church  to  him  and  "  certain  Greek  masters  "  whom 
he  "greatly  surpassed  ;  "  but  it  is  more  probable 
that  he  merely  painted  the  south  transept.  All 
his  paintings  in  the  Lower  Church  have  perished, 
but  some  still  remain  in  the  Upper  Church  that  are 
assigned  to  him  with  every  probability  of  truth. 
According  to  Vasari  the  whole  series  of  the  History 
of  the  Virgin,  and  of  Jesus  Christ,  together  with 


the  eight  historical  subjects  from  the  Old  Testa- 
ment, were  all  painted  by  Cimabue ;  but  modern 
writers  find  in  these  paintings  the  work  of  many 
different  hands.  In  particular,  the  large  painting 
of  the  '  Assumption  of  the  Virgin '  is  attributed  by 
Angeli  ('Storia  della  Basilica  d' Assisi')  to  Giunto 
Pisano  ;  indeed,  in  this  church,  which  seems  to  have 
been  a  sort  of  training  ground  for  most  of  the 
artists  of  that  time,  we  may  see  the  progress  that 
Italian  art  had  just  begun  to  make,  tracing  the 
development  from  Giunto  Pisano  to  Cimabue,  and 
from  Cimabue  to  Giotto  and  the  other  artists  who 
worked  under  Giotto's  influence. 

Vasari  speaks  of  Cimabue  having  painted  a  smfHl 
picture  of  St.  Francis  "  from  nature,"  not  meaning 
from  St.  Francis  himself,  who  had  long  been  dead, 
but  from  the  living  model,  "  wliich  was  a  new  thing 
in  those  times."  This  likeness  still  exists  in  the 
church  of  Santa  Crooe,  but  its  authenticity  is  rendered 
doubtful  by  its  being  placed  amongst  other  works 
that  are  attributed  to  Cimabue  without  any  reason- 
able foundation.  Cimabue  probably  died  in  1302,  ' 
in  which  year,  according  to  Ciampi,  he  was  engaged 
upon  a  mosaic  in  the  Duomo  of  Pisa,  which  he  left 
unfinished.  He  was  buried  in  the  church  of  Santa , 
Maria  dei  Fiore  in  Florence,  and  the  following 
epitaph  was  afterwards  composed  upon  him  by  one 
of  the  Nini : 

"  Credidit  ut  Cimabos  picturse  casbra  tenere, 
Sic  teuuit,  vivens ;  nunc  tenet  astra  poli." 

This  probably  was  written  in  allusion  to  the  well- 
known  lines  in  Dante's  '  Purgatorio,'  and  not  as 
Vasari  puts  it. 

Bibliography  :  Vasari,  '  Vite  de '  piCi  eccellenti 
Pittori,  &c.'  Vol.  I.  Milan,  1878  ;  Crowe  and  Caval- 
caselle, '  New  History  of  Painting  in  Italj','  Vol.  I.  ; 
and  in  P.  Angeli,  '  Storia  della  Basilica  d'Assisi.' 

M.  M.  H. 

CIMAROLI,  GlAMBATTiSTA,  a  Venetian  landscape 
painter,  who  was  born  at  Salo  on  the  lake  of  Garda, 
flourished  from  1718  to  1733.  He  was  a  pupil  of 
Antonio  Calza,  and  it  is  conjectured  that  Zuccarelli 
may  have  taken  lessons  from  him,  as  his  early  pic- 
tures have  some  resemblance  to  those  of  Cimaroli, 
but  with  less  warmth.  The  cattle  and  figures 
introduced  are  of  the  same  character.  His  pictures 
are  not  uncommon  in  England,  though  his  name  and 
works  are  confounded  with  those  of  the  Cignaroli. 

CIMATORI,  Antonio,  called  II  Visaoci,  an 
Italian  historical  painter,  was  a  native  of  Urbino. 
He  flourished  in  the  16th  century,  and  excelled  in 
chiar-oscuro  and  in  pen  and  ink  drawings. 

CIMON,  an  early  Greek  monochromist  of  Cleonae, 
appears  to  have  flourished  in  the  latter  part  of  the 
9th  century  B.C.,  but  his  date  cannot  be  determined 
with  any  certainty.  He  seems  to  have  surpassed 
all  his  predecessors,  and  to  have  been  the  first  to 
attempt  to  place  the  figure  in  different  attitudes, 
so  as  to  display  the  joints  of  the  limbs,  the  veins 
of  the  body,  and  the  folds  of  the  drapery.  He  may 
therefore  be  considered  the  first  painter  of  per- 
spective. 

CINCINNATO,  Diego  Romulo,  and  Fhancisco 
RoMULO,  were  the  sons  and  pupils  of  Romolo  Cin- 
cinnato. Diego  was  sent  to  Rome  by  Philip  IV., 
where  he  painted  for  that  monarch  the  portrait  of 
Urban  VIII.,  by  whom  he  was  knighted,  and  pre- 
sented with  a  gold  medal  and  chain.  He  was 
principally  engaged,  as  was  his  brother  Francisco, 
in  painting  portraits.  Diego  died  at  Rome  in  1625, 
and  Francisco  in  the  same  city  in  1635. 

277 


Cincinnato 


A  BIOGEAPHICAL  DICTIONARY  OF 


Cipriani 


CINCINNATO,  EoMOLO,  a  Florentine  painter, 
■who  was  born  at  Florence  in  1502,  and  was  a  pupil 
of  Francesco  Salviati.  In  1567  he  was  invited  by 
Philip  II.  to  Spain,  where  lie  passed  the  greater 
part  of  his  life.  He  was  employed  in  the  Escorial, 
where  he  painted  in  fresco  a  part  of  the  great 
cloister,  and  in  the  church  two  pictures  representing 
'  St.  Jerome  reading,'  and  the  same  saint  preaching 
to  his  disciples  ;  as  well  as  two  subjects  from  the 
life  of  St.  Lawrence.  For  the  church  of  the 
Jesuits  at  Ciien9a,  he  painted  in  1572 — 3  his  most 
esteemed  work,  the  '  Circumcision,'  now  in  the 
Academy  of  St.  Ferdinand  at  Madrid.  He  also 
painted  some  mythological  subjects  in  fresco,  in 
the  palace  of  the  Duke  of  Infantado,  at  Guadalajara. 
Other  works  by  him  are  in  the  Academy  of  Madrid, 
viz.: — 'The  Transfiguration'  after  Raphael,  in  oil; 
two  pictures  of  '  St.  Peter '  and  '  St.  Paul '  ;  and  a 
fresco  painting  of  '  St.  Lawrence.'  He  died  at  an 
advanced  age  in  1600. 

CINER1UIU8,  Philippus,  is  the  name  of  an  en- 
graver by  whom  there  are  two  small  plates  repre- 
senting St.  Dominic  and  St.  Peter  Martyr,  dated 
1516.  He  appears  to  have  been  a  monk  of  the 
Dominican  order,  and  was  probably  of  German 
origin,  the  name  Cinericius  being  the  Latin  equiva- 
lent of  Ascher.  The  style  of  his  engravings  is 
entirely  that  of  the  Italian  school  of  the  com- 
mencement of  the  16th  century.  See  Passavant's 
'  Peintre-Graveur,'  v.  228. 

ClONE,  Andrea  di,  who  was  bom  at  Florence 
in  1308  (?),  is  commonly  called  Okcagna,  (supposed 
to  be  a  corruption  of  "  Aroagnuolo,")  the  name 
given  to  him  by  his  contemporaries.  His  father, 
a  goldsmith,  instructed  him  in  the  rudiments  of  his 
art;  in  1343  he  was  registered  in  the  Florentine 
Painters'  Guild,  and  nine  years  later  he  became 
master  in  the  Guild  of  the  Stone-Cutters.  Between 
1350  and  1357,  in  conjunction  with  his  elder 
brother,  Leonardo  (more  commonly  called  Nardo), 
he  painted  in  the  Strozzi  Chapel  in  Santa  Maria 
Novella,  Florence.  The  frescoes,  the  '  Last  Judg- 
ment,' '  Paradise,'  and  an  altar-piece  of  the  year 
1357,  by  Andrea,  and  'Hell,'  by  Nardo,  though 
much  damaged  by  damp  and  restoration,  still 
remain.  For  the  same  chapel  he  painted,  in  1354, 
an  altar-piece  of  the  '  Saviour  enthroned  with 
Saints  and  Angels.'  Early  in  1358  Orcagna  went 
to  Orvieto,  where  he  worked  at  intervals  until 
1361. 

The  death  of  Orcagna  is  usually  placed  in  or 
before  1376,  but  modern  writers  say  that  he  pro- 
bably died  in  1368,  and  accordingly  give  1308  as 
the  year  of  his  birth,  for  he  is  said  to  have  been 
sixty  years  old  when  he  died. 

If  the  year  1368  be  correct,  it,  of  course,  robs 
him  of  the  authorship  of  any  works  executed  sub- 
sequent to  that  date.  Amongst  the  paintings 
formerly  ascribed  to  him,  but  now  assigned  to  other 
masters,  are  the  great  frescoes  in  the  Campo  Santo 
at  Pisa,  representing  the  '  Triumph  of  Death,'  the 
'  Last  Judgment,'  and  'Hell,'  which  are  thought  to 
be  of  Sieriese  workmanship,  similar  to  that  of  the 
Lorenzetti. 

Orcagna  was  also  a  sculptor  and  architect.  On 
his  sculptures  he  wrote,  "  Fece  Andrea  di  Clone, 
Pittore  ;  "  on  his  paintings,  "  Fece  Andrea  di  Clone, 
Soultore."  The  front  central  window  in  Santa 
Croce,  Florence,  representing  the  'Descent  from 
the  Cross,'  is  said  to  be  from  an  original  design 
by  Orcagna.  The  following  works  by  him  still 
remain : 

278 


Florence.  S.Maria  Ad  Fiore.  S.  Zanobius  and  other  Saints. 

„        S,  Croce  {Medici )    SS.  Ambrose,  Jerome,  Gre- 

ChapeV).  J        gory,  and  Augustine. 

London.  National  Gall.         Coronation    of    the   Virgin 

(an    altar-piece     in    three 

divisions :   painted  for  S. 

Fietro  Mayyiore,  Florence). 

CIONE,  Leonardo  di,  architect  and  painter,  the 
elder  brother  of  Orcagna,  is  usually  known  by  the 
name  of  Nardo,  which  was  supposed  formerly 
to  be  the  diminutive  of  Bernardo,  but  is  now  said 
to  stand  for  Leonardo.  If  this  be  so,  the  works 
signed  "  Bernardus  de  Florentia  " — e.  g.  a  triptych  in 
the  Florentine  Academy,  a  '  Virgin  and  Saints  '  in 
the  Ognissanti  at  Florence,  &c. — usually  ascribed  to 
Orcagna's  elder  brother,  cannot  be  by  his  hand. 
But  the  Strozzi  Chapel,  in  Santa  Maria  Novella, 
Florence,  still  possesses  frescoes  which  he  is  known 
to  have  executed  in  conjunction  with  Orcagna.  He 
flourished  about  1360-1360. 

CIOR,  PiBKRE  Charles,  a  French  painter  of 
historical  subjects,  portraits,  and  miniatures,  was 
born  in  Paris  in  1769.  He  was  a  pupil  of  Bauzin, 
and  became  miniature  painter  to  the  king  of  Spain. 

CIPPER.     See  Zipper. 

CIPRIANI,  Galgano,  an  Italian  line-engraver, 
was  born  at  Siena  in  1775.  He  entered  the  school 
of  RafEaelle  Morghen,  and  was  professor  success- 
ively at  the  Academies  of  Naples  and  Venice.  His 
best  plates  are  '  St.  Peter  and  St.  Paul,'  after  Guide 
Reni,  and  '  St.  John  in  the  Wilderness,'  after  Titian. 

CIPRIANI,  Giovanni  Battista,  a  painter  and 
etcher,  was  bom  at  Florence  in  1727.  He  was  of 
a  good  family  of  Pistoia.  He  attended  the  school 
of  Ignatius  flugford,  an  Englishman  settled  in 
Florence,  where  he  was  a  fellow-pupil  of  Bartolozzi. 
In  1760  he  went  to  Rome  for  improvement,  and 
after  his  return  to  Florence,  he  painted  the  organ- 
screen  for  the  church  of  the  convent  of  Santa 
Maria  Maddalena  de'  Pazzi.  In  1755  he  came  to 
England,  whither  his  reputation  had  preceded  him. 
It  was  at  a  period  when  the  talents  of  Bartolozzi, 
the  engraver,  were  in  their  prime,  and  the  union  of 
the  abilities  of  these  two  men  soon  became  dis- 
tinguished through  every  part  of  Europe.  Perhaps 
few  instances  have  occurred  in  which  the  exertions 
of  the  artist  have  been  so  happily  supported  by  the 
taste  of  the  engraver. 

Cipriani  executed  few  large  works  in  painting ; 
the  most  considerable  of  them  are  at  Houghton. 
He  also  restored  some  of  Verrio's  paintings  at 
Windsor,  as  well  as  the  ceiling  by  Rubens  in  the 
chapel  at  Whitehall,  in  1778.  He  left  an  infinite 
number  of  drawings,  which  may  be  ranked  among 
the  happiest  efforts  of  the  art.  The  character  and 
works  of  Cipriani  have  been  thus  faithfully  de- 
scribed by  Fuseli :  "  The  fertility  of  his  invention, 
the  graces  of  his  composition,  and  the  seductive 
elegance  of  his  forms,  were  only  surpassed  by  the 
probity  of  his  character,  the  simplicity  of  his  man- 
ners, and  the  benevolence  of  his  heart."  Cipriani 
was  one  of  the  members  of  the  Royal  Academy  at 
its  foundation  in  1768,  and  was  employed  to  make 
the  design  for  the  diploma  which  is  given  to  the 
Academicians  and  Associates  on  their  admission,  and 
which  was  finely  engraved  by  Bartolozzi.  For  this 
work  the  Academicians  presented  him  with  a  silver 
cup,  at  the  same  time  acknowledging  the  assistance 
they  had  received  from  his  great  abilities  in  his 
profession.  The  original  drawing  was  afterwards 
sold  by  auction  for  thirty-one  guineas.  He  en- 
graved a  few  plates,  some  of  which  are  after  his 


Circignano 


PAINTERS  AND  ENGRAVERS. 


Clack 


own  designs.  These  were  done  for  Thomas  Hollis, 
to  be  inserted  in  his  '  Memoirs.'  On  them  is  in- 
scribed, 'Drawn  and  etched  by  J.  B.  Cipriani,  a 
Tuscan,'  &c. 

In  1761  Cipriani  married  an  English  lady,  by 
whom  he  had  two  sons,  the  younger  of  whom, 
Captain  Sir  Henry  Cipeiani,  was  brought  up  as 
an  artist,  but  afterwards  became  a  clerk  in  the 
Treasury,  and  died  in  1820. 

Cipriani  died  at  Hammersmith  in  1785,  and  was 
buried  in  the  Chelsea  burial-ground,  where  Barto- 
lozzi  erected  a  monument  to  his  memory.  In  the 
year  after  his  death  1100  drawings  by  him  were 
sold  by  auction.  His  own  portrait  by  himself  is 
in  the  Dfifizi,  Florence,  and  in  the  South  Kensington 
Museum  are  three  water-colour  drawings  by  him 
— 'The  Triumph  of  Cupid,'  'The  Jealousy  of  Darn- 
ley  '  and  '  Comedy '  (1783). 

CIRCIGNANO,  Antonio,  who  was  born  at  Poma- 
rance  in  1560,  was  the  son  and  pupil  of  Niccol6 
Circignano,  whom  he  assisted  in  many  of  his  works. 
After  the  death  of  his  father,  he  resided  some  years 
at  Citta  di  Castello,  where  he  painted  some  of  his  best 
pictures,  of  which  the  most  admired  was  the  '  Con- 
ception,' in  the  Conventuali,  which  Lanzi  describes 
as  partaking  of  the  styles  of  Barocci  and  Roncalli. 
He  returned  to  Rome,  according  to  Baglione,  in  the 
pontificate  of  Urban  VIII.,  and  was  employed  for 
several  of  the  churches.  In  La  Madonna  della 
Consolazione,  he  painted  some  subjects  of  the  life 
of  the  Virgin;  in  Santa  Maria  Transpontina,  the 
church  of  the  Carmelites,  several  pictui'es  from  the 
life  of  St.  Albert.     He  died  at  Rome  in  1620. 

CIRCIGNANO,  Niccol6,  called  Dalle  Poma- 
EANCE,  or  II  Pomabancio,  was  born  at  Pomarance, 
in  Tuscany,  in  1519.  Baglione,  without  saying  by 
whom  he  was  instructed,  states  that  he  visited 
Rome  when  he  was  young,  in  the  pontificate  of 
Gregory  XIII.,  by  whom  he  was  employed  in  the 
great  saloon  of  the  Belvedere.  He  lived  the  greater; 
part  of  his  life  at  Rome,  where  there  are  many  of 
his  works  in  the  churches.  In  San  Stefano  Rotondo, 
is  the  Martyrdom  of  that  Saint.  In  the  Tempio 
del  Gesu,  there  are  two  chapels  entirely  decorated 
by  him ;  in  one  he  has  painted  several  subjects 
from  the  lives  of  St.  Peter  and  St.  Paul,  in  the 
other,  the  'Nativity ; '  in  Sant'  Antonio  is  the  'Cruci- 
fixion.' The  Cupola  of  Santa  Pudenzipna  is  also 
by  this  master.  Baglione  says  that  he  died  in  the 
pontificate  of  Sixtus  V.  (1585-1590)  in  the  72nd 
year  of  his  age :  therefore,  in  1590. 

CITTADINI,  Gaetano,  was  the  son  of  Carlo 
Cittadini,  and  was  instructed  by  his  father.  He 
excelled  in  painting  landscapes  of  a  cabinet  size, 
with  small  figures,  correctly  drawn  and  spiritedly 
touched.  His  works  were  held  in  estimation  both 
at  Rome  and  at  Bologna.  He  lived  about  the  year 
1725.  His  brother  Giovanni  Girolamo  was  also  a 
distinguished  painter. 

CITTADINI,  Giovanni  Battista,  Carlo,  and 
Angiolo  Michele,  were  the  sons  of  Pierfrancesco 
Cittadini,  and  painted  animals,  birds,  fruit,  and 
flowers,  in  the  style  of  their  father.  They  resided 
chiefly  at  Bologna.  Giovanni  was  born  in  1657, 
and  died  in  1693 :  Carlo  was  born  in  1669,  and 
died  in  1744. 

CITTADINI,  Pierfrancesco,  called  II  Milanese, 
was  bom  at  Milan  in  either  1613  or  1616,  and  was 
brought  up  in  the  school  of  Guido.  He  possessed 
powers  for  the  higher  work  of  art,  as  is  evident 
from  the  proofs  he  has  given  in  the  churches  at 
Bologna.     His  '  Stoning  of  Stephen,' '  Christ  pray- 


ing in  the  Garden,'  the  '  Flagellation,'  and  the 
'  Bcce  Homo,'  which  he  painted  for  the  chuich  of 
San  Stefano,  and  his  '  St.  Agatha,'  for  the  church  of 
that  Saint,  are  productions  not  unworthy  of  a  dis- 
ciple of  Guido.  Yet,  whether  he  was  allured  by  the 
encouragement  given  to  the  painters  of  ornamental 
cabinet  pictures,  or  from  his  own  caprice,  this  able 
artist  descended  to  the  humble  imitation  of  still- 
life.  Many  of  his  pictures  of  dead  game,  fruit,  and 
flowers,  are  in  the  collections  at  Bologna,  where  he 
died  in  1681.  An  'Adoration  of  the  Silpherds' 
by  him  is  in  the  Hermitage,  St.  Petersburg ;  and 
the  Dresden  Gallery  contains  'Hagar  and  the 
Angel,'  'Lot  and  his  daughters  leaving  Sodom,' 
and  a  picture  of  still-life.  Three  paintings  by  him 
are  in  the  Bologna  Gallery.  Albani  called  the 
three  sons  of  this  painter,  '  I  Fruttajuoli '  and 
'  I  Fioranti ' 

CIVALLI,  Francesco,  who  was  born  at  Perugia 
in  1660,  was  a  scholar  of  Andrea  Carlone.  On  leav- 
ing that  master  he  went  to  Rome,  where  he  studied 
some  time  under  Giovanni  Battista  Gauli,  called 
Baciccio.  He  *as  a  reputable  painter  of  history  ; 
but  his  chief  merit  consisted  in  his  portraits,  which 
are  very  generally  esteemed.     He  died  in  1703. 

CIVERCHIO,  Vincenzo,  (or  Verchio,)  was  born 
at  Crema  towards  the  close  of  the  15th  century.  He 
has  also  been  styled  "  II  Fornaeo,"  and  was  at 
Brescia  for  the  first  time  in  1493,  where  he  spent 
four  years  in  the  decoration  of  the  old  cathedral, 
a  labour  which  has  now  entirely  disappeared.  The 
churches  of  Santa  Barnaba  and  Sant'  Alessandro, 
Brescia,  contain  altar-pieces  by  him,  dated  1495 
and  1504.  His  earliest  known  remaining  work  at 
Crema  is  the  altar-piece  in  the  duomo,  representing 
'  St.  Sebastian,  between  SS.  Christopher  and  Roch,' 
dated  1509.  In  1526  he  painted  the  portraits  of  the 
illustrious  citizens  of  Crema,  and  likewise  restored 
.•\  miraculous  Pieta,  which  belonged  to  the  duomo. 
The  date  of  his  death  is  uncertain.  He  was  living 
in  1539,  for  that  date  is  found  on  a  '  Baptism  of 
Christ '  by  him  in  the  Tadini  Collection  at  Lovere. 
The  following  of  his  paintings  are  worthy  of  note  : 
Brescia.    S.  Alessandro.  Pieta.    1504. 

„  „  Scenes  of  the  Passion.    1504. 

Grema.  Bishop^s  Chapel.  An  Annunciation. 

„  Tovm  Hall.  St.  Mark   between    Justice  and 

Temperance.    1507—1509. 

„  „  Several  portraits  of  personages  of 

distinction  in  that  city.     1526. 

„  Cathedral,  St.  Sebastian  between  SS.  Eoch 

and  Christopher.    1515  or  1519. 
Gessate.  S.  Pietro.  Pieta. 

Lovere.         Taiini  Coll.  Baptism  of  Christ.     1539. 

„  Casa  Carioni.  15    Scenes    from    the    Story    of 

Psyche  (as  a  frieze).    1540. 

„  <S.  Andrea.  Trinity. 

„  „  SS.     Nicholas,    Sebastian,    and 

Eoch. 
Palazzuolo.      Church.      The   Madonna  and    Child,  with 
Angels  and  Saints.     1525. 

Vasari  by  mistake  speaks  also  of  an  older  painter 
of  the  same  name. 

CIVETON,  Christophb,  a  French  engraver  and 
draughtsman,  was  born  in  Paris  in  1796.  He 
studied  under  Berlin,  and  made  drawings  of  Views 
in  the  environs  of  Paris.     He  died  in  1831. 

CIVETTA.     See  Bles. 

CLACK,  Richard  Augustus,  the  son  of  a  Devon- 
shire clergyman,  whose  chief  works  were  portraits, 
exhibited  at  the  Royal  Academy  from  1830  to  1857. 
He  lived  for  some  time  at  Exeter,  and  afterwards 
at  Hampstead,  but  the  dates  of  his  birth  and  death 
are  not  recorded. 

279 


Claes 


A  BIOGEAPHICAL  DICTIONARY  OP 


Clark 


CLABS,  Anthonie,  (or  Claessens,)  the  son  of 
Pieter  Claea  the  elder,  painted  historical  and  alle- 
gorical subjects,  and  portraits.  He  was  a  native 
of  Bruges,  and  there  entered  the  Guild  of  St.  Luke 
in  1575,  and  became  its  dean  in  1586,  1590,  and 
1601.  He  died  in  1613.  His  works,  several  of 
which  are  in  the  H6tel-de-Ville  and  churches^  of 
Bruges,  are  distinguished  by  their  fine  colouring 
and  finish.  In  the  H6tel-de-Ville  is  a  '  Grand 
Banquet'  with  many  portraits  of  magistrates  of 
the  time,  dated  1574. 

His  son,  PiETEE  Anthonie,  was  dean  of  the 
Guild  of  St.  Luke  at  Bruges  in  1607,  and  died  in 
1608. 

CLAES,  Floeent,  a  Belgian  painter  of  interiors 
and  genre  subjects,  was  born  at  Antwerp  in  1818. 
He  studied  under  N.  de  Keyser,  and  died  in  his 
native  city  in  1870. 

CLABS,  GiLLES,  (or  Claessens,)  an  historical 
painter,  was  the  son  of  Pieter  Claes  the  elder.  He 
was  born  at  Bruges,  and  in  1570  was  admitted  into 
the  Guild  of  St.  Luke,  of  which  he  became  dean  in 
1677.  He  became  domestic  painter  to  Alessandro 
Farnese,  Duke  of  Parma,  Governor  of  the  Nether- 
lands, and  to  the  Archduke  Albert  and  Infanta 
Isabella.     He  died  at  Bruges  in  1607. 

CLABS,  Pieter,  (or  Claessens,)  the  elder,  a 
Flemish  painter  of  history  and  portraits,  was  the 
earliest  of  a  large  family  of  artists  who  lived  at 
Bruges,  where  he  was  born  in  1600.  He  was  a 
pupil  of  Adriaan  Bekaert,  and  was  admitted  into 
the  Guild  of  St.  Luke  in  that  city  in  1616,  made  a 
muster  in  1629,  and  dean  in  1572.  He  died  at 
Bruges  in  1676.  In  the  collection  of  the  Prince 
of  Orange  at  Brussels  was  a  painting  by  him  of  a 
knight  kneeling,  with  four  sons,  and  in  the  Copen- 
hngen  Museum  is  a  Man's  Portrait  by  him.  The 
name  has  been  often  written  Claeis,  Claeissens, 
Claeyssens,  and  Claeyssoone. 

CLAES,  Pieter,  (or  Claessens,)  the  younger, 
was  the  son  of  Pieter  Claes,  the  elder.  He  was 
born  at  Bruges,  and  died  there  in  1612.  He  painted 
history,  allegories,  and  portraits,  and  became  a 
master  of  the  Guild  of  St.  Luke,  at  Bruges,  in  1670, 
and  dean  in  1587, 1600,  and  1606.  His  masterpiece 
is  a  triptych  In  the  church  of  St.  Walburga  at 
Bruges,  representing  '  Notre-Dame  de  I'Arbre-Sec,' 
painted  in  1606-1608,  and  long  erroneously  attri- 
buted to  Pourbus.  There  is  also  a  triptych,  an 
'  Ecoe  Homo,'  by  him,  in  the  cathedral,  and  the 
'  Pacification  of  Ghent '  in  the  Academy  at  Bruges. 
His  works  are  remarkable  for  their  design  and 
co'ouring,  but  are  wanting  in  animation. 

This  artist  had  a  son,  also  named  Pieter,  who 
died  in  1623.  His  '  Christ  bearing  the  Cross '  is  in 
the  Hospital  of  St.  John  at  Bruges. 

CLAESSEN,  Aertgen,  also  called  Aeetgen  van 
Leyden,  or  Aertgen  de  Voller,  was  a  Dutch 
painter,  born  at  Leyden  in  1498.  He  was  a  scholar 
of  Cornelis  Engelbreohtszoon,  whose  manner  he  at 
first  imitated  ;  but  on  seeing  the  works  of  Schoorl 
and  Heemskerk,  he  changed  his  mode  of  design- 
ing, which  was  neither  correct  nor  agreeable,  and 
adopted  the  style  of  those  masters.  He  painted 
historical  subjects,  and  composed  his  subjects  with 
surprising  facility.  He  also  made  many  designs 
for  painters  upon  glass.  Van  Mander  speaks  in 
very  favourable  terms  of  two  pictures  by  this 
master  at  Leyden,  one  representing  the  '  Cruci- 
fixion, with  the  Virgin,  Mary  Magda'en,  and  the 
Disciples;'  the  other,  'Christ  bearing  his  Cross.' 
Ho  died  in  1564.     There  are  paintings  by  him  in 

280 


the  Berlin  Gallery,  of  '  Christ  before  Caiaphas,'  and 
a  '  Holy  Family.' 

CLAESSEN,  Alaert,  a  Dutch  engraver,  who 
ilourished  at  Amsterdam  between  1520  and  1662. 
He  copied  Lucas  van  Leyden,  Albrecht  DUrer,  and 
H.  S.  Beham.  There  is  also  a  plate  by  him  after 
Mantegna.  His  engravings,  which  are  among  the 
best  productions  of  his  time,  are  executed  with  a 
light  touch,  but  are  not  correctly  drawn.  He  there- 
fore shows  to  more  advantage  in  his  smaller  than 
in  his  larger  works,  of  which  he  executed  but  very 
few. 

Bartsch  and  Passavant  describe  142  works  by 
this  artist,  amongst  which  are  : 

David  and  Goliath. 

The  Baptism  of  the  Eunuch.     1524. 

St.  Margaret. 

A  Nativity. 

The  Baptism  of  Christ. 

The  Death  of  General  Gattamelatta ;  after  Mantegna. 

1555. 
A  Naked  Woman,  with  a  Dragon. 

CLAESSENS,  Anthonie,  a  painter  of  Antwerp, 
is  said  to  have  been  a  pupil  of  Quentin  Massys. 
There  are  two  works  from  his  hand  in  the  Academy 
at  Bruges,  painted  in  1498  for  the  town  hall,  and 
which  have  until  recently  been  attributed  to 
Gheerardt  David  ;  they  represent  the  '  Judgment 
of  Cambyses '  and  the  '  Flaying  of  Sisamnes.' 
These  works  are  correctly  drawn,  of  remarkable 
expression,  and  cleverly  coloured,  but  somewhat 
cold  in  tone  and  with  the  shadows  too  deep.  There 
was  also  a  picture  in  the  church  of  the  Car- 
thusians at  Miraflores  in  Spain,  representing  '  St. 
John  the  Baptist  and  a  Bishop,'  which  bore  the 
legend  '  Antonio  Claesins  Brugensis.'  In  the  Dublin 
National  Gallery  is  a  'Nativity'  said  to  he  by 
him. 

CLAESSENS,  Lambeetus  Antonius,  was  bom 
at  Antwerp  in  1764,  and  commenced  his  artistic 
career  as  a  painter  of  landscapes  ;  but  abandoned 
the  palette  to  exercise  his  talents  as  an  engraver, 
and  became  highly  proficient,  combining  the  use  of 
the  graver  with  that  of  the  etching  needle  in  a 
most  happy  manner.  He  studied  under  Bartolozzi, 
and  engraved  plates  after  the  works  of  Eubens, 
Rembrandt,  Gerard  Dou,  Ostade,  and  other  eminent 
painters  of  the  Netherlands.  He  practised  in 
London,  Amsterdam,  and  Paris,  where  he  settled 
about  1810.  He  died  at  Rueil,  near  Paris,  in  1834. 
Claessens  married  the  widow  of  the  French  minia- 
ture painter  Pelletier,  who  was  herself  an  artist. 
His  best  works  are  : 

The  Descent  from  the  Cross ;  after  Ttubens. 
The  Dropsical  Woman  ;  after  G,  Dou. 
The  Night  Watch  ;  after  Rembrandt. 
The  Laugher  ;  after  F.  Hals. 

CLARET,  William,  an  English  portrait  painter, 
flourished  from  about  1670  to  1680.  He  was  a 
scholar  of  Sir  Peter  Lely,  and  copied  many  of  the 
pictures  of  that  master.  Of  his  own  productions, 
one  of  the  most  successful  was  a  portrait  of  John 
Egerton,  Earl  of  Bridgewater,  of  which  we  have  a 
mezzotint  print  by  E.  Thomson.  He  died  in 
London  in  1706. 

CLAEK,  John  Heaviside,  who  was  born  about 
1770,  was  sometimes  known  as  '  Waterloo  Clark,' 
because  of  the  sketches  he  made  on  the  field  directly 
after  the  battle.  He  was  the  author  of  '  A  prac- 
tical essay  on  the  art  of  Colouring  and  Painting 
Landscapes,'  with  illustrations,  published  in  1807, 
and  'A  practical  Illustration  of  Gilpin's'Day,' witli 


Clark 


PAINTERS  AND  ENGRAVERS. 


Claxton 


thirty  designs,  in  1824.  He  died  in  Edinburgh  in 
1863. 

CLARK,  Thomas,  a  native  of  Ireland,  studied  in 
the  Dublin  Academy,  and  about  1768  entered  the 
studio  of  Sir  Joshua  Reynolds,  with  whom,  how- 
ever, he  did  not  remain  long.  He  drew  heads 
well,  but  was  a  very  poor  colourist.  Be  died 
young. 

CLARK,  W.,  a  corporal  in  a  Light  Dragoon 
Regiment,  practised  successfully  as  an  aquatint 
engraver.     He  died  at  Limerick  in  1801. 

CLARKE,  John,  an  engraver,  was  bom  in  Scot- 
land about  1650,  and  worked  with  success  at  Edin- 
burgh. He  died  about  1697.  We  have  by  him 
the  following  plates : 

A  Medallion  of  William  and  Mary,  Prince  and  Princess 
of  Orange.    1690. 

Sir  Matthew  Hale. 

George,  Baron  de  Goertz. 

Andrew  Marvell. 

Humphrey  Prideaux. 

Seven  email  Heads  on  one  plate :  Charles  II.,  and  his 
Queen,  Prince  Rupert,  Prince  of  Orange,  Duke  of 
York,  Duke  of  Monmouth,  and  General  Monk. 

The  Humours  of  Harlequin  (from  his  aim  designs). 

CLARKE,  John,  an  engraver  mentioned  in  Wal- 
pole's  'Anecdotes,'  resided  in  Gray's  Inn,  London, 
and  worked  during  the  latter  portion  of  the  17th 
century.  He  engraved  a  portrait  of  Rubens,  and 
a  print  of  '  Hercules  and  Deianira.' 

CLARKE,  Theophilus,  was  born  in  1776.  He 
studied  under  Opie,  and  became  a  student  of  the 
Royal  Academy  in  1793,  and  an  Associate  in  1803. 
He  chiefly  practised  portrait  painting,  but  occa- 
sionally exhibited  fancy  subjects,  such  as  'The 
Pensive  Girl,'  and  '  The  Lovers,'  from  Thomson's 
Seasons.  It  is  not  known  when  he  died,  but  his 
name  was  retained  on  the  list  of  Associates  till 
1832. 

CLARKE,  William,  was  an  English  engraver 
mentioned  by  Vertue.  He  engraved  the  portraits 
of  George,  Duke  of  Albemarle,  from  a  picture  by 
Barlow;  Elizabeth  Percy,  Duchess  of  Somerset; 
and  John  Shower,  from  a  painting  by  himself. 
The  latter  is  a  small  mezzotint.  His  last  work  is 
dated  1680. 

CLARKSON,  Nathaniel,  who  began  life  as  a 
coach-panel  and  sign  painter,  afterwards  became 
known  for  his  portraits.  He  was  a  member  of  the 
Incorporated  Society  of  Artists.  In  1787  he 
painted  an  altar-piece  of  the  '  Annunciation,'  which 
he  presented  to  St.  Mary's  church  at  Islington, 
where  he  resided.     He  died  there  in  1795,  aged  71. 

CLAROS,  Ldis,  was  a  Valenoian  painter,  errone- 
ously represented  as  a  scholar  of  the  Ribaltas.  He 
joined  the  Augustinian  Order  in  1663,  and  painted 
for  his  convent  a  large  picture  of  '  Christ  ministered 
to  by  Angels  in  the  Desert,'  besides  other  works,  in 
one  of  which  he  introduced  his  own  portrait. 

CLARUS,  Fabeitids.     See  Chiari. 

CLARY,  JnsTiNiEN  Nicolas,  Viscount,  a  French 
amateur  painter  of  animals,  was  born  in  Paris  in 
1816,  and  died  in  that  city  in  1869. 

CLASENS,  D.,  a  Dutch  engraver,  flourished 
about  the  year  1660.  His  name  is  affixed  to  a 
coarse  etching,  representing  the  'Virgin  and  Infant 
Christ,  with  St.  John  and  an  Angel,'  after  Procac- 
cini. 

CLASERI,  Maeco,  was  a  native  of  Venice,  and 
flourished  about  the  year  1580.  He  engraved 
several  wood-cuts,  among  which  are  the  'Four 
Seasons,'  and  the  '  Four  Ages  of  the  World.' 


CLASSICUS,  ViCTORius,  was,  according  to  Florent 
Le  Comte,  a  sculptor  and  an  architect.  He  is  said 
to  have  engraved  some  plates  from  the  paintings 
of  Tintoretto.  There  is  a  small  portrait  of 
Tintoretto,  engraved  in  a  style  resembling  that  of 
Cornells  Cort,  inscribed  Alessandro  Victoria  Glas- 
sico  sculp.,  which  is  probably  by  the  same  artist. 

CLATER,  Thomas,  exhibited  portraits  and  sub- 
ject pieces  at  the  Royal  Academy  from  1820  till 
1859.     He  died  in  1867.  • 

CLAUDE,  a  French  painter  upon  glass,  called 
by  the  Italians  Claudio  Feancese,  bom  in- the  south 
of  France  about  1470,  to  whom  is  due  the  honour 
of  having  introduced  the  art  into  Italy.  Claude 
took  with  him  to  Rome  a  colleague,  named  Guil- 
laume,  and  they  together  executed  at  the  Vatican 
many  wiiiiaws  which  were  destroyed  in  the  siege 
of  1627.  They  also  painted  for  the  church  of  Santa 
Maria  del  Popolo  two  windows  representing  the 
history  of  the  Virgin,  which  still  exist.  Claude 
died  soon  after  their  completion. 

CLAUDE  LORRAIN.     See  Gell^b. 

CLAUDOT,  Jean  Baptiste  Charles,  a  French 
painter  of  landscapes,  flowers,  and  still-life,  was 
bom  at  Badonviller  (Vosges)  in  1733.  Several  of 
his  works  are  in  the  Museum  of  Nancy,  where  he 
died  in  1814.  He  was  the  friend  of  Girardet  and 
Joseph  Vernet. 

CLAXTON,  Marshall,  a  historical  painter,  was 
bom  at  Bolton,  in  Lancashire,  in  1811.  He  became 
a  pupil  of  John  Jackson,  R.A.,  and  was  also  a 
student  at  the  Royal  Academy,  entering  the  school 
in  1831.  The  first  picture  which  he  exhibited  was 
a  portrait  of  his  father,  in  1832.  'The  Evening 
Star  '  appeared  in  the  following  year.  He  obtained 
the  first  medal  in  the  Painting  School  in  1834,  and 
the  following  year  he  was  awarded  the  gold  medal 
of  the  Society  of  Arts,  for  a  portrait  of  Sir  Astley 
Cooper.  He  exhibited  at  the  Royal  Academy,  the 
Society  of  British  Artists,  and  the  British  Institu- 
tion. In  1837  he  visited  Rome,  and  stayed  in  Italy 
some  time.  At  the  Cartoon  Exhibition  at  West- 
minster Hall  in  1843,  he  obtained  a  prize  of  £100 
for  his  '  Alfred  the  Great  in  the  Camp  of  the 
Danes,'  now  in  the  Literary  and  Scientific  Institu- 
tion at  Greenwich.  In  Westminster  Hall,  1845, 
he  had  a  large  oil  picture  of  the  '  Burial  of  Sir 
John  Moore  at  Corunna.'  About  1850  he  went  to 
Australia  with  the  intention  of  raising  a  School  of 
Art,  taking  with  him  a  large  collection  of  nearly 
two  hundred  pictures,  which  he  exhibited  to  the 
public  free.  Being  disappointed  in  his  endeavours, 
he  left  about  1855,  and  went  to  India,  where  he 
sold  all  his  large  pictures.  He  returned  with  a 
portfolio  full  of  sketches  of  Australian,  Indian, 
and  Egyptian  scenery  and  figures.  The  Baroness 
(then  Miss)  Burdett-Coutts  commissioned  him, 
while  in  Australia,  to  paint  a  large  picture  of 
'  Christ  blessing  little  Children,'  which  is  now  in 
the  school-room  attached  to  St.  Stephen's,  West- 
minster. It  measures  twenty  by  sixteen  feet. 
Claxton  died  in  London  in  1881.  Among  his 
principal  works  are  the  following  : 

Spencer  reading  the  '  Faerie  Queene '  "l 
to  his  "Wife  and  Sir  Walter  Ealeigh.    Painted  for 

The  Mother  of  Moses.  \  the  Baroness 

The  Free  Seat.  Burdett-Coutts. 

The  Grandmother.  J 

General  View  of  the  Harbour  and"j 

City  of  Sydney.  [inthe ^lossession 

Portrait  of  the  Last  Queen  of  the  jo/  Her  Majesty. 
Aborigines.  / 

Christ  at  the  Tomb  of  Lazarus. 

281 


Clay 


A  BIOGRAPHICAL  DICTIONABY  OF 


Cleef 


L'AUeyn. 

Jews  Mourning  over  Jerusalem. 

Sir  Joshua  Eeynolds  and  his  Friends 

Hagar  and  Ishmael. 

High  Church :  Low  Church  :  No  Church  {in  three  com- 
partments). 

The  Death-Bed  of  John  "Wesley. 

The  Last  Interview  between  Dr.  Johnson  and  Sir  Joshua 
Reynolds. 

The  Sepulchre.     {ExhiUted  at  the  International  Exhibi- 
tion, LoTidon,  1862.) 

CLAY,  Alfred  Barron,  who  was  born  at 
Walton-le- Dale,  near  Preston,  in  1831,  first  studied 
for  the  law,  but  abandoning  it  in  1862,  he  went  to 
Liverpool,  and  in  the  same  year  came  to  London 
and  entered  the  schools  of  the  Royal  Academy. 
From  1855  he  was  a  regular  contributor  to  its 
exhibitions.  He  began  by  painting  pontraits  ;  the 
subjects  of  his  best  works  are,  however,  taken  from 
Scottish  and  French  history.  In  1864  he  exhibited 
'  Charles  IX.  and  the  French  Court  at  the  Massacre 
of  St.  Bartholomew';  in  1865,  'The  Huguenot'; 
and  in  1867,  his  masterpiece, '  The  Return  of  Charles 
II.  to  Whitehall  in  1660.'  He  died  in  1868,  at 
Rainhill,  near  Liverpool. 

CLAYTON,  John,  who  originally  studied  surgery, 
painted  still -life  and  fruit  in  oil  and  water-colours 
about  the  middle  of  the  18th  century.  He  has  left 
no  remembrance  of  his  works,  some  of  the  chief  of 
which  were  destroyed  by  fire  in  1769.  He  died  at 
Enfield  in  1800,  aged  72. 

CL:6,  Cornelis  db.  See  Db  Cvk. 
CLEANTHES,  who  flourished  at  Corinth  about 
B.  c.  900,  was  one  of  the  earliest  of  the  Greek  artists, 
and  is  considered  by  some  as  the  inventor  of  the 
'pictura  linearis',  or  monogram,  a  picture  consisting 
of  a  simple  outline,  with  the  interior  lines  of  the 
figures  expressed,  but  without  any  light  or  shade 
or  local  colouring. 

CLEEF,  Hendrik  van,  the  brother  of  Marten 
van  Cleef,  the  elder,  and  of  Willem  van  Cleef,  the 
younger,  was  a  native  of  Antwerp.  It  is  not 
known  under  whom  he  studied ;  but  he  went  to 
Italy  when  young,  and  returned  to  his  native 
country  a  good  painter  of  landscapes.  His  pic- 
tures are  distinguished  by  an  uncommon  lightness 
of  touch,  and  an  excellent  tone  of  colour.  The 
backgrounds  of  the  historical  works  of  his  brother 
Marten  and  of  Prans  Floris  are  frequently  painted 
by  this  artist,  and  are  harmonized  with  the  figures 
with  great  intelligence.  In  the  Belvedere  at  Vienna 
is  the  '  History  of  the  Prodigal  Son  '  by  him.  He 
was  received  into  the  Guild  of  St.  Luke  at  Ant- 
werp in  1551.  Hendrik  van  Cleef  distinguished 
himself  as  an  engraver.  We  have  several  plates  by 
him  of  landscapes  and  views  near  Rome,  after  his 
own  designs  or  those  of  Melchior  Loroh,  which  he 
sometimes  signed  Henricus  Clivensis,  fecit,  and 
sometimes  marked  with  the  cipher  'Sjcy    They 

are  as  follow : 

A  Bull-fight  at  Rome,  before  the  Famese  Palace. 
A  Landscape,  with  Figures  in  a  Cave,  cooking. 
Another  Landscape,  with  Figures  at  Table  in  a  Cave. 
A  set  of  six  Landscapes,  with  Latin  titles. 
A  set  of  four  Views  in  the  vicinity  of  Rome. 

There  is  a  series  of  thirty-eight  plates  by  this 
artist,  entitled  Ruinarum  varii  prospectus,  ruri- 
v.mque  aliquot  delineationes,  published  by  'Theo- 
dorus  Galls.     He  died  at  Antwerp  in  1589. 

His  son,  Hbndeik  van  Cleef,  who  was  born  at 
Antwerp,  settled  about  1597  at  Ghent,  where  he 
was  much  esteemed,  but  his  works  are  now  con- 

282 


founded  with  those  of  his  father.    He  died  at  Ghent 
in  1646. 

CLEEF,  Jan  van,  a  painter  of  the  Flemish 
school,  was  born  at  Venloo  in  Guelderland  in  1646. 
After  receiving  some  instruction  from  Primo  Gentil, 
he  entered  the  school  of  Gaspar  De  Craeyer, 
at  Brussels.  Under  that  artist  young  Van  Cleef 
made  surprising  progress,  and  in  a  few  years 
was  able  to  assist  his  master  in  the  immense 
number  of  works  on  which  he  was  engaged  for  the 
churches  in  the  Low  Countries.  On  the  death  of 
De  Craeyer,  Van  Cleef  was  entrusted  with  the  com- 
pletion of  the  works  left  unfinished  by  his  master. 
He  was  now  considered  one  of  the  ablest  artists  of 
his  country,  and  immediately  received  many  com- 
missions for  the  churches  and  convents,  in  which 
he  has  given  satisfactory  proof  of  the  respectability 
of  his  talents.  Without  being  an  imitator  of  De 
Craeyer,  he  followed  the  same  simple  purity  of 
colour,  and  was  equally  correct  in  his  design,  in 
which  he  displayed  something  of  an  Italian  style. 
His  great  practice  gave  him  an  uncommon  facility, 
and  his  compositions  are  distinguished  by  judgment 
and  taste.  His  works  are  very  numerous  in 
Flanders  and  Brabant ;  the  most  esteemed  of  them 
are  at  Ghent.  In  the  church  of  St.  Nicholas  is  a  fine 
picture  of  '  The  Magdalen  at  the  Feet  of  Christ.'  In 
St.  Michael,  there  is  the  '  Immaculate  Conception,' 
with  Adam  and  Eve  in  the  lov/er  compartment 
of  the  picture,  a  clever  composition.  In  St. 
James's  church  is  a  fine  picture  of  the  '  Assump- 
tion.' But  his  most  admired  work  is  in  the  chapel 
of  the  Convent  of  the  Black  Nuns,  representing 
Sisters  of  that  Order  administering  succour  to  a 
group  of  figures  afflicted  with  the  Plague.  It  is  an 
admirable  picture,  in  drawing  and  colouring  ap- 
proaching the  excellence  of  Van  Dyck.  He  died 
at  Ghent  in  1716. 

CLEEF,  JoosT  VAN,  called  Zotte  Cleef  (Mad 
Cleef),  was  born  at  Antwerp  about  the  year  1520, 
and  was  instructed  in  painting  by  his  father, 
Willem  van  Cleef,  the  elder.  .Joost  was  an  ex- 
cellent colourist ;  and  though  it  does  not  appear 
that  he  ever  was  in  Italy,  his  pictures  are  com- 
posed and  designed  more  in  the  style  of  the 
Italian  than  the  Flemish  school.  He  painted  some 
altar-pieces  for  the  churches  in  Flanders,  which 
were  so  much  praised  that  he  became  intoxicated 
with  conceit.  Van  Cleef  came  to  England  in  1564, 
with  the  confident  hope  of  brilliant  success,  and 
was  introduced  to  King  Philip  by  his  countryman, 
Sir  Antonio  Moro.  But,  unfortunately  for  his 
expectations,  some  of  the  fine  pictures  of  Titian 
had  arrived  before  him,  and  Philip  was  too  much 
charmed  with  the  beauties  of  the  Venetian  to  do 
justice  to  the  undoubted  merit  of  the  Fleming. 
Finding  his  prospects  thus  blasted,  he  became 
furious,  and  vented  his  rage  on  Moro  as  the  cause 
of  his  disgrace.  Many  ridiculous  and  eccentric 
stories  are  related  of  this  whimsical  personage. 
But  with  all  his  absurdity,  he  must  be  allowed  to 
have  been  an  excellent  artist.  In  the  catalogue  of 
the  pictures  of  James  II.,  appear  two  by  Van 
Cleef,  '  The  Nativity,'  and  the  '  Judgment  of  Paris.' 
His  death  occurred  probably  about  1656,  for  he  is 
said  to  liave  died  at  the  age  of  36.  There  is  much 
confusion  in  the  records  of  the  artists  of  this  name. 
Hendrik,  Marten,  and  Willem  were  brothers,  and 
were  contemporaries  of  Joost,  but  there  is  no  abso- 
lute proof  that  they  were  related  to  him. 
Althorp.  Earl  Spencer.  His  own  Portrait. 
Antwerp.  Cathedral.     St.  Cosmus  and  St.  Damian. 


Cleef 


PAINTEES  AND  ENGRAVERS. 


Cleveley 


Florence. 
■Windsor. 


Castle. 


A  female  Saint. 

The  Artist  and  his  Wife. 


CLEEF,  Marten  van,  was  a  brother  of  Hen- 
drik  van  Cleef,  and  a  disciple  of  Frans  Floris. 
He  painted  historical  subjects,  and  was  employed 
for  some  of  the  churches,  but  was  more  esteemed 
for  historical  pictures  of  an  easel  size,  in  which 
the  landscapes  and  backgrounds  were  painted  by 
his  brother  Hendrik.  He  is  called  the  '  Master  of 
the  Ape,'  because  he  sometimes  introduced  the 
figure  of  an  ape  (in  allusion  to  his  name)  as  his 
mark.  In  the  Belvedere  at  Vienna  is  a  painting 
by  him  of  '  Men,  Women  and  Children,  seated  at 
table  in  a  farm-house.'  He  became  a  member  of 
the  Guild  of  St.  Luke  at  Antwerp  in  1661,  and 
died  about  1570. 

CLEEF,  Wii.LEM  VAN,  who  was  also  a  brother 
of  Hendrik  van  Cleef,  was  received  into  the 
Guild  of  St.  Luke  at  Antwerp  in  1660.  It  is  thought 
that  he  may  have  studied  under  Floris.  He  painted 
figure  subjects,  and  died  young. 

CLEIN,  Franz.     See  Cleyn. 

CLEIN,  Hans,  an  engraver  on  copper  and  wood, 
as  well  as  a  goldsmith,  was  a  native  of  Nuremberg, 
where  he  died  in  1660.  The  only  engraving  by 
him  mentioned  by  Passavant  ('  Peintre-Graveur,'  iii. 
38,)  is  a  '  Battle  of  eleven  Naked  Men,'  after  the 
Master  IB.,  dated  1627.  The  woodcuts  which  are 
known  to  be  by  him  are  : 

St.  John  the  Baptist  preaching  in  the  Desert. 

An  Apostle  preaching  from  a  Ship. 

The  Betrayal  of  Christ. 

The  Battle  of  Naked  Men.  1524.   {After  the  Master  IB.) 

CLEMENS,  Johan  Frederik,  a  Danish  line- 
engraver,  born  at  Golnau  near  Stettin  in  1749, 
studied  painting  in  the  Copenhagen  Academy  under 
Mandelberg,  and  engraving  under  J.  M.  Preisler, 
and  then  in  Paris  under  Wille  and  Delaunay.  He 
visited  Berlin  and  London ;  but  worked  after  1796 
in  Copenhagen,  where  he  died  in  1831.  His  best 
plate  is  the  '  Death  of  General  Montgomery  at  the 
Battle  of  Quebec,'  after  Trumbull,  engraved  in 
London  in  1792.  Besides  this  he  engraved  '  Fred- 
erick the  Great  with  his  Generals,'  after  Cunning- 
ham, a  '  Holy  Family,'  after  Taraf  al,  and  a  number 
of  portraits. 

His  first  wife,  Marie  Jeanne  Cbbvoisier,  to 
whom  he  was  married  in  1781,  was  also  an  artist. 
She  was  born  in  Paris  in  1765,  and  worked  at  first 
in  pastels,  but  afterwards  studied  engraving.  She 
died  at  Berlin  in  1790  or  1791. 

CLBMENTONE.    See  Bocciardo. 

CLENNELL,  Luke,  an  English  painter,  and 
engraver  on  wood,  of  extraordinary  genius  and 
talent,  the  son  of  a  farmer,  was  born  at  UIgham, 
near  Morpeth,  in  Northumberland,  in  1781.  His 
early  disposition  for  drawing,  and  neglect  of  other 
studies  or  pursuits,  induced  his  friends  to  place  him, 
in  1797,  with  the  celebrated  Bewick,  in  whose  art 
he  soon  showed  great  skill.  But  he  did  not  confine 
himself  to  engraving ;  he  produced  several  pictures 
which  attracted  public  attention,  and  gave  promise 
of  future  excellence  as  a  painter.  Among  these 
were  the  'Arrival  of  the  Mackerel  Boat,'  and  the 
'Day  after  the  Fair,'  in  which  he  gave  a  happy 
delineation  of  rustic  character,  and  showed  great 
knowledge  of  colour.  His  picture  of  the  'De- 
cisive Charge  made  by  the  Lifeguards  at  the  Battle 
of  Waterloo,'  which  was  afterwards  engraved  by 
Bromley,  established  his  reputation  ;  but  its  excel- 
lence assisted  in  the  melancholy  termination  of 
his  existence.     In  consequence  of  the   sensation 


which  it  produced,  he  was  selected  to  paint  the 
entertainment  given  by  the  city  of  London  at  the 
Guildhall  to  the  allied  sovereigns,  nobles,  and 
generals  who  had  shared  in  that  memorable  battle. 
The  honour  was  fatal  to  his  health  and  life.  The 
vexations  he  had  to  encounter  from  vanity,  caprice, 
and  supercilious  arrogance,  affected  his  mind  so 
much  that  he  lost  his  reason.  This  was  in  1817, 
and  though  he  recovered  his  reason  partially  for 
some  years,  yet  the  malady  returned  in  1831,  and 
he  was  removed  to  an  asylum  at  Newcastle- on- 
Tyne,  where  he  died  in  1840.  Clennell  was  skilful 
in  composition,  and  in  seizing  the  true  points  of 
character;  he  had  great  power  of  execution,  and 
was  well  acquainted  with  the  practical  parts  of  art. 
He  engraved  the  cuts  to  Falconer's  '  Shipwreck,' 
and  Rogers's  '  Poems,'  after  Stothard,  as  well  as 
the  Diploma  of  the  Highland  Society  after  West. 
He  made  many  drawings  for  Scott's  '  Border  Anti- 
quities,' and  was  a  frequent  exhibitor  at  the  Royal 
Academy  and  the  Water-Colour  Exhibition.  The 
South  Kensington  Museumhas  three  picturesby  him. 

CLEOPHANTUS,  an  ancient  Corinthian  ai'tist, 
who  flourished  about  B.C.  650,  and  is  said  to  have 
been  the  first  to  fill  up  the  contour  of  the  figure 
with  one  colour,  for  which  invention  he  received 
the  name  of  '  Monocromatos.' 

CLERC,  Jean  and  S^bastien  le.    See  Leclebc. 

CLERCK,  Hendrik  de.    See  De  Clerck. 

CLERGET,  Adble.     See  Melling. 

CL:6RISSEAU,  Charles  Louis,  an  architect  and 
water-colour  draughtsman,  was  born  in  Paris  in 
1722.  He  visited  Rome,  where  he  resided  some 
time,  and  became  well  acquainted  with  the  artists 
of  that  city,  especially  Winckelmann.  He  accom- 
panied Robert  Adams  to  England,  where  he  re- 
mained some  time,  and  made  the  drawings  for 
the  'Ruins  of  Spalatro,'  which  was  published  in 
1764.  On  his  return  to  France  in  1778,  he  pub- 
lished the  '  Antiquit6s  de  France,'  '  Monumens  de 
Nlmes,'  and  other  works  ;  and  was  appointed,  in 
1783,  architect  to  the  Empress  of  Russia.  He  is, 
however,  best  known  to  the  world  by  his  fine 
drawings  in  water-colours  of  the  remains  of  ancient 
architecture,  which  are  held  in  high  estimation. 
An  example,  '  Tivoli,'  executed  in  1769,  is  in  the 
South  Kensington  Museum.  The  figures  in  his 
works  were  drawn  by  Antonio  Zucchi.  He  died  at 
Auteuil,  near  Paris,  in  1820,  in  his  99th  year. 

CLERK,  John,  of  Eldin,  an  amateur  draughts- 
man and  etcher,  was  a  son  of  Sir  John  Clerk,  of 
Penicuik,  Bart.  He  was  born  at  Penicuik  in  1728, 
and  was  for  some  years  a  merchant  in  Edinburgh, 
but  he  relinquished  mercantile  pursuits  to  become 
Secretary  to  the  Commissioners  on  the  Annexed 
Estates  in  Scotland.  From  an  early  period  of  his 
life  he  evinced  a  fondness  for  sketcliing  from 
nature,  and  many  of  these  sketches  he  afterwards 
etched  on  copper.  In  1865  the  Bannatyne  Club 
issued  a  series  of  his  etchings,  chiefly  views  in 
Scotland,  and  some  of  his  drawings  were  engraved 
for  Sibbald's  '  Edinburgh  Magazine.'  He  was 
the  father  of  Lord  Eldin,  one  of  the  Lords  of 
Session,  and  was  the  author  of  an  essay  on  '  Naval 
Tactics,'  which  gave  rise  to  much  controversy. 
He  died  at  Eldin  in  1812. 

CLESIDES.     See  Ctesicles. 

CLEVE,  Van.     See  Cleef. 

CLEVELEY,  John,  an  Enghsh  marine  painter, 
was  born  in  London  about  1746.  He  was  brought 
up  in  the  dockyard  at  Deptford,  and  studied  water- 
colour  painting  under  Paul  Sandby;   afterwards, 

283 


Cleveley 


A  BIOGRAPHICAL  DICTIONARY  OF 


Clint 


he  became  a  draughtsman  in  the  navy,  and  in 
1774  accompanied  Captain  Phipps  (afterwards  Lord 
Mulgrave)  in  his  voyage  of  discovery  to  the  Arctic 
Regions.  He  also  went  with  Sir  Joseph  Banks 
to  Iceland.  He  sometimes  painted  in  oil,  and 
was  an  exhibitor  at  the  Royal  Academy  from  1770 
till  1786.  Many  of  his  drawings  have  been  en- 
graved. In  the  South  Kensington  Museum  is  '  A« 
Launch  at  Deptford  Dockyard  about  1760,'  in  oil, 
and  three  water-colour  drawings  by  him.  He  died 
in  London  in  1786. 

CLEVELEY,  Robebt,  who  in  early  life  was  a 
sailor,  exhibited  marine  pictures  at  the  Academy 
from  1780  to  1803,  and  was  appointed  marine- 
painter  to  the  Prince  of  Wales.  He  frequently 
painted  naval  actions  such  as  'The  "Solitaire" 
striking  her  colours  to  the  "Ruby,"'  'Nelson 
boarding  the  San  Josef,'  and  '  Earl  Howe's  Victory.' 
He  died,  through  falling  from  the  cliff  at  Dover,  in 
1809.  In  the  South  Kensington  Museum  are  two 
water-colour  drawings  of  English  Ships  of  War. 

CLEVENBEKGH,  Antoine,  a  Flemish  painter 
of  still-life,  was  born  at  Louvain  in  1755.  He 
studied  historical  painting  under  Verhaeghen,  and 
made  large  pen-and-ink  drawings,  which  possess 
much  merit.     He  died  in  1810. 

OLEYN,  Feanz,  (also  Kleyn,  or  Clein,)  was 
born  at  Rostock,  in  Mecklenburg-Schwerin,  about 
1590  or  1600,  and  was  for  some  time  in  the  em- 
ployment of  Christian  IV.,  King  of  Denmark.  He 
afterwards  went  for  improvement  to  Rome,  where 
he  passed  four  years,  and  acquired  a  talent  for 
designing  ornaments,  by  which  he  afterwards  dis- 
tinguished himself.  He  came  to  England  in  the 
reign  of  James  I. ,  and  was  taken  into  the  service 
of  the  king,  who  first  employed  him  in  designing 
subjects  for  tapestry  at  the  Mortlake  manufactory. 
He  received  a  pension  from  the  king,  which  he 
continued  to  enjoy  under  Charles  I.,  until  the  Civil 
War.  He  died  in  London  in  1658.  Cleyn  was 
much  employed  in  decorating  the  mansions  of  the 
nobility.  Some  of  the  best  preserved  of  his 
works  are  in  Holland  House,  where  he  painted  a 
chamber,  with  a  ceiling,  and  small  compartments 
on  the  chimneys,  which  bear  some  resemblance  to 
the  style  of  Parmigiano.  He  also  made  designs 
for  Virgil  and  for  ^sop's  Fables,  which  were  en- 
graved by  Hollar.  Cleyn  etched  a  few  plates,  which 
he  sometimes  signed  with  his  name,  and  sometimes 
with  the  initials  F.  C-  and  F.  K.  We  have  by 
him  : 

A  set  of  five  Plates  of  the  Senses,  with  grotesque  orna- 
ments. 
The  Seven  Liberal  Arts ;  ¥.  Cleyn  fecit.    1645. 
A  set  of  ten  Plates  of  Grotesque  Ornaments. 

His  sons,  Feanz  Cleyn  and  Johann  Cleyn,  were 
also  painters.  They  both  died  young  in  London. 
Franz  was  born  in  1625,  and  died  in  1650.  Their 
sister,  Penelope  Cleyn,  is  said  to  have  practised 
miniature  painting. 

CLINCHAMP,  FRAN9OIS  l^TIENNE  ViOTOE,  Mae- 
QUIS  DB,  a  French  painter  and  author,  was  born 
at  Toulon  in  1787.  He  was  destined  to  a  naval 
career,  but  his  health  failing  he  went  to  Paris, 
where  he  studied  painting  under  Lebarbier  and 
Girodet.  He  gave  to  his  native  town  several  reli- 
gious and  historical  pictures,  '  Christ  healing  the 
Sick  of  the  Palsy,'  '  The  Sons  of  Zebedee,'  '  The 
Death  of  Phocion,'  'The  Baptism  of  St.  Mandrier,' 
and  a  '  Crucifixion,'  which  was  his  best  exhibited 
work.  He  wrote  some  works  on  perspective,  and 
several  dramatic  pieces.    He  died  in  Paris  in  1880. 

284 


CLINT,  Geoeqe,  who,  like  Turner,  was  the  son 
of   a  hairdresser,  was  born  in  London   in   1770. 
In   early  life  he   occupied    his  leisure  hours  in 
miniature  painting  ;  but  eventually,  he  took  to  it  as 
a   profession.      His  miniatures   produced  at  this 
period  have  been  highly  spoken  of.    He  next  be- 
came acquainted  with  Mr.  Bell,  the  publisher  of 
the  illustrated  edition  of  the  British  Poets,  whose 
nephew,  Edward  Bell,  a  mezzotint  engraver,  initi- 
ated him  into  the  mysteries  of  engraving.    He  not 
only  painted  miniatures,   but  made  drawings  of 
machinery  and  philosophical  apparatus,  and  en- 
graved in  mezzotint,  in  the  chalk  style,  and  in  out- 
line.    Among  his  early  works  are  '  The  Frightened 
Horse,'  after   Stubbs,   a   chalk   engraving ;   '  The 
Entombment  of  Christ,'  after  Dietrich ;  numerous 
portraits  in  the  chalk  style  ;  a  large  bold  engrav- 
ing in  mezzotint  of  the  '  Death  of  Nelson '  (1807), 
after  the  fine  picture  painted  by  W.  Drummond, 
A.R.A. ;  and  a  set  of  Raphael's  Cartoons  in  outline. 
He  was  introduced  to  Sir  Thomas  Lawrence,  who 
gave  him  some  of  his  pictures  to  engrave.     He 
was  also  commissioned  to  engrave  'The  Kemble 
Family,' — containing   portraits   of  John  Kemble, 
Mrs.  Siddons,  Charles  and  Stephen  Kemble,  Blanch- 
ard,  Wewitzer,  Conway,  Park  (the  oboe  player), 
Miss   Stephens   (afterwards   Countess   of   Essex), 
and   other  celebrities — which   had   been  recently 
painted  by  Harlow  for  Tom  Welsh  the  musician, 
and  had  created  an  immense  sensation  on  being 
exhibited  at  the  Royal  Academy.     Its  popularity 
was  so  great  that  it  was  engraved   three  times. 
Clint  painted  in  water-colour  as  well  as  in  oil,  and 
his  painting-room  in  Gower  Street  became  thronged 
with  all  the  distinguished  actors  and  actresses  of 
the  day,  and  with  the  supporters  of  the  drama.   The 
result  of  this  popularity  was  a  series  of  fine  drama- 
tic pictures  which  will  preserve  his  name  along 
with  that  of  ZofEany,  to  whom,  in  many  respects, 
Clint  was  superior.     The  first  of  these  theatrical 
subjects   was   a   picture   of  Farren,  Farley,  and 
Jones,  as  Lord  Ogleby,  Canton,  and  Brush,  in  the 
comedy  of  the  '  Clandestine  Marriage.'    Then  fol- 
lowed Munden,  Knight,  and  Mrs.  Orger,  in  '  Lock 
and  Key,'  paintid  for  the  elder  Mathews.    This 
picture  secured  his  election  as  an  Associate  of  the 
Royal  Academy,  in  1821.     At  this  time  Welsh 
proposed  to  Clint  to  paint  a  companion  subject  to 
'  The  Kemble  Family,' — the  last  scene  in  '  A  New 
Way  to  pay  Old   Debts,'  in  which  Kean  as  Sir 
Giles  Overreach  was  drawing  all  the  town — and  an 
admirable  picture  was  the  result.     The  picture  of 
the  '  Beggars'  Opera,'  perpetuating  Blanchard,  Mre. 
Davenport,  and  Miss  M.  "Tree,  was  Clint's  next  pro- 
duction.    'Then  followed : 

Tayleure,  Mrs.  Davenport,  and  Clara  Fisher,  in  the 
'  Spoilt  Child '  (painted  for  Lord  Liverpool). 

Fawcett  and  Charles  Kemble  as  Captain  Copp  and 
Charles  II.  (painted  for  Mathems). 

Mathews,  Listen,  and  Blanchard,  in  '  Love,  Law,  and 
Physic ; '  Mathews  as  the  Lying  Valet ;  Hartley  as 
Sir  John  Falstafl ;  Oxberry  as  Master  Peter ;  Hur- 
ley as  Popolino  in  '  The  Sleeping  Draught ; '  Liston 
and  Farren  in  'Charles  XII.'  (painted  for  Lord 
Essex). 

Miss  Foote  as  Maria  Darlington  (painted  for  Colonel 
Berkeley). 

Young  as  '  Hamlet.' 

Kean  as  '  Eichard  III.' 

Macready  as  '  Macbeth.' 

Liston,  Madame  Vestris,  Miss  Glover,  and  Williams,  in 
'  Paul  Pry.'     1831.    In  the  South  Kensinj/ton  Museum. 

Charles  Young  as  'Hamlet,'  and  Miss  Glover  as 
'  Ophelia.'    1831.    In  the  South  Kensington  Museum. 


Cloclie 


PAINTEES  AND  ENGRAVERS. 


Clouet 


Many  of  this  interesting  series  of  pictures,  repre- 
senting a  phase  in  our  drama  which  has  since 
entirely  passed  away,  ornament  the  walls  of  the 
Garriok  Club.  PalstafE  and  Mistress  Ford  by  him 
is  in  the  National  Gallery.  The  talent  displayed 
by  Glint  procured  him  the  friendship  of  Law- 
rence, Beechey,  Mulready,  Stanfield,  Roberts,  and 
other  members  of  the  Royal  Academy.  But,  in 
spite  of  all,  Clint  remained  for  sixteen  years  an 
Associate,  and  never  attained  the  higher  rank  of 
Academician.  Younger  men  passed  over  his  head, 
and  some  less  worthy  of  the  honour  than  himself. 
At  last,  finding  the  efforts  of  his  friends  of  no 
avail,  he  determined  to  resign  his  position  as  an 
Associate,  which  he  did  in  1835.  He  died  at 
Kensington  in  1854.  In  portrait  painting  Clint 
was  eminently  successful :  his  men  were  gen- 
tlemen, and  his  ladies  modest  and  charming. 
Associated  with  Mulready,  Cooper,  and  other  dis- 
tinguished artists,  he  laboured  unceasingly  to  estab- 
lish those  valuable  institutions,  the  Artists'  Bene- 
volent and  Annuity  Funds.  He  had  four  sons,  of 
whom  Luke,  the  eldest,  after  giving  great  promise 
as  a  scene-painter,  died  young.  Raphael  was  a 
gem-engraver,  and  possessed  considerable  talent. 
SciPio  distinguished  himself  as  a  medallist,  and 
died  in  1839,  aged  34,  just  as  patronage  was  about 
to  be  bestowed  on  him. 

CLOCHE,  C,  was  a  French  engraver,  who  flour- 
ished about  the  year  1616.  He  engraved  amongst 
other  plates  a  portrait  of  Jean  Boisteau  de  La 
Broderie,  and  a  view  of  the  city  of  Rennes. 

CLOCK,  NicOLAAs,  or  Claas,  a  Dutch  engraver, 
was  born  at  Leyden  about  the  year  1570.  Accord- 
ing to  Heinecken,  he  was  a  disciple  of  Frans  Floris. 
His  style  resembles  that  of  Cornells  Cort,  with- 
out being  nearly  equal  to  that  master.  We  have 
by  him  the  following  prints : 

The  Four  Elements ;  represented  in  half-length  figures. 

1597. 
The  Judgment  of  Midas ;  after  Kar el  van  Mavder.  1589. 

CLOET.     See  Clouet. 

CLOSE,  Samuel,  a  native  of  Dublin,  was  an  en- 
graver, who  was  deaf  and  dumb,  and  of  intemperate 
habits.     He  died  in  1817. 

GLOSS,  Gust  a  V,  a  landscape  painter,  was  born 
at  Stuttgart  in  1840,  and  received  his  first  instruc- 
tions in  the  School  of  Arts  there  under  Funk,  but 
afterwards  studied  in  Rome,  Naples,  Munich,  Paris, 
and  other  places.  He  also  made  a  number  of 
student-tours,  especially  to  the  Chiem-See  in  Bavaria, 
on  the  borders  of  which  he  died  in  1870  at  Prien. 
He  produced  a  number  of  Italian  views,  and  also 
published  'Illustrations  to  Wieland's  Oberon,'  a 
magnificent  volume  entitled  'Truth  and  Fiction,' 
and '  Uhland  and  his  Home  at  Tiihingen,'  the  plates 
in  which  show  the  influence  of  Dorfe.  Of  his 
paintings  may  be  mentioned : 

The  Tilla  of  Hadrian. 

Bead  near  Sorrento. 

The  Campagna  near  Borne. 

Evening  in  the  Tilla  Pamfili. 

Cypresses  in  Tivoli. 

Christmas  Eve. 

The  Lonely  Inn. 

Autumn  Night  in  the  Park. 

CLOSTERMANN,  Johann,  (known  in  England 
as  John  Clostebman,)  was  bom  at  Osnabriiok 
in  1656.  He  was  the  son  of  a  painter,  who 
taught  him  the  rudiments  of  drawing.  In  1679  he 
went  to  Paris,  where  he  was  engaged  by  De 
Troyes"  to  paint  his  draperies.     He  came  to  Eng- 


land in  1681,  and  was  for  some  time  employed  in 
a  similar  way  by  Riley.  After  the  death  of  that 
artist,  Clostermann  painted  the  portraits  of  several 
of  the  nobility,  though  he  was  an  artist  of  very 
limited  merit ;  but  at  that  period  the  art  was 
in  a  very  low  state  in  England.  He  was  several 
times  in  Italy,  and  in  1696  was  employed  at  the 
court  of  Spain,  where  he  painted  the  King  and  the 
Queen;  Portraits  of  Queen  Anne  and  the  Duke  of 
Marlborough  by  him  are  in  the  National  Portrait 
Gallery.  A  picture  similar  to  the  former  is  in  the 
Council  Chamber,  Guildhall,  and  a  replica  of  the 
latter  is  at  Blenheim.  Others  of  his  portraits  are 
the  Family  of  the  Duke  of  Marlborough,  and 
the  Duke  of  Rutland.     He  died  in  London  in  1713. 

CLOUET,  Albert,  (Clovet,  or  Clowbt,)  a 
Flemish  engraver,  was  the  nephew  of  Pieter  Clouet, 
and  was  bom  at  Antwerp  in  1624.  Following  the 
example  of  his  uncle,  he  visited  Italy  in  the  early 
part  of  his  life,  and  became  a  pupil  of  Cornells 
Bloemaert.  Among  his  first  productions  were  some 
plates  of  portraits  of  painters,  for  Bellori's  '  Vite 
de'  Pittori,'  published  at  Rome  in  1675.  He  also 
engraved  several  portraits  for  the  work  entitled, 
'  Effigies  Cardinalium  nunc  viventium,'  published 
at  Rome  by  Rossi.  At  Florence  he  engraved  after 
some  of  the  pictures  in  the  Pitti  Palace.  His  plates 
of  historical  subjects  are  executed  in  the  neat  and 
finished  style  of  Cornells  Bloemaert,  but  in  his  por- 
traits he  sometimes  imitated  the  manner  of  Mellan, 
and  at  others  that  of  F.  de  Poilly.  He  died  at 
Antwerp  in  1687.  The  following  are  his  principal 
prints : 

portkaits. 

Nicolas  Poussin,  in  Bellori's  '  Vite  de'  Pittori.' 

Sir  Anthony  van  Dyck  ;  the  same. 

Cardinal  Thomas  Philip  Howard. 

Cardinal  Azzolini ;  after  Vouet. 

Cardinal  Bospigliosi :  after  Morandi. 

Cardinal  Bosetti. 

Cardinal  Francis  "William  of  'Wiirtemburg. 

Maximilian,  Count  of  "Wolf egg. 

A  Medallion  of  Pope  Alexander  VII. 

SUBJECTS   FROM   VARIOUS   MASTERS. 
The  Image  of  the  Blessed  Umiliana ;  after  BaUimtcci. 
Sepulchral  Monument  of  Paul  III. ;  after  Barriere. 
The  Miraculous  Conception ;  after  Pietro  da  Cortona  ; 

in  two  sheets,  fine  and  scarce. 
An  Attack  of  Cavalry  ;  after  Borgognone  ;  fine. 
The  Battle  of  Joshua  with  the  Amalekites;  in  two 

sheets ;  after  the  same. 

CLOUET,  FRANgois,  also  called  Jbhan'net, 
Jannet,  and  more  frequently  Janet,  a  French  por- 
trait painter,  was  born,  probably  at  Tours,  between 
the  years  1516  and  1520.  His  father,  Jean  Clouet, 
the  second  of  that  name,  (whose  sobriquet  derived 
from  his  Christian  name  Jean,  Fran9ois  also  took,) 
emigrated  from  Brussels  to  Tours,  and  after  his 
arrival  in  France  held  the  joint  ofiices  of  court 
painter  and  '  valet-de-chambre '  to  Francis  I.  In 
the  year  1541,  that  of  his  father's  death,  Francois 
Clouet  was,  in  consequence  of  his  father's  services, 
formally  naturalised,  and  appointed  to  the  vacant 
position  at  court.  In  that  capacity  he  was  em- 
ploj'ed  on  the  death  of  bis  patron,  in  1547,  to 
make  a  wax  cast  of  the  hands  and  face  of  the  de- 
ceased monarch  to  be  used  at  the  great  state  funeral ; 
and  again  had  to  perform  a  similar  service  on  the 
death  of  Henry  II.  in  1569.  He  retained  his  posi- 
tion as  court  painter  also  under  Francis  II.  and 
Charles  IX.  He  was  still  living  in  1572,  and 
died  most  likely  in  the  following  year.  His 
paintings  bear  distinct  traces  of  a  Flemish  origin, 

285 


Clouet 


A  BIOGRAPHICAL  DICTIONARY  OF 


Clovio 


and  their  style  differs  widely  from  that  of  the 
Italian  artists  whose  paintings  were  then  in  vogue 
in  France;  paintings  which  were  tainted  with  an 
affected  sentimentality,  and  a  disregard  of  nature. 
Clouet,  on  the  contrary,  like  the  Van  Bycks  and 
Memling,  had  clearly  made  truth  and  accuracy 
his  principal  aim.  Still  his  works  are  not  Flemish 
throughout,  as  they  possess  also  a  distinctly 
French  element,  which  is  observable  in  the  ele- 
gance that  pervades  them  as  well  as  in  the  taste 
that  grasps  the  most  advantageous  point  of  view 
from  which  to  treat  them.  His  aim  is  apparent 
on  the  surface,  and  yet  it  is  the  result  of  careful 
study.  The  more  closely  the  work  is  examined 
the  deeper  ia  the  insight  obtained  into  the  moral 
and  physical  character  of  the  person  represented. 
The  delicacy  of  his  form  is  all  the  more  re- 
markable from  its  being  rendered  through  the 
medium  of  simple  pale  tones  without  any  attempt 
at  chiaroscuro ;  and  this  fact  has  but  to  be 
appreciated  for  it  to  be  at  once  admitted  what 
a  real  master  he  was  in  respect  of  lightness  of 
hand  and  certainty  of  touch.  The  following 
are  some  of  the  principal  works  ascribed  to 
him : 


Althorp.  Earl  Spencer 


Antwerp 
Berlin. 


Museum. 
Gallery. 


Castle  Howard.     Earl  of 
Carlisle. 


Dresden. 
Florence 


Galle^nf. 


Pitti  Palace. 
Uffizi. 
Hampton  Court.     Palace. 


London. 

Munich. 

Paris. 
I, 

Vienna. 


Nat.  Gall. 
HeHford  Hmise. 
Pinakothek. 

Louvre. 


Belvedere. 


Francis  II. 

Mary,  Queen  of  Scots. 

Francis  II. 

Francis  II. 

Duke  of  Anjou  (Henry  III.). 

Catharine  de'  Medici  and  her 

Children. 
Mary,  Queen  of  Scots. 
Jeanne  de  Pisseleu,  Duchess 

of  Etampes. 
Henry  II. 

Francis  I.,  equestrian  portrait. 
Francis  11. 

Mary,  Queen  of  Scots. 
Man's  Portrait. 
Mary,  Queen  of  Scots. 
Claudia,  daughter  of  Henri  II. 

of  France. 
Charles  IX. 
Elizabeth  of  Austria,  wife  of 

Charles  IX. 
Charles  IX.    1563. 


The  Marquis  of  Biencourt  possesses  a  remark- 
able portrait  of  the  Duke  of  Montmorency,  besides 
other  works  by  Clouet.  There  are  in  the  British 
Museum  some  crayon  heads,  and  at  Castle  How^ard 
eighty-eight  portraits  in  black  and  white  chalk 
in  the  manner  of  Holbein,  representing  persona 
eminent  at  the  French  court  in  Clouet's  day,  which 
are  considered  to  be  his  work. 

CLOUET,  Jean,  (or  Cloet,)  the  elder,  a  Flemish 
painter  of  historical  subjects  and  portraits,  was 
employed  by  the  Duke  of  Burgundy,  and  was 
living  at  Brussels  in  1475.  He  died  about  1490. 
There  is  no  proof  of  his  having  visited  France, 
much  less  of  his  having  settled  at  Tours  between 
the  years  1475  and  1485,  as  has  been  asserted.  He 
was  an  artist  of  great  talent,  and  may  be  included 
among  the  celebrated  miniature  painters  of  his 
time. 

CLOUET,  Jean,  the  younger,  waa  a  painter  of 
Flemish  origin  who  established  himself  in  France, 
probably  at  Tours,  prior  to  the  accession  of 
Francis  I.  It  appears  highly  probable  that  his 
father  was  the  Jean  Clouet  who  waa  painter  to  the 
Duke  of  Burgundy.  He  himself  became  court 
painter  to  Francis  I.,  and  his  name  occurs  in  that 
capacity  as  early  as  1518.  He  is  supposed  to  have 
been  born  about  1485.  In  the  documents  in  which 
286 


reference  is  made  to  him  he  is  called  Jelian,  Jehan- 
not,  and  Jehannet.  Besides  the  office  of  court 
painter  he  held  that  of  '  valet-de-chambre.'  There 
is  nmch  uncertainty  about  his  works,  but  the  fol- 
lowing are  generally  attributed  to  him :  a  small 
painting  of  Francis  I.  in  armour,  in  the  Uifizi  at 
Florence;  a  full-length  figure  of  Eleanor  of  Spain, 
wife  of  Francis  I.,  at  Hampton  Court ;  and  a 
picture  of  Margaret  of  Valois,  in  the  Royal  Inati- 
tution  at  Liverpool.  If  these  are  correctly  as- 
signed to  him,  it  would  appear  that  his  pictures 
were  distinguished  from  those  of  his  son  by  sharper 
outline,  and  by  a  more  antique  rendering.  He  died 
in  1541,  in  all  probability  in  Paris. 

CLOUET,  Peteus,  (also  Clowet,  Clouwet,  or 
Clovet,)  a  Flemish  engraver,  was  born  at  Antwerp 
in  1606,  and  died  there  in  1670.  After  having 
learnt  the  rudiments  of  the  art  in  his  native  city, 
he  went  to  Italy,  and  at  Rome  became  a  pupil  of 
Spierre,  and  Bloemaert.  On  his  return  to  Antwerp, 
he  engraved  several  portraits  and  aubjects  after 
Rubens.  They  are  executed  with  the  graver  in  a 
firm,  clear  manner,  resembling  the  style  of  Pontius, 
but  are  not  equal  to  the  works  of  that  master.  His 
plates,  particularly  those  after  Rubena,  are  con- 
siderably esteemed.  We  have  the  following  by  him : 

POBTEAITS. 
Pietro  Aretino. 
Thomas  a  Kempis. 
Ferdinando  Cortes. 
William  Cavendish,  Duke  of  Newcastle ;  after  JDiepen- 

beech. 
ChristofiFel  van  der  Lanen,  painter ;  after  Van  Dyck. 
Theodorus  Eogiers,  Goldsmith  ;  after  the  same. 
Carolus  Scribanius,  celebrated  Jesuit    after  the  same. 
Anne  Wake,  Countess   of  Sussex,  holding  a  Fan  of 

Feathers  ;  after  the  same. 
Henry  Bicb,  Earl  of  Holland  ,  afiei^  t^e  same. 
Some   of   the   Plenipotentiaries  at    the    Congress   of 

Munster  ;  after  Van  Hulle. 

SUBJECTS    FROM   VARIOUS   MASTERS. 

The  Descent  from  the  Cross ;  after  Rubens. 

The  Death  of  St.  Anthony;  o/(er  the  same;  fine  and 

scarce. 
St.  Michael  discomfiting  the  Evil  Spirit;   after  the 

same. 
The  Epitaph  of  Bubens,  with  Accessories. 
Several  gallant  Figures  in  a  Garden ;  called  The  Garden 

of  Love.     The  first  impressions  are  with  Flemish 

verses ;  fine  and  scarce.    Those  with  the  address  of 

C.  van  Merlin  are  retouched,  and  very  inferior. 
A  large  Landscape,  representing  Winter,  with  the  Snow 

falling,  and  a  Stable  with  Cows ;  belonging  to  a  set 

of  six  landscapes,  of  which  five  are  engraved  by 

Bolswert. 
The  Virgin  suckling  the  Infant  Jesus ;  after  Van  Dyck, 

who  has  etched  the  same  subject. 
A  Company  of  Cavaliers  and  Ladies  at  Table,  said  to 

be  the   Family  of  the  Duke  of  Newcastle;  after 

Diepejibeeck. 

CLOVIO,  Giorgio  Giulio,  (called  Maoedo,)  was 
an  extraordinary  artist,  who  was  born  at  Grizane  in 
Croatia  in  1498.  After  learning  the  rudiments  of 
drawing  in  a  convent  of  his  own  country,  he  went 
to  Rome,  where  he  was  patronized  by  Cardinal 
Grimani.  In  the  years  1616  to  1519  Clovio  executed 
for  him  several  excellent  pen-and-ink  designs  for 
medals  and  seals ;  thereby  acquiring  the  habit  of 
designing  small  figures,  which  he  executed  with  a 
taste,  accuracy,  and  firmness  that  gave  grandeur 
to  miniature.  He  entered  the  school  of  Giulio 
Romano,  and  devoted  himself  entirely  to  miniature 
painting, — a  branch  of  art  which  he  ennobled  by 
his  inimitable  talent,  and  in  which  he  acquired  a 
reputation  that  ranks  him  with  the  great,  at  a  period 


Clowes 


PAINTERS  AND  ENGRAVERS. 


Cochin 


■which  immediately  succeeded  the  most  distin- 
guished epoch  of  Roinan  excellence.  In  his  de- 
sign of  the  figure,  extraordinary  as  it  may  appear, 
he  evinces  something  of  the  greatness  of  the 
Roman  school,  and  of  Michelangelo,  whose  works 
and  those  of  Raphael  he  especiiilly  studied,  and 
the  naturalist  will  find  every  insect  delineated 
with  astonishing  correctness,  although  on  so  dimi- 
nutive a  scale  as  to  require  the  use  of  a  magnifier. 
His  works  were  executed  solely  for  the  sovereigns 
and  princes  of  his  time,  in  whose  lihraries  were 
found  books  embellished  with  his  miniatures, 
painted  with  extraordinary  force  and  beauty  of 
colouring,  with  the  most  correct  design.  The 
most  extraordinary  work  of  Clovio  is  the  pro- 
cession of  Corpus  Domini,  at  Rome,  painted  in 
twenty-six  pictures,  which  occupied  the  artist  dur- 
ing nine  years.  The  rich  covers  to  this  masterpiece 
were  executed  by  Benvenuto  Cellini.  At  Milan, 
the  Cistercians  possess  a  picture  by  Clovio  of  the 
'  Descent  from  the  Cross,'  which  breathes  all  the 
spirit  of  the  golden  age  of  Roman  art.  He  died  at 
Rome  in  1678.  His  cognomen  Macedo,  or  Macedone, 
was  given  him,  it  is  supposed,  because  his  ancestors 
were  of  Macedonia.  His  works  are  so  incredibly 
numerous  that  their  description  would  fill  a  large 
volume ;  we  therefore  give  only  a  short  list  of 
some  of  his  principal  productions  : 
Florence.  Pitii  Pal.      Deposition,  signed  julius  macedo 

FA. 

London.    Soane  Coll.    The  Epistle  of   St.   Paul  to  the 
Romans. 
„         British  Mus.  The    Victories    of    the   Emperor 
{Grenville        Charles  V.     {Twelve  miniatures 
Collection.')      painted  for  Philip  11.^  King  of 
iSpain,  formerly  in  the  JLscorial^ 
Naples.      Poyal  Coll.     The  Book  of  Our  Lady,  with  the 
rich  and  precious  covers  of  Ben- 
venuto Cellini. 
„  „  A   Latin    Missal,  with   numerous 

pictures    {painted  for  Cardinal 
Farnese).     1546. 
Paris.        Zouvre.  A  Latin  Psalter,  with  many  beauti- 

ful miniatures  {executed  for  Pope 
Paul  III.).     1542. 
Rome,       Vatican  Lib.  Dante's  Divina  Commedia. 

In  many  of  his  illustrations  of  Choral,  Mass,  and 
Prayer-Books,  and  in  the  execution  of  small  por- 
traits for  lockets,  he  was  assisted  by  his  pupils, 
amongst  whom  were  Bartolommeo  Torri,  Bernar- 
dino Buontalenti,  and  Marco  Du  Vail. 

CLOWES,  BUTLBB,  a  mezzotint  engraver,  who 
worked  in  the  latter  half  of  the  18th  century,  and 
died  in  1782.  He  engraved  from  his  own  designs, 
and  also  after  Heemskerk,  Stubbs,  and  others. 

CLOWET.     See  Clouet. 

COBERGHER.     See  Koebergeb. 

COBLENT,  Hermann,  (or  Coblentz,)  was  a 
Flemish  engraver,  who  flourished  from  about  1570 
to  1590.  He  was  a  pupil  of  Hans  Collaert,  whose 
works  Coblent's  plates  so  much  resemble  in  their 
neat  and  finished  manner  that  they  are  often  con- 
founded with  them.     Coblent  marked  his  plates 

with  a   cipher  composed  of  H.  C  F.     JcX  * 

We  have  by  him  : 

The  Four  Evangelists ;  four  plates. 

Lucretia  under  an  Arch. 

A  set  of  the  Heathen  Deities,  single  figures  under 
Arches. 

A  Man  seated  at  a  Table,  and  a  Woman  behind  him. 

COBO  Y  GUZMAN,  Josef,  a  Spanish  historical 
painter,  was  born  in  1666,  at  Jaen,  where  he 
learned  to  paint  from  Valois.  He  settled  at  Cor- 
dova, where  he  died  in  1746.     Some  paintings  by 


him  are  in  the  churches  of  that  town,  and  are  taste- 
fully executed  in  the  style  of  Sebastian  Martinez, 
by  whom  Valois  was  instructed. 

COCCAPANI,  SiGiSMONDO,  an  Italian  painter, 
who  was  bom  at  Florence  in  1585.  He  at  first 
studied  literature  and  mathematics,  but  abandoned 
them  for  painting,  and  became  a  scholar  of  Cigoli. 
In  1610  he  went  to  Italy,  and  after  his  return  home 
gained  considerable  reputation  both  as  a  painter 
and  an  architect.     He  died  in  1 642. 

COCCETTI,  PiETRO  Paolo,  was  a  native  of 
Italy,  who  flourished  about  the  year  1725.  He 
engraved  some  plates  of  architectural  subjects, 
which  are  executed  in  a,  slight,  indifferent  style. 

COCCHI,  PoMPEO,  was  a  painter  who  lived  in 
the  early  part  of  the  16th  century.  In  the  cathedral 
of  Perugia  is  v.  '  Virgin  and  Child '  by  him  with 
the  date  '  Anno  m.d.  xxv.'  (?  1527).  No  certain  in- 
formation exists  with  respect  to  his  birth  or  death. 
COCHEREAU,  LiON  Mateieu,  was  a  French 
painter,  born  at  Montigny-le-Gannelon  near  ChS- 
teaudun  in  179.3.  He  was  a  pupil  of  David,  of 
the  interior  of  whose  studio  he  has  left  us  a  paint- 
ing which  now  hangs  in  the  Louvre.  He  died  on 
the  coast  of  Africa  in  1817,  when  returning  from 
Greece  with  his  uncle,  Pierre  Privost,  the  painter 
of  panoramas. 

COCHET,  Augustine,  a  French  painter,  bom  at 
St.  Omer  in  1788.  She  was  a  pupil  of  Ch^ry,  and 
devoted  herself  chiefly  to  genre  subjects  and  por- 
traits.    She  died  in  Paris  in  1832. 

COCHET,  Joseph  Antoinb.  See  Coget. 
COCHIN,  Charles  Nicolas,  the  elder,  a  French 
line-engraver,  was  born  in  Paris  in  1688.  His 
father,  Charles  Cochin,  was  a  painter,  and  Charles 
Nicolas  followed  the  same  profession  until  he  was 
twenty-two  years  of  age,  when  he  abandoned 
painting  and  devoted  himself  entirely  to  engraving. 
In  1731  he  became  an  Academician,  and  on  the 
occasion  of  his  reception  engraved  the  portraits  of 
Jacques  Sarrazin  and  Eustache  Le  Sueur.  He  then 
turned  his  attention  to  the  fancy  subjects  of 
Watteau,  Lancret,  and  Chardin,  after  whom  he 
executed  several  fine  works.  He  also  assisted  his 
son,  Charles  Nicolas  Cochin,  with  the  plates  of  the 
ceremonies  at  the  marriage  of  the  Dauphin  with 
the  Infanta  of  Spain  in  1745.  He  died  in  Paris  in 
1754,  having  engraved  about  one  hundred  plates, 
among  which  are  many  vignettes  for  the  '  Virgil ' 
of  1742  and  other  books.  The  undermentioned  are 
his  best  works : 

La  Marine  de  Tillage  ;  after  Watteau. 
Decoration  du  Bal  par^ ;  after  C.  N.  Cochin,  Jils.    1745. 
Decoration  du  Bal  masque  ;  after  the  same.     1745. 
Decoration  et  Dessein  du  Jeu  tenu  par  le  Roy  et  la 

Reine,  1747 ;  after  the  same. 
Le  Jeu  du  Pied-de-boeuf ;  after  De  Troy. 
Le  Jeu  de  Colin-Maillard  ;  after  Lancret. 
Fuyez  Iris  ;  after  the  same. 
L'Amant  sans  gene  ;  after  the  same. 
La^Blanchisseuse :  La  Fontaine ;  after  Chardin, 
L'Ecureuse  :  Le  Gar90n  Cabaretier ;  after  the  same. 
The  Funeral  of  the  Queen  of  Sardinia,  1735;   after 

Perault  and  Slodtz. 

Louise  Magdbleine  Hohtemels,  the  wife  of 
Cochin,  likewise  practised  engraving.  She  was 
born  in  Paris  in  1686,  and  married  in  1713.  Among 
the  plates  which  she  executed  two  of  the  best  are 
'  La  Charmante  Catin '  and  '  Le  Chanteur  de 
Cantiques,'  which  form  part  of  the  set  of  the 
'  Charges  des  Rues  de  Paris,'  designed  by  her  son. 
She  also  completed  his  large  plate  of  the  '  Feu 
d'artifice '  at  Rome,  which  greeted  the  birth  of  the 

287 


A  BIOGRAPHICAL  DICTIONARY  OF 


Cocllin 

Dauphin  in  1729,  and  often  assisted  him  in  other 
■worlds.     She  died  in  Paris  in  1767. 

Further  details  respecting  Cochin  and  his  works 
aie  to  be  found  in  MM.  Portalis  and  Btoldi  s 
'  Graveurs  da  dix-huitifeme  si^ole,'  i.  492-502. 

COCHIN,   Charles  Nicolas,  the   younger,   an 
eminent  French  line-engraver,  and  the  most  cele- 
brated of  the  artists  of  this  family,  was  the  son 
and  pupil  of  the  preceding.     He  was  born  m  Pans 
in  1715,  and  produced  his  first  engraving,  a     bt. 
Joseph,'  in   1727,  and  his  first  essay  in  etching, 
'The  Flight  into  Egypt,'  in  1730.     In  1735  ap- 
peared his  plate  after  Pannini  of  the  '  feu  d  arti- 
fice '  with  which  the  Cardinal  de  Polignac  cele- 
brated at  Rome  the  birth  of  the  Dauphin  in  1729, 
and  in  1736  that  of  the  Illumination  and  Fireworks 
with  which  the  Duke  of  Orleans  entertained  the 
Dauphin  at  Meudon  in  1735.    These  plates,  together 
with  that  of  the  '  Decoration  de  I'lUumination  et 
Feu  d'artifice  '  at  Versailles  on  the  occasion  of  the 
marriage  of  Madame  Premiere  with  the  Infant  Don 
Philip,  revealed  the  talent  which  Cochin  possessed, 
and  secured  his  admission  into  the  Academy  in 
1741.     Besides  engraving,  he  made  many  draw- 
ings for  vignettes,  among  which  may  be  noted  the 
illustrations  to  the  Abbe  Desfontaines'  translation 
of   Virgd,  published   in    1742,   to   the   works   of 
Rousseau,  1743,  and   to   those  of   Boileau,   1746. 
In  1745  the  marriage  of  the  Dauphin  gave  Cochin 
another  opportunity  for  the  display  of  his  wonder- 
ful skill  in  the  representation  of  vast  crowds  in 
motion,  nowhere  seen  to  greater  advantage  than  in 
his    famous    drawing    of    the  ''  Bal    masque '    at 
Versailles,  which  is  still  preserved  in  the  Louvre. 
This  and  the  '  Bal  par6 '  were  engraved   by  his 
father.     Not  many  months  elapsed  before  he  was 
called   upon   to   commemorate   the    Funeral   and 
Interment  of  the  same  Spanish  Princess,  in  1746. 
About  this  time  the  vignettes  engraved  by  Cochin 
became  fewer,  for  he  had  become  a  courtier,  and 
at  the  close  of  1749  he  was  chosen  to  accompany 
to  Italy  the  Marquis  of  Marigny,  the  brother  of 
Madame  de  Pompadour.    On  his  return  in  1 751  the 
order  of  St.  Michael  was  bestowed  upon  him,  and 
he  was  received  as  an  Academician  without  having 
executed  the  usual  trial  work.     In  1752  he  suc- 
ceeded Coypel  as  Keeper  of  the  King's  Drawings, 
and  in  1758  he  published  his  '  Voyage  d'ltalie.' 
From  this  time  forth  Cochin's  labours  were  devoted 
chiefly  to  works  connected  with  the  court,  such  as 
the  '  Medallio  History  of  the  Reign  of  Louis  XV.,' 
the  etchings  of  the  Ports  of  France  after  Joseph 
Vernet,  which  were  completed  by  Le  Bas,  and  the 
'  Parade  '  and  book-plate  of  Madame  de  Pompadour, 
whom  he  assisted  in  her  etchings.     In  1764  he 
designed  and  engraved  an  allegorical   cartouche, 
representing  the  sun  in  an  eclipse,  to  contain  verses 
by  Favart  upon  the  convalescence  of  tlie  favourite, 
but  she  had  a  relapse,  and  died  a  few  days  later. 
The  plate  was  then  suppressed,  and  proofs  from  it 
are  very  rare.     He  also  wrote  several  works  on  the 
fine  arts.    There  were,  moreover,  but  few  celebrities 
of  the  period  in  France  whose  portraits  he  did  not 
draw  in  pencil  or  in  crayons,  with  much  skilful 
delineation  of  character,  and  some  of  which  he 
himself  engraved.     Cochin  died  in  Paris  in  1790, 
after  having  exercised  for  nearly  forty  years  no 
inconsiderable  influence  upon  art,  for  the  Marquis 
of  Marigny  seldom  took  any  important  step  without 
first  coming  to  him  for  advice,,  which  was  always 
conscientiously  given. 
288 


Cochin 


The  '  Catalogue  de  I'OEuvre  de  C.  N.  Cochin  file ' 
was  published  by  C.  A.  Jombert  in  1780.  MM. 
Portalis  and  B6raldi  have  given  a  full  account  of 
Cochin's  life  and  works  in  their  '  Graveurs  du  dix- 
huitifeme  siecle,'  i.  503-570,  and  many  interesting 
details  of  the  earlier  years  of  his  life  are  to  be  found 
in  his  own  '  Memoires,'  published  by  M.  Henry  in 
1880.  The  following  are  the  principal  portraits 
etched  or  engraved  by  him : 

Louis  XV.  (Sohola  Martis),  an  allegory.    1770. 

Louis  XV.,  a  medallion  in  profile. 

The  Comte  de  Oaylus.     1752. 

Joachim  Gras,  Treasurer  of  France.     1753. 

The  Duke  of  La  Valliere.    1757. 

The    Marquis    of   Vandieres,  afterwards   Marquis  of 

Marigny  ;  two  plates.     1752, 1757. 
Jean  Eestout,  painter.  E.E.(}. 

COCHIN,  Jacques  Nicolas.     See  TAEDiEn. 

COCHIN,  Nicolas,  called  the  Elder,  a  French 
draughtsman  and  engraver,  was  the  son  of  a  painter 
named  Noel  Cochin.  He  was  born  at  Troyes  in 
1610,  and  about  1635  went  to  Paris,  where  he  died 
in  1686.  He  often  imitated  and  copied  Callot,  but 
chose  for  his  model  De  la  Belle,  some  of  whost 
drawings  he  engraved.  Like  these  two  artists  he 
excelled  in  small  figures,  which  he  grouped  and 
delineated  with  life-like  animation.  His  specialty 
was  topography,  including  battles,  sieges,  and  en- 
campments. He  engraved  several  hundred  sub- 
jects, the  most  important  of  which  are  those  which 
he  executed  for  the  '  Glorieuses  Conquetesde  Louis 
le  Grand,'  called  the  '  Grand  Beaulieu,'  published 
between  the  years  1676  and  1694.  The  best  of 
these  plates  is  tiat  of  the  'Siege  of  Arras,'  en- 
graved on  sixteen  plates  by  Cochin  and  Frosne. 

Nicolas  Cochin  is  the  best  of  the  engravers  whom 
Troyes  has  produced.  His  drawing  is  firm,  and 
his  engraving  fine  and  delicate.  His  plates  are 
marked  with  his  name  in  full,  or  with  his  initials 
only,  or  with  a  monogram.  M.  Corrard  de  Breban 
has  given  in  his  '  Graveurs  Troyens,'  1868,  a  list  of 
Cochin's  works,  among  which  the  following  are 
the  best : 

The  Life  of  the  Virgin;  after  Alh-echt  Durer  ;  18  plates. 

The  Marriage  in  Cana ;  aftei'  Paolo  Veronese. 

The  Miracle  of  the  Loaves ;  after  Devos. 

The  Parable   of    the    Prodigal    Son;    after  Auiran; 

4  plates. 
Christ  bearing  the  Cross  ;  after  Callot. 
The  Ascension  of  the  Virgin  ;  after  the  same. 
The  Pa.s.sion  ;  12  plates. 
The  Conversion  of  St.  Paul. 
The  Procession  of  St.  Genevieve  in  1652;  extremely 

curious. 
The  Entry  of  Louis  XIV.  and  his  Queen  into  Paris  in 

1660 ;  an  enormous  work  composed  of  several  plates. 
The  Entry  of  the  Queen  of  Sweden.     1658. 
The  Fair  of  Guibray ;  after  F.  Chauvel.    1658. 
Portrait  of  Boutmie,  the  goldsmith ;  rare  and  highly 

esteemed. 
View  of  Tournay ;  after  Van  der  Meulen ;  2  sheets. 

R.E.G. 

COCHIN,  Noel,  a  painter,  draughtsman,  and 
engraver,  born  at  Troyes  in  1622,  was  the  half- 
brother  of  Nicolas  Cochin.  He  studied  painting  at 
Rome,  devoting  his  attention  especially  to  land- 
scapes, and  was  working  in  Paris  in  1667.  About 
1670  he  went  to  Venice,  and  never  left  that  city 
until  his  death,  which  took  place  in  1695.  M. 
Corrard  de  Breban  has  pointed  out  in  his  '  Graveurs 
Troyens  '  that  there  has  hitherto  been  a  great  con- 
fusion between  the  engravings  of  the  two  brothers, 
owing  to  their  initials  having  been  the  same,  but 
that  they  may  easily  be  distinguished  by  the  vast 


Cocliran 


PAINTERS  AND   ENGRAVEES. 


Cockson 


difference  in  talent  which  exists  between  Ihcm,  the 
worli  of  Noel  Cochin  being  behiw  niediocritj-.  He 
signed  his  plates  sometimes  with  the  initials  N.  G., 
sometimes  with  his  name  preceded  by  Noel,  Natalie, 
or  No6.  Twenty-three  of  the  plates  of  the '  Tabulse 
selectae  et  expHcatae,'  published  by  Catherine  Patin 
at  Padua  in  1691,  are  signed  with  the  name  of 
Cochin,  but  with  variable  initials.  Thirteen  of 
these,  bear'ng  the  initials  N.  R.,  are  probably  the 
work  of  Nicolas  Robert,  the  son  of  Noel  Cochin. 
The  remaining  ten  are  by  Noel  Cochin,  as  are  also 
the  following  plates : 

The  Marriage  in  Cana  ;  after  Andrea  Vicentino ;  signed 

Natal.  Cochin. 
View  of  Paris  ;  4  sheets.     1669. 
The  Cries  of  Paris ;  8  plates.  ■    R.E.6. 

COCHRAN,  William,  born  at  Stratbearn  in 
Clydesdale,  in  1738,  received  bis  first  instruction 
at  the  Academy  of  Painting  at  Glasgow,  founded 
by  the  two  celebrated  printers,  Robert  and  Andrew 
Foulis.  About  1761  he  went  to  Italy  and  studied 
under  Gavin  Hamilton,  and  on  his  return  to  Glas- 
gow about  1766  he  practised  portrait  painting  both 
in  oil  and  miniature.  Some  pieces  from  fable, 
executed  by  him  when  at  Rome,  are  to  be  found  in 
Glasgow.  He  was  a  modest  artist,  and  never  ex- 
hibited his  works,  nor  put  his  name  to  them.  He 
died  at  Glasgow  in  1785,  and  was  buried  in  the 
cathedral,  where  a  monument  was  erected  to  his 
memory. 

COCK,  Fbans  de.     See  De  Cock. 

COCK,  HiEEONiMus,  (or  Kock,)  a  Flemish 
painter  and  engraver,  was  born  at  Antwerp  in 
1510,  and  died  there  in  1570.  He  was  admitted 
into  the  Guild  of  St.  Luke  in  1545  as  a  painter,  but 
he  soon  after  abandoned  painting,  and  applied 
himself  to  engraving  and  the  business  of  a  print- 
seller.  In  the  Belvedere  at  Vienna,  there  is  a 
painting  of  an  ideal  view  of  Rome  by  him. 
When  at  Rome,  where  he  stayed  some  time,  he 
became  acquainted  with  Vasari,  whom  he  assisted 
in  the  execution  of  the  biographies  of  the  Dutch 
engravers.  We  have  several  plates  by  him  after 
his  brother  Matthys,  Peeter  Brueghel,  Jerom  Bosch, 
L.  Lombard,  and  Frans  Florist  they  are  executed 
in  a  slight  manner,  and  without  much  effect.     He 

sometimes  marked 

his  plates  B.  Cock  ^^^t-  -'>.i^ 
fecit ;    and   some- 
times   with     this 
device : 

The  following  are  his  principal  works : 

PORTfiAITS   AND  SUBJECTS  FROM   HIS   OWN   DESIGNS. 

Francis  II.,  King  of  France  and  Scotland. 

Mary,  Queen  of  Scotland  and  France. 

Gustavus,  King  of  Sweden. 

Soliman,  Emperor  of  the  Turks. 

Camelia,  Daughter  of  the  Emperor. 

Six  Portrailis  on  one  sheet;  of  Guido  Cavalcanti,  Dante, 

Boccaccio,  Petrarch,  Politian,  and  Fioinus. 
A  set  of  twenty-four  Portraits  of  Flemish  painters, 

with  Latin  verses  by  Lampsonius.    They  are  mostly 

marked  /.  H.    W.,  for    Wierix,  the  publisher;    and 

are  entitled,  Picforum   aliquot  celehrium    Germania 

inferioris  Effigies,  S^c.     1572. 
The  Funeral  Pomp  of  Charles  V.,  large  frieze ;  Hieroni- 

vius  Cock  invent.     1559. 
Twelve   Plates ;    entitled    Divi    Caroli    V.,  ex  multis 

vracipue  Victoriar^im  imagines.    Hieronymus  Coccius 

Pictor  Antw,     1556. 
Moses  with  the  Tables  of  the  Law ;  H.  Cock  inv.  et  exc. 
St.  Christopher  with  the  Infant  Jesus  on  bis  shoulders. 


SUBJECTS   AFTER  VAEIOUS    FLEMISH    MASTERS. 

A  set  of  fifteen  Landscapes  ;  after  Matthj/s  Cock. 

A  large  Landscape,  with  the  Feast  of  St.  George ;  after 
the  same. 

Samson  and  Delilah  ;  a/to-  Marten  Heemskerk. 

Daniel  in  the  Lions'  Den  ;  after  the  same. 

A  set  of  eight  Female  Figures,  six  from  the  Old  Testa- 
ment, Jael,  Ruth,  Abigail,  Judith,  Esther,  and  Hu- 
sannah  ;  and  the  Virgin  Mary,  and  Mary  Magdalene  ; 
after  the  same. 

An  Allegory,  Fraud  and  Avarice ;  after  the  same. 

Infant  Bacchanalians  dancing ;  after  the  same. 

The  Resurrection  ;  after  Peeter  Brueghel,  the  elder. 

The  Temptation  of  St.  Anthony ;  after  the  same. 

The  Temptation  of  St.  James ;  after  the  same.     1565. 

The  Last  Judgment ;  after  the  same. 

The  Laboratory  of  an  Alchemist ;  after  the  same. 

The  Dispute  between  the  Fat  and  the  Lean ;  after  the 
same. 

A  set  of  twelve  Landscapes  with  subjects  from  the 
Bible  ;  after  the  sam£. 

A  grotesque  subject  of  the  great  Fish  devouring  the 
little  ones;  a  whimsical  composition;  after  Jerom 
Bosch. 

The  Temptation  of  St.  Anthony ;  after  the  same. 

St.  Martin  in  a  Boat,  surrounded  by  Devils ;  after  the 
same. 

An  Incantation  ;  after  the  same.     1561. 

Shrove  Tuesday ;  a  "Woman  making  Pancakes,     1567. 

COCK,  Jan  Claus  de.     See  De  Cock. 

COCK,  Matthys,  (or  Kock),  the  brother  of 
Hieronimue  Cock,  was  born  at  Antwerp  about  the 
year  1500  or  1605.  He  was  one  of  the  early 
Flemish  painters  of  landscapes,  and  one  of  the  first 
of  his  countr3'men  who  reformed  the  art  from  the 
stiff  Gothic  style  that  existed  before.  Several 
of  his  landscapes  were  engraved  by  his  brother 
Hieronimus,  and  possess  considerable  merit  for  the 
time  at  which  they  were  executed.  The  '  Tower 
of  Babel,'  by  him,  is  in  the  Belvedere,  Vienna. 
He  died  in  1552. 

COCK,  Pieteb.     See  Koeck. 

COCKBDRN,  Major-General  James  Pattison, 
an  officer  of  the  Artillery,  who  was  born  in  1778, 
is  known  as  the  author  of  several  books  of  travel 
which  he  illustrated :  '  A  Voyage  to  Cadiz  and 
Gibraltar,'  with  30  coloured  plates,  published  in 
1815;  'Swiss  Scenery,'  with  62  plates,  in  1820; 
'The  Route  of  the  Siinplon,'  in  1822;  'The  Valley 
of  Aosta,'  in  1823 ;  and  '  Pompeii  Illustrated,'  in 
folio,  in  1827.     He  died  at  Woolwich  in  1847. 

COCKE,  Henry,  a  decorative  painter  iind  a  pupil 
of  Salvator  Rosa  in  Italy,  where  he  spent  some 
time  when  a  young  man,  worked  in  England  about 
the  middle  of  the  17th  century.  He  was  employed 
by  William  III.  to  repair  some  of  the  paintings 
in  the  Royal  Palaces.  He  painted  the  choir  of 
New  College  Chapel,  Oxford,  and  the  staircase  at 
Ranelagh  House. 

COCKELS,  Joseph,  a  painter  of  hunting  subjects, 
was  born  in  Brussels  in  1786,  and  died  in  Bavaria 
in  I85I. 

COCKQ,  Paul  Joseph  de.     See  De  Cockq. 

COCKSON,  Thomas,  was  an  English  engraver, 
who  flourished  from  about  1610  to  1630. 
He  engraved  several  portraits  in  a  neat  but 
stiff  style.  His  plates  are  sometimes  marked 
with  the  cipher 

We  have  by  him  the  following  portraits,  &o. : 

King  James  I.  sitting  in  Parliament. 

King  Charles  I.  in  like  manner. 

The  Princess  Elizabeth,  daughter  of  James  I. 

Louis  XIII.,  King  of  France. 

Marie  de  Medicis. 

•  289 


1  graver, 

r 


Coders 


A  BIOGRAPHICAL  DICTIONARY  OF 


Codde 


^ 


Matthias,  Emperor  of  Germany. 
Demetrius.  Emperor  of  Russia. 
Henry  of  Bourbon,  Prince  of  Cond^. 
Concini,  Marquis  of  Ancre. 
Charles,  Earl  of  Nottingham. 
Francis  White,  Bishop  of  Norwich. 
Samuel  Daniel.     1609. 
T.  Coryat. 
The  Revels  of  Christendom. 

COOLERS,  Jan  Baptist,  a  Dutch  painter  of 
portraits  and  historical  Bubjeots,  was  bom  at 
.  Maestricht  in  1692.  He  was  the  son  and  pupil  of 
Philip  Coolers,  and  worked  for  a  time  at  Rome 
with  Servandoni.  After  his  return  he  established 
himself  at  Liege,  and  died,  wealthy  and  honoured, 
in  1762.  Some  of  his  works  exist  at  Li^ge,  but 
they  possess  no  great  merit. 

His  daughter,  Maria  Lambbrtine,  engraved 
some  plates  in  the  style  of  Adriaan  van  Ostade. 

COOLERS,  Louis  Bernard,  was  born  at  Maes- 
tricht in  1740.  He  was  instructed  by  his  father, 
Jan  Baptist  Coders.  He  passed  three  years  in 
Italy,  and  after  his  return  he  painted  portraits  and 
cabinet  pieces,  in  the  manner  of  Mieris,  Metsu, 
and  Schalken  at  Maestricht,  Nimeguen,  Dordrecht, 
and  Leyden,  where  he  settled  in  1769.  Compro- 
mised politically,  he  left  Holland  in  1787,  and  went 
to  Paris,  where  he  remained  several  years.  He 
again  returned  and  resided  at  Amsterdam,  where 
he  painted  portraits  and  cabinet  pictures,  which 
he  exhibited  from  the  year  1808  to  1813.  One  of 
his  pictures  is  in  the  Museum  of  that  city. 
He  died  at  Li^ge  in  1817.  He  was  also 
a  print-seller,  and  engraved  166  plates; 
tliey  are  signed  with  the  ciphers,  or  his 
initials. 

Among  his  best  plates  may  be  mentioned : 

An  Old  AVoman  with  an  Owl ;  after  F.  Hah. 
A  Dutch  Gentleman  reading  and  smoking. 

COOLERS,  Philip,  a  Dutch  painter,  who  flour- 
ished at  Maestricht  during  the  latter  part  of  the 
17th  century.  He  studied  in  Italy,  and  on  his 
return  to  his  native  land  was  appointed  painter  to 
Joseph  Clement  of  Bavaria,  Prince- Bishop  of  Li^ge. 
He  was  a  skilful  portrait  painter,  and  died  early  in 
the  18th  century,  at  the  age  of  76. 

COCX,  GonzalvEj  (or  CoQUES,  Gonzales,)  was 
born  at  Antwerp  in  1614.  He  received  his  ele- 
mentary instruction  from  Peeter  Brueghel  III.,  as 
whose  pupil  he  entered  the  Guild  of  St.  Luke  in 
1627;  he  then  studied  under  D.avid  Ryokaert 
the  elder  (whose  daughter,  Catharina,  he  married 
in  1643),  but  he  owed  the  fame  which  he  after- 
wards acquired  to  the  excellent  disposition  with 
which  nature  had  favoured  him.  He  was  made 
a  master  of  the  Guild  in  1640-41  ;  and  in  1665-66, 
and  again  in  1680-81,  he  was-  its  Dean.  In  1671 
the  Count  de  Monterey,  Governor-General  of  the 
Low  Countries,  appointed'  him  his  official  painter. 
His  first  subjects  were  conversations  and  gallant 
assemblies;  but  the  extraordinary  reputation  Van 
Dyck  had  acquired  by  his  admirable  portraits, 
inspired  him  with  the  ambition  of  distinguishing 
himself  in  like  manner,  though  on  a  difEerent 
scale.  He  painted  portraits  of  a  small  size,  and 
endeavoured  to  give  them  the  correctness  and 
simple  character  of  nature  which  we  admire  in  the 
portraits  of  Van  Dyck.  His  success  was  equal  to 
his  merit.  His  single  heads,  and  his  groups  of 
family  portraits,  were  esteemed  superior  to  those  of 
every  artist  of  his  time,  Van  Dyck  alone  excepted. 
He  was  employed  by  the  principal  potentates  of  his 

290  ^        1-        »■     f  ^ 


day,  among  whom  were  Charles  I.,  the  Archduke 
Leopold,  and  the  Prince  of  Orange.  To  those  who 
have  not  seen  the  pictures  of  this  extraordinary 
artist,  it  will  be  difficult  to  give  an  idea  of  the 
beauty  of  his  style.  Although  his  heads  rarely 
exceed  the  length  of  an  inch  and  a  half,  they  have 
all  the  breadth,  freedom  of  touch,  and  animated 
character  of  the  portraits  of  Van  Dyck.  Hence  he 
is  sometimes  called  the  'Little  Van  Dyck.'  Tlie 
heads  and  hands  are  drawn  with  the  utmost  cor- 
rectness ;  his  colouring  has  the  freshness,  and  his 
draperies  the  ease,  that  we  admire  in  the  works  of 
that  master.  In  regarding  them,  we  lose  sight  of 
the  scale  on  wlrich  they  are  drawn,  and  they  assume 
the  size  of  life.  He  was  peculiarly  happy  in  the 
composition  and  arrangement  of  his  family  groups, 
and  the  accessories  which  accompany  them.  Cocx 
died  at  Antwerp  in  1684.  His  compositions  are 
few  in  number,  and  are  extremely  valuable :  there 
are  but  46  described  in  Smith's  '  Catalogue  raisonne,' 
vol.  4  and  Suppl.  It  is  supposed  that  as  he  was 
wealthy,  he  painted  more  for  pleasure  than  for 
profit ;  ijut  of  this  there  is  no  proof.  He  painted 
landscapes  skilfully,  and  dogs  and  other  animals 
with  much  success.  Among  his  principal  works 
are: 

Antwerp.       Museum.     Portrait  of  a  Lady. 

Berlin.  Museum.     Portrait  of  Cornells  de  Bie,  the 

writer  on  art. 

Cassel.  Gallery.     Philosopher  and  his  Wife.    1640. 

„  „  Family  group. 

Darmstadt.     Gallery,      Portrait  of  a  Man. 
„  „  Portrait  of  a  Lady. 

Dresden.        Gallery.      Family  Portrait. 

Hague.  Gallery.      Interior   of   a   Picture  Gallery. 

(TAe  jicfUTcs  and  accessories  are 
by  Cocx.  The  paiiditigs^  fo^'ty- 
f&ur  in  number,  are  by  coidem- 
porary  artists,  several  of  whom 
nave  signed  their  work.) 

London.  Nat.  Gal,    Family  Portraits.     (Party  in   a 

garden.) 
„  „  Portrait  of  a  Lady. 

Paris.  Louvre.       The  Artist  and  his  Family. 

Petersburg.    Hermitage.  Portrait  of  a  Man. 

COCXIE,  MiCHiBi.  VAN.     See  Coxie. 

CODA,  Bartolommeo,  (or  CoDi,)  flourished 
about  the  year  1543.  He  was  called  DA  Rimini, 
as  was  also  his  elder  brother  rRANOESCO,  who 
painted  in  1533.  He  was  instructed  in  the  art 
by  his  father,  Benedetto,  whom  he  surpassed.  In 
the  church  of  San  Rocco  at  Pesaro,  is  a  fine  picture 
by  this  master,  bearing  the  above  date ;  which 
Lanzi  saj'S  in  every  respect  bears  the  character  of 
the  golden  age  of  the  art.  It  represents  the  Virgin 
and  Infant  enthroned,  with  a  Choir  of  beautiful 
Cherubs,  and  with  St.  Roch  and  St.  Sebastian. 

CODA,  Benedetto,  (or  CoDi,)  was  a  native  of 
Ferrara,  bom  about  the  year  1460,  and  was  a  dis- 
ciple of  Giovanni  Bellini.  According  to  Lanzi  he 
resided  chiefly  at  Rimini,  where  he  painted  some 
pictures  for  the  churches,  which  prove  him  to  have 
been  an  able  artist.  His  principal  works  are,  the 
'  Marriage  of  the  Virgin  with  St.  Joseph,'  in  the 
cathedral  at  Rimini ;  and  the '  Rosary,'  in  the  church 
of  the  Dominicans.     He  died  about  the  year  1520, 

CODAGORA.    See  Viviaui,  Antonio. 

CODDE,  Lduas,  (Codden,  or  Cohdeman,)  of 
Antwerp,  is  mentioned  as  designing  some  cartoons 
for  glass-painting  in  the  church  of  St.  Catharine, 
at  Breda ;  and  a  portrait  by  him  of  Philip  the  Good, 
Duke  of  Burgundy,  bears  the  inscription  '  oud  42 
jaren.'  If  this  date  refers  to  the  Duke,  the  picture 
must  have  been  painted  about  1438.     Codde  is 


Codde 


PAINTERS  AND  ENGRAVERS. 


Coene 


mentioned  as  a  painter  as  early  as  1426 ;  and 
his  name  is  the  second  inscribed  in  the  register  of 
the  Guild  of  St.  Luke,  of  which  he  was  a  master 
in  1453,  and  dean  in  1465,  1457,  1460,  and  1464. 
He  died  in  1469.  He  belonged  to  a  family  of 
artists ;  his  brother  Jan  is  mentioned  as  a  carver 
in  1450  ;  another  brother,  Wiilem,  was  a  sculptor  ; 
and  a  brother-in-law,  Wiilem  Coeman,  was  a  painter. 
CODDE,  PiETER,  the  son  of  Marten  Codde,  was 
born  in  1610,  miirried  in  1637  at  Amsterdam,  and 
was  probably  dead  in  1666.  He  executed  genre 
pictures  in  the  style  of  Palamedes.  His  paintings 
are  distinguished  for  the  liveliness  of  their  com- 
position and  the  fineness  of  their  colouring.  He 
painted  figures  in  Dirk  van  Delen's  interiors. 
Kabel  Coddb,  who  was  a  native  of  the  Hague,  and 
died  in  1698,  was  probably  his  son.  He  imitated 
the  manner  of  Both  and  Berchein,  and  painted  his 
figures  in  the  style  of  Terburg  with  much  taste 
and  finish.     Pieter  Cudde's  best  works  are  : 

Berlin.  Musmm.  Preparation  for  the  Carnival. 

Dorpat.  Sivers  Coll.        The  Dancing  Lesson.     1627. 

Hague.  Galla-y.  The  Ball.     1636. 

„  Goldsmith  Coll.  The  Lady  at  the  Toilet-table. 

Vienna.  Gsell  Coll.  The  Evening  Party.     1633. 

„  „  Soldiers  playing  at  Dice. 

CODE,  Mary.    See  Benwell. 

CODI.     See  Coda. 

CODOR^,  Olivier,  a  French  engraver,  was  the 
author  of  the  plates  whioli  accompanied  the  '  Entree 
de  Charles  IX.  a  Paris,'  1572.  They  are  executed 
with  much  faciyty,  but  display  no  great  artistic 
talent. 

COECK,  Pieter.    See  Koeok. 

COELENBIER,  Jan,  a  Dutch  landscape  painter 
who  flourished  in  the  17th  century,  was  a  native 
of  Utrecht.  He  became  a  pupil  of  Van  Goyen, 
whose  works  he  imitated  so  closely  that  they  passed 
for  the  originals.  He  was  received  into  the  Guild 
of  St.  Luke  at  Haarlem  in  1632,  and  was  still 
living  in  1671. 

COELLO,  Alonso  Sanchez.   See  Sanchez  Coello. 

COELLO,  Claudio,  was  of  Portuguese  parents, 
hut  was  born  at  Madrid  about  1621.  He  was  there 
instructed  in  the  art  by  Francisco  Rizi,  and  executed 
while  yet  in  that  school  an  altar-piece  for  San 
Placido  at  Madrid.  His  acquaintance  with  the 
court  painter,  Juan  Careno,  procured  him  the  per- 
mission to  visit  the  royal  collection,  where  he 
miide  his  greatest  advance  by  studying  the  works 
of  Titian,  Rubens,  and  Van  Dyck.  His  friendship 
with  Josef  Donoso,  under  whom  he  studied  at 
Rome,  was  not  less  advantageous  for  him.  In  con- 
junction with  that  artist  he  painted  frescoes  at 
Madrid  and  Toledo,  and  executed  the  Triumphal 
Arch  for  the  entrance  of  the  Queen,  Maria  Louisa 
of  Orleans.  By  these  paintings  he  became  well 
known,  and  was  employed  by  the  Archbishop  of 
Siiragossa  in  1683.  He  was  made  painter  to  Philip 
IV.,  by  whom  he  was  employed  in  the  Escorial. 
Coellu  never  travelled  out  of  Spain,  and  his  extra- 
ordinary talents  are  only  known  in  that  country. 
He  was  the  last  Spanish  painter  of  eminence,  as 
from  the  time  that  Luca  Giordano  was  summoned 
to  Spain,  the  art  sank  gradually  to  its  decay. 
Many  excellent  specimens  of  his  ability  are  to  be 
seen  in  the  churches  and  convents  at  Madrid, 
Saragossa,  and  Salamanca.  But  his  principal  work 
is  the  famous  altar-piece  in  the  sacristy  of  San 
Lorenzo,  in  the  Escorial',  representing  the  '  Adora- 
tion of  the  Miraculous  Host.'  It  is  an  immense 
composition,  and  occupied  the  painter  seven  years.. 
U  2 


In  the  crowd  of  personages  that  form  the  pro- 
cession, are  no  less  than  fifty  portraits,  including 
those  of  the  king  and  the  principal  persons  of  the 
court :  it  is  painted  with  the  utmost  precision,  yet 
in  a  bold  and  masterly  style,  and  there  is  a  majes- 
tic solemnity  in  the  arrangement  of  the  whole, 
which  suits  well  to  the  grandeur  of  the  subject. 
It  is  a  very  extraordinary  performance,  and  holds 
its  place  even  by  the  side  of  the  works  of  Titian 
and  Rubens.  The  preference  which  was  given  to 
Luca  Giordano,  who. came  to  Madrid  in  1692,  in 
painting  the  grand  staircase  in  the  Escorial,  morti- 
fied Coello  so  much  that  he  died  of  vexation  at 
Madrid  in  1693. 

Coello  etched  three  plates,  viz.  : — '  Christ  on  the 
Cross,  with  the  Virgin,  St.  Augustine,  and  St. 
Monica,'  and  the  portraits  of  Charles  II.  and  his 
Mother.  He  was  the  instructor  of  Sebastian  Munoz 
and  Teodoro  Ardmans. 

The  following  is  a  list  of  his  best  paintings  : 


Buda-Pesth.  Gallery. 


Madrid. 


*S.  Placido. 
Palace. 


Museum. 


Munich.         Gallery. 
Petersburg.   Hermitage. 

»  »» 

Saragossa.  Augustinian ) 


Toledo. 


Church. 
Escorial. 


St.  Joseph  with  the  Virgin  and 
Child. 

An  altar-piece. 

Cartoons,  representing  the  Fable 
of  Cupid  and  Psyche,  painted 
by  Ant.  Palomino. 

Assumption  of  the  Virgin.  (Two.) 

Portrait  of  Charles  II.  of  Spain. 

St.  Bosa  of  Lima. 

The  Apotheosis  of  St.  Augustin. 

St.  Peter  of  Alcantara. 

His  own  Portrait. 

The  Magdalen. 

The  frescoes  in  the  cupola. 

The  Adoration  of  the  Host.  {His 
chef-d'oeuvre.) 

COELLO,  Isabel  Sanchez.    See  Sanchez  Coello. 

COELMANS,  Jacob,  a  Flemish  engraver,  born  at 
Antwerp  about  the  year  1670.  He  was  a  pupil  of 
Cornelia  Vermenlen.  After  engraving  some  plates 
in  his  native  city,  he  was  engaged  by  Boyer 
d'Aguilles  to  undertake  the  plates  for  the  pictures 
of  his  collection.  They  consisted  of  one  hundred 
and  eighteen  prints,  and  form  the  principal  works 
of  this  artist,  of  which  the  following  are  the  most 
esteemed : 

PORTRAITS. 

Olympia  Maldachini,  niece  of  Innocent  X. ;  after  Giu- 
seppe Cesari. 
Paolo  Veronese,  a  Bust ;  after  a  picture  ly  himself. 
Vincent  Boyer,  seigneur  d'Aguilles  ;  after  Le  Grand. 
Jean  Baptiste  Boyer ;  after  Hyacinthe  Riyaud.. 

SUBJECTS  AFTER  VARIOUS   MASTERS. 

The  Holy  Family,  with  St.  John  embracing  the  Infant 

Jesus ;  after  Parmigiano. 
The  Meeting  of  Jacob  and  Bachel ;  after  Michelangelo 

da  Caravaggio. 
Laban  giving  Bachel  to  Jacob  ;  after  the  same. 
Jacob's  Departure  from  Laban  ;  after  B.  Castiglione. 
A  Company  of  Musicians,  Dancers,  &c. ;  after  the  same. 
Diana  and  Actaeon  ;  after  Otto  van  Veen. 
A  Satyr  drinking,  with  a  Nymph  and  a  Cupid;  after 

N.  Poussin. 
The  Martyrdom  of  St.  Bartholomew ;  after  S.  Bourdon. 
Mount  Parnassus,  with  Minerva  and  Mercury;  after  Le 

Sueur. 
The  Flight  into  Egypt ;  after  Pujet. 
The  Murder  of  the  Innocents  ;  cifter  Claude  Spierre. 
The  Head  of  the  Virgin ;  after  Seb.  Barras. 

COLN.     See  KOln. 

COENE,  Constantinus  Fidelio,  a  painter  of 
history,  genre,  and  landscape,  was  born  in  1780  at 
Vilvoorden.    He  first  studied  under  Hendrik  van 

291 


Coene 


A   BIOGRAPHICAL   DICTIONARY   OF 


Coiny 


Assche,  and  in  1809  removed  to  Amsterdam  and 
became  the  pupil  of  Barbiers.  He  then  went  to 
Brussels,  and  in  1820  was  made  Professor  at  the 
Aciidemy.  His  picture  of  '  Rubens  receiving  from 
Char  es  I.  the  sword  with  which  he  had  been 
kniglited '  gained  for  him  the  grand  prize  at  Ghent, 
and  is  now  in  the  Museum  of  that  city.  His  '  Soldier 
returning  from  the  Battle  of  Waterloo  '  also  gained 
him  much  praise.     He  died  at  Brussels  in  1841. 

COENE,  Jean  Henbi  db.     See  De  Coene. 

COENRADT,  Laweks,  who  flourished  about  the 
year  1690,  engraved  some  of  the  portraits  for  the 
collecfion  of  Cardinals  published  by  Rossi.  They 
lire  very  indifferent  performances. 

COENTGEN,  Geokg  Joseph,  a  painter  and  en- 
graver, was  born  in  1762  at  Mayence.  He  was  a 
pupil  of  his  father,  the  engraver  Heinrich  Hugo 
L'oiitgen,  but  removed  in  1776  to  Frankfort-on- 
the-Miiin,  where  he  painted  and  etched  portraits 
and  views  of  local  events,  and  founded  a  Drawing 
Institution  which  still  exists,  and  at  which  his  wife, 
the  flower  painter  Elisabetha  Mund  (who  waB  born 
in  1752,  married  in  1776,  and  died  in  1783),  im- 
^i.irted  instruction.     He  died  at  that  city  in  1799. 

COFFRE,  BenoIt,  a  French  painter,  who  in 
1692  gained  the  'prix  de  Rome,'  the  subject  being 
"Abraham  sending  away  Hagar  and  Ishmael.'  He 
went  to  Denmark,  where  he  painted  the  ceilings  of 
the  castle  of  Fredriksborg  between  the  years  1709 
and  1717. 

COGELS,  Joseph  Chakles,  (sometimes  called 
CoGELS  Mabilde,)  a  landscape  and  marine  painter, 
was  born  at  Brussels  in  1786.  He  studied  at  the 
Academy  of  Diisseldorf  ;  and,  after  spending  some 
time  in  France,  returned  to  Belgium  in  1806,  and 
wiis  admitted  a  member  of  the  Royal  Society  of 
tlie  Fine  Arts  at  Ghent.  In  1810  he  went  to  Munich, 
where  he  was  emploj'ed  by  the  King  and  Queen 
and  the  Duke  of  Leuchtenberg  in  painting  cabinet 
pictures  for  their  private  collections,  and  for  the 
Giillery  at  Schleissheim.  His  paintings,  which  are 
principally  limdscapes,  water-falls,  and  old  monu- 
ments cf  his  native  country,  are  held  in  high  esti- 
mation. In  the  CiiBsel  Gallery  is  a  view  of  the  St. 
Salvator  Platz,  Munich  (1819), 

He  etched  also  several  plates,  partly  after  J. 
Both,  partly  from  his  own  designs.  In  1817  he 
was  made  a  member  of  the  Academy  at  Antwerp. 
He,  however,  established  himself  at  Munich,  and 
was  an  honorary  member  of  the  Academy  there. 
He  died  in  1831,  at  the  Castle  of  Leitheim  near 
Donauworth. 

COG  ET,  JozEF  Antoon,  was  an  engraver,  probably 
a  Fleming,  who  lived  about  the  year  1650.  Le 
Blanc  calls  him  in  error  Cochet.    By  him  we  have: 

Time  crowning  Industry  and  punishing  Idleness ;  after 

liubens. 
Portrait  of  David  Beck,  the  painter  ;  after  himself. 

COGHETTI,  Francesco,  was  born  at  Bergamo 
in  1804,  and  instructed  in  painting  by  Diotti  di 
CnSiilniaggiore.  He  went  afterwards  to  Rome, 
where  he  became  a  disciple  of  Camuocini,  and 
studied  the  works  of  Raphael.  He  presided  for 
many  years  over  the  Aoademj'  of  San  Luca  at 
Rome,  and  was  the  representative  of  classic  art  in 
the  early  part  of  the  19th  century.  He  died  at 
Rome  in  1876.     His  best  works  are  as  under: 


Bergamo. 


292 


Gttllm/.      Two  Altar-pieces. 
Cathedral.  Frescoes  {in  the  cupola). 


Eome.     Villa  Torlonia.  Scenes  from  the  Life  of   Alex- 
ander. 

„  „  The  Four  Elements. 

„  „  The  Triumph  of  Bacchus. 

„  „  The  Battle  of  the  Amazons. 

Porto  Maurizio.  Church.  The  Assumption. 
Savona.  Cathedral.  The  Martyrdom. 

COGNIET,  Leon,  was  bom  in  Paris  in  1794,  and 
studied  art  under  Gu^rin.  In  1817  he  obtained  the 
first  'grand  prix  de  Rome,'  and  painted  for  some 
time  in  that  city.  He  then  settled  in  Paris,  and 
devoted  himself  to  teaching,  and  to  the  production 
of  historical  works,  which  earned  for  him  much 
praise  mingled  with  a  certain  amount  of  adverse 
criticism.  He  was  appointed  Professor  of  Drawing 
in  the  Lyceum  of  Louis  le  Grand  and  in  the  Poly- 
technic School.  He  died  in  Paris  in  1880,  having 
been  a  member  of  the  '  Acad^mie  des  Beaux- Arts' 
since  1849.    The  following  are  his  principal  works: 

Metabus,  King  of  the  Volscians,  expelled  by  his  subjects 
{painted  in  Eome  in  1822^. 

Marius  in  the  Buius  of  Carthage.     1824.  ^ 

Numa   {burnedj   in  the  Palace  of  the   Conseil  d'Etai^ 
during  the  Commune). 

The  Massacre  of  the  Innocents.    1824. 

The  Charity  of  St.  Stephen  {in  the  Church  of  St.  Nicolas- 
des-Champs,  Paris). 

The  National  Guard  marching  to  join  the  army  in  1792 
{at  Versailles).     1836. 

The  Battle  of  Eivoli  {at  Versailles). 

The  Battle  of  Limburg  {at  Versailles). 

An  Angel  announcing  the  Eesurrection  to  the  Hagdalen 
{in  the  Madeleine,  Paris). 

A  Scene  at  the  Barricades.     1830. 

Tintoretto  painting  his  dead  Daughter  {in  the  Bordeaux 
Museum).     One  of  his  best  works.  '  1845. 

In  addition  to  the  above,  he  executed,  among 
other  portraits,  those  of  Marshal  Maison,  Louis 
Philippe  in  his  youth,  and  the  painter  Guerin,  and 
also  painted  at  Versailles,  in  conjunction  with 
Philippoteaux,  Karl  Girardet,  Vignon,  Guyon,  and 
other  artists,  episodes  in  the  campaigi\of  Egypt. 

COGNIET,  Marie  Ami^lie,  who  was  bom  in 
Paris  in  1798,  studied  under  her  brother,  L4on 
Cogniet,  and  exhibited  from  1881  to  1843.  She 
painted  genre  subjects  and  portraits,  and  died  in 
Paris  in  1869.  'The  Lille  Museum  contains  an 
'  Interior  of  a  Studio '  by  her. 

COIGNARD,  S.,  was  a  French  engraver  of  little 
note,  who  worked  in  London  during  the  early  part 
of  the  18th  century,  chiefly  after  Kneller.  He  has 
left  us  some  indifferent  portraits,  amongst  which 
are  the  following : 

John  Dryden. 

Sir  Christopher  Wren. 

George  Parker,  astrologer. 

COIGNET,  GiLLis.     See  Congnet. 

COIGNET,  Jules  Louis  Philippe,  a  landscape 
painter,  was  born  in  Paris  in  1798,  and  who 
studied  under  Bertin.  He  travelled  a  good  deal  in 
his  own  country  as  well  as  in  Italy  and  the  East, 
and  produced  a  considerable  number  of  views.  He 
holds  a  middle  place  between  the  Idealists  and  the 
Realists,  and  his  work  is  remarkable  for  the  com- 
bination of  vigour  and  delicacy  in  the  effects  of 
light  and  shade,  for  poetical  feeling,  for  a  firm 
brush,  and  occasionally  for  grandeur  of  conception. 
His  chef-d'oeuvre  is  '  The  Ruins  of  the  Temple 
of  Psestum,'  now  in  the  New  Pinacothek  at  Munich. 
In  addition  to  producing  many  water-colours  and 
chalk-drawings,  he  wrote  a  book  on  landscape 
painting,  and  published  in  1825  a  series  of  sixty 
Italian  views.     He  died  ii*  Paris  in  1860. 

COINY,  Jacques  Joseph,  a  French  line-engraver, 
was  born  at  Versailles  in  1761.     He  was  a  pupil  of 


Coiny 


PAINTEKS  AND  ENGRAVERS. 


Cglibert 


Suvde  and  of  Philippe  Le  Bas,  and  in  1788  went 
to  Rome,  where  he  stayed  three  years.  He  en- 
graved for  the  government  the '  Battle  of  Marengo,' 
after  the  large  picture  of  Lejeune,  exhibited  in 
1806 ;  but  his  fame  rests  chiefly  on  the  plates 
which  he  executed  after  Lefevre  for  the  '  Lettres 
d'uneP6ruvienne  '  and  for  '  Manon  Lescaut'  in  the 
'  Collection  Bleuet.'      Coiny  died  in  Paris  in  1809. 

COINY,  Joseph,  a  French  hne-engraver,  was  the 
son  of  Jacques  Joseph  Coiny.  He  was  bom  in  Paris 
in  1795,  and  studied  under  his  father,  Gounod,  and 
Bervic.  He  engraved  the  '  Creation  of  Eve  '  after 
Michelangelo,  Dante  Alighieri  after  Raphael,  and 
the  portraits  of  Michallon  after  L.  Cogniet,  and  of 
Raphael  from  the  picture  in  the  Florence  Gallery. 
He  died  in  Paris  in  1829. 

COLA,  Gknnaeo  di,  an  old  Neapolitan  painter, 
was  born  in  1 320.  He  was  the  disciple  of  Maestro  Si- 
mone,  a  friend  and  companion  of  Giotto,  and  painted 
in  his  style.  The  principal  works  remaining  of 
this  ancient  artist  are,  the  al^ar-piece  in  the  church 
of  Santa  Maria  della  Pieta,  representing  the  Mater 
Dolorosa  with  the  dead  Christ,  and  Angels  holding 
the  Instruments  of  the  Passion  ;  and  in  a  chapel 
of  the  same  church,  a  'Penitent  Magdalen.'  In  the 
tribune  of  San  Giovanni  a  Carbonara,  the  '  Annunci- 
ation '  and  the  'Nativity.'  In  the  Chapel  of  the 
Crucified  in  Sant'  Iiicoronata,  at  Naples,  a  '  Corona- 
tion of  the  Queen  Johanna  and  Louis  of  Tarento,' 
a  weak  composition.  In  the  Museum  of  that  city 
is  a  '  Conception,'  in  the  manner  of  a  miniature 
painting.  It  is  distinguished  for  its  warm  colour- 
ing. Many  other  works  by  this  painter  are  men- 
tioned by  Dominici.  His  style,  like  that  of  the 
painters  of  his  time,  is  laboured  and  dry,  but  not 
without  expression.     He  died  in  1370. 

COLANDON,  D.,  was  a  landscape  painter  who 
also  etched.  He  is  supposed  to  have  been  the 
same  person  as  Collandon  who  was  born  at  Cannes, 
and  was  established  in  Paris  in  1670.  He  studied 
under  P.  F.  Mola,  his  work  being  for  the  most  part 
in  the  style  of  Genoels.  Two  plates  are  known 
signed  with  the  name  D.  Colandon.  One  represents 
a  mountain  landscape  with  two  women  seated,  one 
of  whom  is  holding  a  child ;  and  the  other  is  a 
landscape  with  a  stream  introduced,  on  the  right 
bank  of  which  is  a  woman  with  an  infant. 

COLANTONIO  del  FIORI.    See  Tomasi,  Nic, 

COLBENSCHLAG,  Stephen,  (or  Colbenius,) 
was  a  German  engraver,  who  flourished  about  the 
year  1610.  BruUiot  says  he  was  born  at  Salzburg 
in  1591  ;  and  Nagler,  that  he  died  at  the  age  of  92. 
He  resided  principally  at  Rome,  where  he  engraved 
several  plates  from  the  works  of  the  Italian  paint- 
ers ;  among  others  are  the  following: 

The  Adoration  of  the  Shepherds  ;  after  Domenickino. 

The  Taking  down  from  the  Cross ;  after  Annib.  Carracci. 

COLCHESTER,  Walter  or.     See  Walter. 

COLE,  B.,  an  engraver  of  portraits,  worked  in 
England  in  the  early  part  of  the  18th  century. 

COLE,  Humphrey,  a  goldsmith  and  engraver 
connected  with  the  Mint  in  the  Tower,  was  born 
about  the  year  1530  in  the  north  of  England. 
He  engraved  the  Map  of  Canaan  for  the  second 
edition  of  the  Bishops'  Bible,  published  in  1572, 
and  is  said  by  Horace  Walpole  to  have  also  en- 
graved the  titlepage  containing  the  portrait  of 
Queen  Elizabeth,  as  well  as  those  of  the  Earl  of 
Leicester  and  Lord  Burghley,  for  the  first  edition 
of  the  same  Bible,  issued  in  1568,  but  these  are  so 
far  superior  to  the  map  in  execution  as  to  render 
the  statement  extremely  doubtful. 


COLE,  John,  an  English  engraver,  flourish  d 
about  the  year  1720.  fie  was  much  employed  ly 
the  booksellers,  for  whom  he  engraved  some  pdr- 
traits  and  other  book-plates  ;  among  wliicli  s  a 
head  of  James  Puckle,  prefixed  to  his  Am  ofii  e 
called  '  The  Club.'  He  also  engraved  several  plates 
of  monuments,  and  a  copy  from  the  print  by  Martin 
Rota,  representing  the  '  Last  Judgment,'  after 
Michelangelo. 

COLE,  Peter,  practised  as  a  portrait  painter  in 
the  reign  of  Elizabeth.  He  was  for  some  time 
Director  of  the  Mint.  He  is  thought  to  have  been 
a  brother  of  Humphrey  Cole. 

COLE,  Sir  Ralph,  Bart.,  was  an  amateur  who 
studied  under  Van  Dyck.  The  date  'of  his  birth 
is  not  known,  but  he  succeeded  to  the  baronetcy  in 
1640,  and  died  in  1704.  There  is  at  Petworth  a 
portrait  of  Thomas  Wyndham  painted  by  him,  which 
has  been  mezzotinted  by  R.  Tompson. 

COLE,  Thomas,  the  landscape  painter,  was  born 
at  Bolton-le-Moors,  Lancashire,  in  1801.  His  father 
emigrated  whilst  his  son  was  only  eighteen  years 
of  age,  in  the  hope  of  bettering  hia  fojtunes,  and 
established  a  piiper-hanging  manufactory  at  Sleu- 
henville  in  Ohio,  and  it  was  while  assisting  in  this 
business  that  the  son  learnt  the  rudiments  of  his 
art.  At  length  a  portrait-paintei  visited  the  place 
where  he  lived,  whose  works  so  awakened  Cole's 
dormant  spirit  that  he  left  his  home  suddenly  to 
follow  out  the  object  he  had  so  much  at  heart.  Amid 
many  difficulties  and  much  privation,  he  found  his 
way  to  Philadelphia,  and  thence  to  New  York, 
where  he  set  up  his  easel  in  a  gan-et.  His  talents 
soon  introduced  him  to  the  notice  of  Trumbull  and 
other  older  brother  artists,  and  likewise  to  some 
wealthy  patrons  ;  from  the  former  he  received  pro- 
fessional advice  and  assistance,  and  from  the  latter 
more  substantial  encouragement.  He  subsequently 
visited  Italy  and  England,  and  finally  settled  down 
in  the  land  which  his  parents  had  adopted.  He 
was  long  known  as  one  of  the  best  landscape  paint- 
ers in  the  States  ;  we  also  find  his  name  in  the  cata- 
logues of  our  Royal  Academy,  he  having  exhibited 
in  the  year  1830  a  'View  in  New  Hampshire, 
United  States,'  and  the  '  Tomb  of  General  Brock, 
Lake  Ontario,  in  Upper  Canada;'  and  in  1831  a 
'View  in  the  United  States.'  He  died  in  1848, 
at  his  residence  near  the  town  of  Catskill,  on  the 
banks  of  the  Hudson.  Of  Cole's  works,  the  New 
York  Historical  Society  possesses  the  '  Course  of 
Empire  '  (five  landscape  scenes),  his  master-piece. 
His  'Voyage  of  Life  '  was  formerlj-  in  the  Taylor- 
Johnston  Collection  at  New  York.  The  '  Mountain 
Ford '  and  '  Kenilworth  Castle '  were  exhibited 
at  Philadelphia  in  1876.  Cole  was  the  first  good 
landscape  painter  in  America. 

COLEMAN,  Edward,  of  Birmingham,  painted 
still-life  subjects.  He  exhibited  at  the  Royal 
Academy  in  1819,  1820,  and  1822. 

COLEMAN,  W'lLLlAM,  was  one  of  the  early 
wood-engravers.     He  died  in  London  in  1807. 

COLEYER,  Evert,  (or  Colier,  or  Colyner,)  a 
Dutch  painter  of  still-life  ai'd  interiors,  who  was  a 
native  of  Leyden,  flourished  from  1673  to  1691. 
He  was  dead  in  1702.  Some  of  his  works  are 
mentioned  in  the  catalogues  of  Hoet  and  Terwesten. 

COLIBERT,  Nicolas,  a  French  painter  and  en- 
graver, was  born  in  Paris  in  1750.  He  executed  in 
the  dotted  style  some  landscapes  after  Casanova, 
and  about  1782  came  to  London,  where  he  pro- 
duced two  oval  plates  of  'Pity'  and  'Youth,'  and 
two  subjects  from '  Evelina.'  During  the  Revolution 

293 


Coliez 


A   BIOGRAPHICAL   DICTIONARY  OF 


Collaert 


he  returned  to  Paris  and  engraved  several  of 
SclmU's  designs  for  '  Les  Amours  de  Psyche  et  de 
Cupidon,'  publislied  in  1791,  and  some  illustrations 
after  Monsiau  to  the  poem  '  La  Mort  d'Abel,'  pub- 
lished in  1793.     Colibert  died  in  London  in  1806. 

COLIEZ,  Adribn  Noebebt  Joseph,  a  French 
landscape  painter,  was  born  at  Valenciennes  in 
1754,  and  died  in  the  same  town  in  1824.  He  also 
painted  scenery  and  views  of  towns. 

COLIGNON,  FRANgois,  a  French  designer  and 
engiaver,  was  born  at  Nancy  about  the  year  1621. 
He  was  a  pupil  of  Callot,  and  studied  the  works  of 
Delia  Bella  and  Silvestre.  He  engraved  some  of 
the  plates  of  the  towns  conquered  in  the  reign  of 
Louis  XIV.,  published  by  Beaulieu.  We  have  also 
several  plates  from  different  masters,  and  from  his 
own  designs.  His  best  works  are  views  of  build- 
ings, with  small  figures,  in  the  style  of  Callot, 
which  he  executed  with  great  spirit  and  freedom. 
We  have  by  him,  among  others,  the  following 
prints : 

SUBJECTS   FROM    HIS    OWN   DESIGNS. 
A  set  of  twelve  Landscapes. 
The  Buildings  at  Eome  under  Sixtus  V. 
A  View  of  Malta  with  its  ancient  Fortifications. 

SUBJECTS   AFTER   OTHER   MASTERS. 
The  Flight  of  Attila ;  after  Raphael. 
The   five   canonized   Saints,  St.   Gaetano,  St.   Francis 

Borgia,  St.  Philip  Benizio,  St.  Bertrand,  and  St.  Bosa ; 

after  J.  B.  Gaetaruo. 
View  of  Florence  ;  after  S.  della  Bella. 
Plan  of  the  Castle  oi  Moyen  ;  after  Callot. 

COLIN,  a  French  historical  painter  and  engineer, 
who  became  painter  to  the  Duke  of  Burgundy  in 
1420.  He  was  an  artist  in  every  acceptation  of 
the  term,  and  executed  at  the  castle  of  Hesdin 
many  undertakings  in  painting  and  architecture,  as 
well  as  curious  hydraulic  works. 

COLIN,  of  Amiens,  a  French  portrait  painter,  who 
flourished  in  1482,  was  commissioned  to  paint  the 
portrait  of 'Louis  XI.  His  praises  were  sung  by 
the  poets  of  his  time. 

COLIN,  Adbiaan  van,  a  Dutch  painter  of  the 
17th  century,  painted  poultry  in  the  manner  of 
D'Hondecoeter. 

COLIN,  Alexandre  Marie,  a  French  painter 
of  historical  and  genre  subjects,  was  born  in  Paris 
in  1798.  He  was  a  pupil  of  Girodet.  His  religious 
and  historical  paintings  are  characterised  by  a 
style  based  on  a  careful  study  of  the  old  masters, 
while  his  genre  pieces  are  vigorous  and  life-like. 
Amongst  these  latter  may  be  noticed  his  '  French 
Fish-Market '  (1832)  in  the  Berlin  Gallery,  and  his 
'Gipsies  Resting.'  Amongst  the  former  may  be 
named  a  '  Christopher  Columbus,'  a  '  Flight  into 
Egypt,'  and  an  '  Assumption  of  the  Virgin.'  He 
died  in  1875. 

COLIN,  FRANgois,  who  was  born  at  Bordeaux  in 
1798,  studied  under  Lacour,  the  elder,  and  died  in 
his  native  city  in  1864.  The  Bordeaux  Museum 
has  two  works  by  him — a  'Fountain  of  Love'  and 
'  Crispin  Messager.' 

COLIN,  Jean,  a  French  line-engraver,  who  flour- 
ished in  the  latter  half  of  the  17th  century.  He 
was  a  native  of  Rheims,  but  the  dates  of  his  birth 
and  death  are  unknown.  He  engraved  an  'As- 
sumption '  after  A.  Carracci,  an  equestrian  portrait 
of  Louis  XIV.  crowned  by  Victory,  and  having  at 
his  feet  a  map  of  Holland,  and  several  other  por- 
traits which  bear  date  from  1665  to  1688.  Some 
of  his  plates  are  signed,  Collin. 

COLLADO,  Juan,  a  Spanish  painter,  was  a  native 


of  Valencia,  and  a  scholar  of  Richarte.  He  painted 
in  fresco  the  dome  of  the  chapel  of  St.  Fianois 
Xavier  in  the  Jesuits'  churf^h,  and  its  lateral  altar- 
pieces  in  oil ;  and  also  executed  various  works  for 
the  parish  church  of  Santa  Catalina,  and  other 
churches  of  his  native  city.  He  died  at  Valencia 
in  1767. 

COLLAERT,  Adbiaen,  a  Flemish  designer  and 
engraver,  was  born  at  Antwerp,  but  in  what  year  is 
not  known.  Alter  having  learnt  the  principles  of 
the  art  in  his  own  country,  he  visited  Italy  for 
improvement,  where  he  passed  some  years.  On 
his  return  to  Flanders,  he  engraved  a  great  number 
of  plates,  executed  in  a  neatly  finished  style,  bnt 
with  a  certain  degree  of  dryness.  He  died  at 
Antwerp  in  1618.  His  drawing  is  correct,  and  his 
heads  expressive.    He  sometimes  marked  his  plates 

with  the  cipher    _^Y.. 

The  following  are  his  principal  productions  : 

subjects   FROft   HIS   OWN   DESIGNS. 

A  Man  and  his  Wife,  conducted  by  Death.    1562. 

A.  Man  in  Armour,  to  whom  a  Woman  brings  a  Child, 

a  Dog,  and  a  Cock. 
The  Four  Elements  ;  in  four  plates. 
The  Lite  of  Jesus  Christ ;  in  thirty-six  plates. 
Thirty  plates  of  Birds. 

One  hundred  and  twenty-five  plates  of  Fishes. 
Twenty-four  plates ;   entitled  Florileyium  ah  Hadriano 

Collaert  calatum,  ^c. 
The  Temptation  of  St.  Anthony. 
St.  Apollonia. 

SUBJECTS   AFTER   VARIOUS  MASTERS. 

The  Twelve  Months  of  the  Year ;  after  Josse  De 
Mo7nper  ;  the  same  that  Callot  has  engraved. 

The  Last  Judgment ;  after  J.  Stradan. 

St.  Hubert;  ^ter  the  same. 

Twelve  plates  of  Horses ;  after  the  same. 

A  Hunting  and  Fishing  Party ;  after  the  same. 

The  Israelitish  Women  singing  the  Song  of  Praise  f -r 
the  Destruction  of  the  Egyptian  Host  in  the  Red 
Sea ;  after  the  same. 

A  Woman  saving  her  Child  from  a  Lion  ;  after  the  same. 

Twelve  Landscapes  ;  after  Hendrik  van  Cleef. 

A  set  of  Hermitesses  ;  after  M.  de  Vos  ;  engraved  con- 
jointly with  his  son  Hans  Collaert. 

The  CaUing  of  St.  Andrew  to  the  Apostleship ;  afitr 
Barocci. 

The  Eepose  in  Egypt ;  after  H.  Goltcius.    1585. 

A  set  of  six  plates,  called  the  Annunciations ;  considered 
among  the  best  of  his  works. 

COLLAERT,  Hans  or  Jan,  the  son  of  Adriaen 
Collaert,  was  born  at  Antwerp  about  1540.  After 
being  instructed  by  his  father  for  a  while,  he  fol- 
lowed his  example  in  visiting  Italy,  where  he 
passed  some  time.  He  assisted  his  father  in  many 
of  his  works,  and  engraved  a  great  number  of 
plates,  dated  from  1555  to  1622,  which  are  executed 
in  the  style  of  Adriaen,  but  with  more  taste  and 
less  stiffness.  He  died  at  Antwerp  in  1628.  He 
sometimes  signed  his  plates  with  his  name  Hans 
Collaert  fecit,  sometimes  with  the  initials  H.  C.F., 

and  sometimes  with  the  cipher    5^^. 

The  following  are  his  prints  most  worthy  of 
notice ; 

SUBJECTS   AFTER   HIS   OWN    DESIGNS. 

The  Lite  of  St.  Francis  ;  in  sixteen  plates,  with  grotesque 

borders. 
The  Dead  Christ  in  the  Lap  of  the  Virgin. 
The  Last  Judgment,  surrounded  with  small  subjects  of 

the  Life  of  Christ. 
Peace. 
Charity. 


CoUandon 


PAINTERS  AND  ENGRAVERS. 


CoUings 


Ten  plates ;  entitled  Monilium  BvZlarwn  inauriumque 
Icones.    1581. 

SUBJECTS  AFTER  VARIOUS  MASTERS. 
St.  John  preaching  in  the  Wilderness ;  G.A.  Z.  inv. 
Moses  striking  the  Eock ;  after  Lambert  Lombard;  very 

hne. 
Marcug  Curtius  throwing  himself  into  the  Gulf ;  after 

the  same, 
A  Satyr  p:irsned  by  Women  ;  after  J,  Stradan. 
Time  and  Truth  ;  after  the  same  ;  very  fine. 
Mars  and  Venus  ;  after  the  same. 
Tho  Loves  of  Mars  and  Venus ;  four  plates ;  after  P. 

Galle. 
The  Title  to  the  Biblia  Sacra ;  after  Rubens  ;  fine. 
The  Title  to  the  Kerkelylce  Historie;  after  the  same; 

fine. 
The  Title  to  the  Heylige  Voders  Boeclc ;  after  the  same  ; 

fine. 
Twelve  plates  for  a  '  Missal ; '  after  the  designs  of  Rubens. 

The  subjects  are  taken  from  the  Lives  of  Christ  and 

the  Virgin. 

COLLANDON,  D.     See  Colandon. 

COLLANTES,  Francisco,  a  Spanish  painter,  was 
born  at  Madrid  in  1599.  He  viraa  instructed  by 
Vicente  Carducci  and  painted  figures,  animals, 
landscapes,  fruit,  and  flower-pieces,  and  often 
united  historical  subjects  with  landscapes.  His 
works  are  executed  in  a  bold  and  masterly  manner, 
in  the  style  of  Rubens,  richly  coloured,  and  with 
very  romantic  scenery.  Of  his  historical  works,  the 
principal  are  '  St.  Jerome,'  and  a  picture  of  the 
Resurrection,  in  the  Buen  Retire.  He  died  at 
Madrid  in  1656.     There  are  by  him  : 

Oopenhagen.  Museum.  St.  Jerome. 

Madrid.  Gallery.  The  Vision  of  Ezekiel. 

„  „  St.  William  of  Aquitaine. 

„  „  Landscapes  (two). 

„  „  The  Burning  of  Troy. 

Munich.      Pindkothek.  Landscape. 
Paris.  Louvre.      Jehovah  appearing  to  Moses  in  the 

Burning  Bush, 
Petersburg.  Hermitage.  St.  John  the  Baptist. 

COLLAS,  AcHiLLE,  a  French  mechanician,  was 
born  in  Paris  in  1795.  He  was  the  inventor  of  the 
process  of  engraving  in  imitation  of  bas-reliefs 
and  cameos  which  is  known  by  his  name.  His 
principal  work  is  the  '  Tr^sor  de  Numismatique  et 
de  Glyptique,'  22  volumes  in  folio,  published  in 
1834-1860.     He  died  in  Paris  in  1859. 

COLLE,  Raffabllinij  dal.    See  Dal  Colle. 

COLLEONI,  Girolamo,  was  a  native  of  Bergamo, 
born,  according  to  Tassi,  about  the  end  of  the 
15th  century.  Most  of  the  works  of  this  able 
artist,  in  his  own  country,  were  formerly  in  the 
church  of  Sant'  Antonio  dell'  Ospitale  at  Bergamo, 
but  were  destroyed  at  the  time  the  church  was  re- 
built. In  the  church  dedicated  to  St.  Erasmo,  at 
San  Borgo  Canale  near  Bergamo,  is  preserved  one 
of  his  most  esteemed  works,  painted  in  1538.  This 
picture  is  described  by  Tassi  as  one  of  the  most 
admirable  productions  of  Bergamese  art.  It  repre- 
sents the  Virgin  and  Infant,  with  Mary  Magdalene, 
St.  John,  and  St.  Erasmus.  Lanzi  mentions  a  pic- 
ture by  Colleoni  of  the  '  Marriage  of  St.  Catharine,' 
in  the  Carrara  Gallery,  which  was  thought  by  the 
best  judges  to  be  a  work  of  Titian,  until  the  inscrip- 
tion, Hieronymiu  Colleo,  1565,  was  found  on  it. 
Not  meeting  with  the  distinction  he  merited  in  his 
own  country,  and  disgusted  at  the  encouragement 
given  to  inferior  talents  of  foreign  growth,  he 
determined  to  leave  it ;  but,  previous  to  his  depar- 
ture, Tassi  asserts,  he  painted  in  one  night  on  the 
facade  of  his  hoiise  a  very  beautiful  horse,  and 
inscribed  under  it,  N^im  j)ropheta   acceptus  in 


patria  sua.  He  went  to  Spain,  where  he  met  with 
due  encouragement,  and  was  employed  in  the 
Escorial. 

COLLET,  John,  known  as  '  John  Collet,  senior,' 
died  in  London  in  1771.     He  painted  portraits. 

COLLET,  John,  an  English  artist,  born  in  London 
in  1725,  was  a  scholar  of  Lambert,  the  landscape 
painter.  He  painted  subjects  of  humour,  somewhat 
in  the  manner  of  Hogarth,  approaching  him  only 
in  vulgarity  and  caricature.  In  pieces  wherein  he 
did  not  attempt  to  imitate  that  genius,  and  confined 
himself  to  simple  objects,  he  showed  considerable 
merit  in  the  representation  of  the  characters  and 
costume  of  his  time.  Several  of  his  pictures  have 
been  engraved,  and  there  are  some  etchings  by 
him.  He  died  in  1780.  Two  water-colour  drawings 
by  him  are  in  the  South  Kensington  Museum. 

COLLET,  Louis,  was  a  native  of  Paris,  and 
flourished  about  the  year  1610.  He  engraved  a  set 
of  plates  or  ornaments  for  goldsmiths  and  jewellers, 
from  the  designs  of  Giles  Legare,  which  are  exe- 
cuted with  the  graver  in  a  very  neat  style :  these 
were  published  in  1663. 

COLLETTE,  Alexandre,  a  French  lithographer, 
was  born  at  Arras  in  1814,  and  died  in  18'7'7. 

COLLIER,  John,  who  assumed  the  name  of  Tim 
Bobbin,  was  born  at  Warrington  in  the  early  part 
of  the  18th  century.  He  was  an  eccentric  indi- 
vidual— travelling  the  country,  first  as  a  school- 
master, then  as  a  sign-painter,  portrait-painter,  and 
caricaturist,  living  from  hand  to  mouth.  He  was 
also  an  author,  and  issued  in  1810,  '  The  Passions 
humourously  delineated,'  with  25  coloured  plates  ; 
a  volume  of  his  '  Miscellaneous  Works,'  with  his 
Life  by  R,  Townley,  and  with  portrait  and  oopper- 
piates,was  published  in  1818.  He  lived  to  the  age 
of  80,  but  the  dates  of  his  birth  and  death  are 
uncertain. 

COLLIN,  Richard,  a  German  designer  and  en- 
graver, was  born  at  Luxemburg  in  1627.  He  went 
to  Rome  when  young,  and  became  a  scholar  of  his 
countryman,  Sandrart,  for  whose  'Accademia'  he 
engraved  some  plates.  On  his  return  from  Italy 
he  resided  at  Antwerp  and  Brussels,  where  he 
engraved  several  portrai+s  and  other  subjects,  in  a 
neat  but  laboured  style.  The  following  are  his 
principal  plates : 

PORTRAITS. 
Jane  Bickerton,  Duchess  of  Norfolk. 
Sir  Godfrey  Kneller ;  for  Sandrart's  '  Accademia.' 
John  Zachary  Kneller;  for  the  same. 
Artus  Quelliuus,  sculptor  ;  after  E.  Quellintis. 
Jan  Philip  van  Thielen,  flower  painter ;  after  the  same. 
Joachim  Sandrart.     1679. 

Bartolome  Estebau  Murillo,  painter :  after  MuriUo. 
Christian  Albert,  Prince  Bishop  of  Lubeck.     1654. 
Anna  Adelhildi  ,  wife   of  the  Prince  de   la  Tour  et 

Tassis.     1682. 
A  set  of  forty  portraits  of  the  Saints  of  Mount  Carmel. 

SUBJECTS   AFTER   VARIOUS   MASTERS. 
Esther  before  Ahasiierus  ;  after  Rubens. 
Christ  bearing  his  Cross  ;  after  A .  JHepenheeck. 
St.  Arnold  ;  after  the  same. 

COLLIN  DE  VERMONT,  Hyacinthe,  a  French 
historical  painter,  was  born  at  Versailles  in  1693. 
He  was  a  grandson  of  H.  Rigaud  and  a  pupil  of 
Jouvenet,  and  was  received  into  the  Academy  in 
1725,  when  he  painted  the  '  Birth  of  Bacchus,'  now 
in  the  Museum  of  Tours.  Collin  de  Vermont  was 
one  of  the  twelve  painters  who  in  1727  took  part 
in  the  competition  held  in  the  Gallery  of  Apollo. 
He  died  in  Paris  in  1761. 

C0LLIN6S,  S. ,  a  caricaturist  and  subject  painter, 

296 


C  oUins 


A   BIOGRAPHICAL   DICTIONARY   OF 


Collins 


flourished  in  the  latter  part  of  the  18th  century. 
He  occasionally  exhibited  at  the  Royal  Academj'. 

COLLINS,  Charles,  who  died  in  1744,  painted 
birds,  game,  and  still-life. 

COLLINS,  Charles  Allston,  a  younger  son  of 
William  Collins,  was  born  at  Hampstead  in  1828. 
He  first  exhibited  in  1847,  and  gave  up  the  art  in 
1856.  Among  the  chief  pictures  exhibited  by  him 
at  the  Royal  Academy  we  may  mention  '  Convent 
Thoughts'  (1851),  'The  Devout  Childhood  of  St. 
Elizabeth  of  Hungary'  (1852),  and  'The  Good 
Harvest  of  1854 '  (1855)  ;  which  is  now  in  the 
South  Kensington  Museum.  He  was  also  an  author 
and  contributed  to  'Household  Words,'  and  'All 
the  Year  Round,'  when  the  latter  was  edited  by 
Charles  Dickens,  whose  daughter  he  married.  He 
also  wrote  (in  1863)  'A  Cruise  upon  Wheels,'  a 
clever  description  of  his  travels,  which  met  with 
a  deservedl}-  favourable  reception,  and  several 
novels.  He  died  after  a  long  and'painful  illness 
in  187.3. 

COLLINS,  Elizabeth  Johanna,  flourished  about 
the  middle  of  the  18lh  century.  She  made  designs 
for  book  illustrations. 

COLLINS,  Jacob,  an  engraver  of  portraits  and 
frontisiiinoesfor  books,  worked  in  the  18th  century. 

COLLINS,  James,  flourished  about  the  year  1715. 
We  have  some  prints  by  him  representing  views  of 
buildii  gs,  among  which  is  the  large  plate  of 
Canterbury  cathedral. 

COLLINS,  John,  was  an  English  engraver,  who 
flourished  about  the  year  1682.  He  engraved  some 
very  indifferent  copies  from  the  grotesque  figures 
p.iblished  by  the  Bonnarts  at  Paris,  called  Scara- 
mouch and  his  Company  of  Comedians.  We  have 
also  some  portraits  by  him  ;  and  the  Funeral  Pro- 
cession of  George,  Duke  of  Albemarle. 

COLLINS.  John,  flourished  in  England  about 
1744.  At  Hampton  Court  are  a  'Shepherd'  and 
a  '  Shepherdess  '  by  him. 

COLLINS,  Richard,  a  miniature  painter,  was 
born  in  Hampshire  in  1755.  He  was  a  pupil  of 
Jeremias  Meyer.  In  1777  he  exhibited  some  por- 
traits at  the  Royal  Academy,  and  in  1787  became 
chief  miniature  and  enamel  painter  to  George  III. 
He  died  in  London  in  1831. 

COLLINS,  Samuel,  a  native  of  Bristol,  practised 
miniature  painting  at  Bath,  and  there  imparted 
instruction  to  Ozias  Humphrey.  About  1762  he 
removed  to  Dublin  and  practised  there  with  success. 
His  death  is  not  recorded. 

COLLINS,  William,  who  is  so  well  known  by 
the  rustic  simplicity  of  his  pictures,  was  born  in 
London  in  1788.  His  father,  a  native  of  Wicklow 
in  Ireland,  although  of  literary  abilities  and  a  poet, 
was  obliged  also  to  carry  on  the  business  of  a  picture 
dealer  in  order  to  obtain  the  means  to  support  his 
family.  Amongst  other  works,  he  wrote  a  Life  of 
Morland,  who  allowed  the  young  painter  to  visit  his 
studio  and  to  watch  him  paint,  and  by  examining 
the  works  of  the  two  men  it  will  be  seen  that  the 
early  impressions  made  by  the  eccentric  artist  had 
a  decided  influence  on  the  art  of  Collins,  although 
the  latter  denied  that  he  ever  obtained  any  great 
advantage  in  the  practical  part  of  his  art  from  the 
instruction  which  he  received  from  Morland. 

In  1807,  after  having  studied  for  many  years 
imder  his  father's  guidance,  he  at  length  obtained 
admission  as  a  student  into  the  Royal  Academy, 
where  he  gained  a  silver  medal  for  drawing  from 
the  life  in  1809.  Even  at  this  early  period  he 
began  to  exhibit  at  the  annual  exhibitioi.Sj  and  his 


first  work  was,  '  Boys  with  a  Bird's  Nest.'  In  1812 
he  lost  his  father,  who  died  leaving  his  family  in  a  , 
state  of  destitution,  and  wholly  dependent  on  the 
young  artist  for  means  of  subsistence.  Collins, 
however,  met  with  generous  assistance  from  his 
friends.  Among  his  early  patrons  were  Sir  Thomas 
Heathcote,  Sir  John  Leicester,  Sir  George  Beaumont, 
Sir  Robert  Peel,  and  the  Karl  of  Liverpool.  In 
this  year  he  painted  one  of  his  principal  pic- 
tures of  rustic  life,  'The  Sale  of  the  Pet  Lamb.' 
'  The  Burial-place  of  a  Favourite  Bird,'  exhibited 
at  the  same  time,  and  possessing  the  same  qualities 
of  tender  pathos  and  unaffected  sentiment,  so  far 
advanced  Collins  in  the  opinion  of  his  brother  artists 
that  in  1814  he  was  elected  an  Associate  of  the 
Royal  Academy. 

In  1815  he  thought  he  would  try  fresh  subjects, 
and  accordingly  went  to  Cromer  to  study  the  sea 
and  the  habits  of  fishermen.  At  the  Gillott  sale  in 
1872  his  large  picture  of  '  Cromer  Sands'  brought 
3600  guineas. 

After  visiting  Norfolk  he  went  to  Hastings,  and 
there  painted  many  pictures  of  coast  scenery, 
enlivened  by  groups  of  fisher-boys,  boats,  &c.  In 
1818  one  of  these,  a  '  Scene  on  the  coast  of  Norfolk,' 
was  purchased  by  the  Prince  Regent,  and  now 
hangs  in  Windsor  Castle.  This  patronage  by 
royalty  led  to  many  other  commissions,  so  that  the 
artist  rapidly  rose  to  fame  and  overcame  all  his 
pecuniary  difSculties. 

He  had  previously  been  compelled  to  resort  to 
portrait  painting  as  the  only  sure  means  of  profit ; 
but  now  he  was  able  to  abandon  it  entirely,  and 
having  in  his  particular  branch  of  landscape  art,  as 
his  intimate  friend  Wilkie  told  him,  the  ball  at  his 
feet,  he  had  but  to  paint  as  he  had  begun  to  widen 
his  popularity.  In  1820  he  became  a  Royal  Aca- 
demician, giving  as  a  diploma  picture  'The  Young 
Anglers,'  and  for  the  next  sixteen  years  he  was  a 
constant  contributor  to  the  exhibitions,  sending 
occasionally  five  and  never  less  than  three  pictures. 
In  1822,  whilst  on  a  visit  to  Scotland,  he  married 
Miss  Geddes,  the  sister  of  Mrs.  Carpenter,  the 
portrait  painter. 

Collins  continued  to  paint  numerous  pictures  of 
rustic  life  with  great  success ;  amongst  which 
'  Rustic  Civility  '  and  '  As  Happy  as  a  King '  are 
perhaps  the  most  popular.  A  replica  of  the  latter 
now  hangs  in  the  National  Gallery.  Wilkie  Collins 
(the  well-known  novelist,  and  author  of  a  Life  of 
his  father,  published  in  1848),  says  that  the  subject 
of  this  painting  was  suggested  to  his  father  by  the 
story  of  the  country  boy  whose  ideal  of  happiness 
was  swinging  upon  a  gate  all  day  long  and  eating 
fat  bacon. 

In  1836  Collins  visited  Italy,  having  been  re- 
peatedly urged  by  his  friend  Wilkie  to  see  the 
beauties  of  that  country.  He  remained  two  years 
abroad,  and  on  his  return  the  pictures  which  he 
exhibited  surprised  his  former  admirers ;  but  it  is 
doubtful  whether  the  Italian  journey  was  at  all 
beneficial  to  his  reputation. 

It  is  said  that  his  unwise  practice  of  painting  at 
all  times  of  the  day  while  at  Sorrento,  though  he 
was  warned  of  its  folly  by  his  friends,  sowed  the 
seeds  of  the  disease  by  which  he  was  vanquished  at 
last.  A  rheumatic  attack  left'behind  it  disease  of 
the  heart,  and  although  he  lived  for  eleven  years 
afterwards,  he  was  never  the  same  man  again.  It 
was  under  great  suffering  that  he  painted,  in  1846, 
his  beautiful  picture  of  'Early  Morning.'  He  died 
in  London  in  1847. 


Collinson 


PAINTERS  AND  ENGRAVERS. 


Colonia 


In  1817  he  had  visited  Paris;  in  1828  Holland 
and  Belgium  ;  in  1840  Germany  ;  and  in  1842  the 
Shetland  I'iles. 

His  pictures  were  at  first  landscapes  with  figures 
and  simple  incidents  introduced — then  subjects  on 
the  sea  coast ;  occasionally  portraits  ;  and  latterly, 
after  his  Italian  journey,  sacred  subjects. 

His  works  are  very  numerous :  there  are  no  less 
than  twelve  in  the  Sheepshanks  and  Townshend 
Collections  in  the  South  Kensington  Museum.  The 
following  are  some  of  the  principal,  and  are  typical 
of  the  rest.     Several  have  been  engraved. 

1811.  A  Country  Kitchen  (in  the  Sheepshanks  Collection 
in  the  South  Kensiifigton  Museum)^ 

1813.  The  Sale  of  the  Pet  Lamb. 

1814.  Bird  Catctiers — Morning  {one  of  the  best  of  hist 
early  works,  the  property  of  the  Marquis  of  Lans- 
downe), 

1816.  Shrimp  boys  at  Cromer. 

1817.  Fishermen  coming  ashore  before  sunrise. 

1818.  Coast  of  Norfollc 

1819.  Morning — Fishermen  on  the  look-out. 

1822.  Scene  near  Cliichester. 

1823.  Scene  in  Borrowdale. 

1823.  "Walmer  Castle. 

1824.  The  Cherry  Seller. 

1825.  Fishermen  getting  out  their  nets. 

1827.  A  Frost  Scene. 

1828.  Scene  in  Freshwater  Bay,  Isle  of  Wight. 

1829.  Ssene  in  a  Kentish  Hop  Garden. 

1830.  Waiting  for  the  Arrival  of  Fishing  Boats,  Coast 

of  France. 

1831.  The  Prawn  Catchers  (in  the  National  Gallery). 

1833.  Eustic  Civility  {in  the  South  Kensington  Museum). 

1834.  Cottage  Hospitality. 
1836.  Sunday  Morning. 

„       Leaving  Home. 

„       As  Happy  as  a  King  (a  replica  is  in  the  National 

Gallery). 
„       Bayham  Abbey  {in  the  South  Kensington  Museum). 

1839.  A  Scene  near  Subiaco,  Eoman  States. 

1840.  Our  Saviour  with  the  Doctors  in  the  Temple  {the 

property  of  the  Marquis  of  Lajisdoume). 
„       Ave  Maria,  Naples. 

1841.  The  Two  Disciples  at  Emmaus. 

1841.  Isohia,  Bay  of  Naples. 

1842.  Welsh  Guides,  Llanberris. 

1843.  The  Caves  of  Ulysses  at  Sorrento  {in  the  South 

Kensington  Museum). 
„      The  World  or  the  Cloister. 

1844.  Morning,  Boulogne. 

,.       Seaford,  Sussex  {inthe  South  Kensington  Musewn). 
1846.  Early  Morning. 
„       Meadfoot  Bay,  Torquay. 

„       Hall  Sands,  Devonshire  {in  the  South  Kensington 
Museum). 

Collins  engraved,  in  a  mixed  manner  of  etching 
and  mezzotint,  some  of  his  own  paintings  of  coast 
scenrs. 

COLLINSON,  .James,  who  studied  in  the  schools 
of  the  Royal  Academy,  first  exhibited  at  its 
Exhibitions  in  1847,  'The  Charity  Boy's  D^but.' 
In  1848-49  he  became  one  of  the  seven  original 
members  of  the  Pre-Raphaelite  Brethren,  of  whom 
five  were  painters:  and  in  1851  appeared  his  best 
work  done  under  the  influence  of  that  teaching 
— 'An  Incident  in  the  Life  of  St.  Elizabeth  of 
Hungary,'  in  illustration  of  Charles  Kingsley's 
'  Saint's  Tragedy.'  Collinson  soon  after  left  this 
Fraternity,  became  a  Eoman  Catholic,  and  spent 
the  years  1862-1854  in  a  convent.  He  was  subse- 
quently a  frequent  exhibitor  at  the  Royal  Academy, 
and  he  also  sent  works  to  the  British  Institution 
and  the  Society  of  British  Artists,  of  which-  he 
was  a  member  from  1861  till  1870,  in  which 
year  his  active  art  life  seems  to  have  closed.  He 
died  in  1881.  Among  the  best  of  his  early  works 
were ; 


The  Kivals.    Soyal  Academy,    1848. 
Italian  Image  Boys.     Eoyal  Academy.     1849. 
Answermgthe  Emigrant's  Letter.  Soyal  Academy.  1850. 

COLLYER,  Joseph,  an  engraver,  was  born  in 
London  in  1748,  and  became  a  pupil  of  Anthony 
Walker.  He  applied  himself  to  book  illustration 
with  success ;  and  attracting  the  notice  of  Alder- 
man Boydell,  was  employed  to  make  an  engraving 
after  D.  Teniers,  and  another  of  the  '  Irish  Volunteers,' 
after  Wheatley.  He  subsequently  engraved,  with 
great  success,  Sir  J.  Reynolds'  '  Venus,'  ajid  '  Una,' 
in  imitation  of  chalk,  the  '  Girl  with  a  Cat,'  the  por- 
traits of  Miss  Palmer,  niece  of  Sir  Joshua,  and  of 
Reynolds  by  himself.  He  was  elected  an  Associate 
Engraver  of  the  Eoyal  Academy  in  1786,  and  after- 
wards became  Portrait  Engraver  to  Queen  Cliarlotte. 
He  died  in  1827. 

COLOGNE.     See  Koln. 

COLOMBA,  LucA  Antonio,  who  painted  in  oil 
and  fresco,  was  born  at  Arogno  in  Switzerland,  in 
1661.  His  style  was  distinguished  for  its  happy 
compositions  and  its  careful  design,  as  also  for  the 
delicate  and  tender  colours.  He  was  particularly 
admired  in  Germany,  where  he  painted  for  some 
time,  and  was  employed  by  the  Duke  Eberhard 
Ludwig  of  Wiirtemburg.     He  died  in  1737. 

COLOMBANO,  Antonio  Maria,  an  Italian  pain? 
er,  of  the  town  of  Corrfeggio,  who  flourished  from 
1596  to  1616.  Fifteen  pictures  by  him,  some  of 
large  dimensions,  are  mentioned  by  Pungilione 
in  his  Life  of  Antonio  Allegri.  The  subjects  are 
incidents  in  the  life  of  the  Virgin  and  the  infancy 
of  Christ. 

COLOMBEL,  Nicolas,  a  French  painter,  was 
born  at  Sotteville,  near  Rouen,  about  1644.  He 
went  to  Rome  when  quite  young,  and  remained 
there  until  1692,  forming  bis  style  by  a  study  of 
the  works  of  Raphael  and  of  Nicolas  Poussin.  His 
pictures  met  with  considerable  success,  though  in 
the  opinion  of  critics  of  more  modern  days  he 
never  attained  any  real  approximation  to  the  works 
of  those  masters.  He  was  admitted  into  the 
Academy  of  St.  Luke  at  Rome  in  1686,  and  in  1694 
into  that  of  Paris.  The  Louvre  possesses  the '  Mars 
and  Rhea  Sylvia,'  which  he  painted  for  his  recep- 
tion, and  an  able  work  representing  the  '  Miracle  of 
St.  Hyacinthe.'  He  was  much  employed  by  Louis 
XIV.  both  at  Versailles  and  at  Meudon.  Many  of 
his  works  have  been  engraved  by  Dufloc,  and  by 
Michel  Dossier.     He  died  in  Paris  in  1717. 

COLOMBINI,  CosiMO,  an  Italian  engraver, 
flourished  about  the  year  1764.  He  engraved 
among  other  things,  several  of  the  plates  for  the 
'  Museo  Fiorentino.'  A  great  part  of  the  portraits 
of  painters   in   that   work  are   by  his   hand ;    he 

marked  some  thus  "jL. 

COLOMBO,  AuBELio,  an  Italian  line-engraver, 
was  born  at  Varese  about  1785.  He  was  a  pupil 
of  Longhi  and  worked  at  Milan.  His  best  works 
are  the  '  Massacre  of  the  Innocents '  after  Raphael, 
and  a  '  Virgin  and  Child '  after  Luini. 

COLONIA,  Adam,  who  was  born"  at  Rotterdam  in 
1634,  spent  the  greater  part  of  his  life  in  England. 
He  died  in  London  in  1685.  He  painted  land- 
scapes and  figures,  sometimes  in  the  manner  of 
Berchem.  In  the  Copenhagen  Museum  there  is 
a  picture  by  him  of  '  Noah  building  the  Ark '  ; 
and  the  Lille  Museum  has  'The  Angel  appearing 
to  the  Shepherds  '  attribr.ted  to  him. 

COLONIA,  Hendeik  Adriaan,  the  son  of  Adam 
Colonia,   and    the    brother-in-law  of   Van   Diest, 

297 


Colonna 


A  BIOGRAPHICAL  DICTIONAEY  OF 


Comontes 


by  whom  he  was  instructed,  was  bom  in  1668. 
He  sometimes  painted  the  figures  in  Van  Diest's 
landscapes,  and  also  painted  landscapes  in  imita- 
tion of  the  style  of  Salvator  Eosa.  He  died  in 
London  in  1701. 

COLONNA,  Michelangelo,  was  bom  near  Como 
in  1600,  and  was  first  a  scholar  of  Gabriele 
Ferrantini,  but  he  afterwards  finished  his  education 
under  Girolamo  Curti,  called  Dentone.  In  con- 
junction with  that  master  he  executed  some  con- 
siderable works  in  fresco  in  the  churches  and 
palaces  at  Bologna,  Ferrara,  and  Modena, — Uen- 
tone  usually  painting  the  architecture  and  per- 
spective, and  Colonna  the  figures.  Their  most 
admired  works  were  the  great  perspective  painted 
for  San  Michele  in  Bosco,  and  a  saloon  in  the 
Palazzo  Grinialdi.  After  Dentone's  death,  Colonna 
painted  in  conjunction  with  Metelli  in  Bologna, 
Florence,  and  Genoa.  Philip  IV.  of  Spain  invited 
the  two  artists  to  Madrid,  where  they  executed 
several  works  in  fresco,  and  were  liberally  rewarded 
by  that  monarch.  Colonna  afterwards  worked 
with  Alboresi.  He  died  at  Bologna  in  1687.  His 
portrait  by  himself  is  in  the  Uffizi,  Florence. 

COLS,  Adolphe  Felix,  a  French  portrait, 
genre,  and  landscape  painter,  died  at  Houfleur  in 
1880,  in  his  seventieth  year.  He  was  a  pupil  of 
Coguiet. 

OOLSON,  GuiLLAUME  FRANgois,  a  French  his- 
torical painter,  and  pupil  of  L)avid,  was  born  in 
Paris  in  1785,  and  died  there  in  1860.  Among 
other  works,  he  painted  the  'Entry  of  General 
Bonaparte  into  Alexandria,'  which  is  at  Versailles. 

COLSON,  Jean  Baptiste  Gille,  was  a  French 
painter  of  portraits  in  miniature  and  water-colours. 
He  was  born  at  Verdun  in  1680,  and  assumed  his 
mother's  surname  of  Colson,  because  the  theatres 
of  the  fairs  had  brought  ridicule  upon  the  name  of 
Gilles.  Colson,  who  was  a  pupil  of  Christophe, 
and  a  member  of  the  Academy  of  St,  Luke,  died 
in  Paris  in  1762. 

COLSON,  Jean  Fean^'ois  Gille,  the  son  of  the 
preceding,  was  born  at  Dijon  in  1733.  He  was  a 
pupil  of  his  father,  of  Frere  Imbert  at  Avignon, 
and  of  Nonotte  at  Lyons.  On  coming  to  Paris  he 
was  presented  to  the  Duke  of  Bouillon,  who  kept 
him  in  constant  employment  for  forty  years  as 
architect,  sculptor,  painter,  and  even  gardener. 
He  gained  a  high  reputation  as  a  portrait  painter, 
and  left  several  manuscripts  on  perspective,  poetry, 
and  the  fine  arts.     He  died  in  Paris  in  1803. 

COLTELLINI,  Michaele,  was  a  Ferrarese  artist, 
and  a  follower  of  Panetti  and  Garofalo,  who  lived 
in  the  16th  century.  He  is  the  author  of  a  '  Dead 
Christ  on  the  lap  of  the  Virgin '  in  the  Dresden 
Gallery,  formerly  assigned  to  Squarcione.  His 
oldest  panel  is  dated  1502,  and  represents  the 
'  Death  of  the  Virgin : '  it  is  now  in  the  possession 
of  Count  Mazza,  at  Ferrara.  In  the  church  of 
Sant'  Andrea,  in  the  same  city,  is  a  '  Virgin  and 
Child  between  SS.  Michael,  Catharine,  John,  and 
Jerome,'  signed  and  dated  1506.  The  Gallery  of 
Ferrara  has  a  '  Madonna  and  Child  and  Saints,' 
signed  by  him  in  1542.  The  dates  of  his  birth 
and  death  are  uncertain. 

COLYN,  Michiel,  according  to  Florent  Le  Comte, 
is  said  to  have  been  a  native  of  Antwerp.  He  en- 
graved some  plates  of  architectural  subjects,  among 
which  is  a  view  of  the  Exchange  at  Amsterdam. 

COLYNS,  Arnold,  lived  at  Cologne  towards  the 
end  of  the  16th  century,  and  the  Museum  of  that 
town  contains  some  '  Scenes  from  the  Battle  of 

298 


Woringen,'  painted  by  him  in  1582,  which  bear 
strong  resemblance  to  the  works  of  his  contem- 
porary Johanii  von  Aachen. 

COLYNS,  David,  was  bom  at  Amsterdam  about 
the  year  1660.  He  painted  histoi-ical  pictures  of  a 
small  size,  into  which  he  introduced  an  infinite 
number  of  figures,  which  he  grouped  with  great 
ingenuity.  His  pictures  are  touched  with  spirit 
and  fineness.  Houbraken  extols,  in  high  terms, 
two  pictures  by  this  master  at  Amsterdam,  one 
representing  'Moses  striking  the  Rock,'  the  other 
the  '  Israelites  fed  by  the  Miracle  of  the  Manna.' 

COMBES,  Petee,  was  an  English  engraver  in 
mezzotint,  who  flourished  about  the  year  1700. 
He  was  chiefly  employed  in  engraving  portraits, 
among  which  is  a  small  whole-length  of  Master 
Charles  More,  son  of  the  Bishop  of  Ely,  after 
Kerseboom. 

COMERFORD,  John,  who  wasljom  at  Kilkenny 
in  1773,  practised  as  a  miniature  painter  in  Dublin 
for  many  years.  He  died  at  Dublin  about  1835. 
A  portrait  in  miniature  of  an  '  English  Military 
Officer,'  by  him,  is  in  the  South  Kensington 
Museum. 

COMIN,  Jovan,  or  Jan,  who  flourished  about 
the  year  1630,  engraved  some  of  the  plates  of  an- 
tique statues  for  the  Giustiniani  Gallery.  They  are 
executed  with  the  graver  in  a  stifE,  tasteless  style. 

COMO,  Fra  Emmanuello  da,  born  in  1686,  was 
a  Franciscan  monk,  and  studied  art  under  the 
direction  of  Silla  at  Messina.  He  distinguished 
himself  by  his  pure  and  simple  style,  which  is 
the  more  creditable  as  he  flourished  at  a  time 
when  taste  for  art  was  in  a  most  deplorable  state. 
Several  frescoes  by  him  are  in  the  library  of  the 
Irish  convent  of  St.  Isidore  at  Rome.  He  died 
in  1662. 

COMODI,  Andeea,  a  Florentine  painter,  was 
born  in  1660.  He  was  the  scholar  and  friend  of 
Lodovico  Cardi,  called  Cigoli.  He  is  rather  to  be 
considered  as  a  Roman  than  a  Florentine,  as  he 
went  to  Rome  when  he  was  young,  in  the  pon- 
tificate of  Urban  VIII.,  and  resided  there  the 
greater  part  of  his  life.  His  principal  works  are : 
'  Christ  bearing  his  Cross,'  in  the  Tribune  of  San 
Vitale  ;  in  San  Carlo  ai  Catinari,  the  principal  altar- 
piece,  the  Titular  Saint  kneeling  ;  in  San  Giovanni 
in  Fonte,  the  '  Baptism  of  Christ  by  St.  John.'  He 
painted  a  number  of  Madonnas,  which  Lanzi  says 
are  distinguished  by  the  smallness  of  the  neck, 
and  a  certain  air  of  virgin  modesty,  which  is  pecu- 
liar to  him.  One  of  the  most  admired  of  these  is 
in  the  Corsini  Palace.  Comodi  went  afterwards  to 
Cortona,  where  he  became  the  instructor  of  Pietro 
Berrettini,  who  assisted  him  afterwards  in  several 
of  his  paintings.  On  his  return  to  Florence  he 
painted  some  works  from  his  own  designs,  but 
more  especially  he  copied  and  re-copied,  in  a  skilful 
manner,  the  works  of  the  great  masters,  among 
which  were  many  pictures  of  the  Virgin,  to  whom 
he  was  most  devoted.  These  were  mistaken  at  the 
time,  even  by  the  learned  in  art,  for  the  originals. 
Such  being  the  case  two  centuries  ago,  how  diffident 
should  we  be  in  pronouncing  judgment  on  the 
originality  of  his  works  in  the  present  day.  He 
died  in  Florence  in  1638. 

COMONTES,  Feancisco  de,  a  son  of  Inigo  de 
Comontes,  executed  in  1533  the  principal  retablo 
of  the  chapel  of  Los  Reyes  Nuevos  in  Toledo  cathe- 
dral, from  the  design  of  Felipe  de  Vigarny.  In 
1545-7,  he  painted  for  the  winter  chapter  room 
portraits  of  Cardinal  Archbishop  Tavera  and  Arch- 


Comontes 


PAINTERS  AND  ENGRAVERS. 


bishop  Siliceo  ;  in  the  latter  year  he  was  appointed 
painter  to  the  cathedral,  which  office  Jie  retained 
until  his  death  in  1565.  Pictures  on  panel  of  the 
'  Virgin  and  St.  Bartholomew,'  placed  in  1659  in  a 
retablo  gilt  by  his  own  hands,  in  the  chapel  of  the 
Tower,  are  considered  his  best  works. 

COMONTES,  Inigo  de,  was  a  scholar  of  Antonio 
del  Rincon.  In  1495  he  painted  a '  History  of  Pilate ' 
in  the  Cathedral  of  Toledo,  and  a  picture  for  one  of 
the  porches.  No  traces  of  his  works  remain.  His 
brother,  Antonio  db  Comontes,  was  also  a  painter. 

COMPAGNO,  SciPiONE,  an  Italian  painter,  was 
born  at  Naples  about  1624,  and  was  still  living 
in  1680.  He  was  a  pupil  of  A.  Falcone  and  of 
Salvator  Rosa,  and  his  drawings  are  held  in  esteem. 
The  Belvedere,  Vienna,  contains  two  works  by  him, 
the  '  Eruption  of  Vesuvius  '  and  the  '  Beheading  of 
St.  Januarius.' 

COMPE,  Jan  ten.     See  Ten  Compe. 

COMPTE-CALIX,  FEANgois  Claudius,  a  French 
painter  of  genre  subjects  and  portraits,  was  born 
at  Lyons  in  1813.  He  studied  in  the  fine  art 
school  of  his  native  city,  and  in  the  studio  of  J.  C. 
Bonnefond,  and  first  exhibited  at  the  Paris  Salon 
in  1840.  His  '■  Vieil  Ami,'  painted  in  1863,  was 
in  the  International  Exhibition  at  Paris  in  1867. 
He  died  at  Chazay  d'Azergues  near  Lyons  in  1880. 

COMTE,  Le.     See  Lecomte. 

CUNCA,  Sebastiano,  was  bom  at  Gaeta  in 
1679,  and  was  educated  in  the  school  of  Francesco 
Solimena.  Under  that  master  he  acquired  a 
competent  ability  in  design,  and  a  great  facility. 
In  the  early  part  of  his  hfe  he  was  much  occupied 
in  portrait  painting.  Desirous  of  seeing  Rome, 
and  ambitious  of  distinguishing  himself  in  a 
more  elevated  branch  of  the  art,  he  visited  the 
metropolis  of  Italy,  with  his  brother  Giovanni,  in 
1706,  and  for  five  years  changed  the  pencil  for  the 
portecrayon,  and  was  occupied  in  drawing  from 
the  antique,  and  the  works  of  the  great  masters. 
The  progress  he  had  made  under  Solimena,  im- 
proved by  his  studies  at  Rome,  enabled  him  to 
produce  some  pictures  which  attracted  the  notice 
of  Clement  XI.,  who  employed  him  in  decorating 
his  church  of  San  Clemente  with  several  works  in 
fresco,  which  gave  so  much  satisfaction  to  his 
patron,  that  he  conferred  On  him  the  order  of 
knighthood,  and  procured  him  every  great  public 
undertaking  of  that  time  at  Rome.  In  addition 
to  this,  he  painted  also  for  the  kings  of  Spain, 
Portugal,  Sardinia,  and  Poland,  and  for  the  Elector 
of  Cologne ;  also  at  Siena,  Pisa,  Loretto,  Palermo, 
Ga'eta,  and  Naples.  For  this  flattering  success,  he 
was,  however,  more  indebted  to  the  state  of  deca- 
dence into  which  the  art  had  then  sunk  at  Rome, 
than  to  any  particular  or  original  merit  of  his  own. 
He  possessed  a  fertile  invention,  great  rapidity  of 
pencil,  and  a  colour  that  enchants  more  by  its 
brilliancj'  than  its  truth.  In  his  attempts  to  be 
pleasing  he  sank  into  the  pretty,  and  although  he 
evidently  aimed  at  grandeur,  he  never  could  divest 
himself  of  the  littleness  to  which  nature  had  con- 
fined him.  Perhaps  he  has  been  too  harshly 
treated  by  the  surly  criticism  of  Mengs,  who 
observes,  "  that  by  introducing  at  Rome  the  man- 
nered style  of  Solimena,  and  a  system  less  excel- 
lent than  expeditious,  he  put  the  finishing  to  the 
ruin  of  painting."  He  died  at  Naples  in  1764. 
The  principal  works  of  Conca  are : 


Ancona. 

Berlin. 

Darmstadt. 


Museum. 
Museum. 


St.  Francis  Xavier. 
Abraham. 
Joseph  is  Frisgn. 


Dresden.       Gallery. 

Foligno. 

Loretto, 

Madrid.         Gallery. 


Conegliano 

Herod  examiuiug  the  Magi. 

St.  Augustine. 

St.  Nicholas. 

Christ  in  the  "Wilderness. 

Death  of  Seneca. 


Eome.  {and^S^Luca  }    The  Assumption  of  the  Virgin. 

Giovanni  Conca  painted  in  the  manner  of  his 
brother  Sebastiano,  and  copied  with  great  ability. 
We  have  by  him  several  cartoons  after  Guercino 
and  Lanfranco,  which  he  executed  for  mosaics. 

CONCHILLOS  FALCO,  Juan,  was  an  historical 
painter,  born  at  Valencia  in  1641.  He  was  a  pupil 
of  Esteban  Marc  in  that  city,  but  after  his  mas- 
ter's death  he  pursued  his  studies  in  Madrid.  He 
afterwards  returned  to  his  native  city,  where  he 
established  an  Academy  and  executed  a  number  of 
altar-pieces  for  the  churches  of  Valencia  and  of 
Murcia.  He  became  blind  and  paralysed,  and  died 
in  1711.  There  is  also  an  etching  by  him,  repre- 
senting '  The  Dead  Christ  mourned  by  Mary,  John, 
and  the  Magdalene.' 

CONCONI,  Mauro,  an  Italian  painter,  was  born 
in  Milan  in  1815,  and  died  in  1860.  He  was  a  pupil 
of  Sanguinetti,  and  is  represented  in  the  Brera,  in 
his  native  city,  by  a  portrait  of  Carlo  Bellosio, 
the  painter. 

COND!^,  John,  was  an  engraver  who  lived  in 
the  latter  years  of  the  18th  century.  He  executed 
tastefully  in  the  dotted  style  whole-length  por- 
traits of  Mrs.  Bouverie,  Mrs.  Fitzherbert,  Mrs. 
Tickell,  and  other  ladies,  after  Cosway.  He  also 
engraved  a  small  oval  portrait  of  Madame  Du 
Barry,  after  the  same  painter,  but  this  bore  no 
resemblance  to  the  lady  represented,  and  was  pro- 
bably fictitious. 

CONDY,  Nicholas  Matthew,  who  was  born  at 
Plymouth  in  1799,  painted  landscapes  and  marine 
subjects.  He  published  a  work  on  '  Cotliele,  on 
the  Tamar,  the  ancient  seat  of  the  Earl  of  Mount 
Edgecumbe,'  as  well  as  some  views  on  the  Thames. 
He  died  at  Plymouth  in  1857. 

CONEGLIANO,  Giovanni  Battista  da,  (com- 
monly called  CiMA  da  Conegliano,)  was  born  at 
Conegliano  in  Friuli,  in  the  middle  of  the  15th 
century.  The  name  '  Cima '  was  given  him  from 
his  habit  of  constantly  introducing  into  his  pictures 
the  hills  and  landscapes  of  his  native  place,  and  he 
was  called  in  the  17th  and  following  centuries  (but 
not  by  his  contemporaries)  by  no  other  name. 
He  was  the  rival  of  Giovanni  Bellini,  whom  he 
equalled  in  colouring  and  surpassed  in  design.  His 
earliest  painting  is  a  tempera  '  Madonna  and  Saints,' 
of  1489,  in  the  gallery  of  Vicenza,  but  having  settled 
in  Venice  towards  the  close  of  the  15th  century, 
he  perceived  the  necessity  of  adopting  the  new 
method,  and  in  the  academy  of  that  city  is  a 
'  Glory  of  St.  John  the  Baptist,'  which  was  painted 
in  oil  for  the  church  of  the  Madonna  del  Orto.  In 
1492  he  executed  the  altarpiece  of  the  'Virgin  and 
Saints  '  in  the  cathedral  of  Conegliano,  and  in  1494 
the  beautiful  '  Baptism  of  Christ,'  in  San  Giovanni 
in  Bragora,  Venice.  In  1501  he  finished  the  '  Incre- 
dulity of  St.  Thomas  '  (now  in  the  National  Giillery) 
for  the  Hospital  of  Portogruaro;  and  in  1502  the 
'  SS.  Constantine  and  Helen  '  for  the  church  of  San 
Giovanni  of  the  same  place.  In  the  gallery  of 
Parma  is  a  '  Virgin  and  Child  between  SS.  Michael 
and  Andrew,'  of  his  execution,  that  was  long  con- 
sidered to  be  by  Leonardo  da  Vinci ;  and  the  same 
gallery  possesses  a  superb  '  Virgin  and  Child  en- 
throned between  SS.  Damian,  Apollonia,  Cosmo, 

299 


Coney 


A   BIOGKAPHICAL   DICTIONARY  OF 


Coninxlo 


John,  Catharine,  and  Pad.'  The  Academy  of  Venice 
also  possesses  an  '  Incredulity  of  St.  Thomas, 
painted  early  in  the  16th  century.  The  time  of  his 
death  is  uncertain.  His  latest  works  bear  date 
1508,  but  he  is  said  to  have  been  still  working  in 
1517.  Numerous  paintings  by  him  can  be  seen  in 
all  the  large  galleries.  They  are  frequently  signed 
'  Joannes  Baptista  Coneglianensis.'  The  following 
are  the  principal : 

Berlin.  Museum.        Madonna  and  Saints  (three). 

^,  „  St.  Mark  curing  Anianus. 

Bologna.        Pinacoteca.   Madonna  and  Angels. 
Couegiiaoo.  Cathedral.     Virgin  enthroned,  surrounded  by 

six  Saints.     1493. 
Dresden.        Museum.        The  Presentation  in  the  Temple. 

„  „  Christ  in  Benediction. 

Florence.        Ufflzi.  Madonna  and  Child  with  Saints. 

London.         tiat.  Gall.      The  Infant  Christ  standing  on 
the  Knees  of  the  Virgin. 
„  „  Madonna  with  the  Infant  Christ 

standing  on  her  Knees. 
„  „  The  Incredulity  of  St.  Thomas. 

„  Hertford  H.  St.  Catharine. 

„  „  SS.  Sebastian  and  Boch. 

Milau.  Brera.  St.  Peter  in  cathedra  between 

St.  John  the  Baptist  and  St. 
Paul. 
„  St.    Peter    Martyr,    with    SS. 

Nicholas  and  Augustin. 
Modena.         Museum.        Christ,  taken   down  from  the 

Cross. 
Munich.         Pinakothek.   Virgin,    St.   Jerome,    and    the 

Magdalene. 
Paris.  Louvre.  Virgin  and  Child  (signed  JoAsis. 

Bapt.  Coneglaneso  opus). 
Parma.  Museum.        Madonna  with  Saints  (two). 

Venice.        S.   GiowrmO  g     y.^,  „f  ^ur  Lord. 
m  Uragora.  J       ^ 
,,  ,1  St.  Helena  and  Constantiue. 

Ch.^  d.  Mi-  \  ^^y^g  ^^^  jjjg  _^^     j^ 
"  sei'icordta. ) 

„  ^^'  ^:  '^'=""  i  The  Nativity. 

„  Academy.        Pieta. 

„  „  St.  John  the  Baptist  in  glory 

between  four  Saints. 
Vicenza.        Museum.         Virgin  between  SS.  James  and 
Jerome  (jpainted  in  tempera). 
1489. 
Vienna.         Belvedere.      Virgin  between  St.  Jerome  and 
St.  Louis,  Bishop  of  Toulouse. 

CONEY,  John,  an  architectural  draughtsman 
and  engraver,  was  born  at  RatclifEe  Highway, 
London,  in  1786  ;  he  was  apprenticed  to  an  archi- 
tect, but  never  followed  the  profession.  He  com- 
menced making  pencil  drawings  of  the  interior 
of  Westminster  Abbey  and  other  Gothic  buildings 
as  early  as  the  age  of  fifteen ;  these  he  sold  to 
dealers,  and  other  casual  customers,  at  very  small 
prices.  In  1815,  he  published  his  first  work,  a 
series  of  eight  views  of  the  exterior  and  interior  of 
Warwick  Castle,  drawn  and  etched  by  himself. 
Shortly  afterwards  he  was  employed  by  Harding 
to  draw  and  engrave  the  fine  series  of  exterior 
and  interior  views  of  the  Cathedrals  and  Abbey 
Churches  of  England,  to  illustrate  the  new  edition 
of  Dugdale's  'Monasticon,'  edited  by  Sir  Henry 
Ellis.  These  plates  occupied  a  great  portion  of 
his  time  for  fourteen  years,  and  are  executed  with 
consummate  skill.  In  1829,  he  commenced  the 
engravings  of  ''  Ancient  Cathedrals,  HStelsde  Ville, 
and  other  public  buildings  in  France,  Holland, 
Germany,  and  Italy ;  '  all  of  which  were  drawn 
from  the  several  objects  by  himself.  This  work 
was  intended  to  be  comprised  in  twelve  parts,  but, 
nut  meeting  with  the  public  encouragement  to 
which  it  was  entitled,  only  eight  were  published. 

300  '        J-      s  V 


Mr.  Charles  Heathcote  Tatham  wrote  the  necessary 
descriptions.  In  1831  Coney  commenced  a  similar 
series  of  the  '  Architectural  Beauties  of  Continental 
Europe,'  for  which  Mr.  H.  E.  Lloyd  wrote  the  de- 
scriptions. This  handsome  work  consists  of  28 
large  plates  of  remarkable  edifices  in  France,  the 
Low  Countries,  Germany,  and  Italy,  and  56  vig- 
nettes, all  drawn  and  etched  by  himself.  In  addi- 
tion to  these  laborious  undertakings,  he  executed 
numerous  drawings  in  pencil,  and  also  in  colours, 
for  private  commissions ;  and  necessity  often  com- 
pelled him  to  part  with  many  to  picture-dealers 
and  print-sellers.  He  was  employed  by  Cockerell, 
the  architect,  to  engrave  a  very  large  'View  of 
Rome,'  and  another  plate  as  a  companion  to  it, 
neither  of  which  has  been  published.  His  draw- 
ings exhibit  all  the  minutest  details  without  the 
appearance  of  labour,  yet  with  a  neatness  that  is 
truly  surprising.  He  died  in  Camberwell  in  1833. 
A  'View  of  the  Interior  of  Milan  Cathedral'  was 
published  after  his  death  for  the  benefit  of  his 
widow. 

CONGIO,  Cammillo,  an  Italian  designer  and 
engraver,  was  born  at  Rome  about  the  year  1604. 
In  1630,  he  engraved  some  plates  for  the  'Galleria 
Giustiniana.'  He  also  executed  some  of  the  en- 
gravings for  Tasso's  '  Jerusalem,'  after  the  designs 
of  Bernardo  Castello.  We  have  by  him  some  prints 
after  different  Italian  masters,  which  he  generally 
marked  CC  F.  His  works  most  worthy  of  notice 
are 

The  Annunciation. 

The  Adoration  of  the  Magi. 

Hercules  combating  the  Hydra. 

A  Frontispiece  entitled,  Diversi  ornamenti  capriciosi. 

The  Creation  of  Angels  ;  after  Camassei. 

Frontispiece  to  the  .Sides  Barbarinae ;  after  Guido  Vbaldo 

Ahhatini. 
An  Assembly  of  Saints ;  after  Gasparo  Celio. 

CONGNET,  GiLLES,  (or  Coignet,)  was  bom  at 
Antwerp  in  1540.  He  was  some  time  under  a 
painter  called  Antonio  Palermo,  then  resident  at 
Antwerp,  and  afterwards  went  to  Italy.  Afler 
visiting  Temi,  Naples,  and  several  towns  in 
Sicily,  he  returned  to  the  Low  Countries,  where 
he  was  much  encouraged.  He  was  admitted  into 
the  Guild  of  St.  Luke  at  Antwerp  in  1561,  and  was 
dean  in  1584-85.  The  troubles  that  existed  at  that 
time  under  the  Prince  of  Parma,  obliged  Congnet 
to  leave  his  native  country  about  1586,  and  take 
refuge  in  Amsterdam,  where  he  remained  several 
years.  He  painted  historical  and  mythological 
subjects  of  an  easel  size,  but  was  more  successful 
in  landscapes,  in  candle-light  subjects,  and  moon- 
light. He  finally  settled  at  Hamburg,  where  he 
died  in  1599.  The  Museum  of  Antwerp  contains 
a  '  St.  George  '  and  a  portrait  by  him,  and  that  of 
Cassel  a  '  Venus  and  Cupid  '  of  the  year  1579. 

CONINCK.     See  Koninck. 

CONINCK,  De  (or  Coninqh).  See  Db  Ko- 
ninck. 

CONINXLO,  CoRNELis  VAN,  (or  Conixlo,)  was  a 
Flemish  painter  of  the  16th  century,  of  whom 
nothing  has  been  recorded.  He  is  only  known  by 
a  painting  which  b?ars  his  signature,  'Cornilis  va 
Conixlo  Scernir  1626,'  in  the  Brussels  Gallery ;  r* 
represents  the  '  Parentage  of  the  Virgin.' 

CONINXLO,  GiLLES  -van,  (Coningsloo  or  Co- 
NINCXLOY,)  a  Flemish  painter  of  landscapes,  and  a 
relation  of  the  other  artists  of  the  same  name,  was 
born  at  Antwerp  in  1544.  He  was  first  instructed 
by  Leonard  Kroes,  but  afterwards  became  a  scholar 


Coniuxlo 


PAINTERS  AND  ENGRAVERS. 


Constable 


of  Gilles  Mostaert.  He  travelled  through  France  to 
Italy,  and  on  his  return  to  Flanders,  was  much  em- 
ployed in  painting  landsciipes,  in  which  the  figures 
were  fi-equently  added  by  Martin  van  Cleef .  "  Co- 
ninxlo  was  esteemed  one  of  the  ablest  artists,  in 
the  branch  that  he  followed,  of  the  time  in  which 
he  lived.  His  touch  is  spirited  and  light,  and  his 
colour  clear  and  agreeable.  He  died  at  Antwerp 
in  1609.  His  only  known  work,  a  landscape 
dated  1604,  is  in  the  possession  of  Prince  Liechten- 
stein at  Vienna.  Nicolaas  De  Bruyn  engraved 
much  after  him. 

CONl-NXLO,  Jan  van,  was  born  at  Brussels  in 
1489  (?),  but  nothing  is  known  of  the  details  of 
his  career.  His  father,  who  bore  the  same  christian 
name,  had  another  son,  Pieter  van  Ccninxlo  :  both 
were  painters.  The  name  is  found  written  in  a 
variety  of  ways — Ccninxlo,  Conninxlo,  Connixlo, 
Cooninxloo,  Conixloo — and  sometimes  with  the 
additional  name  of  Schemier.  The  Brussels  Gallery 
contains  five  works  by  Jan  van  Coninxlo  :  a  trip- 
tych of  the  '  Life  of  St.  Anne,'  which  bears  on 
its  right  wing  (representing  the  death  of  that 
saint)  the  signature  'Jan  van  Conixlo  1546';  the 
'  Birth  of  St.  Nicholas,'  and  the  '  Death  of  St. 
Nicholas,'  both  of  which  were  formerly  in  a  church 
in  Louvain ;  '  Christ  among  the  Doctors,'  and  the 
'Marringe  at  Cana.'  These  were  formerly  attri- 
buted to  Gilles  van  Coninxlo. 

CONJOLA,  Carl,  a  landscape  painter  in  water- 
colours  and  oil,  was  born  at  Mannheim  in  1773, 
and  died  at  Munich  in  1831.  His  views  are  prin- 
cipally of  the  mountainous  parts  of  Bavaria  and 
the  Tyrol. 

CONQUY,  Ephraim,  a  French  line-engraver,  was 
born  at  Marseilles  in  1809,  and  died  in  Paris  in 
1843.  His  works,  many  of  which  are  portraits,  are 
noticeable  for  vigour  and  for  delicacy  of  finish. 
The  most  important  are  the  following  : 

The  French  Mother ;  after  Stmben. 

The  Child  Jesus  on  the  steps  of  the  Temple ;  afUr  Carlo 

Dolci. 
St.  Catharine ;  after  the  same. 
St.  Cecilia  ;  after  Doinenichino. 
The  Neapolitaji  Mother ;  after  Horace  Vernet. 

CONRAD,  a  monk,  who  lived  about  the  middle 
of  the  13th  century,  compiled  a  number  of  learned 
works,  which  he  illustrated  with  pictures.  The 
Court  Library  at  Munich  possesses  several  of  his 
designs  for  these,  especially  an '  Evangeliarium '  and 
'  Lectionarium,'  in  which  there  is  evinced  a  more 
advanced  perception  of  the  true  natural  form  than 
is  to  be  found  in  most  miniatures  of  the  Roman 
style  in  Germany. 

CONliAD.  Abraham,  (or  Conbadus,)  was  a  Dutch 
designer  and  engraver,  who  flourished  about  the 
year  1650.  His  plates  consist  chiefly  of  portraits, 
part  of  which  are  from  his  own  designs.  They 
possess  great  merit,  and  some  of  them  are  success- 
ful imitations  of  the  style  of  Lucas  Vorstermans. 
The  following  are  his  principal  prints : 

POBTEAITS. 

Christopher  Love. 

Jacob  Mglande,  professor  of  Theology  at  Leyden. 

Thomas  Maurois,  of  Cauterbury,  ecclesiastic  at  Amster- 
dam ;  after  D.  JBondringhen. 

Godefroid  Hotton,  Pastor  of  the  French  Church  at 
Am.sterdam  ;  after  H.  Mermans  ;  very  fine. 

The  Flagellation  ;  aftei'  A.  JDiepevbeeck, 

The  Crucifixion  ;  after  the  same. 

CONRAD,  Cakl  Emanuel,  an  architectural 
painter,  was  bo  in  at  Beriin  in  1810,  and  instructed 


first  in  that  cit)',  and  afterwards  at  Diisseldorf, 
the  Academy  of  which  town  he  attended  from  1 8o  ■ 
till  1839.  Both  in  this  institution  and  at  the  Real- 
schule  he  gave  instruction  in  perspective  to  young- 
artists,  and  received  the  title  of  professor,  the  Ordbr 
of  the  Red  Eagle,  and  a  medal  from  the  Pope.  He 
painted  buildings  of  the  middle  ages,  with  land- 
scape surroundings,  such  as  '  The  Church  of  St. 
Quirinus  in  Neuss,'  '  The  Cloister  of  St.  Severinus 
in  Cologne'  (1837),  'The  Cathedral  of  Mayence' 
(1841),  'Custom  House  in  London'  (1852), 
'  Views  of  Cologne  Cathedral,'  &c.  He  also  exe- 
cuted some  excellent  acquatints,  as  '  Pius  IX.  in  his 
Cabinet,'  and  '  An  Assemblage  at  Sigraaringen  in 
the  Olden  Time '  (1872).  He  died  at  Cologne  in 
1873. 

CONRADER.     See  Koneader. 

CONSCIENCE,  FRANgois  Antoine,  a  French 
painter  of  animals,  who  always  exhibited  under  the 
name  of  Francis.  He  was  born  at  Besanjon  in 
1795,  became  a  pupil  of  Gu^rin,  and  died  at  Luxe- 
uil  in  1840. 

CONSETTI,  Antonio,  an  Italian  historical 
painter,  who  was  born  at  Modena  in  1686,  and  died 
in  1766,  is  represented  in  the  Estense  Gallery,  in 
his  native  city,  by  'The  Virgin  of  the  Rosary  with 
St.  Dominic,'  and  '  St.  Joseph  and  Angels.' 

CONSORTI,  Bernardo,  an  Itahan  line-engraver, 
wa.j  bom  at  Rome  about  1785.  He  engraved  the 
'  Holy  Family  with  the  Family  of  St.  John  '  after 
Garofalo,  the  '  Entombment '  after  Van  Dyck,  and 
'  Psyche  '  and  other  sculpture  after  Canova. 

CONSTABLE,  John,  one  of  the  greatest  realistic 
landscape  painters  of  England,  was  born  at  East 
Bergholt,  in  Suffolk,  on  the  11th  of  June,  1776. 
It  is  recorded  that  he  was  so  weakly  at  his  birth, 
that  he  was  baptized  on  the  same  day.  He  was 
sent  to  school  at  Lavenhain  and  afterwards  to 
Dedham,  where,  it  is  said,  the  boy  was  distin- 
guished for  little  more  than  his  penmanship.  His 
father,  a  wealthy  miller,  at  first  intended  him 
to  enter  the  Church,  but  as  he  had  no  taste  for 
theological  studies,  the  old  man  changed  his 
mind,  and  determined  that  his  son  should  follow 
his  own  trade ;  and,  although  the  youth  showed  a 
decided  taste  for  painting,  he  would  on  no  account 
hear  of  his  making  that  a  profession.  John,  how- 
ever, made  friends  with  a  village  plumber  and 
glazier,  of  the  name  of  Dunthorne,  who  was  an 
enthusiast  in  art,  and  these  two  used  to  study 
painting  in  the  fields  ;  and  thus  it  was  that  he  took 
his  study  from  the  books  of  nature.  As  Constable 
grew  up,  he  was  known  from  his  good  looks  and 
fine  figure  as  the  '  handsome  miller ' ;  and  when  he 
was  eighteen  years  of  age,  he  spent  a  year,  under 
the  pretext  of  carrying  on  his  business  as  a  miller, 
in  observing  the  picturesque  efEects  of  the  heavens 
and  the  earth,  and  copying  the  drawings  of  Girtin, 
which  had  been  lent  to  him  by  Sir  George 
Beaumont. 

In  1795,  Sir  George's  patronage  and  his  own 
unmistakable  genius  for  art,  induced  his  parents  to 
allow  him  to  go  to  London  to  study  painting. 
Shortly  afterwards,  however,  he  was  recalled  to 
his  native  village,  where  he  for  some  time  shared 
his  father's  labours ;  and  it  was  not  until  1799 
that  he  revisited  London.  In  the  same  year 
he  was  admitted  as  a  student  into  the  Royal 
Academy,  and  he  received  some  instruction  from 
Farrington  and  Reinagle,  and  painted  a  few  por- 
traits, and  attempted  historical  subjects ;  but  his 
true  instructor  was  Nature,  and  his  true  branch  of 

301 


Constable 


A   BIOGRAPHICAL   DICTIOXAIIY  OF 


Constantini 


art  was  landscape  painting ;  and  in  the  year  1802 
one  of  his  landscapes  was  included  in  the  Eoyal 
Academy  Exhibition. 

During  the  following  years  he  stayed  in  the 
summer  months  in  the  country,  "  living  nearly 
always  in  the  iields,  and  seeing  nobody  but  field 
labourers,"  and  sent  to  the  Royal  Academy  and  the 
British  Institution  numerous  landscapes  and  studies. 
He  was  twice  induced  to  paint  an  altar-piece  :  one, 
'  Christ  blessing  little  Children,' for  Brantham  Church, 
in  1804,  and  the  other,  'Our  Saviour  blessing  the 
bread  and  wine,'  for  Nayland  Church,  in  1809;  but 
it  is  believed  that  be  never  again  attempted  sacred 
subjects. 

The  whole  life  of  Constable  is  a  testimony  to  his 
preference  for  the  study  of  nature :  his  letters  to 
Archdeacon  Fisher,  of  Salisbury,  and  to  his  old 
friend,  John  Dunthorne,  are  full  of  delicate  observ- 
ations on  the  subject,  and  show  a  fresh  appreciation 
of  the  qualities  of  the  country  and  the  various 
methods  of  landscape  painting.  The  more  his  talent 
was  developed,  the  greater  became  his  wish  to 
depart  from  the  popular  style  of  classical  painting 
at  that  time  in  vogue,  and  to  observe  directly  all 
the  difEerent  aspects  of  nature. 

Though  a  hard  worker,  it  appears  that  Constable 
met  with  little  success  for  many  years,  and  in  1811 
he  was  still  without  reputation,  except  among  a  few 
friends  ;  some  of  whom  were  Sir  George  Beaumont, 
Reinagle,  Bishop  Fisher,  and  Miss  Mary  Bicknell, 
whom  he  married,  secretly,  in  1816.  But  in  the 
year  1819  Constable  was  elected  an  Associate  of 
the  Royal  Academy,  and  ten  years  afterwards  an 
Academician. 

About  this  time  Constable's  pictures  began  to 
gain  notoriety,  and  a  French  speculator,  who  had 
bought  three  at  the  Royal  Academy,  sent  them  to 
the  Paris  Salon  in  1824.  These  were  'The  Hay 
Cart,'  a  '  View  near  London,'  and  '  The  Lock  on 
the  Stour.'  These  pictures  were  much  admired  at 
Paris ;  the  native  artists  were  astonished  at  the 
power  displayed  in  them,  and  the  King  of  the 
French  awarded  Constable  a  gold  medal. 

In  the  year  1827,  '  The  Corn-Field,'  one  of  his 
masterpieces,  was  exhibited  at  the  British  Institu- 
tion, where  it  held  its  own  even  in  the  neighbour- 
hood of  works  by  Claude  and  Cuyp. 

In  the  same  year  Constable  took  up  his  abode  at 
Hampstead,  his  dear  Hampstead,  his  sweet  Hamp- 
stead,  as  he  called  it.  He  says,  "  My  little  studio 
commands  a  view  without  an  equal  in  all  Europe." 
Here  he  loved  to  sketch,  and  the  neighbourhood 
furnished  him  with  many  studies  for  his  pictures, 
as  did  also  Osmington,  the  birthplace  of  his  wife, 
and  Salisbury,  the  residence  of  his  friend  Fisher. 
He  continued  to  send  many  contributions  to  the 
Academy ;  amongst  the  most  noted  may  be  men- 
tioned '  Salisbury  Cathedral,'  and  '  The  Valley 
Farm,'  (known  as  Willy  Lett's  House,)  situated  on 
the  Stour  near  Flatford  Mill. 

Constable  published  in  1830-32  a  set  of  mezzo- 
tint engravings  of  '  English  Landscapes,'  by 
David  Lucas,  from  pictures  painted  by  himself. 
"  The  subjects  of  all  the  plates  are  taken  from  real 
places ;  they  are  mostly  rural,  and  are  meant  par- 
ticularly to  characterise  the  scenery  of  England." 
He  also  gave  numerous  lectures  on  the  study  of 
nature,  and  occasionally  painted  in  water-colour. 

Constable  died  suddenly  in  Charlotte  Street, 
Fitzroy  Square,  London,  on  the  let  of  April,  1837. 
His  '  Memoirs,'  composed  chiefly  of  his  letters, 
were  published  by  C,  R.  Leslie,  R.A.,  in  1843,  and 

302 


again  with  additions  in  1845.  The  first  edilion  con- 
tains the  plates  by  Lucas  of  '  English  Landscapes.' 

He  was  one  of  the  deceased  painters  who  were 
repfesented  in  the  London  International  Exhibition 
of  1874,  when  the  following  pictures  by  him  were 
lent  for  exhibition  : 

The  Embarcation  of  George  IV.  from  "WTiitehaH  on  the 
occasion  of  the  opening  of  Waterloo  Bridge. 

Dedham  Farm. 

The  Hay  Wain. 

The  Leaping  Horse. 

Englefield  House. 

The  Valley  of  the  Stour. 

A  Dell  in  Helmingham  Park ;  besides  numerous  sketches 
for  his  other  well-known  works. 

The  following  are  his  principal  works  in  public 
galleries  : 

London.  National  Gall.  The  Cornfield  (or  Country  Lane), 
painted  in  1826. 
„  „  „      The  Valley  Farm  (Willy  Lott's 

House),  exhibited  at  the  Soyal 
Academy  in  1835. 
„  ,,  „      A  Cornfield  with  figures. 

„  „         „      Barnes  Common. 

„         S.  lieusington  Salisbury  Cathedral   (signed  and 

Mmmm.  dated  1823). 

„  „  „      Dedham  Mill  [signed  and  dated 

1820). 
„  „  „       Hampstead  Heath  (exhiiited  at 

the  Soyal  Academy  in  1827). 
„  „  „       Hampstead  Heath  {exhibited  at 

the  Moyal  Academy  in  1830). 
„  „  .,       Boat-Building,nearFlatfordMill. 

„  „  „      Water  Meadows,  near  Salisbury. 

Paris.      Loiirre.  The  Cottage. 

„  „  The    Rainbow   (with  a  view  of 

Salisbury),  a  sketch. 
„  „  Weymouth  Bay.     1827. 

„  „  View  of    Hampstead   Heath  (a 

sketch). 
„  „  The  Glebe  Farm. 

CONSTANTIN,  Abraham,  a  Swiss  enamel 
painter,  was  bom  at  Geneva  in  1785.  He  became 
a  pupil  of  Gerard,  after  whom  he  executed  many 
works  in  enamel  and  on  porcelain,  among  which  may 
be  mentioned,  '  Belisarius,'  '  Cupid  and  Psyche,' 
'The  Entry  of  Henry  IV.  into  Paris,'  and  portraits 
of  the  King  of  Rome,  Charles  X.,  and  the  Emperor 
of  Russia.  He  was  attached  to  the  manufactory 
at  Sevres,  and  died  at  Geneva  after  1851. 

CONSTANTIN,  Jean  Antoine,  a  landscape 
painter,  who  also  etched,  was  born  at  Bonneveine, 
near  Marseilles,  in  1756.  An  enamel  painter,,  dis- 
cerning his  talent,  found  him  employment  in 
painting  porcelain,  an  occupation  which  he  quitLed 
to  get  lessons  at  Marseilles  from  Kapeller  the  elder 
and  David  of  Marseilles.  From  that  city  an  amateur 
took  him  to  Aix,  and  arranged  for  his  going  to 
Rome,  where  he  worked  hard  for  six  years.  On  his 
return  to  Aix  he  became  the  director  of  the  School 
of  Design.  He  exhibited  at  the  Paris  Salon  from 
1817  to  1831.  Many  of  his  paintings  and  up- 
wards of  a  thousand  drawings  by  hira  are  in  the 
Museum  at  Aix,  where  he  died  in  1844.  We  have 
the  following  etchings  by  him,  which  are  now 
very  scarce : 

View  of  the  Canal  d'Istre. 
The  Pass  of  St.  Chamas. 
The  Wooden  Bridge. 
The  Waggon. 
The  Hostelry. 

CONSTANTIN,  Joseph  S^bastien,  the  son  of 
Jean  Antoine  Constantin,  and  also  a  landscape 
painter,  was  born  at  Aix  in  1793.  He  lost  his  sight, 
and  died  in  the  hospital  of  Bic^tre  in  1864. 

CONSTANTINI,  Giovanni  Battista,  (or  Con- 


Contarin 


PAINTERS  AND  ENGRAVERS. 


Cooke 


STANTINO),  was  a  native  of  Italy,  who  flourished 
about  the  j'ear  1619.  We  have  an  etching  by  him, 
representing  a  Bacchanalian  subject,  surrounded 
with  a  grape  vine,  in  the  form  of  a  border.  It  is 
executed  in  a  slight,  free  style,  somewhat  resem- 
bling that  of  Guide,  though  less  masterly,  and 
appears  to  have  been  the  work  of  a  painter. 

CONTARINI,  Cavaliere  Giovanni,  was  born  at 
Venice  in  1549.  He  was  a  contemporary  of  Palma, 
and  studied  the  works  of  Tintoretto  and  Titian. 
His  portraits  and  altar-pieces  are  distinguished  by 
their  beautiful  colouring:  in  the  former  he  fol- 
lowed the  chaste  and  simple  style  of  Titian.  Con- 
tarini  was  a  perfect  master  of  t'le  sotto  in  su,  as  is 
seen  in  his  picture  of  the  '  Resurrection '  in  San 
Francesco  di  Paola  at  Venice.  He  appears  to 
have  been  much  engaged  in  painting  easel  pictures 
of  mythological  subjects,  which  he  had  learning 
enough  to  treat  with  propriety,  but  he  excelled 
especially  in  painting  ceilings.  He  went  to  Ger- 
many and  passed  some  years  at  the  court  of  the 
Emperor  Rudolph  II.,  by  whom  he  was  knighted. 
He  died  in  1606. 

Amongst  his  works,  which  are  principally  to  be 
met  with  in  the  churches  and  palaces  of  Venice, 
may  be  mentioned : 

Berlin.       Museum.       St.  Sebastian. 

Florence.    Gallery.        His  own  Portrait. 

Milan.        Brera.  St.  Jerome. 

Paris.  Louvre.  The  Virgin  and  the  Infant  Jesus 
enthroned,  with  St.  Mark,  St. 
Sebastian,  and  the  Doge  Marino 
Grimani  kneeling;  formerly  in 
the  Ducal  palace  at  Venice. 
Sis  best  work, 

Venice.   Chhsajella^r^^^  Crucifixion. 

Vienna.      Belvedere.    The  Baptism  of  Christ. 

CONTE,  Jacopo  del.     See  Del  Conte. 

CONT!]^,  Nicolas  Jacques,  a  French  mechanician 
and  portrait  painter,  was  born  at  St.  C^nery  in 
Normandy  in  1755.  He  was  the  inventor  of  a 
machine  for  engraving  and  of  the  crayons  which 
bear  his  name.     He  died  in  1805. 

CONTI,  Bernardino  de'.     See  De'  Conti. 

CONTI,  Cesake  and  Vincenzio,  two  brothers, 
were  natives  of  Ancona,  but  went  to  Rome  during 
the  Pontificate  of  Gregory  XIII.,  by  whom  they 
were  employed,  as  well  as  by  his  successors,  Sixtus 
v.,  Clement  VIII.,  and  Paul  V.  Cesare  was  es- 
teemed for  his  gi-otesque  ornaments,  and  Vincenzio 
painted  the  figures.  The  former  died  at  Macerata 
about  1615 ;  the  latter  went  to  the  court  of  Savoy, 
and  died  there  in  1610.  Some  of  their  works  are 
in  Santa  Maria  in  Trastevere.  In  San  Spirito  in 
Sassia  is  the  history  of  San  Giacomo  del  Zucchi ; 
in  Santa  Cecilia, '  St.  Agnes,'  and  the '  Martyrdom  of 
St.  Urban.' 

CONTI,  Francesco,  an  Italian  historical  painter, 
was  bom  at  Florence  in  1681.  He  was  a  pupil  of 
C.  Maratti,  whose  style  he  imitated.  He  died  in 
1760.     His  own  portrait  by  himself  is  in  the  Uffizi. 

CONTRERAS,  Antonio  de,  a  Spanish  painter, 
was  bom  at  Cordova  in  1587.  He  was  a  pupil  of 
Pablo  de  Cespedes,  after  whose  death  he  went  to 
Granada,  and  subsequently  to  Bujalance,  where  he 
resided  until  his  death,  which  took  place  in  1654. 
He  painted  many  pictures  for  the  Franciscan  con- 
vent and  other  churches  of  Bujalance,  and  also 
distinguished  himself  by  his  portraits. 

COOK,  Richard,  was  born  in  London  in  1784, 
and  entered  the  schools  of  the  Royal  Academy 
m  1800.     He  was  a  constant  contributor  to  the 


exhibitions  from  1808  to  1822,  during  which  time 
he  painted  several  landscapes  not  destitute  of  poetic 
beauty,  scenes  from  '  The  Lndy  of  the  Lake,'  dis- 
playing taste  and  talent,  and  in  1817  (having  been 
elected  an  Associate  in  the  preceding  year)  a  more 
ambitious  work,  entitled  '  Ceres,  disconsolate  for 
the  loss  of  Proserpine,  rejects  the  solicitations  of 
Iris,  sent  to  her  by  Jupiter.'  In  1822  he  attained 
the  rank  of  Royal  Academician,  and  almost  from 
that  time  forward,  and  certainly  for  many  years 
preceding  his  death,  he  seems  to  have  relinquished 
his  profession,  and  ceased  to  contribute  to  the 
annual  exhibitions  of  the  Academy,  his  private 
fortune  enabling  him  to  live  independently  of 
his  art.  He  died  in  London  in  1857.  He  illus- 
trated editions  of  'The  Lady  of  the  Lake'  and 
'  Gertrude  of  Wyoming.' 

COOK,  Robert,  an  artist  who  lived  at  the  end 
of  the  15th  and  the  beginning  of  the  16th  century, 
is  said  to  have  painted  the  portraits  of  Henry  VII., 
Henry  VIII.,  Queen  Katharine,  the  Duke  of  SuSolk, 
and  the  family  of  Sir  Robert  Wingfield. 

COOK,  Samuel,  a  water-colour  painter,  was  born 
in  1806  at  Camelford  in  Cornwall.  At  the  early 
age  of  nine  he  was  apprenticed  to  a  firm  of  woollen 
manufacturers  in  that  place,  but  during  the  inter- 
vals of  his  duties  he  would  amuse  himself  with 
making  drawings  in  chalk  on  the  floor  of  the  fac- 
tory, to  the  annoyance  of  his  employers,  one  of 
whom  declared  that  "  he  would  never  be  fit  for 
anything  but  a  limner;"  and  a  limner  he  ulti- 
mately became.  On  the  expiration  of  his  appren- 
ticeship he  went  to  Plymouth,  where  he  set  up  as  a 
painter  and  glazier.  Every  hour  he  could  snatch 
from  business,  however,  was  devoted  to  sketching 
from  nature,  and  though  these  early  products  of 
his  pencil  displayed  timidity  in  respect  of  colour, 
they  nevertheless  exhibited  great  truth ;  and  with 
increasing  knowledge  and  experience  came  in- 
creased confidence  and  power.  In  1830  he  sent 
some  drawings  to  the  New  Society  (now  the  Insti- 
tute) of  Painters  in  Water-Colours,  which  obtained 
him  admission  into  that  body ;  to  whose  annual 
exhibitioti  he  became  a  regular  contributor,  chiefly 
of  coast  scenes,  though  sometimes  of  inland  views, 
till  the  day  of  his  death,  which  occurred  in  1859. 
A  view  of  '  Stonehouse,  Plymouth,'  by  him  is  in 
the  South  Kensington  Museum. 

COOK,  Thomas,  who  was  bom  about  the  year 
1744,  was  a  pupil  of  Ravenet.  He  engraved  many 
portraits,  as  well  as  some  of  the  plates  for  Bell's 
'  Shakespeare '  and  '  British  Poets.'  He  was  also 
employed  by  Alderman  Boydell,  and  engraved  some 
of  the  works  of  Hogarth.    He  died  in  1818,  aged  74. 

COOKE,  Edward  William,  the  son  of  George 
Cooke,  the  engraver,  was  born  in  London  in  1811, 
and  was  brought  up  with  a  view  of  following  his 
father's  profession.  He  early  published  a  set  of 
sixty-five  etched  plates  of  'Shipping  and  Craft, 
views  on  the  Thames.  But  in  1832  he  determined 
to  adopt  oil-painting  in  place  of  engraving  ;  and, 
three  years  later,  his  first  works,  '  Honfleur  Fish- 
ing Boats '  and  a  '  Hay-Barge,  oS  Greenwich,* 
appeared  at  the  Royal  Academy.  Since  then,  with 
three  exceptions,  1839,  1846,  and  1874,  there  was 
not  a  single  exhibition  up  to  that  of  1879,  which 
did  not  contain  one  or  more  of  his  works.  To 
forty-one  exhibitions  he  contributed  one  hundred 
and  thirty  works,  all  well  thought  out  and  carefully 
executed.  In  1851  he  was  elected  an  Associate  of 
the  Royal  Academy,  and  in  1864  he  was  made  an 
Academician.     He  also  contributed  many  works 

303 


Cooke 


A  BIOGEAPHICAL  DICTIONARY  OF 


Cooper 


to  the  British  Institution,  and  frequently  painted 
in  water-colour :  the  South  Kensington  Museum 
has  a  ciil'ection  of  his  works  in  this  medium.  He 
was  a  fellow  of  the  Royal,  the  Geographical,  the 
Geological,  and  the  Linnasan  Societies.  He  died  at 
Groombridge,  near  Tunbridge  Wells,  in  1880. 

His  paintings  generally  represent  views  on  the 
Thames,  the  Medway,  and  the  English  coast ;  but 
they  also  include  scenes  from  Holland  and  France, 
and  even  so  far  atield  as  Morocco  and  the  lagoons 
of  Venice.     We  need  mention  but  few : 
Dutch  Boats  in  a  calm.    1844.    In  the  National  Gallery. 
The  Boat-House.     In  the  National  Gallery. 
Lob.ster  Pots.     1836.     /«  the  South  Kensington  Museum. 
Brighton  Sands.    1838.        „  „  ;, 

Mending  the  Bait  Nets,  Shanklin.   1836.  „  „ 

Portsmouth  Harbour — The  Hulks.  „  „ 

Portsmouth  Harbour— The  Victory.       „  „ 

Dutch  Boats  on  the  Y.     1837. 
Dutch  Boats  on  the  DoUart  Zee. 
A  Calm  Day  in  the  Scheldt. 
A  Bit  of  English  Coast. 
Catalan  Bay,  Gibraltar.     1863. 
The  Goodwin  Light-Ship. 
A  Dutch  Galliot  aground. 
H.  M.  S.  Terror  abandoned.    1860. 
Schevening  Pinks  running   to  anchor  off  Yarmouth. 

1864. 
COOKE,  George,  a  line-engraver,  who  was  bom 
in  London  in  1781,  was  apprenticed  to  James  Basire, 
and  early  in  life. attained  celebrity.     He  died   at 
Barnes  in  1834.     He  was  brother  to  William  Ber- 
nard Cooke,  and  father  of  Edward  W.  Cooke,  R.A. 
The  following  are  his  principal  works  : 
Illustrations  to  the  '  Beauties  of  England  and  Wales.' 
„  Pinkerton's  '  Collection  of  Voyages  and 

Travels.' 
„  '  The  Thames.'     1811. 

„  '  The  Southern  Coast  of  England.'   1814- 

1826. 
„  Surtees's  '  History  of  Durham.' 

Clutterbuck's  '  Hertfordshire.' 
Hakewell's  '  Italy.' 
„  D'Oyly  and  Mant's 'Bible.' 

„  '  The  Botanical  Cabinet.'     1817-1833. 

„  '  London  and  its  Vicinity.'     1826-1828. 

Gledhouse,  Yorkshire ;  after  Turnei: 
Eotterdam  ;  after  Sir  A.  W.  Callcott.     1825. 
Old  London  Bridge ;  after  E.  W.  Cooke. 
New  London  Bridge ;  after  the  same. 

COOKE,  Henry,  a  portrait  painter  and  copyist, 
flourished  in  1640,  as  appears  by  several  portraits 
painted  by  him  in  that  year  for  the  Company  of 
Ironmongers,  and  now  in  their  Hall.  They  are 
probably  copies  of  older  pictures,  as  with  the 
exception  of  Sir  James  Campbell,  who  sat  to  the 
artist,  all  the  persons  represented  were  dead  long 
hefore  the  time  when  these  were  executed. 

COOKE,  Henry,  son  of  Henry  Cooke,  who  was 
employed  by  the  Ironmongers'  Company,  was  born 
in  1642.  He  went  to  Italy  and  studied  under  Sal- 
vator  Rosa.  He  painted  the  choir  of  New  College 
Chapel,  Oxford,  the  staircase  at  Ranelagh  House, 
and  Lord  Carlisle's  House  in  Soho  Square.  He  died 
in  1700.  It  is  said  that  he  committed  a  murder  and 
fled  from  England ;  and  that  after  his  return,  he 
was  employed  by  King  William  to  "  repair "  the 
Cartoons  of  Raphael.  He  finished  the  portrait  of 
Charles  II.  at  Chelsea  Hospital ;  and  also  tried 
portrait  painting,  but  gave  it  up. 

COOKE,  William  Bernard,  a  line-engraver, 
and  a  pupil  of  Angus,  was  born  in  1778.  He 
was  the  elder  brother  of  George  Cooke.  He  suc- 
ceeded best  in  marine  subjects,  but  never  attained 
any  great  eminence.  He  published  conjointly 
with  his  brother  '  The  Thames '  and  '  The  Southern 
304 


Coast    of    England.'      His    death    occurred    in 
1866. 

COOKE,  William  John,  was  born  in  Dublin  in 
1797,  but  his  parents  left  Ireland  when  he  was  a 
year  old.  He  was  a  pupil  of  his  uncle,  George 
Cooke,  and  in  1826  received  from  the  Society  of 
Arts  a  gold  medal  for  improvements  in  engraving 
upon  steel.  About  1840  he  left  England  and  went 
to  reside  at  Darmstadt,  where  he  died  in  1865. 
His  best  plates  are  those  after  Turner  of  '  Netting- ' 
ham  '  and  '  Plymouth  '  in  the  '  Views  in  England 
and  Wales,'  and  '  Newark  Castle  '  in  Scott's  Poetical 
Works. 

COOL,  Jan  Daemen,  of  Rotterdam,  is  a  painter 
of  whom  but  little  is  known.  In  1614,  he  was  ad- 
mitted into  the  Guild  of  St.  Luke  at  Delft ;  but  by 
1618  he  had  returned  to  Rotterdam,  and  in  1623  he 
married  Lysbeth,  the  widow  of  the  painter  Lowys 
Percelles.  In  1652  the  governors  of  the  "  Old 
Men's  Home"  at  Rotterdam  agreed  to  receive  him 
into  the  institution  on  condition  of  his  paying  a 
sum  of  1225  florins  and  painting  a  picture  repre- 
senting them  assembled  together.  Cool  died  there 
in  1660,  and  was  buried  in  the  church  of  the  insti- 
tution. The  work,  which  he  executed  in  accord- 
ance with  the  agreement,  is  the  only  one  known  to 
be  by  him ;  and  it  is  only  lately  that  it  has  been 
given  to  its  true  author.  Lamme  ascribed  it  to  Aart 
Mytens  ;  Biirger  gave  it  to  Jacob  Backer ;  and  it  is 
attributed  to  Daniel  Mytens,  the  elder,  by  tlie 
catalogue,  of  1867,  of  the  Rotterdam  Museum, 
where  it  has  been  since  its  removal  from  the  Old 
Men's  Home  in  1849.  It  is  dated  1653,  and  repre- 
sents '  Five  Governors,  clothed  in  black,  ranged 
round  a  table.'  (See  Obreen's  '  Archief  voor 
Nederlandsche  Kunstgeschiedenis,'  vol.  I.) 

COOL,  PiETER,  a  Flemish  engraver,  flourished 
about  the  year  1690.  His  name  is  affixed  to  a 
middling-sized  upright  plate,  representing  Christ 
bearing  the  Cross,  with  St.  Veronica  and  other 
figures,  after  Martin  De  Vos.  It  is  executed  entirely 
with  the  graver,  in  a  coarse,  stiff  style. 

COOL,  Thomas  Simon,  a  Dutch  historical  and 
genre  painter,  was  bom  at  the  Hague  in  1831.  He 
studied  at  the  Hague  Academy  under  J.  E.  J.  van 
den  Berg,  and  first  distinguished  himself  by  his 
'Atala,'  exhibited  in  1853.  He  resided  in  Paris 
from  1857  to  1860,  and  in  Antwerp  from  1861  to 
1865.     He  died  at  Dordrecht  in  1870. 

COOPER,  Abraham,  was  born  in  London  in 
1787.  His  father  was  a  tobacconist,  who  afterwards 
kept  an  inn  at  Hollowaj',  but  being  unfortunate  in 
business,  his  son  was  early  left  to  his  own  resources. 
For  some  time  he  was  employed  in  the  mimic 
battles  and  pageants  at  Astley's  theatre,  then  under 
the  management  of  his  uncle  Davis.  He  employed 
much  of  his  leisure  time  in  making  sketches  of 
dogs  and  horses,  and  in  1809,  without  any  instruc- 
tion, succeeded  in  painting  a  favourite  lior.se  be- 
longing to  Sir  Henry  Meux  so  successfully  that 
that  gentleman  purchased  it,  and  was  ever  after- 
wards a  liberal  patron  of  the  artist.  He  soon  met 
with  further  encouragement  as  a  painter  of  horses, 
froui  the  Dukes  of  Grafton,  Bedford,  and  Marl- 
borough, and  others  of  the  sporting  nobility  and 
gentry,  and  many  of  his  works  were  engraved  in 
the  '  Sporting  Magazine.'  In  1816  he  was  awarded 
a  premium  of.  150  guineas  by  the  British  Institution 
(where  he  first  exhibited  in  1812)  for  a  picture  of 
the  '  Battle  of  Waterloo.'  In  1817  he  was  elected 
an  Associate  of  the  Royal  Academy ;  in  1819  he 
exhibited  a  fine  picture  of  '  Marston  Moor ' ;  and  in 


Cooper 


PAINTERS  AND  ENGRAVERS. 


Copia 


1820  became  an  Academician.  From. that  time  lie 
was  a  constant  exhibitor  of  pictures,  generally  of 
small  dimensions,  representing  groups  of  horses  and 
animals,  field-sports,  battle-scenes  in  the  olden  time, 
&c. ;'  a  grey  horse  being  a  very  favourite  feature  in 
tliein.  Latterly  his  works  began  to  betray  too 
manifestly  an  amount  of  mannerism  and  weakness 
wliich  could  not  but  detract  from  the  reputation 
acquired  by  him  in  his  earlier  days.  In  1862, 
following  the  example  of  Sir  Robert  Smirke,  the 
architect,  he  resigned  the  rank  of  Royal  Academi- 
cian. He  died  at  Greenwich  on  Christmas  Eve  in 
1868.  As  might  have  been  expected,  there  was  but 
little  variation  in  the  types  of  his  subjects  and  the 
character  of  their  treatment.  The  following  are 
some  of  his  best  works : 

'A  Donkey  and  a  Spaniel.    1818.  )  In  South  Ken- 

A  Grey  Horse  at  a  Stable  Door.  1818.  j  sington  Museum. 

The  Pride  of  the  Desert. 

The  Arab  Sheik. 

The  Dead  Trooper. 

Hawking  in  the  Olden  Times. 

Battle  of  Bosnorth  Field. 

Battle  of  Naseby. 

Bichard  I.  and  Saladin  at  the  Battle  of  Ascalon. 

Bothwell's  seizure  of  Mary,  Queen  of  Scots, 

COOPER,  Alexander,  who  flourished  about  the 
middle  of  the  17th  century,  was  the  elder  brother 
of  Samuel  Cooper,  and  was  a  scholar  of  his  uncle 
Hoskins.  Although  greatly  inferior  to  his  brother, 
he  painted  portraits,  both  in  oil  and  in  miniature, 
with  some  reputation.  He  also  succeeded  in  paint- 
ing landscapes  in  water-colours.  Not  meeting  with 
the  encouragement  he  expected,  he  went  to  Flan- 
ders, where  he  passed  some  time,  and  afterwards 
visited  Sweden,  where  he  was  made  painter  to 
Queen  Christina. 

COOPER,  Edward,  a  portrait  painter,  likewise 
engraved  after  Albani  and  Kneller.  A  portrait 
painted  and  engraved  by  him  bears  date  1779,  but 
the  date  of  his  death  is  not  known. 

COOPER,  Richard,  an  engraver  of  portraits,  is 
known  chiefly  as  the  master  of  Sir  Robert  Strange, 
who  was  apprenticed  to  him  for  six  years.  He 
was  born  in  Yorkshire  about  1706,  but  went  early 
in  life  to  Edinburgh,  where  he  died  in  1764. 

COOPER,  Richard,  an  English  line-engraver,  was 
born  in  London  about  1730,  and  died  therein  1820. 
He  studied  the  art  of  engraving  in  Paris  under  Le 
Bas.  His  plates  are  chiefly  portraits,  of  which  the 
following  are  the  principal : 

The  Children  of  Charles  I.-  with  a  Dog:  after  Van 
Dyck.    1762.  ■" 

Henrietta  Maria,  Queen  of  Charles  I. 

WilUam  III.  and  Queen  Mary. 

Frederick,  Prince  of  Wales,  and  his  sisters. 

Francis  Bacon,  Viscount  St.  Alban's. 

■William  Shakespeare ;  from  the  Chandos  picture  in  the 
JVaiwnal  Portrait  Gallery. 

Thomas  "Wentworth,  Earl  of  Strafford. 

George,  Lord  Jeffreys,  Chief  Justice  of  the  King's 
Bench  and  Lord  High  Chancellor. 

Sir  John  Napier,  inventor  of  Logarithms. 

Allan  Ramsay,  Scotch  poet. 

Andrew  Allen,  painter. 

The  '  Chapeau  de  Faille ; '  after  Sviens. 

Rembrandt's  Mistress.    1777. 

The  Virgin  and  Infant ;  after  Correggio.    1763, 

The  Maries  and  the  Dead  Christ ;  after  A.  Carracci. 

COOPER,  Richard,  said  to  have  been  a  native 
of  London,  the  son  of  the  engraver  of  the  same 
name,  was  a  landscape  painter  of  some  merit.  At 
the  end  of  the  18th  century  he  went  to  Italy,  where 
he  studied  the  works  of  the  old  masters.     On  his 


return  he  lived  for  some  time  in  Edinburgh,  but 
subsequently  settled  in  London.  In  1800,  and  the 
following  year,  he  exhibited  at  the  Academy  '  The 
Ruins  of  Vespasian's  Amphitheatre,  in  Rome,' 
'  Landscape  with  Banditti,' and  other  views.  He 
was  at  this  time  drawing-master  at  Eton  College, 
and  tutor  to  the  Princess  Charlotte.  He  died  about 
1810.  Two  water-colour  drawings  by  him  are  in 
the  South  Kensington  Museum. 

COOPER,  Robert,  of  whom  little  is  known, 
engraved  several  of  the  heads  in  Lodge's  Portraits 
and  some  of  the  portrait  illustrations  to  Scott's 
Novels.  He  exhibited  in  1821,  and  was  living 
in  1836. 

COOPER,  Samuel,  the  eminent  miniature  pamter, 
was  born  in  London  in  1609,  and,  with  his  brother 
Alexander  Cooper,  was  instructed  in  the  art  by  his 
uncle  Hoskins,  whom  he  soon  surpassed.  He  was 
the  first  artist  of  his  country  who  gave  a  strength 
and  freedom  to  miniature,  which  approached  to 
the  vigour  of  oil-painting.  The  purity  of  his  tints, 
the  beauty  of  his  carnations,  and  his  loose  and 
flowing  manner  of  painting  the  hair,  render  the 
heads  of  his  portrait  models  worthy  of  imitation ; 
but  to  the  head  his  merit  is  almost  entirely  confined. 
When  he  ventured  to  express  more  of  the  figure, 
his  drawing  is  defective,  and  his  execution  unde- 
termined. According  to  Lord  Orford,  Cooper 
visited  the  court  of  Prance,  where  he  painted 
several  pictures,  for  which  his  widow  received  a 
pension  during  her  life.  The  works  of  Cooper 
were  deservedly  admired  in  his  lifetime,  and  they 
are  still  placed  with  distinction  in  the  cabinets  of  col- 
lectors. He  died  in  London  in  1672,  and  was  buried 
in  Old  St.  Pancras  Church.  Cooper  painted  some 
of  the  most  illustrious  men  of  his  time ;  particu- 
larly Oliver  Cromwell  and  John  Milton,  portraits  of 
whom  are  now  in  the  possession  of  the  Duke  of 
Buocleuch.  He  also  painted  Charles  II.,  his  Queen, 
and  many  of  the  celebrities  of  their  court.  It  was 
for  the  court  of  England  that  Cooper  painted  the 
pictures  for  which  his  widow  was  promised  a  pen- 
sion, which  was  never  paid.  This  widow  was  sister 
to  the  mother  of  Alexander  Pope. 

COOPSE,  PiETER,  (or  Coops,)  a  Dutch  painter  of 
marine  subjects  and  landscapes,  in  the  manner  of 
Bakhuisen  and  Van  de  Velde,  flourished  about  the 
year  1672.  His  pictures  are  generally  of  a  small 
size,  well  composed,  full  of  subject,  and  vigorously 
painted.  There  is  a  picture  by  him  in  the  Gallery 
at  Munich,  which  is  attributed  to  Bakhuisen  in  the 
catalogue,  though  the  name  may  be  discovered  on 
it :  in  England  the  dealers  are  more  cautious  ;  they 
remove  it.  Ploos  van  Amstel  and  others  have 
given  facsimiles  of  some  of  his  drawings  ;  but  it 
is  only  recently  that  his  own  countrymen  have 
discovered  his  merit  as  a  painter  in  oil. 

COORNHAERT.     See  Cderenhbrt. 

COORTE,  A.  S.,  who  flourished  in  Holland  about 
1700,  excelled  as  a  painter  of  fruit  and  flowers. 
His  works  are  rarely  to  be  met  with. 

COOSEMANS,  Alart,  a  painter  of  flowers,  fruit, 
and  inanimate  subjects,  flourished  in  the  Nether^ 
lands  about  1630.  Fruit  subjects  by  him  are  in 
the  Augsburg  Gallery  and  the  Belvedere  at  Vienna. 
In  the  Madrid  Gallery  there  is  a  fruit-piece  attri- 
buted to  a  J.  D.  CoosEMAN,  who  is  said  to  have 
flourished  in  the  Netherlands  in  the  17th  century: 
and  in  the  Bordeaux  Museum,  a  fruit-piece  ascribed 
to  a  N.  COOSMAN. 

COOTWYCK.     See  Kootwyck. 
COPIA,  Jacques  Louis,  a  French  engraver,  was 

305 


Copley 


A  BIOGRAPHICAL  DICTIONARY  OF 


Coqueret 


born  at  Landau  in  1764.  He  went  to  Paris,  and 
among  other  plates  executed  a  charming  little  por- 
trait of  Queen  Marie  Antoinette,  after  Piauger, 
wliioh  is  very  rare.  He  also  engraved  a  head  of 
Marat,  terribly  startling  in  its  ghastliness,  from  a 
drawing  made  by  David  immediately  after  his 
assassination.  But  Copia  is  chiefly  identified  with 
Prud'hon,  the  voluptuous  genius  of  whose  works  no 
0716  has  more  fully  comprehended.  It  must,  how- 
ever, be  admitted  that,  apart  from  the  great  painter, 
Copia  would  have  remained  hidden  in  the  crowd. 
His  style  was  neither  original  nor  brilliant,  and  his 
rare  qualities  of  modelling  and  softness  of  execu- 
tion required  works  suitable  for  their  display.  He 
died  in  Pai-is  in  1799,  unfortunately  too  early  to  be 
able  to  engrave  the  greatest  works  of  his  friend. 
But  among  other  pupils  he  left  one,  Roger,  who 
caught  his  manner,  and  is  thought  by  many  to 
have  surpassed  his  master  in  the  interpretation  of 
the  spirit  of  Prud'hon. 

The  following  are  the  works  of  Prud'hon  which 
have  been  engraved  by  Copia : 

The  French  Constitution. 

Equality,  and  Law ;  two  small  bas-reliefs  from  the  pre- 
ceding composition. 

Liberty. 

The  Revenge  of  Ceres. 

Love  brought  to  rea«on. 

Love  laughing  at  the  tears  which  he  has  caused  to 
flow  ;  a  companion  to  the  preceding. 

En  Jouir ;  an  illustration  to  Gentil-Bernard's  '  Art 
d' Aimer,'  Didot's  edition,  1797. 

The  First  Kiss  of  Love ;  and  four  other  illnstratious  to 
Bousseau's  *Nouvelle  H^loise,'  Bossange's  edition, 
1808. 

E.  E.  ff. 

COPLEY,  John  Singleton,  was  born  of  English 
and  Irish  parentage  at  Boston  in  Massachusetts,  in 
1737.  He  was  most  probably  taught  the  rudiments 
of  his  art  by  his  step-father,  Peter  Pelham,  a  por- 
trait painter  and  mezzotint  engraver,  whom  Mrs. 
Copley  had  married  after  her  first  husband's  death. 
In  1763,  when  he  was  OTily  sixteen  years  of  age,  he 
painted  and  also  engraved  a  portrait  of  the  Rev. 
William  Welsteed  of  Boston.  His  success  soon 
became  assured,  and  he  received  commissions  to 
execute  portraits  of  many  distinguished  persons  of 
the  day.  About  1774  he  painted  the  '  Boy  with  a 
Squirrel '  (a  portrait  of  his  half-brother,  Henry 
Pelham),  which  he  sent  to  England,  and  which  was 
exhibited  anonymously  at  the  Royal  Academy.  In 
consequence  of  the  favour  with  which  it  was  re- 
ceived Copley  was  advised  to  come  to  England, 
and  he  quitted  America  in  the  early  part  of  1774, 
never  to  return.  From  England  he  crossed  to  the 
continent  and  studied  assiduously — particularly  at 
Parma  and  at  Rome — and  soon  after  his  return  to 
London  was  elected  an  Associate  of  the  Royal 
Academy  in  1776,  and  an  Academician  in  1779. 
Whilst  still  in  Boston  (in  1767)  he  had  been  elected 
a  Fellow  of  the  Society  of  Artists  in  Great  Britain. 
He  painted  several  very  interesting  pictures  relating 
to  events  in  English  History,  but  those  which  he 
exhibited  at  the  Royal  Academy  were  chiefly  por- 
traits. He  was  a  great  painter  among  the  English 
artists  of  his  day,  and  is  not  to  be  judged  by  the 
present  standard  ;  being,  in  a  manner,  self-taught, 
he  achieved  much  more  than  many  who  had 
received  academical  instruction.  He  lived,  from 
the  time  he  settled  in  England,  at  a  house  in 
George  Street,  Hanover  Square,  where  he  died  in 
1815,  and  where  his  son.  Lord  Lyndhurst,  also  lived 
and  died  in  1864.     Copley  was  buried  in  Croydon 

306 


church.     The  following  are  some  of  his  principal 
works :   but  many  important  portraits  and  sketches, 
including  his  last  portrait  of  himself,  were  destroyed 
by  the  great  fire  at  Boston  in  1872. 
The  Death  of  Lord  Chatham  {painted  in  1779-80;  in 

the  National  Gallery,  where  are  also  monochrome  studies 

for  the  picture). 
The  Death  of  Major  Peirson  {in  the  National  Gallery). 

1783. 
The  Siege   and   Belief  of   Gibraltar  {at  Guildhall:  a 

study  Jor  this  picture  is  in  the  National  Gallery  ;  and 

various  sketches  for  it  are  in  the  South  Kensington 

Museum). 
The  Princesses  Mary,  Sophia,  and  Amelia,  daughters  of 

George  III.  {at  Buckingham  Palace). 
Samuel  and  Eli.    {Destroyed  by  fire  at  Mr.  Graves's  in 

Pall  Mall,  in  1867.) 
Charles  I.  ordering  the  arrest  of  Five  Members  of  the 

House  of  Commons. 
The  Five  Impeached  Members  brought  back  in  triumph 

to  Westminster. 
The  Speaker  thanking  the  Sheriffs  for  protecting  the 

impeached  members. 
The  Dukes  of  Suffolk  and  Northumberland  offering  to 

Lady  Jane  Grey  the  Crown  of  England  {exhibit^  at 

the  Royal  Academy  in  1808 ;  now  in  the  possession  of 

Mr.  Amory  of  Boston). 
Resurrection  of  our  Lord  {exhibited  at  the  Eoyal  Academy 

in  1812 :  his  last  exhibited  work). 
The  Battle  of  the  Boyne. 

The  Assassination  of  the  Duke  of  Buckingham. 
Charles  I.  signing  the  death-warrant  of   the  Earl  of 

Strafford. 
The  King's  Escape  from  Hampton  Court. 
The  House  of  Commons  visiting  the  Army  at  Hounslow. 
A  Conversation.     1776. 
The  Copley  Family  {in  the  possession  of  Mr.  Amory  of 

Boston). 
A  Boy  attacked  by  a  Shark.    1778. 
Portrait  of  Lord  Heathfleld  {at  Guildhall :  a  study  is  in 

the  National  Portrait  Gallery). 
Portrait  of    the   Earl  of  Mansfield    {in  the  National 

Portrait  Gallery).     1Y83. 

A  '  Sketch  of  the  Life  and  a  List  of  some  of  the 
Works  of  John  Singleton  Copley,'  by  A.  T.  Perkins, 
was  privately  printed  at  Boston  in  1873. 

COPPA,  Antonio.     See  Giaeola. 

COPPA,  Stefano,  was  a  native  of  Italy,  and 
flourished  at  Rome  about  the  year  1776.  In  con- 
junction with  Giuseppe  Perini,  he  executed  the 
plates  from  the  antique  statues  in  the  Clementine 
Gallerj'.  He  also  engraved  a  print  of  the  Ascen- 
sion, after  Giovanni  Lanfranco. 

COPPENS,  Adgdstinus,  a  Flemish  landscape 
painter  and  engraver,  was  a  native  of  Brussels, 
where  he  was  received  into  the  Guild  of  St.  Luke 
in  1698.  He  engraved  some  plates  representing 
views  of  ruins,  and  architecture,  which  are  executed 
in  a  neat,  finished  style. 

COPPI,  GiACOMO,  called  Del  Meglio,  a  Florentine 
historical  painter,  was  born  at  Peretola  in  1623. 
He  studied  under  Vasari,  and  worked  with  him  at 
Florence,  where  he  died  in  1591.  His  own  portrait 
by  himself  is  in  the  Uffizi. 

COPPIN.     See  Delf. 

COPPO  Di  MARCOVALDO.     See  Mabcovaldo. 

COQUERET,  Pierre  Charles,  a  French  en- 
graver, was  born  in  Paris  in  1761,  but  the  date 
of  his  death  is  not  recorded.  He  studied  under 
Jaiiinet,  and  produced  a  large  number  of  beautiful 
works.  Besides  whole-length  portraits  of  Mar- 
shals Mass^na  and  Jourdan,  and  General  Pichegru, 
after  Hilaire  Le  Dru,  as  well  as  several  plates  for 
Desnoyer's  '  Recueil  d'Estampes,'  may  be  men- 
tioned : 

Junius  Brutus  condemning  his  Sons ;  after  iethiere. 

The  Death  of  Virginia ;  a/<«r  the  same.' 


Coq.ues 


PAINTERS  AND  ENGEAVERS. 


Cordier 


The  Ninth  Thermidor ;  a  frieze ;  after  the  same. 
An  Interior ;  after  Carte  Fernet. 
A  Hunting  Scene ;  after  the  same. 
A  Portrait ;  after  Boucher. 

COQDES,  Gonzales.     See  Cocx. 

COQUIN,  LoDis,  called  Cossin,  was  a  French 
painter  and  line-engraver,  who  was  born  at  Troyes 
in  1627,  and  died  in  Paris  after  1686.  We  haye 
by  him  some  portraits,  and  a  few  subjects  after 
various  masters,  executed  with  the  graver  in  a 
style  that  has  not  much  to  recommend  it.  This 
artist  has  signed  his  plates  Coquin,  Cauquin, 
Gossinus,  and  Cossin.  He  assisted  Collet  in 
producing  the  '  Book  of  Goldsmiths'  Designs ' 
published  in  1663,  his  plates  being  marked  L.  C. 
The  following  engravings  are  by  liim  : 

POBTRAITS. 
Louis  XV.,  King  of  France ;  life-size.      * 
Valentin   Conrart,  of  the  French  Academy;  after  C. 

Le  Feme. 
Francois  Chauveau,  engraver ;  after  Le  Felmre. 
Carl  Johanu,  Count  von  Konigsmark  ;  after  Dahl. 

SUBJECTS   AFTER   VARIOUS   MASTERS. 
The  Virgin  Mary  :  after  Lelrun. 
St.  John  the  Evangelist  suspended  over  a  Cauldron  of 

boiling  Oil ;  after  the  same. 
The  Stoning  of  St.  Paul  at   Lystra ;  after  J.  B.  de 

Ckavipaifffie. 
The  School  of  Athens ;  after  Raphael. 

CORBETT,  —  a  native  of  Cork,  was  a  pupil  of 
James  Barry,  R.A.  ■  He  practised  portrait  painting 
in  London,  but  afterwards  returned  to  Cork  where 
he  met  with  some  success.  He  died  in  1815. 

CORBOULD,  George  James,  the  second  son  of 
Richard  Corbould,  was  born  in  1786.  He  was 
apprenticed  to  James  Heath,  the  celebrated  line- 
engraver,  and  followed  in  his  steps.  He  died  in 
1846. 

CORBOULD,  Henry,  the  third  son  of  Richard 
Corbuuld,  was  born  in  London  in  1787.    He  studied 
painting  with  his  father,  and  was  at  an  early  age 
admitted  as  a  student  of  the  Royal  Academy,  under 
Fuseli,  where  he  gained  the  silver  medal  for  a  study 
from  the  life.     While  at  the  Academy  he  made  the 
friendship  of  Flaxman,  Stothard,  West,  Chantrey, 
and  Wesfmacott.     He  several  times  sat  as  a  iriodel 
to  West,  in  whose  picture  of  •  Christ  Rejected  '  his 
head  was  painted  for  that  of  St.  John  ;  as  also  in 
that  of  'Christ  Healing  the  Sick  in  the  Temple,'  in 
the  National   GaJery.     In   1808  he   exhibited   a 
painting  of  'Coriolanus'  ;  in  the   following  year 
'The  Parting  of   Hector   and   Andromache,'  and 
'Thetis  comforting  Achilles,'  &c.  ;  but  his  name 
has  been  comparatively  little   before   the   public 
except  as  a  designer  for  books,  his  time  having 
been  almost  entirely  occupied  in  making  drawings 
from  ancient  marbles  in  the  possession  of  various 
English  noblemen.     Those  of  the  Woburn  Abbey 
Marbles,  made  for  the  Duke  of  Bedford,  were  en- 
graved, but  only  circulated  among  a  few  of  his 
Grace's  private  friends.  This  was  also  the  case  with 
those  executed   for  the  Earl  of  Egremont.     The 
vast  collection  of  '  Ancient  Marbles  '  in  the  British 
Museum,  upon  which  he  was  engaged  for  about 
thirty  years,  was  in  course  of  publication  at  the 
time  of  his  death.     He  was  also  occasionally  era- 
ployed  in  making  drawings  for  the  Dilettanti  and 
Antiquarian  Societies,  of  which  he  was  a  member. 
He  was  devotedly  attached  to  art,  and  was  sur- 
passed  by   few   in   professional   knowledge ;   no 
painter   of  his   time   was   more   thoroughly    ac- 
quainted with  drawing  ;  and  his  copies  from  the 
antique  may  be  referred  to  as  models  of  accm'acy 

X  2 


and  truth.  Nor  was  he  by  any  means  without 
fancy  and  invention :  some  of  his  book  illustrations 
are  among  the  most  graceful  and  efEeotive  pro- 
ductions of  the  age;  and  few  designers  ever  njore 
completely  entered  into  the  spirit  of  the  author. 
He  died  at  Robertsbridge,  in  1 844,  of  an  attack  of 
apoplexy,  supposed  to  have  been  brought  on  by 
exposure  to  cold. 

CORBOULD,  Richard,  who  was  born  in  London 
in  1757,  was  a  painter,  in  oil  and  water-colour,  of 
portraits,  landscape,  and  occasionally  history;  of 
porcelain,  and  miniatures  on  ivory,  and  enamels ; 
and  was  furthermore  an  illustrator  of  books,  and 
an  imitator  of  the  old  ma.sters.  From  1777  to  1811 
he  was  a  constant  contributor  to  the  Royal  Aca- 
demy. Hedied  at  Highgatein  1831.  Of  his  works 
exhibited  at  the  Royal  Academy  may  be  noticed  : 

1793.  Cottagers  gathering  Sticks. 
1802.  Eve  caressing  Adam^s  Flock. 

„     The  Archangel  Michael. 
1806.  Ulysses's  Descent  into  Hades. 
1806.  View  at  Hampstead.    {In  the  South  Kensington 

Museum.^ 

CORBUTT,  C.    See  Pubcell,  Richard. 

CORDELLE  AGI,  Andrea,  (Cordegliaghi,  or 
CoRDELLA,)  who  Sometimes  signed  himself  An- 
dreas Beegomensis,  came  to  Venice  at  the  close 
of  the  15th  century,  and  for  several  years  studied 
there  under  Giovarmi  Bellini ;  he  then  settled  at 
Bergamo,  and  about  1615,  when  painting  the  great 
altar-piece  at  San  Spirito,  of  St.  John  the  Baptist 
and  other  saints,  assumed  the  title  of  Previtali. 
The  earliest  known  painting  by  him  is  a  votive 
Madoima,  now  belonging  to  Count  Ferdinando 
Cavalli,  of  Padua,  dated  1502.  Ridolti  mentions 
an  '  Annunciation  '  at  Ceneda  by  him,  that  Titian 
regarded  as  one  of  the  ablest  productions  of  the 
period  at  which  he  lived.  The  late  Sir  Chai-les 
Bastlake  possessed  a  'Marriage  of  St.  Catharine,' 
dated  by  him  1504.  He  died  of  the  pliigue  in 
1528.  Many  of  the  churches  of  Bergamo  possess 
paintings  by  this  master,  as  do  also  certain  of  tlie 
public  and  private  collections  of  Venice.  We 
further  note: 

London.    National  Gallery.  ^  Madonna  and  Child, 

"  with  Monk. 

„         Sir  A.  Layard's  Coll.    Ecce  Homo. 

CORDES,  WiLHELM,  a  landscape  painter,  was 
born  at  Liibeck  in  1824,  and  died  in  1869  at 
Weimar,  where  he  was  professor  at  the  schoo'  of 
arts.  A  '  Park  in  Winter,'  and  Hunting  the  Wild 
Game,'  are  two  of  his  productions. 

CORDIER,  Nicolas,  called  FRANriosiNO,  a 
French  sculptor,  painter,  and  engraver,  was  born 
in  Lorraine  in  1567.  Whilst  still  young  lie  went 
to  Rome,  and  became  a.  pupil  of  Miclielimgilo. 
After  having  painted  several  pictures  of  merit,  imd 
engraved  on  wood,  he  devoted  himself  to  sculpture, 
and  acquired  a  great  reputation.  His  principal 
works  at  Rome  are  the  statues  of  David,  Aaron,  St. 
Bernard,  and  St.  Athanasius,  in  the  Basilica  of  S.mta 
Maria  Maggiore,  the  colossal  bronze  iigure  of  Henry 
IV.  of  France  at  San  Giovanni  in  Literano,  and 
the  statues  of  St.  Sylvia  and  St.  Gregory,  the  latter 
said  to  have  been  begun  by  Michelangelo,  in  the 
church  of  St.  Gregory.     He  died  at  Rome  in  1612. 

CORDIER,  Robert,  a  French  engraver,  estab- 
lished at  Madrid  in  1629.  In  1658  he  executed 
the  title-page  and  100  small  plates  for  Solorzano's 
'Emblemata.'  On  the  top  of  the  title-page,  sup- 
ported by  figures  of  Faith  and  Religion,  heir- 
looms of  the  Catholic  monarchy,   Philip  IV.  of 

307 


Cordier 


A  BIOGRAPHICAL  DICTIONARY  OF 


Cornara 


Spain  sits  enthroned  in  all  his  habitual  gravity, 
usipig  the  world,  upheld  by  Atlas,  as  his  footstool. 

CORDIER,  v.,  a  French  engraver,  was  a  native 
of  Abbeville,  and  flourished  about  the  year  1760. 
His  name  is  affixed  to  a  plate  representing  a  fountain, 
from  a  design  of  (i.  M.  Dumont. 

CORDOVA,  Pedeo  db,  who  was  born  at  Cor- 
dova, was  the  founder  of  the  renowned  school  of 
that  city.  He  was  instructed  in  his  art  by  Alexo 
Fernandes.  An  'Annunciation'  by  him,  painted 
in  1475,  is  still  in  the  cathedral  of  Cordova. 

CORDOBA,  Francesco,  was  an  Italian  engraver, 
by  wliom  we  have  a  set  of  plates  of  the  principal 
fountains  which  are  in  the  gardens  at  Rome,  into 
which  he  has  introduced  several  small  figures,  in 
the  style  of  Callot.  They  are  etched  with  con- 
siderrib'e  spirit. 

CORENZIO,  Belisario,  was  a  native  of  Greece, 
born,  according  to  Doniinici,  in  the  province  of 
Achaia,  in  1558.  He  was  instructed  in  the  rudi- 
ments of  the  art  by  an  unlinown  painter,  who  was 
so  loud  in  his  praise  of  the  Venetian  artists,  that 
Belisario  burned  with  impatience  to  visit  Venice, 
that  he  might  be  benefited  by  the  contemplation 
of  those  extraordinary  productions,  of  which  the 
description  had  so  much  excited  his  curiosity.  He 
accordingly  went  to  Venice  in  1580,  when  he  was 
twenty-two  years  of  age,  and  became  a  disciple  of 
Tintoretto.  After  passing  five  years  at  Venice,  he 
settled  at  Naples,  where  his  jealousy  was  the  cause 
of  the  ill-treatment  which  foreign  artists  had  to 
endure.  Domenichino  especially  suffered  fearful 
persecution  through  his  vindictiveness.  He  painted 
a  few  pictures  in  oil,  but  his  power  seems  to  have 
been  better  adapted  to  subjects  that  require  to  be 
executed  in  fresco,  in  which  he  is  bold,  varied,  and 
occasionally  beautiful  and  correct.  His  principal 
works  at  Naples  were  '  The  Miracle  of  the  Loaves 
and  Fishes,'  painted  in  forty  days  for  the  Refectory 
of  S  m  Severino,  and  frescoes  for  the  churches  of 
San  Patrizio,  San  Paolo  Maggiore,  San  Marcellino, 
San  Martino,  and  Sant'  Annunziata.  He  died  at 
Naples  in  1643. 

CORIOLANO,  Baetolommeo,  who  is  thought 
to  have  been  the  grandson  of  Cristoforo  Corio- 
lano,  was  born  at  Bologna  in  1599.  He  was 
first  instructed  by  his  father,  but  afterwards 
entered  the  school  of  Guido  Reni,  where  he  be- 
came an  able  designer  and  engraver  on  wood.  He 
usually  made  use  of  two  blocks  for  his  woodcuts  ; 
on  one  he  cut  the  outline  and  the  dark  shadows, 
like  the  hatchings  of  a  pen,  and  on  the  other 
block  the  demi-tints  ;  these  he  managed  with  great 
judgment,  and  his  prints  have  a  fine  effect.  His 
drawing  is  masterly  and  spirited,  and  his  heads  of 
a  fine  expression,  characteristic  of  the  great  school 
in  which  he  was  educated.  He  worked  at  Bologna 
from  16.^0  to  1647,  and  was  fond  of  developing  the 
designs  of  Guido  and  Guercino.  He  dedicated  a 
set  of  his  prints  after  Carracci,  Guido,  &c.  to  Urban 
Vni.,  who  recompensed  him  with  the  order  of 
knighthood  of  Loreto,  and  a  pension.  He  died  in 
1676.  There  are  a  few  of  his  cuts  executed  in 
chiaroscuro,  in  which  he  used  three  bloclts,  which 
are  signed  with  £C.  sc. ;  BG.  EQ.  SO.;  and 
BABT.  COR.  EQUES.  F.  The  following  are 
good  examples  of  this  master : 

St.  Jerome  in  meditation  before  a  Crucifix ;  after  Guido. 
1637. 

Herodias,  with  the  Head  of  St.  John  the  Baptist;  after 
the  same. 

The  Virgin,  with  the  Infant  sleeping;  after  the  same : 
in  chiaroscuro. 

308 


The  Virgin  and  Infant  Jesus,  with  St.  John  the  Baptist ; 

after  the  same :  in  chiaroscuro. 
The  Four  Sibyls ;  after  the  same. 
The  Virgin  and  Infant  sleeping  ;  after  F.  Vanni. 
Peace  and  Abundance  ;  after  Guido.     1642. 
Jupiter  hurling  bolts  at  the  Giants  ;  after  the  same  ;  on 

four  sheets.     1647. 
The  Seven  Ages,  transported  to  Bologna ;  a  Thesis. 

Theresa  Maeia  Coeiolano,  his  daughter,  was  in- 
structed in  painting  by  Elisabetta  Sirani,  and  in 
engraving  by  her  father.  She  etched  a  small  plate 
of  the  Virgin,  half-length,  with  the  Infant  Jesus. 

CORIOLANO,  Ceistofoeo,  was  a  German  en- 
graver, born  at  Nuremberg  in  1540.  Heinecken 
states  that  the  family  name  of  this  artist  was  Le- 
DBEEE,  which  he  exchanged  in  Italy  for  that  of 
Coriolano.  He  engraved  on  wood,  and  was  a  very 
able  artist.  In  the  Life  of  Marc- Antonio,  Vasari 
assures  us  that '  Maestro  Cristof ano,'  after  executing 
at  Venice  an  infinite  number  of  fine  things,  engraved 
on  wood  the  portraits  of  the  painters,  sculptors, 
and  architects,  after  Vasari's  designs,  forhis'Lives 
of  the  Painters,'  first  published  in  1568.  They 
are  very  masterly  performances,  but  Zani  considers 
them  to  be  the  work  of  Christoph  C'hrieger.  He 
also  engraved  the  greater  part  of  the  figures  in  the 
'Ornithology'  of  Ulisse  Aldrovandi.  He  died  at 
Venice  in  the  beginning  of  the  17th  century. 

CORIOLANO,  Giovanni  Battista,  is  believed  to 
have  been  the  son  of  Cristoforo  Coriolano ;  he  was 
born  at  Bologna  in  the  year  1590,  and  died  there 
in  1649.  He  studied  painting  under  Giovanni 
Lodovico  Valesio,  but  did  not  distinguish  himself 
much  as  a  painter,  although  he  was.  employed  for 
some  of  the  churches  at  Bologna.  In  Santa  Anna 
are  two  pictures  of  St.  Nicholas,  and  St.  Bruno; 
and  in  the  Nunziata  an  altar-piece  of  St.  John,  St. 
James,  and  St.  Bernard.  As  an  engraver,  he  is 
entitled  to  more  consideration.  He  worked  both  on 
wood  and  on  copper ;  but  his  woodcuts  are  greatly 
preferable  to  his  engravings.  Those  in  chiaroscuro 
are  dated  from  1619  to  1625.  Among  his  best 
works,  which  resemble  in  style  those  of  F.  Villa- 
mena,  are  the  following  : 

POKTKAITS. 

Vincenzo  Sgualdi. 
Fortunius  Licetus. 
The  same  Portrait:  a  woodcut. 
Joannes  Oottunius. 

SUBJECTS  AFTER   VAEIOUS   MASTERS. 

The  Image  of  4he  Virgin ;  J.  B.  Coriolanus,  sc. 

The  miraculous  Image  of  the  Virgin,  painted  by  St. 
Luke,  held  by  three  angels  ;  after  Guido. 

The  Virgin  and  Child,  and  St.  Jolm  ;  after  A.  Tiarini. 

Christ  crowned  with  Thorns  ;  etched  in  imitation  of  a 
woodcut ;  after  L.  Carracci ;  fine. 

Cupid  sleeping ;  in  chiaroscuro  ;  after  Guido. 

Triumphal  Arch  in  honour  of  Louis  XIII. ;  II  Corio- 
lano, fee. 

Twenty-seven  plates  for  the  '  Emblemata '  of  Paolo 
Maccio ;  the  entire  work  consists  of  eighty-three 
plaies  ;  the  rest  being  by  0.  Gatti  and  A.  Parasina. 

He  also  engraved  a  number  of  theses  and  frontis- 
pieces. His  plates  were  signed  with  liis  full  name, 
or  B.  C.  F.;  Cor;  or  Corio. 

CORKOLE,  Adgpste,  a  Belgian  genre  painter, 
was  born  at  Ghent  in  1822,  and  died  in  that  city 
in  1876. 

CORNARA,  Carlo,  was  born  at  Milan  in  1605, 
and  became  a  scholar  of  Camillo  Procaccini.  He 
did  not  produce  many  works,  but  they  were  de- 
signed with  an  excellent  taste,  particularly  his 
easel  pictures,  which  were  highly  esteemed.     One 


Comeilla 


PAINTERS  AND  ENGRAVERS 


Cornelis 


of  the  best  of  his  public  works  is  his  picture  of  St. 
Benedict  at  the  Certosa  at  Pavia.    He  died  in  1673. 

CORNEILLE,  Claude,  a  French  painter  and 
engraver,  was  a  native  of  Lyons,  who,  during  the 
reigns  of  Francis  I.,  Henry  II.,  Francis  II.,  and 
Charles  IX.,  enjoyed  a  great  reputation  for  his 
portraits.  They  are  usually  of  small  size,  and 
very  pale  in  colour,  and  are  often  attributed  to 
Jannet.  BrantSnie,  in  his  '  Mfemoires,'  mentions 
with  much  praise  a  picture  of  Catharine  de'  Medici 
with  her  two  daughters,  and  there  is  in  the  Lenoir 
collection  at  Stafford  House  a  portrait  of  Louise 
Marguerite  of  Lorraine,  Princess  of  Conty.  A 
portrait  of  Francis  I.,  attributed  to  Corneille,  is  in 
the  Louvre.  His  engravings  are  slight,  and  betray 
the  hand  of  a  painter.  Robert-Dumesnil  gives  a 
list  of  them  in  his  '  Peintre-Graveur  Franyais,'  the 
best  known  being  the  58  portraits  of  the  French 
kings  in  the  '  Epitomes  des  Roys  de  France,'  printed 
at  Lyons  in  1646.  Claude  Corneille  died  after 
1576. 

CORNEILLE,  Jean  Baptiste,  (called  Corneille 
LB  Jeune,)  was  a  painter  who  was  born  in  Paris  in 
1649,  and  died  there  in  1695.  He  was  a  younger 
son  of  Michel  Corneille  of  Orleans,  and  was  in- 
structed by  his  father,  who  sent  him  to  Italy.  After 
passing  some  years  at  Rome  he  returned  to  Paris, 
and  was  received  into  the  Academy  in  1675,  the 
picture  which  he  painted  for  his  reception  being 
the  'Punishment  of  Busiris  by  Hercules.'  It  has 
been  engraved  by  Jean  Mariette,  and  is  now  in  the 
Louvre.  Inferior  to  his  brother  in  the  correctness 
of  his  design,  he  was  still  a  reputable  painter,  and 
gave  proof  of  his  talent  in  several  public  works  at 
Paris.  For  the  cathedral  of  Notre-Dame  he  painted 
the  '  Deliverance  of  St.  Peter  from  Prison,'  which 
has  been  engraved  by  B.  Picard  ;  and  for  the  church 
of  the  Carmelites,  '  Christ  appearing  to  St.  Theresa 
and  St.  John  of  the  Cross.'  He  also  engraved 
several  plates  from  his  own  designs,  and  some  after 
the  Carracci.  They  are  etched  with  great  spirit, 
and  some  of  them  are  finished  with  the  graver. 
The  following  are  his  best  plates  : 

SUBJECTS    FROM    HIS  OWN   DESIGNS. 
The  Bust  of  Michelangelo. 
Susannah  and  the  Elders. 
St.  Augustine  iu  the  midst  of  his  Disciples. 
St.  Bernard. 

Christ  appearing  to  St.  Theresa  and  St.  John. 
The  Bust  of  Monsieur,  crowned  by  Victory. 
Apollo  and  Cupid ;  a  medallion. 
Apollo  and  Daphne ;  the  same. 
Mercury  in  the  Air. 
Diana  and  Calisiio. 

SUBJECTS  AFTEK  THE   CARRACCI. 
St.  John  in  the  'Wilderness  ;  after  Annihale  Carracci. 
Christ  with  the  Samaritan  Woman ;  after  the  same. 
Two  Landscapes,  with  St.  Francis. 

CORNEILLE,  Michel,  a  French  painter,  was 
born  at  Orleans  in  1601.  He  was  a  scholar  of 
Simon  Vouet,  in  whose  style  he  painted  several 
works  for  the  churches,  and  was  one  of  the  twelve 
original  members  of  the  Royal  Academy  at  Paris. 
His  most  celebrated  work, '  St.  Paul  and  St.  Barnabas 
at  Lystra,'  was  painted  for  the  cathedral  of  Notre- 
Dame,  and  has  been  engraved  by  Poilly .  His  plates 
were  signed  with  the  letters  M.  C.  He  died  in 
Paris  in  1664.  Corneille  etched  several  subjects 
after  Raphael,  the  Carracci,  and  others  j  among 
which  are  the  following : 

The  Holy  Family,  with  St.  Elizabeth ;  after  Raphael. 

The  Murder  of  the  Innocents  ;  after  the  same. 


Christ  appearing  to  Mary  Magdalene  ;  after  the  same. 
The  Virgin  suckling  the  Infant  Jesus;  after  L.  Ctirracci. 

CORNEILLE,  Michel,  (called  Corneille  l'AIne,) 
a  painter,  was  born  in  Paris  in  1642.  He  was  the 
son  of  Michel  Corneille  of  Orleans,  and  studied 
under  his  father  and  under  Le  Brun  and  Mignard. 
He  gained  the  pension  at  the  Aeiidemy,  whoh  en- 
abled him  to  visit  Italy;  but  once  there,  he  soon  freed 
himself  from  the  tie  in  order  to  study  the  antique 
in  his  own  way.  The  works  of  tlie  Carracci  became 
eventually  the  model  of  his  choice.  On  his  return 
to  France  he  became  a  member  of  the  Academy  in 
1663,  painting  for  his  reception  a  picture  of  '  Our 
Lord's  appearance  to  St.  Peter  after  his  Resurrec- 
tion,'and  was  subsequently  employed  by  the  King  at 
Versailles,  Meudon,  and  Fontuinebleau.  He  decor- 
ated with  frescoes  the  cupola  of  the  chapel  of  St. 
Gregory  the  Great  in  the  Invalides,  and  painted  the 
'  Calling  of  St.  Peter  and  St.  Andrew  '  for  the  cathe- 
dral of  Notre-Dame.  He  also  painted  a  '  Holy 
Family '  for  the  Church  of  the  Feuillants,  a  '  Mas- 
sacre of  the  Innocents '  for  that  of  the  Innocents, 
and  a  '  St.  Francis '  for  the  Capuchin  church  of  the 
quarter  of  the  Temple.  Towards  the  close  of  his 
life  he  had  apartments  at  the  Gobelins  manufactory, 
and  is  occasionally  spoken  of  as  '  Corneille  des 
Gobelins.'  The  Louvre  has  by  him  a  '  Repose  in 
Egypt,'  and  the  Bordeaux  Museum  a  '  Baptism  of 
Constantine.'  He  drew  correctly,  and  his  works  are 
remarkable  for  a  careful  management  of  the  half- 
lights  :  his  heads  are  not  devoid  of  a  certain  nobility. 
Simonneau,  Tardieu,  Sarrabat,  Jean  Mariette,  and 
Audran  have,  engraved  after  him.  He  himself 
etched  and  engraved  with  a  broad,  free  point  up- 
wards of  a  hundred  plates,  which  show  considerable 
taste.  He  died  at  the  Gobelins  in  Paris  in  1708. 
The  following  are  his  principal  works : 

SUBJECTS   FROM   HIS    OWN   DESIGNS. 

The  Deity  appearing  to  Abraham. 

Abraham  journeying  with  Lot. 

Abraham  discomfiting  the  Army  of  the  coufederata 

Kings. 
Abraham  setting  out  with  his  son  Isaac  for  the  Sacrifice. 

[These  four  plates  having  come  into  the  possession  of  a 
printseller  at  Borne,  named  Bossi,  he  put  the  name 
of  Raphael  on  them ;  they  are  now  scarce.] 

Samson  and  Delilah. 

The  Conception  of  the  Virgin. 

The  Annunciation ;  in  two  plates. 

The  Nativity. 

The  Infant  JesDs  in  the  Manger. 

The  Flight  into  Egypt. 

The  Calling  of  St.  Peter  and  St.  Paul  to  the  Apostleship. 

St.  Francis  kneeling  before  the  Cross. 

Christ  and  the  Virgin  appearing  to  St.  Francis. 

SUBJECTS   AFTER   VARIOUS  MASTERS. 
The  Marriage  of  St.  Catharine  ;  after  L.  Carracci. 
The  Virgin  and  Infant  Jesus  in  a  Landscape ;  after 

Agostino  Carracci. 
Jacob  wrestling  with  the  Angel,  in  a  Landscape ;  after 

Annibale  Carracci. 
St.  John  preaching  in  the  Desert ;  after  the  same. 
St.  Jerome  in  a  Landscape  ;  after  the  same. 
St.  Francis  receiving  the  Stigmata ;  after  the  same. 
Silenus,  a  Satyr,  and  a  Faun,  in  a  Landscape  ;  after  the 

same. 
Abraham  sending  away  Hagar ;  after  the  same. 

CORNEJO.     See  Duque  Cornejo. 

CORNELIS,  Lambert,  was  a  Dutch  engraver  of 
the  latter  part  of  the  16tli  century,  who  was  chiefly 
employed  for  the  booksellers  in  engraving  portraits. 
He  resided  for  a  long  time  in  France.  Among 
others,  we  have  by  him  the  portrait  of  Tycho  Brahe, 

309 


Cornelisz 


A  BIOGRAPHICAL  DICTIONARY  OF 


Cornelius 


the  astronomer,  and  one  of  his  hest  works  is  the 
portrait  of  Queen  Anna  of  Poland,  1596. 

CORNELISZ,  (or  Cornelissen,)  Coenelis,  was 
horn  at  Haarlem  in  1562.  He  was  at  first  a  scholar 
of  Pieter  Pietersz,  son  of  Pieter  Ariaensz,  but  betook 
himself  to  France  wlien  only  seventeen  years  of  a^e. 
On  being  driven  back  by  the  plague  he  made  his 
way  to  Antwerp,  and  worked  under  Frans  Porbus 
and  GiUis  Congnet.  He  afterwards  returned  to 
Haarlem,  and  there,  in  conjunction  with  C.  van 
Mander,  founded  an  Academy,  from  which  many 
excellent  artists  were  sent  out.  He  was  Regent 
of  the  0  d  Men's  Hospital  from  1614  to  1619,  and 
died  at  Haarlem  in  1637.  His  paintings  comprised 
al  egorical,  mytliological,  and  historical  scenes,  to- 
gether with  portraits  and  flower-pieces.  They  are 
distinguished  especially  by  careful  drawings  from 
the  nude,  and  accurate  foreshortening  of  the  figures. 
One  of  his  paintings,  '  The  Rest  upon  the  Flight 
into  Egypt,'  he  afterwards  engraved  ;  and  Kilian, 
Go'tzius,  Jan  MuUer,  and  others,  have  reproduced 
many  of  his  works.  Cornells  Bega  was  his  grand- 
son. The  following  paintings  by  him  are  in  public 
galleries : 

Massacre  of  the  Innocents.  1590. 

Bathsheba.     1617. 

An  Entertainment.     1618. 

The  Deluge.     1592. 

The   Golden   Age.     (His   chef- 

d^ceuvre.)     1615. 
Venus,  Apollo,  and  Ceres. 
An  Old  Man  showing  a  full  Purse 

to  a  Girl. 
Massacre  of  the  Innocents.  1591. 
The    Marriage    of    Peleus    and 

Thetis. 
.  Baptism  of  Christ. 
Oiraon  and  Iphigenia. 
The  Judgment  of  Paris. 
The  Dragon  devouring  the  Men 

of  Cadmus. 

CORNELISZ,  (or  Coenelissen,)  Jacob,  who  was 
born  at  Oost-Zaan  in  North  Holland  about  1475- 
1480,  was  living  at  Amsterdam  in  the  first  quarter 
of  the  16th  century,  and  distinguished  himself  as  a 
painter  and  a  designer  on  wood.  He  was  still 
painting  in  1553,  and  died  in  Amsterdam  at  an 
advanced  age.  He  was  one  of  the  masters  of  Jan 
Schoorl.  Though  he  is  sometimes  defective  in  the 
nude,  his  compositions  are  spirited,  his  heads  ex- 
pressive, and  there  is  a  great  variety  in  his  figures. 
The  greater  part  of  his  numerous  pictures  for  the 
churches  of  Holland  perished  during  the  Reforma- 
tion.    Of  his  paintings  there  are  preserved  : 

Berlin.  Oallery.      Portrait  of  a  Man  with  a  long 

white  beard. 
Cassel.  Gallery.      The  Triumph  of  Eeligion.     1523. 

[Falsely   ascnhed    to    Jan   De 

Mabuse.) 
Hague.  Museum-.     Herodias  with  the  Head  of  St. 

John  the  Baptist.    1524. 
London.         Jfat.  Gal.    Portraits  of  a  Dutch  Lady  and 

Gentleman. 
Munich.         Gallery.      A  Crucifixion. 

To  this  artist  belong  the  wood-cuts  which  were 
during  the  last  century  ascribed  to  a  certain  Jan 
Werner,  or  Jan  Walther  van  Assen,  but  which  are 
assigned  to  Jacob  Cornelisz  in  an  edition  of  the 
•Historia  Christi  patientiset  morientis,' dated  1651. 
His  wood-cuts,  which  were  as  much  admired  as 
the  copper-plates  of  his  contemporary,  Lucas  van 
Leyden,  are,  however,  so-  numerous  as  to  preclude 
the  idea  that  he  could  have  done  more  than  make 
the  designs.     Among  the  best  are  : 

310 


Amsterdam. 
Berlin. 

Museum. 
Gallery. 

Brunswick. 

Gallery. 

j» 

» 

Dresden. 

Gallery. 

» 

ij 

Hague. 

Museum. 

n 

)» 

Petersburg. 

Hermitag 

Stockholm. 
Vienna. 

Gallery. 
Belvedere 

12  plates  of  the  Passion.     1517. 
6      „    of  the  Life  of  Christ. 

10      „    of    Counts    and    Countesses    of   Holland  on 
Horseback. 

Jesus  disputing  with  the  Doctors. 

St.  Hubert. 

His  son,  DiBK  Jacobsz,  was  a  good  portrait 
painter,  who  died  in  1567. 

CORNELISZ,  (or  Coenelissen,)  Lucas,  called 
Koch  ('the  Cook'),  was  a  Dutch  painter,  born  at 
Leyden  in  1493.  He  was  the  son  of  Cornells  Engel- 
breohtsen,  and  was  instructed  by  his  father.  The 
little  encouragement  the  art  experienced  at  that 
time  in  his  native  country,  obliged  him,  for  the  sup- 
port of  a  numerous  family,  to  exercise  the  occupa- 
tion of  a  cook,  and  eventually  induced  hira  to  visit 
England  in  the  reign  of  Henry  VIII.,  by  whom  be 
was  employed,  and  was  made  painter  to  the  king. 
Van  Mander  mentions  some  of  the  works  of  this 
master  at  Leyden,  among  others,  the  '  Adulteress 
before  Christ.'  Of  his  works  in  England,  the  six- 
teen portraits  of  the  Constables  of  Queenborough 
Castle,  at  Penshurst,  are  the  most  considerable ; 
and  though  few  of  them  can  be  original  paintings, 
they  possess  great  merit.  Kt  Hampton  Court  there 
are  four  small  female  portraits,  probably  copies, 
attributed  to  hira.     He  died  in  England  in  1662. 

CORNELIUS,  Peter  von.  This  famous  German 
painter  was  born  on  the  23rd  of  September,  1783, 
at  Diisseldorf,  where  his  father  was  Inspector  of 
the  Gallery,  an  appointment  by  no  means  lucrative, 
and  scarcely  sufficient  for  the  support  of  his 
numerous  family.  The  disposition  of  Cornelius 
for  the  profession  of  art  was  evinced  at  a  very 
early  age  by  his  drawings  in  outline  of  single 
figures,  groups,  battles,  and  hunting  parties,  which 
were  pronounced  by  those  who  had  opportunities 
of  seeing  his  untutored  essays  to  be  by  no  means 
devoid  of  an  intuitive  skill  in  their  execution  and 
arrangement.  Yet  the  character  of  his  talent  was 
questioned,  and  it  was  against  the  advice  of  friends 
that  he  was  allowed  to  proceed  in  his  studies  at  the 
Academy,  where  he  continued  drawing  industri- 
ously after  the  antique.  Whilst  yet  a  boy  he  lost 
Iiis  father,  an  event  which  immediately  incited  his 
naturally  energetic  temperament  to  extraordinary 
exertion,  commensurate  with  the  bereavement  and 
its  threatened  consequences.  In  a  letter  to  Count 
Raczynski,  he  states:  — 

"  I  was  in  my  sixteenth  year  when  I  lost  my 
father,  and  it  fell  to  the  lot  of  an  elder  brother  and 
myself  to  watch  over  the  interest  of  a  numerous  ' 
family.  It  was  at  this  time  that  it  was  attempted 
to  persuade  my  mother  that  it  would  be  better  for 
me  to  devote  myself  to  the  trade  of  a  goldsmith 
than  continue  to  pursue  painting — in  the  first  place, 
in  consequence  of  the  time  necessary  to  qualify  rae 
for  the  art;  and  in  the  next,  because  there  were 
already  so  many  painters.  My  dear  mother,  how- 
ever, rejected  all  this  advice,  and  I  felt  myself 
impelled  onward  bj'  an  uncommon  enthusiasm, 
to  which  the  confidence  of  my  mother  gave  new 
strength,  which  was  supported  by  the  continual 
fear  that  I  should  be  removed  from  the  study  of 
the  art  I  loved  so  much." 

In  the  works  of  this  distinguished  artist  it  is 
observed  that  the  study  of  nature  and  the  technique 
of  hisart  occupy  him  less  than  the  care  of  express- 
ing his  thoughts  in  a  powerful  and  characteristic 
manner ;  and  it  would  often  seem  that  those  of  his 
figures  which  are  most  forcible  and  elevated  in 
style  are  deficient  of  vitality,  insomuch  that  we 
might  almost  say  that  their  life-blood  had  been 


Cornelius 


PAINTERS  AND  ENGRAVERS. 


Corona 


arrested  in  its  circulation.  Force  and  grandeur  are 
abiindaTit  elements  in  the  character  of  his  works, 
but  we  do  not,  perhaps,  perceive  in  an  equal  degree 
truth  and  refined  taste.  In  explanation  of  this  it 
should  be  observed  that  a  new  era  had  about  this 
time  commenced  in  German  literature.  The  prin- 
ciples of  Winckehnann,  which  presented  as  the  soli- 
tary rule  the  study  of  the  antique,  were  no  longer 
admitted  as  those  alone  which  could  develop  skiSul 
artists.  It  was  perceived  that  an  overweening  love 
of  the  antique  had  in  a  great  measure  contributed 
to  the  unintelligible  afiectations  of  the  French 
school ;  yet  certain  schools,  and  especially  that  of 
Dusseldoif ,  pursued  the  ancient  method ;  and  Cor- 
nelius distinguished  himself  by  his  faithful  adher- 
ence to  it  for  a  length  of  time.  And  yet  all  who 
would  essaj'  to  reconcile  his  particular  principles 
with  those  of  Winckelmann — who  would  endeavour 
to  place  him  in  opposition  to  Gothe, — who  would 
pronounce  him  too  exclusively  under  the  influence 
of  the  revival  of  medieeval  religious  art,  and  op- 
posed to  the  study  of  models  and  an  imitation  of 
nature  ; — in  short,  all  who  would  seek  to  discover 
in  Cornelius  a  constant  system,  are  altogether 
ignorant  of  the  force  of  the  original  genius  by 
which  he  was  continually  swayed.  He  was,  how- 
ever, the  fellow-labourer  with  Overbeds  in  the 
artistic  movement  which  too  much  repudiated  the 
charms  of  colour,  and  made  fresco  once  more 
adopted.  The  first  important  works  of  his  youth 
were  the  decorations  of  the  church  of  Neuss,  an 
attentive  examination  of  which  declares  a  study  of 
the  works  of  RafEaelle.  At  the  age  of  twenty-six 
he  produced  his  compositions  from  Faust,  after 
which,  in  1811,  he  went  to  Rome,  where  he  became 
one  of  the  brotherhood  of  painters,  amongst  whom 
was  Overbeok,  whose  particular  friend  he  was,  in- 
somuch that  the  King  of  Bavaria  associated  them 
in  a  comparison  to  St.  John  and  St.  Paul.  They 
dwelt  together  in  an  old  convent,  labouring  from 
morning  to  night,  with  a  mutual  understanding  that 
each  should  pronounce  in  sincerity  on  the  produc- 
tions of  the  other.  Cornelius  was  one  of  those 
artists  engaged  in  the  decoration  of  the  Villa 
Bartoldi,  and  at  the  same  time  was  busied  in  his 
illustrations  of  the  Nibelungenlied.  From  Rome  he 
was  called  to  Diisseldorf  to  remodel  the  Academy, 
and  to  Munich  to  take  the  direction  of  the  frescoes 
which  the  then  Prince  Royal  of  Bavaria  had  pro- 
jected for  the  Glyptothek.  Thus  divided  between 
Dusseldorf — where  he  held  the  appointment  of 
Director  of  the  Academy — and  Munich,  where  he 
was  charged  with  the  execution  of  many  works,  he 
resigned  his  appointment  in  the  former  city,  to 
devote  himself  exclusively,  with  those  of  his  pupils 
who  thought  fit  to  accompany  him,  to  his  commis- 
6ions_  at  Munich,  of  the  Academy  at  which  place 
he  was  appointed  Director  on  the  death  of  Sanger. 
It  is  from  this  period  may  be  dated  the  immense 
activity  in  the  arts  in  Munich  under  the  reign  of 
King  Ludwig.  Of  this  movement  Cornelius  was 
the  prime  mover — as  the  head  of  the  school ;  and 
from  Munich  his  reputation  extended  throughout 
Europe.  It  would  be  vain  to  attempt  a  Catalogue 
Raisonn^e  of  his  great  works  in  that  city  ;  it  must 
suffice  to  indicate  the  leading  features  of  the  prin- 
cipiil.  In  the  Glyptothek  he  decorated  two  large 
halls,  one  called  the  '  Hall  of  Heroes,'  the  other  the 
'  Hall  of  the  Gods,'  with  frescoes  based  upon  the 
heathen  mythology,  and  painted  according  to  the 
genius  of  the  antique.  In  the  Pinakothek  he 
painted  a  great  work  illustrative  of  the  '  History 


of  Painting,'  and  even  whilst  occupied  with  these 
he  found  time  to  decorate  the  Ludwigs-Kirche  with 
four  large  frescoes — '  God  the  Father,'  '  The  Na- 
tivity," The  Crucifixion,'  and  'The  Last  Judgment,' 
the  last  of  which  measures  62  feet  high,  by  38 
wide.  About  1847  Frederick  William  IV.  of 
Prussia  invited  Cornelius  to  Berlin,  where  he  gave 
him  a  commission  to  decorate  the  Campo  Santo,  or 
Royal  Mausoleum,  destined  to  form  one  of  the 
wings  of  the  new  cathedral,. the  building  of  which 
was  commenced  some  years  ago.  His  designs  for 
this  purpose  possessed  grandeur  and  originality, 
surpassing  in  daring  all  that  the  master  had  here- 
tofore produced, '  The  Four  Knights  of  the  Apoca- 
lypse '  being  especially  noticed  in  this  respect ; 
these  have  been  engraved  byThater,  and  published 
at  Leipsio,  in  1848.  During  his  sojourn  at  Berlin 
the  King  of  Prussia  took  the  opportunity  to  get 
Cornelius  to  make  the  design  for  the  silver  shield 
intended  as  a  present  for  his  godchild,  the  Prince 
of  Wales,  and  which  will  be  remembered  as  an 
attractive  object  at  the  great  Exhibition  of  1861. 
Reviewing  the  varied  works  of  this  great  master, 
we  find  that  the  Old  Testament,  Homer,  Gothe, 
Dante,  the  Nibelungen,  the  German  Troubadours, 
and  the  New  Testament,  have  all  in  turn  supplied 
him  subject  matter.  The  heroic  is  most  in  accord- 
ance with  his  natural  disposition ;  he  is,  however, 
not  insensible  to  grace,  and  has  expressed  the  tender 
sentiments  with  the  utmost  felicity.  Most  of  his 
paintings  at  Munich  have  been  engraved  by  Amsler, 
Eberl6,  SchoefBer,  &c.  When  the  employment  of 
historical  painters  was  determined  upon  for  the 
decoration  of  our  New  Houses  of  Parliament,  Cor- 
nelius was  invited  to  this  country  and  advised  the 
adoption  of  fresco  painting,  an  unfortunate  advice, 
our  climate  being  considered.  He  died  in  Berlin 
on  the  6th  March,  1867. 

Herr  Forster  has  published '  Peter  von  Cornelius. 
Ein  Gedenkbuch  aus  seinem  Leben  und  Wirken,' 
Berlin,  1874,  8vo,  2  vols.  W.B.S, 

CORNER,  John,  a  line-engraver,  published  in 
1825  an  interesting  series  of  twenty-five  '  Portraits 
of  Celebrated  Painters,'  beneath  each  of  which  is  a 
small  medallion  containing  the  artist's  most  cele- 
brated work. 

CORNISH,  — .  This  name  is  afSxed  to  a 
slightly  etched  portrait  of  Dr.  Charles  Rose,  a 
Scotch  clergyman.  It  was  probably  .the  work  of 
an  amateur,  who  was  a  member  of  the  University 
of  Oxford,  as  it  is  inscribed  Cornish,  Oxon. 

CORNU,  SiBASTiEN  Melchiok,  a  French  historical 
painter,  was  born  at  Lyons  in  1804.  He  first 
studied  under  Richard  and  Ronnefond,  and  then 
went  to  Paris  and  entered  the  studio  of  Ingres. 
There  are  by  him  at  Versailles  the  '  Surrender  of 
Ascalon  to  Baldwin  III.,"  and  the  'Battle  of  Oued- 
Halleg.  He  continued  the  decorative  works  at  St. 
Germain-des-PrSs  after  the  death  of  Flandrin,  and  , 
died  at  Longpont  (Seine-et-Oise)  in  1870. 

'corona,  Jacob  Lucius,  called  Jacob  Lucius 
VON  Cbonstadt,  and  also  the  Master  of  the  Key, 
a  wood-engraver  who  lived  in  the  16th  century, 
was  a  native  of  Cronstadt  in  Transylvania.  He 
executed  many  wood-cuts  after  the  designs  of 
Lucas  Cranach,  and  in  1564  removed  from  Witten- 
berg to  Rostock,  where  he  engraved  on  wood  in 
1578,  after  the  court  painter  Cornelius  Cromeny, 
the  '  Genealogical  Tree  of  the  Dukes  of  Mecklen- 
burg.' His  wood-cuts  are  also  to  be  found  in  the 
Wittenberg  Bible  of  1572,  although  dated  1558. 

3U 


Corona 


A  BIOGRAPHICAL  DICTIONAEY  OF 


Correa 


His  prints  are  signed  J.  L.  G.  T.  (Jacobus  Lucius 
Corona  Transylvanus),  sometimes  Jacob  Siehen- 
hurgen,  or  with  one  or  other  of  the  following 
monograms :  j^^l^    HJ^ 

CORONA,  Xeonabdo,  the  son  of  a  miniature 
painter,  was  born  at  Murano  in  1661,  and,  accord- 
ing to  Ridolfi,  was  first  instructed  by  Rooca  da 
San  Silvestro,  a  painter  of  little  note,  who  employed 
him  in  copying ;  but  he  afterwards  improved  him- 
self by  studying  the  works  of  Titian  and  Tinto- 
retto. He  also  derived  the  greatest  benefit  from 
his  acquaintance  with  Alessandro  Vittoria,  an 
eminent  sculptor,  who,  Lanzi  says,  gave  him  chalk 
models  for  the  better  management  of  the  chiaro- 
scuro, and  assisted  him  in  his  much -esteemed 
picture  of  the  'Annunciation'  in  SS.  Giovanni  o 
Paolo,  and  his  more  admired  work  of  the  '  Assump- 
tion '  in  San  Stefano,  painted  with  a  greatness  of 
style  that  approaches  to  Titian.  In  San  Fantino  is 
his  picture,  so  much  applauded  by  Ridolfi,  of  the 
'  Crucifixion,'  in  which  he  treads  so  closely  on  the 
heels  of  Tintoretto  as  to  be  little  short  of  the  excel- 
lence of  that  master.  He  died  at  Venice  in  1605. 
It  is  said  that  he  copied  the  works  of  Titian  so 
exactly,  that  connoisseurs  mistook  his  imitations  for 
the  originals.  The  Brunswick  Gallery  contains 
two  paintings  by  him — 'Joseph  and  Potiphar'e 
Wife,'  and  '  The  Death  of  Lucretia.' 

CORONATO,  II.     See  Calvi,  Giulio. 

CORONELLI,  ViNCENZo  Maria,  an  Italian  geo- 
grapher and  draughtsman,  was  born  at  Venice 
about  1650.  He  entered  the  order  of  the  Minorites, 
and  went  to  France,  where  he  constructed  the 
celebrated  globes  which  are  now  in  the  National 
Library  at  Paris.  On  his  return  to  Venice  he  was 
made  cosmographer  of  the  Republic,  and  founded 
the  Academy  of  the  Argonauts.  In  1 702  he  became 
general  of  his  order.  He  died  at  Venice  in  1718. 
Among  other  works  he  published  'Ritratti  de' 
celebri  Personaggi,'  1697  ;  '  Lo  Specchio  del  Mare,' 
1698  ;  '  Atlante  Veneto,'  1691-96  ;  '  Roma  antico- 
moderna'1716;  and  'Singolarita  di  Venezia,'  some 
of  the  plates  in  which  he  probably  engraved. 

COROT,  Jean  Baptiste  Camillb,  was  born  in 
Paris,  of  humble  parentage,  in  1796.  After  receiv- 
ing his  education  in  the  Lyc^e  of  Rouen,  he  was 
placed  in  a  draper's  shop.  He  did  not  follow  his 
inclination  till  he  was  twenty-two,  when  he  became 
a  pupil  of  Michallon,  then  of  Victor  Bertin.  and 
finally  completed  his  studies  in  Italy.  In  1827  he 
sent  two  of  his  works  to  his  first  exhibition,  and 
amongst  those  which  succeeded  them  may  be 
named :  '  A  View  in  Italy,'  '  A  Souvenir  of  the 
Knvirons  of  Florence,'  'The  Burning  of  Sodom,' 
'  Evening,'  '  The  Lake,'  '  An  Idyll,'  '  The  Italian 
Tyrol,'  'A  Souvenir  of  Marcoussy,'  &c.  Besides 
these  landscapes,  he  painted  several  figure  sub- 
jects, such  as :  '  A  Dance  of  Nymphs,'  '  Ariadne,' 
'  Macbeth,'  '  St.  Sebastian,'  '  Christ  in  the  Garden 
of  Olives,'  '  Dante  and  Virgil,'  and  '  Hagar  in  the 
Desert ; '  the  two  last  named  being  bequeathed  by 
hira  to  the  Louvre.  Corot's  method  was  to  work 
in  the  country  in  the  summer,  early  and  late,  in 
the  open  air,  to  catch  those  efiects  only  to  be  seen 
at  dawn,  at  sunset,  and  by  moonlight,  in  which  he 
delighted.  During  the  winter  he  worked  in  his 
studio  on  the  ideas  thus  afiorded  him.  His  origin- 
ality was  great :  he  saw  and  portrayed  nature  with 
l)is  own  eyes  in  a  manner  replete  with  poetry  and 
I'-incy,  iii -which  style  he  has  found  followers  in 
312' 


Troyon,  Diaz,  and  others.  In  his  early  years  he 
bad  to  contend  with  poverty,  but  in  after  life 
wealth  flowed  freely  in  on  him,  and  he  was  never 
unmindful  of  the  poor  and  struggling  artist.  It  is 
computed  that  his  benevolences  during  the  siege 
of  Paris  in  1870  amounted  to  25,000  francs.  He 
received  medals  for  his  works  in  1833,  1848,  1855, 
and  1867,  and  was  decorated  with  the  Cross  of  the 
Legion  of  Honour  in  1846,  becoming  an  officer  of 
the  order  in  1867.  As  a  mark  of  their  esteem  for 
'  le  pile  Oorot,'  his  brother  artists  presented  him 
with  a  gold  medal  shortly  before  his  death,  which 
occurred  in  Paris  on  the  22nd  of  February,  1875. 
He  bequeathed  to  the  Luxembourg  two  views — one 
of  the  Forum,  the  other  of  the  Colosseum  at  Rome. 
The  pictures,  sketches,  etchings,  &c.,  remaining  in 
his  studio  were  sold  for  400,000  francs.  Two  Land- 
scapes by  him  are  in  the  Lille  Museum,  and  one 
each  in  the  Museums  of  Bordeaux,  Douai,  Metz, 
and  Langres. 

CORR,  Erin,  a  Belgian  line-engraver,  was  born 
of  Irish  parentage  at  Brussels  in  1803.  After 
studying  under  De  Meulemeester,  he  went  to  Paris 
and  completed  his  training  under  Wedgwood  and 
Forster.  On  returning  home  he  soon  acquired  a 
name  by  his  engravings,  and  became  in  1832  pro- 
fessor of  engraving  at  the  Antwerp  Academy.  He 
died  in  Paris  in  1862.     Among  his  best  plates  are  : 

Hagar  in  the  "Wildemess ;  after  JVavez.    1832. 

The  Saviour  of  the  'World ;  after  Leonardo  da  Find. 

Christ   on  the   Cross;    after   Van  Dyck.      (His  chef- 
d'oeuvre.) 

The  Elevation  of  the  Cross ;  after  Rviens.  (Unfinished ; 
the  etching  only.) 

The  Descent  from  the  Cross  ;  after  Bubens.  (Unfinished.) 

The  King  of  the  Belgians ;  after  Wappers.    1834. 

The  Queen  of  the  Belgians ;  after  Ary  Scheffer.    1838. 

Cardinal  Sterckx,  Archbishop  of  Mechlin ;  after  Cel$. 

CORRADI,  KoNBAD,  a  Swiss  landscape  painter 
in  water-colours,  was  born  in  the  early  part  of  the 
19th  century.     He  died  at  Uhwiesen  in  1878. 

CORRADINI,  Babtolommeo,  who  is  known  as 
Fra  Cabnevalb,  was  a  Dominican  monk  living  in 
the  15th  century,  who  painted  somewhat  in  the 
manner  of  Piero  della  Francesca.  He  was  painting 
in  Urbino  in  1456,  since  records  remain  which  prove 
him  to  have  been  then  absolved  from  finishing  a 
picture  for  the  Confraternity  of  Corpus  Christi  in 
that  city.  In  1461  he  was  curate  at  San  Cassiano  di 
Cavallino,  near  Urbino,  and  seems  to  have  lived 
there  up  to  1468.  According  to  Padre  Pungileone 
he  painted  the  altar-piece  of  San  Bernardino  in  the 
convent  of  that  name  in  Urbino,  in  1472.  He  died 
in  1484.  Vasari  asserts  that  he  taught  Bramante 
the  art  of  perspective.  A  '  St.  Michael  and  the 
Dragon '  in  the  National  Gallery,  and  a  '  Virgin 
and  Child  with  Saints '  in  the  Brera,  Milan,  are 
ascribed  to  him. 

CORRADO,  GiAQUlNTO,  a  Neapolitan  painter,  was 
born  at  Molfetta,  in  1693.  He  studied  in  his  native 
town,  and  afterwards  at  Rome.  In  1753  he  was 
invited  to  Madrid  by  Ferdinand  VI.,  and  succeeded 
Amigoni  as  first  painter  to  the  king.  He  remained 
in  Spain  until  1761,  and  died  at  Naples  in  1765. 
The  Madrid  Gallery  has  fourteen  of  his  works — 3 
allegorical,  2  landscape,  2  classical,  and  the  rest 
sacred  historical. 

CORRALES.    See  Mabtinbz  de  los  Cobrales. 

CORREA,  Diego,  a  Spanish  painter,  whose  works 
are  in  the  style  of  the  Florentine  school,  flourished, 
according  to  the  date  on  some  of  his  pictures,  in 
1550.  The  following  works,  his  chief  productiorg, 
now  in  the  Madrid  Museum,  were  formerly  in  the 


Correa 


PAINTERS  AND  ENGRAVERS. 


Cort 


convent  cf  the  Bemardines  of  St.  Martin  at  Val  de 
Iglesias : 

Pilate  washing  his  Hands. 

Christ  crowned  with  Thorns. 

Bece  Homo. 

The  Death  of  St.  Bernard. 

The  Last  Judgment. 

Madorma  and  Child  and  St.  Anne. 

St.  Benedict  blessing  St.  Maurus. 

The  Martyrdom  of  St.  Andrew. 

The  Resurrection. 

St.  Peter  curing  the  Paralytic. 

Descent  of  the  Holy  Spirit. 

Descent  from  the  Cross. 

The  'Assumption  of  the  Virgin,'  in  the  same 
gallery,  was  formerly  in  the  church  of  the  As- 
fiumption  at  Toledo.  The  Dresden  Gallery  has  a 
'  Christ  on  the  Cross '  said  to  be  by  him. 

CORREA,  Marcos,  a  Spanish  painter,  was  a 
scholar  of  Bobadilla,  and  a  member  of  the  Academy 
of  Seville  from  1667  to  1673.  His  subjects  were 
unambitious  ;  he  painted  with  great  care  and  finish 
email  details  of  still  life,  such  as  papers,  books,  &c. 

CORRBGGIO,  Antonio  da.     See  Bernibw. 

CORREGGIO,  Antonio  Allegri  da.     See  Al- 

LEGRI. 

CORREGGIO,  Francesco,  was  a  native  of  Bo- 
logna, and  flourished  about  the  year  1652.  He 
was  a  scholar  of  Francesco  Gessi,  and  painted 
history  with  some  reputation.  His  works  are 
chiefly  confined  to  the  churches  at  Bologna.  In 
San  Procolo  is  a  '  Magdalene  in  the  Desert ;  '  in 
the  Nunziata,  the  '  Madonna  di  Loreto  ; '  and  in 
Santa  Maria  de'  Servi,  the  '  Virgin  and  Infant,  with 
St.  Luke  and  other  Saints.' 

CORRENS,  Erich,  was  bom  at  Cologne  in 
1821,  and  after  studying  jurisprudence  at  Bonn, 
went  to  the  Academy  at  Munich,  and  became  an 
accomplished  portrait  painter  and  lithographer. 
He  died  at  the  latter  city  in  1877.  He  was  well 
known  for  the  elegance  of  his  portraits,  among 
which  those  of  King  Maximilian  of  Bavaria  and 
Queen  Maria,  his  consort,  are  mentioned  as  note- 
worthy. 

CORSO,  Giovanni  Vincenzo,  was  bom  at  Naples 
about  the  year  1490,  and  was  instructed  by  Amato 
and  Pietro  Perugino.  He  also  studied  the  works 
of  Andrea  Sabbatini  and  Polidoro  da  Caravaggio, 
and  subsequently  went  to  Rome,  and  assisted  Pierino 
del  Vaga.  Most  of  the  works  of  this  artist  in  the 
churches  at  Naples  have  been  damaged  and  re- 
touched. The  best  preserved  are  his  admired 
picture  of  '  Christ  bearing  his  Cross,'  with  many 
figures,  in  the  church  of  San  Domenico  Maggiore, 
and  the  '  Adoration  of  the  Magi,'  in  San  Lorenzo 
Maggiore.     He  died  at  Rome  in  1545. 

CORSO,  Niccol6,  was  a  native  of  Genoa,  and 
flourished  about  the  year  1503,  the  date  inscribed 
on  some  of  his  works.  His  pictures  are  chiefly  in 
the  cloister  and  refectory  of  the  monastery  of  the 
Olivetan  Fathers  at  Quarto,  near  Genoa ;  the  most 
esteemed  is  a  subject  from  the  life  of  St.  Benedict. 
Soprani  extols  this  painter  for  the  fecundity  of  his 
ideas,  the  fine  expression  of  his  heads,  and,  above 
all,  for  the  vivacity  and  firmness  of  his  colouring, 
which,  if  it  could  be  divested  of  a  little  hardness, 
would  cause  this  artist  to  rank  among  the  ablest  of 
the  Genoese  painters  of  his  time. 

CORT,  CoENELis,  called  in  Italy  CoRNELio  Fiam- 
MINQO,  an  excellent  engraver,  was  born  at  Hoorn 
in  Holland,  in  1633  or  1536.  He  was  first  in- 
structed by  Hieronymus  Cock,  for  whom,  in  the 
early  part  of  his  life,  he  executed  several  plates 


after  Rogier  van  der  Weyden,  Michiel  Coxie, 
Frans  Floris,  and  H.  Mostaert,  which  were  pub- 
lished with  the  name  of  his  master.  After  having 
earned  a  very  considerable  reputation  by  these 
plates,  he  went  to  Italy,  and  first  settled  at  Venice, 
where  he  resided  in  the  house  of  Titian,  and  en- 
graved some  of  the  finest  works  of  that  great  painter. 
He  afterwards  removed  to  Rome,  where  he  estab- 
lished a  school  of  line  engraving,  in  which  he 
sought  to  graft  on  the  simple  manner  of  Marcantonio 
a  more  brilliant  and  broader  style.  This  gave  to 
the  art  a  direction  which  it  long  retained,  and 
which  was  adopted  and  extended  in  Italy  by 
Agostino  Carracci,  and  followed  by  Nicolaus  De 
Bruyn  of  Antwerp.  The  art  of  engraving  had 
hitherto  been  nearly  confined  to  small  plates  ;  and 
it  was  Cornelis  Cort  that  opened  the  way  to  a  more 
important  sphere  of  the  art.  Cort  died  at  Rome 
in  1578.  His  drawing  is  correct  and  tasteful ;  and 
his  backgrounds,  particularly  his  landscapes,  are 
managed  with  great  skill  and  finesse.  His  plates 
are  signed  with  G.  G.f.,  Corn.,  or  Co.f.  Heinecken 
has  given  a  complete  catalogue  of  the  works  of 
this  esteemed  artist,  the  merit  of  which  will  justify 
our  giving  the  following  ample  list  of  the  most 
interesting : 

PORTRAITS. 
Cornelis  Cort ;  engraved  by  himself. 
Henry  II.,  King  of  France  ;  oval. 
Catharine  de'  Medici ;  Queen  of  France. 
Don  Juan  of  Austria  ;  oval,  with  ornaments.     1578. 
Marcus  Antonius  Moretns  ;  oval. 
Andrea  Alciati ;  oval,  with  ornaments. 
Rogier  van  der  Weyden ;  painter. 
Theodoor  van  Haarlem  ;  painter. 
Joachim  Dionatensis ;  painter. 

SUBJECTS   AFTER   HIS   OWN   DESIGNS. 
The  Birth  of  the  Virgin.    1568. 
The  Conception  of  the  Virgin.    1567. 
The  Presentation  in  the  Temple. 
The  Repose  in  Egypt.     1568. 
The  Holy  Family:  St.  Joseph  presenting  a  Pear  to  the 

Infant. 
The  Last  Supper.    1568.    (He  engraved  this  subject 

twice.) 
A  Crucifix  over  a  Globe,  held  by  two  Angels. 
The  Resurrection.    1569. 

St.  Theodore,  patron  of  Venice,  overcoming  a  Dragon. 
St.  Catharine  crowned  by  Angels.    1575. 
St.  Verediua  kneeling  before  an  Altar. 
Two  Landscapes,  with  Shipwrecks. 

SUBJECTS    AFTER    FLEMISH    MASTERS    BEFORE     HE 

WENT   TO    ITALY. 
Adam  and  Eve,  with  the  Serpent ;  after  Michiel  Coxie. 
The  Resurrection  ;  afta-  the  same.     1568. 
The  Descent  of  the  Holy  Ghost ;  after  the  same. 
Christ  triumphant,  with  St.  Peter  and  St.  Paul ;  after 

the  same. 
Four  Plates  of  the  History  of  the  Rich  Man  and  Lazarus; 

after  Heemskerk. 
The  Parable  of  the  Vineyard ;  after  the  same. 
Four  Plates  of  the  Parable  of  the  Talents ;  after  the 

same. 
Six  plates  of  the  History  of  Noah  and  the  Deluge ; 

after  F.  Floris. 
Six  plates  of  the  History  of  Abraham ;  after  the  same. 
Six  plates  of  the  History  of  Jacob  aud  Rachel ;  after 

the  same. 
Ten  plates  of  the  Labours  of  Hercules ;  after  the  same. 
Four  plates  of  the  History  of  Pluto  and  Proserpine  ; 

after  the  same. 
Bacchus  and  Venus;  after  the  same.     1566. 
The  Immortality  of  Virtue;  emblematical;  after  the 

same.     1564. 
The  Descent  from   the  Cross;   after  Rogier  van  der 

Weyden, 
St.  Roch ;  after  J.  SpeckaH     1567. 

313 


Cort 


A  BIOGBAPHICAL  DICTIONARY  OF 


Corvi 


St.  Laurence  ;  after  the  same. 

St.  Dominic  reading  ;  after  Bart.  Spranger. 

Tiie  Holy  Family,  with  Angels  ;  after  the  same. 

The  Coronation  of  the  Virgin ;  after  Gilles  Mostaert. 

1565. 
The  Academy  of  Painting;  after  Stradan;  fine.     1578. 

SUBJECTS    APTBE    VARIOUS    MASTEES    ENGRAVED     IN 
ITALY. 
After  Titian. 
The  Annunciation, 
Another  Annunciation. 
The  Martyrdom  of  St.  Laurence.     1571. 
The  Trinity  ;  generally  called,  All  Saints.     1566. 
St.  Jerome  in  the  Wilderness,  reading. 
St.  Jerome    in    the   "Wilderness,  kneeling    before  _a 

Crucifix  at  the  entrance  of  a  Cavern;  In  Venetia. 

Corn.  Gort.f.;  scarce.   Not  mentioned  by  Heinecken. 
The  Magdalene ;  half-length. 
The  Magdalene  in  the  Desert,  before  a  Crucifix. 
Tarquin  and  Lucretia.     1571. 
Diana  and  Oalisto. 
Prometheas.      1566. 
Kogero  liberating  Angelica  from  the  Dragon. 

After  Girolamo  Mutiano. 

St.  Peter  walking  ou  the  'Water.     1568. 

Christ  crowned  with  Thorns. 

Christ  bearing  his  Cross. 

The  Descent  from  the  Cross,  with  two  Ladders. 

The  Descent  from  the  Cross,  with  four  Ladders. 

Christ  appearing  to  the  Marys. 

St.  Jerome  in  Meditation. 

A  set  of  seven  Landscapes,  with  Figures,  called  the 
Seven  Penitents  ;  St.  John  the  Baptist,  St.  Mary 
Magdalene,  St.  Jerome,  St.  Onophrius,  St.  Hubert,  St. 
Francis  with  the  Stigmata,  and  St.  Francis  in  devotion. 

After  Giullo  Clovio. 
The  Annunciation. 

The  Adoration  of  the  Magi,  in  the  form  of  an  Altar. 
The  Virgin  and  Infant ;  half-length. 
Christ  preaching  in  the  Temple. 
The  Baptism  of  Christ. 
The  Crucifixion  between  the  two  Thieves. 
Another  Crucifixion  ;  a  grand  composition.     1568. 
The  dead  Christ,  with  the  Marys. 
The  Entombment  of  Christ. 
Christ  appearing  to  Mary  Magdalene. 
The  Conversion  of  St.  Paul. 
St.  George  and  the  Dragon. 

After  Taddeo  Zuccaro. 
The  Creation  of  Adam  and  Eve. 
The  Presentation  in  the  Temple. 
The  Nativity ;  a  rich  composition. 
The  Holy  Family,  with  St.  John  and  his  Lamb. 
The  Miracle  of  the  Loaves. 
The  Entombment  of  Christ. 
The  Descent  of  the  Holy  Ghost. 
The  Martyrdom  of  St.  Agatha. 

After  Federiyo  Zuccaro, 
Moses  and  Aaron  before  Pharaoh.     1567. 
The  Birth  of  the  Virgin.     1578. 
The  Conception  of  the  Virgin. 
The  Annunciation.     1571. 
The  Nativity.     1568. 
The  Adoration  of  the  Magi. 
The  Holy  Family,  with  the  Infant. 
The  Flight  into  Egypt. 
The  Adulteress  before  Christ. 
Christ  tempted  in  the  "Wilderness. 
Christ  driving  the  Buyers  and  Sellers  from  the  Temple. 
The  Resurrection  of  Lazarus. 
The  Woman  of  Samaria. 
Christ  on  the  Mount  of  Olives. 
Christ  taken  in  the  Garden. 
The  Death  of  the  Virgin. 
The  Coronation  of  the  Virgin. 
The  Calumny  of  Apelles. 

After  Eaphael. 

The  Transfiguration.     1573. 

The  Battle  of  the  Eomans,  called  the  Battle  of  the  Ele- 
phants.    (He  engraved  also  a  reverse  of  this  plate.) 

The  Battle  of  Constantine  with  Maxentius. 
314 


SUBJECTS  AFTER  VAEIOUS  ITALIAN  MASTEES. 

Parnassus ;  after  Folidoro  da  Caravaggio. 

The  Adoration  of  the  Shepherds ;  after  the  same. 

The  Eepose  in  Egypt :  after  B.  Bassano. 

The  Visitation  of  the  Virgin  to  St.  Elizabeth;  after 

Marco  da  Siena. 
The  Nativity ;  after  the  same. 

The  Adoration  of  the  Shepherds  ;  after  Paris  Eomayw. 
The  Holy  Family ;  after  F.  Barocci.    1577. 
The  Baptism  of  Christ ;  after  F.  Salviati. 
The  Marriage  at  Cana  ;  after  Lorenzo  Sabbatini. 
The  Last  Supper ;  after  Livio  Agresti. 
The  Stoning  of  Stephen  ;  after  Marcello  Venusti. 
St.  Jerome  penitent ;  after  Uiccio  da  Siena. 
St.  Jerome  in  the  Desert,  with  two  Angels ;   after 

Jacobus  Barmvnsis. 
The  Cord  of  St.  Francis  ;  after  Carracci. 
The  Marriage  of  St.  Catharine ;  after  Correggio. 
St.  Jerome ;  after  the  same. 
St.  Margaret  of  Cortona ;  after  Tempesta. 
A  Dance  of  Dryads ;  after  II  Eosso. 
The  Three  Fates ;  after  Giulio  Evmano. 
The  two  Tombs  of  the  Medici ;  after  Michelangelo. 

CORT,  Hendeik  db.     See  De  Cort. 

CORTBEMDE,  Balthasar  van,  the  son  of  a 
picture-dealer,  was  a  painter  of  Antwerp,  who  was 
born  in  1612,  married  Ursula,  a  sister  of  Jan  van 
den  Hoecbe,  the  painter,  and  died  between  1663  and 
1670.  He  studied  under  Jan  Blanckaert,  and  was 
considered  among  the  better  class  of  the  mastei's 
of  his  century.  A  '  Good  Samaritan '  in  a  land- 
scape by  him  (1647)  is  in  the  Antwerp  Museum. 

CORTE,  Cesarb,  the  son  of  Valerio  Corte,  was 
born  at  Genoa  in  1550,  and  studied  under  Luca 
Cambiaso.  According  to  Baldinucci,  he  was  one 
of  the  most  noted  portrait  painters  of  his  time:  he 
also  painted  historical  subjects  with  considerable 
success.  He  visited  France,  where  he  was  mncl) 
employed,  and  is  said  by  Baldinucci  to  have  been 
in  England  in  the  reign  of  Queen  Elizabeth,  al- 
though he  is  not  mentioned  in  Lord  Orford's  '  Anec- 
dotes '  I  he,  however,  painted  that  queen,  and 
several  of  her  court.  His  best  historical  works 
are  at  Genoa.  For  the  church  of  San  Pietro  he 
painted  the  titular  Saint  at  the  feet  of  the  Virgin, 
coloured  with  great  chasteness  and  delicacy ;  for 
San  Francesco,  the  altar-piece  of  the  chapel  of 
Prince  Massa,  representing  Mary  Magdijene  ;  and 
for  the  church  of  Santa  Maria  del  Carmine  two 
pictures  of  St.  Simeon  and  St.  Francis.  He  died  in 
1613.  His  son  Uavide,  who  died  in  1657,  was  a 
celebrated  imitator  of  the  old  masters. 

CORTE,  Gabsiel  and  Juan  de  la.     See  Db  la 

COETE. 

CORTE,  Valeeio,  was  bom  at  Pavia  in  1530. 
He  went  to  Venice,  and  under  the  guidance  of  Titian 
became  an  eminent  painter  of  portraits.  He  after- 
wards settled  at  Genoa,  where  he  met  with  great 
encouragement,  but  ruined  himself  by  the  folly  of 
alchemy.     He  died  at  Genoa  in  1580. 

CORTELLINI,  Michele,  who  painted  from 
about  1602  to  1542,  was  a  follower  of  Francia.  A 
'  Madonna  enthroned,  with  four  Saints,'  by  him, 
formerly  in  Sant'  Andrea,  is  now  in  the  gallery  at 

CORTESE.     See  Couetois. 

CORTICELLI.    See  Licinic,  Giovanni  Akt. 

CORTONA,  lu  GoBBo  da.     S^e  Bonzi. 

GORTON  i,  Luca  da.    See  Signoeelli. 

CORTONA,  PiBTEO  da.     See  Beeeettini. 

CORVI,  DoMENico,  an  Italian  painter,  was  horn 
at  Viterbo  in  1721.  He  was  instructed  by  Mancini, 
and  showed  his  great  talent  in  his  chief  work,  'The 
Family  of  Priam  with  the  dead  body  of  Hector.' 


Corvinus 


PAINTERS  AND  ENGRAVERS. 


Costa 


He  was  for  some  time  Director  o£  the  Roman 
School  and  the  instructor  of  Cades  and  Camucoini. 
He  died  in  1803. 

CORVINUS,  JoHANN  August,  a  German  en- 
graver, was  born  in  1682.  He  worked  chiefly  for 
the  booksellers,  and  principally  engraved  views 
and  buildings,  in  a  neat  but  stifE  style.  By 
hirn  there  is  a  set  of  ornaments  for  ceilings,  after 
designs  by  Carlo  Maria  Pozzi ;  most  of  the  plates 
for  a  work  entitled '  Representatio  Belli  ob  Successio- 
neui  in  Regno  Hispanico,'  published  at  Augsburg, 
are  by  this  artist ;  and  several  for  a  book  by  Pf  efEel 
on  the  churches  and  monasteries  of  Vienna,  pub- 
lished at  Augsburg,  in  1724-25.     He  died  in  1738. 

COSAj.DiEGO  DE,  a  Spanish  engraver,  who  exe- 
cuted some  spirited  plates  in  the  French  style  at 
the  commencement  of  the  18th  century.  There  is 
by  him  in  Luis  de  Salazar's  '  Indioe  de  las  Glorias 
de  la  Casa  Farnese,'  1716,  a  plate  representing  the 
arms  of  that  house,  with  four  allegorical  figures. 

COSCl.     See  Balducci,  Giovanni. 

COSIDA,  Geronimo,  a  Spanish  painter  of  good 
family,  flourished  at  Saragossa  early  in  the  17th 
century,  and  was  patronized  by  the  Archbishop 
Don  Fernando  de  Aragon.  His  best  pictures  were 
architectural  decorations.  According  to  Cean  Ber- 
mndez,  his  invention  was  fertile  and  his  colouring 
soft  and  agreeable. 

COSIMO,  Andrea  di.    See  Felthini. 

COSIMO,  PiERo  DI.     See  Pieho  di  Lorenzo. 

COSIMO  DI  LORENZO  FILIPPI.    See  Rossehi. 

COSMATI,  were  a  family  of  mosaicists  and 
architects,  who  lived  at  Rome  during  the  whole  of 
the  13th  century.  Their  works  were  chiefly  exe- 
cuted for  the  churches  of  Santa  Maria  sopra 
Minvera,  and  Santa  Maria  Maggiore  in  their  native 
city. 

COSME.     SeeTuRA. 

COSSA,  Francesco,  (or  del  Cossa,)  an  Italian 
painter,  flourished  in  the  middle  of  the  16th  century. 
His  name  first  appears  in  a  record  of  1456,  which 
proves  that  he  vvas  then  an  assistant  to  his  father 
Cliristofano  del  Cossa,  who  was  at  that  time  em- 
ployed in  painting  the  carving  and  statues  on  the 
high  altar  in  the  chapel  of  the  bishop's  palace  at 
Ferrara.  He  afterwards  went  to  Bologna,  where  his 
two  masterpieces  still  remain.  The  first  is  a  canvas 
with  the  Virgin  and  Child  enthroned,  with  two 
Saints,  and  a  portrait  of  Alberto  de'  Catanei,  signed 
and  dated  1474,  and  now  in  the  Gallery.  The 
second  is  a  fresco  in  the  church  of  the  '  Madonna 
del  Barracano,'  representing  the  Virgin  and  Child 
enthroned,  beneath  which  are  the  portraits  of 
Giovanni  Bentivoglio  and  Maria  Vinziguerra ;  it  is 
dated  1472.  The  dates  of  this  artist's  birth  and 
death  are  uncertain. 

COSSALE.    See  Cozzalb. 

COSSIAU,  Jan  Joost  van,  (or  Cosziau,)  was  a 
landscape  painter,  who  was  born  near  Breda  in  1654, 
and  died  at  Mentz  in  1732,  although  he  generally 
resided  at  Frankfort.  His  manner  of  treating  his 
landscapes  is  Italian,  and  he  endeavoured  to  imitate 
the  style  of  Gnspard  Pouasin.  His  pictures  are  well 
composed,  and  are  enriched  with  buildings  and 
cattle.    We  find  mention  of  the  following : 

Brunswick.    Gallery.    Two   Landscapes    with    Cattle. 

(^Both  dated  1704.) 
Cassel.  Gallery.    Egyptian  Landscape. 

Munich.         Gallery.    A  large  Landscape.    1716. 

COSSIERS,  Jan,  (Cotsiers,  Coutsiers,  or 
Causiees,)  a  son  of  Antoijis  Cossiers,  a  painter  in 
tempera,   (who    died    in    1646-47,)   was  bom    at 


Antwerp  in  1600.  He  was  a  pupil  of  Cornelis  De 
Vos,  the' elder,  entered  the  Guild  of  St.  Luke  in 
1628-29,  was  dean  thereof  in  1639-40,  and  died 
at  Antwerp  in  1671.  There  are  many  of  his  works 
in  the  churches  in  Flanders ;  they  are  judiciously 
composed,  and  his  attitudes  are  well  chosen  and 
natural.  His  drawing  is  tolerably  correct,  and  his 
colouring  vigorous,  though  a  little  too  brown.  In 
the  back-grounds  of  his  pictures  he  frequently  in- 
troduced architecture,  which  he  treated  in  a  masterly 
manner.  The  following  are  among  his  best  works. 
At  Brussels,  in  the  church  formerly  of  the  Jesuits, 
the  '  Nativity  '  ;  and  at  the  Beguinage,  the  'Martyr- 
dom of  St.  Ursula.'  At  Mechlin,  a  grand  com- 
position of  the  '  Crucifixion,'  and  the  '  Presentation 
in  the  Temple.'  In  the  Antwerp  Museum  are  '  The 
Adoration  of  the  Shepherds,'  '  Preparation  for  the 
Flagellation,'  and  three  other  works  by  hiin  ;  in  the 
Hague  Gallery  is  a  'Triumph  of  Silenus';  in  the 
Madrid  Gallery,  'Prometheus'  and  'Narcissus' ;  in 
the  Cassel  Gallery, 'An  Old  Beggar-Couple';  in  the 
Brussels  Gallery,  the  '  Deluge  ' ;  and  in  the  Lille 
Museum,  a  'Miracle  of  St.  Nicholas.' 

COSSIN.     See  Coquin. 

COSSIN,  Lonis,  who  was  born  at  Troyes  in  1633, 
engraved  a  portrait  of  Franyois  Chauveau  after 
Claude  Leffevre,  and  also  a  portrait  of  Valentin 
Conrart. 

COSTA,  Francesco,  an  Italian  painter,  chiefly  of 
ornaments  and  perspective,  was  born  at  Genoa  in 
1672.  He  was  a  pupil  of  Gregorio  de'  Ferrari  and 
of  A.  Haffner,  and  worked  much  in  conjunction 
with  Revello.  He  died  in  1740.  A  '  Landscape 
with  the  Rape  of  Europa,'  by  him,  is  in  the  UiEzi 
at  Florence. 

COSTA,  Ippolito,  who  was  bom  at  Mantua  in 
1506,  was  the  son  of  Lorenzo  Costa.  Although 
not  a  pupil  of  Giulio  Romano,  his  style  closely 
imitated  that  master.  He  died  in  1561.  He  had 
a  brother,  GiROLAMO  Costa,  of  whom  he  was  the 
instructor,  as  he  was  also  of  Bernardino  Campi. 

COSTA,  Lorenzo,  '  the  elder,'  was  born  at  Ferrara 
in  1460,  and  is  supposed  to  have  been  the  pupil  of 
either  Tura  or  Cossa.  In  his  early  life  he  went  to 
Florence,  and  on  his  return  painted  some  of  the 
frescoes  in  the  hall  of  the  Schif anoia,  belonging  to 
Duke  Borso  of  Ferrara.  Probably  at  about  this 
period  in  his  life  he  painted  the  '  Martyrdom  of  St. 
Sebastian,'  in  the  Costabili  Collection,  which  is 
signed  in  Hebrew  characters.  Costa's  first  visit  to 
Bologna  seems  to  have  been  made  in  1480,  and  he  is 
said  to  have  painted  scenes,  drawn  from  the  '  Iliad  ' 
and  Greek  history,  in  the  Bentivoglio  Palace  in 
1483.  The  picture  of  St.  Sebastian,  and  the  portrait 
of  Canon  Vaselli,  in  the  Marescotti  chapel  in 
Santa  Petronia  at  Bologna,  are  of  about  this  date. 
In  1488  he  painted  a  votive  Madonna,  with  the 
likenesses  of  Giovanni  Bentivoglio  and  his  wife 
and  their  eleven  children,  on  the  walls  of  the  Benti- 
voglio chapel  in  San  Giacomo  Maggiore  at  Bologna  ; 
he  also  executed  on  the  walls  of  the  same  chapel 
the  landscapes  surrounding  an  equestrian  figure  of 
Annibale  Bentivoglio  ;  and  in  1490  the  frescoes 
there  of  the  '  Triumph  of  Life  and  of  Death '  were 
completed.  Between  1490  and  1495  he  finished 
the  'Annunciation'  at  San  Petronio,  and  in  1492 
the  great '  Madonna  and  Child,  with  SS.  Sebastian, 
James,  Jerome,  and  George,'  over  the  high  altar  of 
the  Baciocchi  Oratory  in  the  same  church.  In  1497 
he  painted  the  'Virgin  and  Child,  with  four  Saints,' 
in  the  Segni  chapel  in  San  Giovanni  in  Monte,  and 
the  'Glory  of  the  Madonna'  for  the  high  altar  of  the 

315 


Costa 


A  BIOGRAPHlu'AL  DICTIONARY  OF 


Cosway 


same  church.  In  the  Brera,  Milan,  is  an  '  Adoration 
of  the  Magi '  of  1499  ;  and  of  the  same  year  are  the 
lunette  frescoes  in  the  Bentivoglio  Chapel,  at  San 
Giacomo  Maggiore.  A  friendly  rivalry  existed  be- 
tween Franoia  and  Costa  during  the  years  extend- 
ing from  1480  to  1500,  and  their  works  show  the 
mutual  influences  they  exercised  over  each  other. 
Francia,  perhaps,  was  the  better  artist,  and  Costa, 
perhaps,  the  better  workman.  In  1481  Giovanni 
Bentivoglio  founded  the  Oratory  of  St.  Cecilia, 
Bologna,  and  in  its  decorations  Costa,  Francia, 
Chiodarolo,  Aspertini,  and,  according  to  Frizzoni 
and  Milanese,  Cesare  Taraaroccio,  all  had  a  share  ; 
Costa  executing  two  frescoes — one  of  'Pope  Urban 
instructing  his  convert  Valerian ',  the  other  of  '  St. 
Cecilia  distributing  her  goods  to  the  poor.'  In 
1509,  after  the  expulsion  of  the  Bentivoglio  family 
from  Bologna,  Costa  was  taken  into  the  service 
of  the  Marquis  Francesco  Gonzaga  of  Mantua, 
where  he  remained  until  his  death,  his  chief  works 
being  in  the  palace  of  St.  Sebastian.  Of  other 
pictures  which  he  produced  at  that  time  can  be 
mentioned  a '  Virgin  and  Child  between  two  Saints,' 
in  the  Ferrara  Gallery  ;  the  '  Allegory  of  the  Court 
of  Isabella  of  Este,'  now  in  the  Louvre  ;  a  small 
diptych  formerly  in  the  possession  of  Sir  Charles 
Bastlake  ;  and  a  'Madonna  and  Saints,'  of  1526,  in 
the  church  of  Sant '  Andrea,  Mantua.  Costa  pro- 
bably painted  some  of  the  frescoes  which  ,idorn  the 
Sohulcheria  in  the  castle  of  Mantua.  By  him  we 
have  also  one  engraving,  the  '  Presentation  in  the 
Temple,'  from  the  sketch  for  an  altar-piece  by 
himself,  dated  1502,  the  year  in  which  were  en- 
graved the  two  Saints  by  Francia,  by  whom  Costa 
appears  to  have  been  led  to  engrave  the  plate  in 
question.  Although  much  in  the  style  of  Francia, 
it  is  treated  in  a  freer  and  more  picturesque  manner. 
His  death  took  place  at  Mantua  in  1535.  Of  his 
pictures  the  following  may  be  noted  : 


Berlin. 


Museum, 


Bologna. 

S.  Giacomo 
Maggiore. 

'■ 

S.  Cecilia. 

» 

S.  Petrmio. 

»» 

)> 

» 

" 

», 

S.  Giovanni 

in  Monte. 

Pinacoteca. 

Florence. 
London. 

Pitti  Palace. 
Nat.  Gall. 

» 

» 

Mantua. 

8.  Andrea. 

Milan. 
Paris. 

Brera. 
Louvre. 

Pieta.     1504. 

Presentation  in  the  Temple.  1502. 
f  Madonna,    adored    by   Giovanni 
Bentivoglio    and    his    Family 
(in  tempera).     1488. 

The  Triumph    of    Life    and    of 

Death  (in  tempe^^a). 
,  Vision  of  the  Apocalypse  ;  fresco. 

Two  subjects  from  the  Life  of 
St.  Cecilia ;  frescoes  {the  eight 
other  compartments  painted'  hy 
Francia  and  his  pupils). 

The  Twelve  Apostles  (in  tempera). 
1495. 

St.  Jerome. 

Martyrdom  of  St.  Sebastian  {some- 
times loroTigly  ascribed  to  Cossa). 
(  Virgin  enthroned,  surrounded  by 
X     Saints.    1497. 

St.Petronius  between  SS.  Francis 
and  Dominic.     1502. 

Portrait  of  a  Man  in  a  red  Cap. 

Madonna  and  Child  enthroned, 
with  Angels.    1505. 

TheFlorentine  General,  Francesco 
Ferrucci. 

Virgin  surrounded  by  Saints. 
1525. 

Adoration  of  the  Magi.    1499. 

Court  of  Isabella  of  Este,  Duchess 
of  Mantua. 
«  „  Mythological  Scene. 

COSTA,  Lorenzo,  '  the  younger,'  who  was  born 
in  1637,  was  the  son  of  Girolamo  Costa,  and  was 
instructed  in  the  art  of  painting  by  his  uncle 
Ippolito.     He  worked    in    concert  with    Taddeo 

816 


Zuccaro   in  the  Belvedere  at  Rome,  about  1560, 
and  died  in  1683. 

COSTA,  ToMMASO,  a  painter  of  perspective  views, 
and  a  pupil  of  Jean  Boulanger,  was  born  at  Sassu- 
olo  in  1635.  He  resided  at  Reggio,  and  died  in  1690. 
He  is  represented  in  the  Estense  Gallery,  Modena, 
by  an  exterior  and  an  interior. 

COSTANZI,  Placido,  who  was  born  in  Rome  in 
1 688,  was  a  pupil  of  B.  Luti,  and  painted  historical 
subjects.  The  most  esteemed  of  his  larger  works, 
is  his  '  St.  Camillus,'  in  Santa  Maria  Maddalena  ;  in 
which  be  has  aspired  to  the  imitation  of  Domeni- 
chino.  His  '  Resuscitation  of  Tabitha,'  in  Santa 
Maria  degli  Angeli,  is  the  original  of  a  mosaic  in 
St.  Peter's.  He  also  painted  in  fresco  the  ceilings 
of  the  tribunes  in  Santa  Maria  in  Campo  Marzo  and 
San  Gregorio,  and  was  much  employed  in  painting 
figures  in  the  landscapes  of  other  artists,  particu- 
larly in  those  of  Jan  Frans  van  Bloemen,  called 
Orizonte.  He  died  in  1769.  A  portrait  of  George 
Keith,  Barl  Marischal  of  Scotland,  painted  by  hira 
in  Rome  in  1762,  is  in  the  National  Portrait  Gallery, 
and  '  St.  Pancras  and  the  Infant  Christ,'  by  him, 
is  in  the  Dublin  National  Gallery. 

COSTE,  Jean,  a  French  historical  painter,  who 
flourished  in  the  14th  century,  was  the  painter  in 
ordinary  and  favourite  of  King  John.  He  distin- 
tinguished  himself  especially  by  some  paintings  of 
great  merit  which  he  executed  in  oil  at  the  castle 
of  Val-de-Rueil  in  1356.     He  died  in  1391. 

COSTELLO,  Louisa  Stdaet,  the  daughter  of 
Colonel  Costello,  was  born  in  France  in  1789. 
When  about  twenty  years  of  age  she  visited 
London,  and  from  1822  to  1839  exhibited  miniature 
portraits  at  the  Royal  Academy.  She  was  likewise 
an  authoress,  and  published  '  Specimens  of  the 
Early  Poetry  of  France,'  the  'Rose  Garden  of 
Persia,'  and  other  successful  works.  She  died  at 
Boulogne  in  1870. 

COSTER,  Adam  de.     See  De  Costee. 

COSTER,  Anne.     See  Vallatee. 

COSTER,  D.,  was  a  Flemish  engraver,  who  flour- 
ished about  the  year  1700.  He  was  chiefly  em- 
ployed by  the  booksellers ;  and,  among  other 
plates,  engraved  a  portrait  of  Frans  Hals,  the 
painter,  after  Van  Dyck. 

COSWAY,  Maria  Cecilia  Louisa,  whose  maiden 
name  was  Hadfield,  and  whose  father  was  an 
Irishman,  was  born  at  Leghorn  in  1746.  After 
studying  painting  at  Rome,  she  came  to  England, 
where  she  executed  miniature  portraits  (e.  g.  '  The 
Duchess  of  Devonshire  as  Cynthia'),  and  supplied 
illustrations  to  Boydell's  '  Shakespeare  Gallery'  and 
Macklin's  'Poets ;  '  she  also  drew  in  crayons  'The 
Progress  of  Female  Virtues '  and  '  The  Progress  of 
Feinale  Vices.'  In  1781,  the  year  of  her  first  ex- 
hibition at  the  Academy,  she  married  Richard 
Cosway,  the  painter,  but  separated  from  him  after- 
wards and  went  to  reside  in  Paris,  where  she  copied 
works  in  the  Louvre  for  engravers,  and  herself 
etched  after  Rubens  and  her  husband.  The  loss 
of  her  daughter  drove  her  in  1804  into  a  convent 
at  Lyons,  of  which  she  became  superior,  and  where 
she  is  believed  to  have  died  some  time  after  1821. 
She  was  also  proficient  in  music,  and  had  in  early 
life  been  betrothed  to  Dr.  Parsons,  the  composer. 

COSWAY,  Richard,  an  eminent  miniature 
painter,  was  born  at  Tiverton  in  Devonshire,  in 
1740.  He  came  early  to  London,  and  studied 
under  Hudson  and  in  Shipley's  school;  he  soon 
distinguished  himself  by  his  drawings  from  the 
antique  in  the  Duke  of  Richmond's  gallery,  which 


Cosziau 


PAINTERS  AND  ENGRAVERS. 


Couaski 


Cipriani  and  Bartolozzi  pronounced  admirable^ 
In  1766  he  was  a  member  of  the  Incorporated 
Society  of  Artists,  and  in  1769  he  was  admitted  to 
the  Royal  Academy  schools.  In  the  next  year  he 
became  an  Associate ;  in  1771  he  was  elected  a 
Royal  Academician  ;  and  in  1781  he  married  the 
artist  Maria  Hadfield.  He  continued  to  progress 
in  public  favour,  and  for  a  considerable  time  main- 
tained the  ascendency  in  his  particular  branch  of 
art,  miniature,  and  bade  defiance  to  all  attempts  at 
rivalry.  In  his  oil-paintings  he  aimed  at  the 
manner  of  Correggio ;  and  there  are  in  existence 
some  that  for  beauty  of  design  and  sweetness 
of  expression  would  not  discredit  that  honoured 
name.  His  widow  retained  three  till  the  time  of 
her  death.  He  painted  all  the  beauty  and  fashion 
of  his  day:  he  was  particularly  distinguished  by 
the  notice  of  the  Prince  of  Wales,  then  the  leader 
of  the  gay  world,  and  Cosway  painted  him  as  a 
gentleman,  and  not  as  a  coxcomb  or  an  actor. 
Accounts  of  Cosway  have  been  published  abound- 
ing with  scandalous  and  humorous  anecdotes;  these, 
however,  have  lost  their  interest,  and  do  not  merit 
to  be  recorded  here.  Cosway  was  fond  of  col- 
lecting pictures,  drawings,  prints,  and  other  ob- 
jects of  art,  and  his  house  in  Stratford  Place  was 
like  a  dealer's  shop.  He  died  in  London  in  1821. 
His  portrait  of  General  Pasquale  Paoli  is  in  the 
Uffizi,  Florence ;  a  portrait  of  himself  is  in  the 
National  Portrait  Gallery,  and  four  miniatures  by 
him  are  in  the  South  Kensington  Museum. 

COSZIAU.     See  Cossiau. 

COTAN,  Juan  Sanchez.    See  Sanchez  Cotan. 

COTELLE,  Jean,  '  the  elder,'  a  French  painter 
of  ornament,  who  also  etched,  was  born  at  Meaux 
in  1610.  He  studied  under  L.  Guyot,  and  worked 
largely  for  Simon  Vouet.  He  became  an  Academician 
in  1651,  and  died  in  1676.  There  are  engraved  by 
him  seven  vignettes  for  a  book  of  prayers. 

COTELLE,  Jean,  'the  younger,'  was  a  painter 
and  engraver,  born  in  Paris  in  1645.  He  received 
his  early  instruction  from  his  father,  Jean  Cotelle, 
and  eventually  visited  Italy.  On  his  return  he 
devoted  himself  to  his  profession,  producing  his- 
torical paintings,  miniatures,  and  occasionally 
etchings.  His  chef-d'ceuvre  was  the  '  Marriage  at 
Cana,'  painted  in  1681  for  the  cathedral  of  Notre- 
Dame.  There  are  by  him  at  Versailles  several 
views  in  the  gardens  of  that  palace.  He  etched  a 
plate  representing  '  Our  Lord  on  the  Mount  of 
Olives,'  and  a  series  of  seven  scenes  from  the  his- 
tory of  Venus.  He  was  admitted  into  the  Academy 
in  1672,  and  died  at  Villers-sur-Marne  in  1708. 

COTES,  Francis,  an  English  portrait  painter, 
was  born  in  London  in  1726.  He  was  a  scholar  of 
George  Knapton.  Lord  Orford  mentions  some  of 
his  works  in  oil  and  in  crayons,  the  latter  of  which 
he  compares  to  the  portraits  of  Rosalba.  He  died 
in  the  prime  of  life  in  1770.  He  was  an  eminent 
artist  in  crayons,  and  one  of  the  first  members 
of  the  Royal  Academy,  and  also  a  member  of  the 
Incorporated  Society  of  Artists.  At  Greenwich  Hos- 
pital, there  is  a  portrait  by  him  of  Admiral  Lord 
Hawke.  A  portrait  group  of  Mr.  and  Mrs.  Joah 
Bates,  in  the  possession  of  the  Sacred  Harmonic 
Society,  is  considered  one  of  his  best  works. 

COTES,  Samdel,  born  in  1734,  a  younger  brother 
of  Francis  Cotes,  R.A.,  painted  miniature  portraits 
with  much  success,  and  also  worked  in  crayons. 
He  died  at  Chelsea  in  1818. 

COTIGNOLA,  Bernaedino  and  Francesco.  See 
De'  Zaganelli. 


COTIGNOLA,  GiEOLAMO  Mar-;hesi  da.  See 
Marchesi. 

COTMAN,  John  Joseph,  an  English  landscape 
painter,  was  the  son  of  John  Sell  Cotman.  He  had 
considerable  talents,  but  owing  to  his  extravagant 
and  eccentric  habits,  he  was  always  in  a  destitute 
condition.     He  died  at  Norwich  in  1878. 

COTMAN,  John  Sell,  who  was  born  at  Norwich 
in  1782,  was  in  a  great  measure  his  own  instructor 
in  art,  though  he  owed  much  to  the  kind  patronage 
of  Dr.  Munro.  In  1800  he  came  to  London,  where 
he  resided,  and  exhibited  at  the  Royal  Academy 
until  1806,  when  he  returned  to  Norwich.  In  the 
following  year  he  was  made  a  member  and  secre- 
tary of  the  Norwich  Society  of  Artists,  and  in  one 
single  year,  1808,  he  sent  no  less  than  sixty-seven 
works  to  the  exhibition.  After  various  journeys 
in  Normandy,  and  a  residence  of  some  years  in 
Yarmouth,  Cotman  was,  in  1834,  appointed  Pro- 
fessor of  Drawing  in  King's  College  School, 
London.  He  held  this  post  until  his  death,  which 
occurred  in  London  in  1842.  Besides  his  land- 
scapes and  marine  pieces  in  oil  and  water-colours, 
he  executed  numerous  engravings  of  architecture 
both  of  England  and  of  Normandy.  He  published 
in  1812,  '  Miscellaneous  Etchings  of  Architectural 
Antiquities  in  Yorkshire ';  in  1812-17, '  Architectural 
Antiquities  of  Norfolk  ' ;  and  in  1813-16,  '  Sepul- 
chral Brasses  in  Norfolk  ;  '  all  of  which  works 
were  republished  with  large  additions  under  the 
following  titles  —  'Architectural  Etchings  of  Old 
English  Buildings,'  2  vols,  folio,  240  plates ; 
'  Sepulchral  Brasses  of  Norfolk  and  SufEolk,'  2 
vols.,  170  plates  ;  '  Liber  Studiorum,'  48  plates.  In 
1817  he  went  to  France,  and  collected  the  materi- 
als for  his  magnificent  work,  '  Architectural  Anti- 
quities of  Normandy,'  100  plates,  in  2  vols,  folio, 
with  descriptive  letter-press  by  Dawson  Turner  of 
Yarmouth,  which  was  published  in  1822.  In  1826 
he  was  elected  an  Associate  of  the  Water-colour 
Society,  and  frequently  sent  works  to  their  ex- 
hibitions. Ten  water-colour  drawings  by  him  are 
in  the  South  Kensington  Museum. 

COTMAN,  Miles  Edmund,  born  in  1811,  was  the 
eldest  son  of  John  Sell  Cotman.  He  was  brought 
up  as  an  artist,  exhibited  landscapes  in  SufEolk 
Street  and  at  the  Academy,  and  in  1842  succeeded 
his  father  as  drawing-master  at  King's  College, 
London.     He  died  in  1868. 

COTTA,  Jacopo,  an  Italian  engraver,  flourished 
about  the  year  1600.     His  name  is  afBxed  to  an 
etching  representing  the   '  Meeting  of  Isaac  and ' 
Rebekah,'  after  Storer.     It  is  executed  in  a  poor, 
tasteless  style,  and  incorrectly  drawn. 

COTTARD,  Pierre,  according  to  Florent  Le 
Comte,  was  an  architect,  who  flourished  in  the  17th 
century,  and  etched  some  plates  of  vases  and 
ornaments,  which  are  executed  in  a  bold,  coarse 
style.  We  have  from  his  hand  a  set  of  four  views 
of  Bordeaux,  and  a  series  of  designs  published  in 
1686.      His  prints  are  usually  marked  with  the 


monogram 


A' 


COTTRAU,  FiLix,  a  French  painter,  was  born 
in  Paris  in  1799,  and  died  in  the  same  city  in  1862. 
He  painted  landscapes,  portraits,  and  Scriptural 
and  fancy  subjects. 

COUASKI,  Alexander,  a  Polish  portrait  painter, 
was  born  in  Poland  in  1736.  He  was  a  page  in  the 
court  of  the  last  King  of  Poland,  but  was  after- 
wards sent  to  France  to  study  under  Vien.     On  the 

bl7 


Couche 


A  BIOGBAPHICAL  DICTIONARY  OF 


Courbet 


outbreak  of  the  French  Eevolution  he  was  painter 
to  the  Prince  de  Condfe.  He  executed  portraits 
chiefly  in  pastel,  and  among  them  those  of  the 
Empress  Catharine  II.  of  Russia,  the  Count  d'  Artois, 
the  Prince  de  Conde,  the  Princess  de  Lamballe,  and 
Madame  Elizabeth.  Marie  Antoinette,  however,  he 
portrayed  in  distemper,  and  the  repetitions  he  made 
of  this  picture  are  stated  to  have  procured  him  a 
subsistence  for  a  lengthened  period.  He  also 
sketched  Louis  XVII.  Many  of  his  paintings  are 
wrongly  ascribed  to  other  masters.  He  died  at 
Sainte-P^rine  in  1829. 

COUCHfi,  Jacques,  a  French  line-engraver,  was 
born  at  Abbeville  in  1759.  He  became  a  pupil  of 
Le  Vasseur  and  of  Aliamet,  and  was  subsequently 
appointed  engraver  to  the  Duke  of  Orleans.  The 
date  of  his  death  is  not  known.  He  owed  much  of 
his  reputation  to  his  having  been  the  moving  spirit 
in  the  publication  of  the  work  known  as  the 
'  Galerie  du  Palais  Royal.'  This  was  issued  in  part 
in  1786  under  Couche's  direction,  but  the  Revolu- 
tion having  stopped  the  work,  Couch^  some  years 
afterwards  associated  himself  with  Laporte  and 
Bouquet,  and  brought  his  task  to  a  successful 
termination  in  1808.  He  engraved  the  following 
eighteen  plates  in  that  collection : 

The  Toung  Martyr ;  after  Cagnacci. 

The  Death  of  Actseon  ;  after  Titian. 

The  Holy  Family;  after  Annihale  Carracci. 

The  Eetiirn  from  the  Chase ;  after  fVouwerman. 

Hawking ;  after  tJie  same. 

The  Judgment  of  Paris ;  after  Rubens. 

Bal  ChampStre ;  after  Watteau. 

The  Lady  in  the  Balcony ;  after  Gerard  Dou. 

The  Concert  of  Cats  ;  after  C.  Brueghel. 

The  Revel ;  after  Cerquozzi. 

Hercules  and  "Wisdom ;  after  Paolo  Veronese. 

Mars  and  Venus  ;  after  the  same. 

Honour ;  after  the  same. 

Dislike ;  after  the  same. 

A  Circumcision  ;  after  Bassano. 

The  Martyr  ;  after  Chiido  Canlassi. 

St.  John  preaching  in  the  'Wilderness ;  after  Albano. 

GOUCHfi,  Feanqois  Louis,  an  engraver,  the 
son  and  pupil  of  Jacques  Couche,  was  born  in 
Paris  in  1782.  He  produced  in  an  indifferent 
manner  a  number  of  plates  representing  the  battles 
of  the  first  Napoleon — on  one  of  which  is  the 
date  1812.  They  were  in  some  cases  finished  by 
Bovinet.  At  one  period  of  his  life  he  was  keeping 
a  shop  as  a  publisher  in  the  Rue  Hautefeuille 
in  Paris.  His  engravings  are  generally  marked 
Couche  fils — sometimes  simply  Couche,  and  in  one 
case  Frangois  Couche.  He  engraved  some  of  the 
plates  for  the  'Galerie  du  Palais  Royal,'  and  for 
Denon's  great  work  on  Egypt.  He  died  in  Paris 
in  1849. 

COUDER,  Jean  Remt  Alexandre,  who  was  born 
in  Paris  in  1808,  and  studied  under  Picot,  became 
famous  for  his  pictures  of  still-life,  fruit,  and 
flowers,  and  also  genre  subjects.  He  died  at 
Baran  (Oise)  in  1879. 

COUDER,  Louis  Chaeles  Auguste,  an  historical 
painter,  was  born  in  Paris  in  1790.  He  studied 
'4nder  David  and  Regnault,  and  brought  himself 
prominently  into  notice  with  his  prize  painting  in 
1817,  representing  the  '  Levite  of  Mount  Ephraim.' 
But  the  promise  then  given  was  not  redeemed  by 
the  works  that  immediately  followed ;  and  even 
his  ceiling  decoration  in  the  Gallery  of  Apollo  in 
the  Louvre  shows  that  he  was  still  restrained  by 
classical  fetters.  He  repaired  to  Munich  in  1833 
to  study  the  progress  of  fresco  painting  there ; 
and  on  his  return  to  Paris  painted  in  the  churches 

318 


of  St.  Gervais,  Notre-Dame-de-Lorette,  St.  Ger- 
main-1'Auxerrois,  and  in  the  Madeleine.  These 
works  show  care  and  skill,  but  are  lacking  in  the 
most  necessary  element, — religious  feeling.  His 
historical  works,  executed  at  Versailles,  are  much 
more  successful.  There  he  had  a  better  field  for 
showing  his  skill  in  drawing  and  as  a  colourist,  as 
well  as  for  proving  that  he  possessed  dramatic 
force,  and  the  power  of  rendering  individual 
characteristics.  It  is  on  the  merit  of  these  pro- 
ductions that  his  real  claim  to  fame  is  bas.ed.  His 
Francis  I.  is  now  at  Fontainebleau.  Amongst 
other  paintings  may  be  mentioned  also  'The  Taking 
of  Lerida,'  and  '  The  Opening  of  the  States-General 
in  1789.'  He  died  in  Paris  in  1873. 
CODDRES.  See  Descoudres. 
COULET,  Anne  Philibertb,  a  French  engraver, 
was  born  in  Paris  in  1736,  and  was  a  pupil  of 
Aliamet  and  of  Lempereur.  She  engraved  several 
landscapes  and  sea  pieces,  especially  those  of 
Joseph  Vernet,  which  are  charmingly  etched  and 
finished  with  the  graver.  She  was  received  into 
the  Academy  in  1770,  and  became  a  member  oi 
the  Academy  of  Vienna  in  1771.  The  date  of  her 
death  is  not  known. 

We  have  by  her  the  following  engravings : 

"  Rendez-vous  a  la  Colonne ; "  after  Berchem. 

The  Departure  of  the  Boat ;  after  Joseph  Vernet. 

The  Fortunate  Passage ;  after  the  same. 

The  Fiue  Afternoon  ;  after  the  same. 

The  Fishermen  throwing  their  Nets  ;  after  the  same. 

The  Neapolitan  Fishermen  ;  after  the  same. 

Rural  Pleasures  ;  after  Loutherhonrg. 

The  Pleasure  Party  in  the  Country  j  after  the  same. 

Going  to  Market ;  after  Van  Goyen. 

C00P6,  Antoinb  Jean  Baptiste,  a  French  line- 
engraver,  was  born  in  Paris  in  1784.  He  was  a 
pupil  of  Roger.  He  engraved  '  Prayer  to  the 
Madonna,'  after  Mme.  Haudebourt-Lescot,  and 
many  vignettes  for  the  works  of  Voltaire,  Rous- 
seau, &c.     It  is  not  known  when  he  died. 

COURBE,  WiLBEODE  Magloirb  Nicolas,  was  a 
French  engraver  but  little  known,  who  lived  at 
the  close  of  the  18th  century.  He  appears  to  have 
devoted  himself  chiefly  to  religious  subjects,  and 
was  the  principal  engraver  of  the  collection  of 
portraits  of  the  members  of  the  National  Assembly 
of  1789,  known  as  the  "  Collection  Dejibin." 

COURBES,  Jean  de,  was  a  French  engraver, 
born  about  the  year  1692.  He  was  principally 
employed  for  the  booksellers,  but  worked  both  in 
England  and  in  Spain.  We  have  by  him  the  por- 
traits of  Sir  Philip  Sidney  and  Mary,  Countess  of 
Pembroke. 

COURBET,  Gustave,  a  distinguished  French 
painter,  was  born  at  Ornans  (Doubs),  on  the  10th 
of  June,  1819.  He  began  the  study  of  jurispru- 
dence, but  at  the  age  of  twenty  abandoned  it  for 
painting,  and  repaired  to  Paris,  where  he  eventu- 
ally selected  the  school  of  David  d'Angers.  The 
ill-success  that  befell  his  early  pictures  only  acted 
as  a  stimulus,  and  led  him  to  a  constant  and 
close  study  of  nature ;  and  he  selected  intention- 
ally, with  a  view  to  bring  the  feeling  of  the 
public  more  into  harmony  with  his  own  concep- 
tions, the  details  of  every-day  life  as  the  field  in 
which  to  exhibit  his  talents.  Being  rea'ly  gifted 
he  could  not  fail  in  the  result  to  command  atten- 
tion. In  fact  it  was  not  long  before  one  of  his 
works,  entitled  'The  Conflagration,'  aroused  the 
notice  of  the  authorities,  who  condemned  it  as 
dangerous  to  the  public  welfare.  His  figure  sub- 
jects were  brilliant  in  colcur  and  rich  in  tone,  but 


Court 


PAINTERS  AND  ENGRAVERS. 


Courtois 


were  ill  drawn  and  badly  grouped.  Other  works  of 
his  again,  though  powerfully  painted,  were  marred 
by  the  selection  of  subjects  with  a  vicious  tend- 
ency. His  landscapes,  however,  being  from  the 
nature  of  their  subject  free  from  any  such  defects, 
could  not  fail,  distinguished  as  they  were  by  truth, 
simplicity,  and  very  careful  finish,  to  add  consider- 
ably to  his  reputation.  Nor  were  his  animal  pieces 
less  pleasing,  while  his  portraits  gave  proof  in  a 
still  further  direction  of  his  being  possessed  of  very 
remarkable  talent.  The  unfavourable  art  criticisms 
which  his  early  works  had  encountered  appear  to 
have  embittered  his  mind  to  some  extent  against 
his  brother  artists,  and  at  the  Exhibitions  of  1855 
and  1867  he  had  a  separate  building  constructed 
to  display  his  own  pictures.  '  A  Stormj-  Sea,'  ('La 
Vague,')  exhibited  in  the  Salon  of  1870,  was  bought 
for  the  Luxembourg,  and  was  exhibited  at  the  Paris 
Exhibition  in  1878._  In  1871  his  democratic  tend- 
encies led  him  to  join  the  Communists,  who  en- 
trusted him  with  the  charge  of  the  Museums.  He 
took  .a  leading  part  in  the  destruction  of  the 
Column  in  the  Place  Vendome.  On  the  fall  of  the 
Commune  he  was  condemned  to  six  months'  im- 
prisonment, as  well  as  to  the  payment  of  an  in- 
demnity for  his  share  in  the  afEair  of  the  Place 
Vendome.  He  eventually  retired  into  Switzerland, 
where  after  a  painful  illness  he  died  at  La  Tour-de- 
Peilz,  near  Vevay,  on  the  Slst  December,  1877.  An 
exhibition  of  the  works  of  the  Painter  of  Ornans, 
as  Courbet  delighted  to  be  called,  was  held  in  Paris 
in  1882.  The  Louvre  has  now  the  '  Interment  at 
Ornans'  (painted  in  1850),  the  '  Combat  de  Cerfs' 
(1861),  the  '  Hallali  du  Cerf '  (1867),  the  'Homme 
k  la  ceinture  de  cuir,'  the  '  Homme  blesse,'  and 
'  La  Vague  '  (1870).  His  other  principal  paintings 
were : 

The  "Woman  with  the  Parrot.    1866. 

Afternoon  at  Ornans.     {In  the  Lille  Museum.)     1849. 

Landsi-ape,  near  Honfleur.     {In  the  Lille  Museum.) 

The  Stone-breakers.     1850. 

Stags  in  Spring-time.    {In  the  Marseilles  Museum.) 

La  Fileiise.     1853. 

Les  Baigneuses.     1853. 

The  Paiater's  Studio.    1855. 

La  Semise  aux  Chevreuils.     1866. 

La  Sieste  pendant  la  saison  des  foins.    1869. 

COURT,  Jean,  called  Vigibb,  was  one  of  the 
most  skilful  of  the  enamel  painters  who  flourished 
at  Limoges  in  the  16th  century.  Sis  works  are 
very  rare  and  bear  the  dates  1556  and  1557  only. 
Almost  all  are  painted  in  grisaille  on  a  black 
ground,  and  heightened  with  gold,  the  flesh  being 
tinted.  Some  of  his  enamels  are  in  the  Louvre. 
He  died  about  1583,  being  then  not  less  than  72 
years  of  age.  Much  confusion  has  existed  on 
account  of  the  similarity  of  the  names  and  mono- 
grama,  and  often  of  the  works,  between  this  artist, 
Jean  de  Court,  and  Jean  Courteys. 

COURT,  Jean  de,  an  enamel  painter  of  Limoges, 
succeeded  Francois  Clouet  as  painter  to  the  king 
in  1572,  and  was  in  turn  succeeded  by  his  son, 
Charles  de  Court,  in  1584  or  1589.  Jean  de  Court 
painted  in  1574  a  portrait  of  Henry  III.,  then  Duke 
of  Anjou. 

COURT,  Joseph  D^sie^,  a  painter  of  historical 
subjects  and  portraits,  was  born  at  Rouen  in 
1797.  He  became  a  pupil  at  the  Ecole  des  Beaux- 
Arts  under  Gros,  and  after  carrying  o£E  the  princi- 
pal honours  there  pursued  his  studies  still  further 
at  Rome.  High  expectations  were  formed  of  him 
when  he  exhibited  in  1827  '  The  Death  of  Caesar," 
a  work  manifesting  earnest  thought,  and   a  con- 


scientious handling  of  the  facts  of  history.  This 
is  now  preserved  in  the  Louvre.  Having  shown 
himself  in  this  and  other  works  a  vigorous  painter, 
capable  of  seizing  a  subject  with  a  masterly  grasp, 
and  having  also  in  the  region  of  portrait  painting 
proved  himself  an  artist  of  no  common  merit,  he 
eventually  dissipated  his  talents  in  the  production 
of  a  series  of  empty  official  pictures  painted  by 
order  of  Louis  Philippe.  He  died  in  Paris  in  1865. 
The  Bordeaux  Museum  has  a  portrait  of  Henri 
Eonfr^de  by  him  ;  that  of  Lyons,  a  '  Scene  in  the 
Deluge' ;  that  of  Rouen, '  Boissy-d'Anglas  saluting 
the  head  of  F^raud.' 

COURTEYS,  Jean,  an  enamel  painter  of  Limoges, 
who  died  in  1686,  was  possibly  a  younger  brother 
of  Pierre  Courteys.  To  him  are  ascribed  the 
numerous  works  signed  /.  C.,  but  M.  Darcel  is 
inclined  to  beHeve  that  these  are  by  Jean  de  Court. 

COURTEYS,  Martial,  a  painter  in  enamel,  who 
was  working  at  Limoges  in  1579-80,  was  distin- 
guished by  his  vivid  colouring.  Until  lately  he 
was  known  only  by  a  round  dish  with  '  Moses 
striking  the  Rock,'  formerly  in  the  Debruge  Col- 
lection, and  now  in  that  of  Mr.  Addington.  He 
belonged  to  the  school  of  Jean  Courteys,  and  was 
perhaps  his  son. 

COURTEYS,  Pierre,  one  of  the  best  enamel 
painters  of  Limoges,  and  an  excellent  designer  and 
colourist,  was  probably  a  disciple  of  Pierre  Rey- 
mond.  The  dates  affixed  to  his  works  range  from 
1550  to  1568.  In  1559  he  executed  for  the  fapade 
of  the  chateau  of  Madrid,  built  by  Francis  I.  and 
Henry  II.  in  the  Bois  de  Boulogne,  near  Paris, 
twelve  oval  medallions  of  the  Virtues  and  the  gods 
of  Olympus,  with  figures  the  size  of  life.  Nine 
of  these  are  now  in  the  Hotel  de  Cluny,  and  three 
are  in  England.  They  are  the  largest  enamels 
which  have  ever  been  made  at  Limoges.  Courteys 
is  supposed  to  have  died  in  1602.  Many  of  his 
works  are  in  the  Louvre. 

COURTIN,  Jacques  FRANgois,  a  French  his- 
torical painter,  was  bom  at  Sens  in  1672.  He  was 
a  pupil  of  Louis  de  Boullongne,  and  painted  the 
'  mai '  ofEered  to  the  cathedral  of  Notre-Dame  by 
the  goldsmiths  of  Paris  in  1707,  the  subject  being 
'  St.  Paul  preaching  at  Troas.'  He  died  in  Paris  in 
1752.  There  is  a  'Dead  Christ'  by  him  in  the 
Brussels  Gallery. 

COURTOIS,  GuiLLAUME,  commonly  known  as 
GoGLiELMO  Cortese,  and  also  called  Boukguignon, 
(or  II  Boegognone,)  was  the  brother  of  Jacques 
Courtois,  and  was  born  at  St.  Hippolyte  in  1628. 
He  went  to  Rome  whilst  he  was  young,  and  became 
a  scholar  of  Pietro  da  Cortona.  He  did  not  how- 
ever follow  the  style  of  that  master,  but  appears  to 
have  preferred  that  of  Carlo  Maratti,  in  his  com- 
positions and  the  expression  of  his  heads.  He 
sometimes  seems  to  have  wished  to  resemble 
Guercino  in  the  strength  of  his  relief,  and  his 
azure  backgrounds.  His  works  most  deserving  of 
notice  are  a  'Madonna,  and  several  Saints,'  in  the 
Trinita  di  Pellegrini ;  '  Joshua's  great  Battle,'  in 
the  palace  of  the  Quirinal,  in  which  he  was  assisted 
by  his  brother  ;  and  the  '  Crucifixion  of  St.  Andrew,' 
in  Sant'  Andrea  a  Monte  Cavallo,  Rome.  The 
'Offering  of  Isaac'  by  hhn  is  in  the  Dresden 
Gallery,  and  a  picture  of  '  The  Burial  of  the  Dead 
during  the  Plague  in  Rome'  in  the  Brussels 
Gallery.  He  died  at  Rome  in  1679.  His  engrav- 
ings are  now  become  excessively  rare.  They  are 
not  so  highly  finished  as  those  of  his  brother  Jacques. 
We  have  by  him  the  following  plates : 

319 


Courtois 

A  Burial  during  the  Plague. 
The  Presentation  in  the  Temple. 
The  Resurrection  of  Lazarus, 

COURTOIS,  Jacques,  commonly  called  by  the 
Italians  GiACOMO  Cortesb,  and  II  Boegognonb,  also 
known  as  Bodrguignon,  was  born  at  St.  Hippolyte, 
in  Franche-Comte,  in  1621.  He  was  the  son  of  an 
obscure  painter,  Jean  Courtois,  who  taught  him  the 
rudiments  of  design.  At  the  age  of  fifteen  he  went 
to  Milan,  where  he  formed  an  intimacy  with  a 
French  officer,  who  prevailed  on  him  to  enter  the 
army,  which  he  followed  for  some  time  ;  designing 
on  every  occasion  the  marches,  the  attacks,  and 
skirmishes  of  which  he  was  a  witness.  After  three 
years'  service  he  quitted  the  military  profession 
and  returned  to  painting.  At  Bologna  he  became 
acquainted  with  Guido  and  Albani,  and  his  inti- 
macy with  those  distinguished  artists  was  of  great 
advantage  to  his  progress.  He  at  length  visited 
Eome,  where  his  first  attempts  were  some  historical 
works,  amongst  which  were  'The  Magdalen  at  the 
feet  of  Christ,'  in  the  church  of  Santa  Maria ;  and 
in  the  Gesii,  the  '  Murder  of  the  Innocents '  and  the 
'  Adoration  of  the  Magi.'  The  natural  bent  of  his 
genius  discovered  itself  on  his  seeing  the  admirable 
'  Battle  of  Constantine '  by  Giulio  Romano,  in  the 
Vatican ;  and  from  that  time  he  devoted  himself 
to  a  branch  of  the  art  which  he  carried  to  a  per- 
fection unknown  before  or  after  him.  Michelangelo 
delle  Battaglie,  having  seen  some  of  his  works,  with 
a  liberality  not  always  found  in  a  rival,  was  one  of 
the  most  zealous  pubhsliers  of  his  fame.  Whilst 
he  was  in  full  possession  of  popular  esteem,  a  cir- 
cumstance occurred  which  occasioned  his  retirement 
from  the  world.  His  wife,  with  whom  he  had  not 
lived  on  the  best  terms,  died  suddenly  ;  and  male- 
volence suspected  and  accused  him  of  having 
poisoned  her.  This  cruel  accusation  determined 
him  te'  abandon  society,  and  he  took  refuge  with 
the  Jesuits,  of  which  body  he  soon  afterwards 
became  a  member.  But  neither  the  gloom  of  a 
monastery,  nor  the  affliction  of  his  mind,  could 
subdue  his  ardour  or  impoverish  his  talent,  which 
he  continued  to  exercise  till  his  death,  which 
occurred  at  Rome  in  1676. 

The  battle-pieces  of  Borgognone  are  composed 
with  a  fire  and  painted  with  a  vigour  peculiar  to 
himself.  His  touch  is  admirable  and  of  extra- 
ordinary facility,  his  figures  and  horses  are  drawn 
with  all  the  spirit  requisite  in  the  attacks  of  the 
fiercest  combatants  fighting  for  honour  and  for 
life  ;  and  (as  Lanzi  expresses  it)  "  in  beholding  his 
pictures  we  seem  to  hear  the  shouts  of  war,  the 
neighing  of  the  horses,  and  the  cries  of  the 
wounded."  It  is  to  be  lamented  that  many  of  his 
works  have  blackened  since  they  were  painted. 
The  following  are  some  of  the  best  of  his  works 
which  are  frequently  met  with  in  public  galleries : 

Battle-pieces. 

Becky  Landscape  {formerly  assign- 
ed, to  Salvator  Rosu), 
Battle-pieces. 
Battle-pieces  (fov/r).. 
Battle-pieces  {three). 
Portrait  of  himself. 
Battle-pieces  {four). 
Battle-piece. 
Cavalry  Combat. 
A  Battle-field  after  the  fight. 
A  Battle-piece. 
Battle-pieces  (iroo). 
Cavalry  Combat  near  a  Bridge. 
»  „  Troops  marching. 

,1  „  Cavalry  combat. 

320 


A  BIOGRAPHICAL  DICTIONARY  OP 


Cousin 


Augsburg. 
Berlin. 

Gallery. 
Museum. 

Cassel. 
Dresden. 
Edinburgh. 
Florence. 

Gallery. 
Gallery. 
Gallery. 
Uffizi. 

5> 

Hague. 
Munich. 

PiUi  Pal. 

Galle'i^. 

Pinakothek 

Madrid. 
Paris. 

Gallery. 
I^ouvre. 

Paris.  Louvre.      Cavalry  encounter. 

„  „  Cuirassiers  and  Turkish  Cavalry. 

Petersburg.  Hermitage.  Studies  for  Battle-pieces. 

Vienna.  Belvedere.  Battle-pieces  {three). 

We  have  by  this  artist  some  etchings  of  battles, 
executed  with  uncommon  spirit,  and  with  a  masterly 
effect  of  light  and  shadow.  They  are  described 
in  Eobert-Dumesnil's  '  Peintre-Graveur,'  vol.  i., 
and  among  them  are  the  following : 

A  set  of  Eight  Battles ;  Giac.  Cortesefec, 
A  set  of  Four  Battles ;  J.  C. 

COURTOIS,  Jean.     See  Coubteys. 

COURTOIS,  Marie,  a  French  miniature  painter 
of  consideiable  ability,  was  a  pupil  of  Le  Brun. 
She  was  born  about  the  year  1655,  married  in  1675 
Marc  Nattier,  the  portrait  painter,  and  died  in  Paris 
in  1703. 

COURTOIS,  Pierre  Franqois,  was  a  French 
engraver,  who  was  born  in  Paris  in  1736.  He 
engraved  two  plates  from  the  designs  of  Saint- 
Aubin,  but  died  at  Rochefort  in  1763. 

COUSE,  J.,  was  an  artist  who,  if  not  a  native  of 
England,  at  least  resided  here  about  the  year 
1750.  He  engraved  a  view  of  Berkeley  Castle,  from 
a  drawing  by  the  Countess  of  Berkeley,  and  some 
other  prints,  which  are  neatly  executed,  and  possess 
considerable  merit. 

COUSEN,  John,  a  landscape  engraver,  was  boni 
at  Bradford  in  Yorkshire  in  1804,  and  was  articled 
to  John  Scott,  the  animal  engraver.  His  larger 
works  after  Turner,  Stanfield,  and  others  are  of 
great  excellence,  but  his  exquisite  taste  is  best 
displayed  in  his  smaller  plates  after  Turner,  especi- 
ally those  in  the  '  Rivers  of  France,'  which  are  full 
of  poetic  feeling.  He  died  at  South  Norwood  in 
1880,  but  had  retired  from  the  practice  of  his  art 
some  sixteen  years  before,  in  consequence  of  ill- 
health. 

His  more  important  works  are : 

Mercury  and  Herse ;  after  Turner, 

Towing  the  Victory  into  Gibraltar ;  after  Stanfield 

The  Morning  after  the  Wreck ;  after  the  same. 

Calais  Pier :  Fishing-Boats  off  Calais. ") 

Snow-Storm  :  Hannibal  and  his  Army 
crossing  the  Alps. 

Peace :  Burial  at  Sea  of  the  Body  of 
Sir  David  "Wilkie. 

St.  Michael's  Mount,  Cornwall. 

The  Battle  of  Trafalgar ;  after  Stanfield.  ^ 

The  Canal  of  the  Giudecca  and  Church 
of  the  Jesuits,  Venice  ;  after  the  same. 

The  Old  Pier  at  Littlehampton ;  after 
Sir  A.  W.  Callcott. 

Eeturning  from  Market ;  after  the  same. 

Cattle :  Early  Morning  on  the  Cumber- 
land Hills ;  after  T.  Sidney  Cooper. 

The    Mountain   Torrent;    after  Sir  E. 
Landseer. 

The  Cover  Side  ;  after  F.  E.  Zee. 

Rest  in  the  Desert ;  after  W.  J.  Mailer. 

A 'Woodland  View;  after  Sir  J).  Wilkie.. 

COUSIN,  Jean,  may  be  regarded  as  the  founder 
of  the  French  school,  as  previous  to  his  time  the 
painters  of  his  country  confined  themselves  to 
portrait  painting.  He  was  born  at  Soucy,  near 
Sens,  in  1500  or  1501,  and  died  about  1589,  at  all 
events  before  1593.  Little  is  known  of  his  life, 
with  certainty,  except  that  his  first  occupation  was 
glass-painting  at  Sens,  and  that  he  afterwards 
established  himself  as  a  goldsmith  at  Paris.  His 
principal  work,  as  a  painter,  is  the  '  Last  Judgment,' 
which  was  formerly  in  the  convent  of  the  Minimes 
at  Vincennes,  but  is  now  in  the  Louvre.  It  is  a 
grand  composition,  and  the  design  is  more  in  the 


After  Turner  : 

for  the  Tuner 

Galltry. 


For  the 
Vernon 
Gallery. 


Cousinet 


PAINTERS  AND  ENGRAVERS. 


Couwenberg 


taste  of  Pannegiano  than  the  French  style.  He 
was  a  sculptor  as  well  as  a  painter,  but  he  excelled 
especially  as  a  painter  upon  glass.  He  was  in 
every  respect  superior  to  his  rival,  Jean  Duvet. 
As  a  painter  on  glass,  the  windows  of  the  Sainte- 
Chapelle  at  Vincennes  are  his  best  works.  They 
represent  the '  Annunciation,'  the  '  Approach  of  the 
Last  Judgment,'  and  full-length  portraits  of  Francis 
I.  and  Henry  II.  Lenoir  regards  these  magnificent 
windows  as  the  finest  monuments  of  painting  upon 
glass  which  exist  in  France.  He  also  painted 
windows  in  the  Cathedral  at  Sens  -with  the  Legend 
of  St.  Eutropius,  dated  1530,  and  others  in  the 
Chateau  of  Anet  and  elsewhere.  The  windows 
which  Cousin  painted  for  the  church  of  St.  Gervais 
at  Paris  were  destroyed  about  1775.  A  picture  of 
the  '  Descent  from  the  Cross,'  bearing  date  1523, 
in  the  Museum  at  Mentz,  and  other  subject  pic- 
tures, are  attributed  to  him ;  and  there  also  exist 
records  of  several  family  portraits  by  him  :  but 
the  painting  in  the  Louvre  is  the  only  known 
authentic  work  by  his  hand.  It  has  been  engraved 
by  Pieter  De  Jode  the  elder.  Various  miniatures 
in  books,  in  the  Biblioth^que  Nationale,  Paris,  and 
elsewhere,  are  said  to  be  by  Cousin,  who  was  also 
an  engraver  on  metal,  and  has  left  etchings  of  the 
'  Annunciation,'  the  '  Holy  Family,'  the  '  Descent 
from  the  Cross,'  the  '  Conversion  of  St.  Paul,' 
'  Bacchus  and  the  Vintage,'  and  '  A  Man  holding  a 
tablet.'  But  it  is  by  his  designs  for  woodcuts, 
some  of  which  he  himself  engraved,  that  Cousin  is 
now  best  known.  The  most  important  of  these  are 
the  designs  which  he  made  for  the  Bible  published 
by  Jean  Le  Clerc  in  1596  ;  the '  Entree  de  Henri  II. 
a  Paris,'  1549  ;  the  '  Entree  de  Henri  II.  et  Catherine 
de  M^dicis  a  Rouen,'  1551 ;  the '  !^loge  et  Tombeau 
de  Henri  II.,'  1560;  the  'Livre  de  Coutumes  de  Sens,' 
1551 ;  the  '  Vsaige  et  description  de  I'Holomltre,' 
1555 ;  the  '  Songe  de  Foliphile,'  1561 ;  and  the 
'  Metamorphoses '  and  '  Epistres '  of  Ovid  of  1566 
and  1571.  In  1560  he  published  his  '  Livre  de  Per- 
spective,' and  in  1671  his  '  Livre  de  Pourtraicture,' 
which  treats  of  the  proportions  of  the  human  figure, 
and  displays  considerable  knowledge. 

M.  Ambroise  Firmin-Didot  published  in  1872  an 
'Etude  sur  Jean  Cousin,'  which  is  very  complete 
and  full  of  interest,  and  in  1873  a  folio  '  Recueil 
des  (Euvres  choisies  de  Jean  Cousin.' 

COUSINET,  Cathekinb  '&.    See  Lempeeeue. 

COUSSIN,  Haedotjin,  was  a  French  engraver, 
born  at  Aix  in  1709,  who,  according  to  Basan,  was 
resident  at  that  place  in  1760.  He  engraved  at 
Lyons  several  plates  after  Puget,  Rembrandt,  and 
others.  Nagler  states  that  the  name  H.  Goussin 
is  found  on  some  mezzotints  which  appear  to  be 
the  work  of  an  earlier  artist. 

COUSTAIN,  PiEEEE,  was  a  painter  and  sculptor 
at  the  Court  of  Philip  the  Good.  His  name  occurs 
in  the  records  of  the  brotherhood  of  St.  Luke  at 
Bruges  in  the  year  1450  as  Painter  Royal. 

COUTAN,  Amablb  Paul,  was  a  French  historical 
painter,  born  in  Paris  in  1792.  He  studied  under 
Gros,  and  obtaining  the  Academy  pension  was  thus 
enabled  later  on  to  improve  himself  at  Rome.  Re- 
turning to  his  native  country  he  produced  works, 
representing  chiefly  classical  and  mythological  sub- 
jects, which  realized  considerable  prices.  He  took 
a  part  also  in  the  labour  of  decorating  with  religio  us 
subjects  the  church  of  Notre-Dame-de-Lorette.  He 
died  in  Paris  in  1837. 

CODTANT,  Jean  Lonis  Denis,  a  French  en- 
graver, born  at  Argenteuil  in  1776,  was  a  scholar 

Y 


of  Mechel  of  Basle.  Among  his  principal  works 
are  the  plates  for  the  great  work  on  Egypt,  for  the 
travels  of  Baron  von  Humboldt  in  the  (Jordilleiras, 
for  the  fossil  bones  of  Cuvier,  for  the  'Anatomy  of 
the  Brain'  by  Langenbeck,  and  for  Freycinet's 
'Voyage  round  the  World.''  The  date  of  his  death 
has  not  been  ascertained. 

COUTELLIER, ,  a  French  engraver  of  the 

latter  part  of  the  18th  century,  is  known  by  his 
theatrical  portraits,  the  best  of  which  are  those  of 
Mdlle.  Olivier  as  Cherubino,  and  Mdlle.  Contat  as 
Suzanne  in  the  '  Mariage  de  Figaro.' 

COUTURE,  Thomas,  a  French  historical  and 
genre  painter,  was  bom  at  Senlis  (Oise)  in  1815.  He 
studied  under  Gros  and  Paul  Delaroche,  and  in  1837 
obtained  the  second  'Grand  Prix  de  Rome.'  His 
first  appearance  at  the  Salon  was  in  1840,  wlien  he 
exhibited  '  A  young  Venetian  after  an  Orgy. '  In 
1847  appeared  the  picture  (now  in  the  Luxembourg) 
on  which  his  fame  chiefly  rests,  '  The  Romans  in 
the  Decadence  of  the  Empire.'  He  obtained  medals 
in  1844, 1847,  and  1856,  and  the  Legion  of  Honour 
in  1848.  He  decorated  the  Chapel  of  the  Virgin  in 
the  church  of  St.  Eustache,  Paris.  Couture  did  not 
live  on  terms  of  amity  with  the  art  world,  as  he  be- 
came involved  in  disputes,  carried  on  with  consider- 
able warmth,  as  to  the  relation  of  his  art  with  that 
of  the  French  classical  school.  He  died  at  Villiers- 
le-Bel  in  1879.  Besides  the  works  already  named, 
the  following  are  among  his  chief  productions  : 

Jooonde.    1844. 

The  Love  of  Money.    1S44.    (l^imlouse  Museum.) 

The  Falconer.    1855. 

Voluntary  Enlisting. 

Baptism  of  the  Prince  Imperial. 

Damocles.    1872. 

COUVAY,  Jean,  a  French  engraver,  was  born  at 
Aries  in  1622.  He  worked  almost  entirely  with 
the  graver,  with  an  easy  but  delicate  touch,  his 
style  in  some  points  resembling  that  of  Villamena. 
He  sometimes  marked  his  plates    c-rf, 

We  have  by  him  the  following  out  of  numerous 
cuts  : 

Louis  XrV.  on  Horseback,  preceded  by  Fame  ;  after  S. 

Bourdon. 
The  Virgin  and  Child  ;  after  Raphael. 
St.  John  in  the  Desert ;  after  the  same. 
St.   Benedict,  tempted    by  the    Devil,  presenting    a, 

Crucifix ;  after  Guerdno. 
The  Virgin ;  after  Blanchard. 
A  Magdalen  ;  half-length ;  after  Lehrun. 
The  Ascension  ;  after  J.  Stella, 
The  Martyrdom  of  St.  Bartholomew ;  after  Foussin. 
Mary,  Queen  of  Scots ;  her  execution  seen  through  the 

window. 
A  set  of  small  prints,  called  '  Les  Tableaux  de  la  Peni» 

tence  ' ;  after  J.  Chauveau. 
Portrait  of  Nicolas  Sevin ;  after  Van  Mol. 

COUVERCHEL,  Alfeed,  was  bom  at  Marseille- 
le-Petit  in  1834.  He  studied  under  Picot  and 
Horace  Vernet.  He  made  some  advances  in  his 
master's  footsteps,  and  gained  a  certain  ease  and 
freedom,  but  was  unable  to  liberate  himself  from 
a  tendency  to  rawness  in  his  colouring,  a  fault 
which  is  apparent  in  his  'Battle  of  Magenta,' 
painted  in  1861.    He  died  at  Croisey  in  1867. 

COUWENBERG,  Abeaham  Johannes,  a  Dutch 
landscape  painter,  was  bom  at  Delft  in  1806,  and 
died  at  Arnhem  in  1844. 

COUWENBERG,  Cheistiaen  van.  See  Ka- 
wenbeeg. 

COUWENBERG,  Heneicus  Wilhelmhs,  a  Dutch 
line-engraver  and  draughtsman,  the   brother    of 

321 


Covyn 


A  BIOGRAPHICAL  DICTIONAEY  OF 


Cox 


Abraham  Johannes  Couwenberg,  was  born  at  the 
Hague  in  1814,  and  died  at  Amsterdam  in  1845. 
He  was  a  pupil  of  F.  L.  Huygens  and  of  Taurel. 
Besides  engraving  some  portraits,  he  began  a  plate 
of  '  Mignon  and  her  Father,'  after  Ary  SchefEer, 
which  was  finished  by  Alphonse  Francois,  and 
another  after  G.  Don's  '  Menagere  Hollandaise,' 
which  was  completed  by  J.  W.  Kaiser. 

COVYN,  Eeinibe  and  Isrel,  were  two  brothers, 
who  were  natives  of  Brabant,  and  flourished  at 
Dordrecht  about  the  middle  of  the  seventeenth 
century.  The  elder,  Reinier,  painted  market  women, 
with  dead  game,  vegetables,  flowers,  fruit,  &c.  A 
landscape,  by  him,  is  in  the  Brunswick  Gallery. 
Isrel,  the  younger,  attempted  history,  but  was  more 
successful  in  portraits.  Neither  of  them  went 
beyond  mediocrity. 

COWBN,  William,  was  a  landscape  painter,  who 
exhibited  views  in  Ireland  at  the  British  Institution 
in  1823,  and  sent  landscape  scenes  in  Switzerland, 
Italy,  and  France  to  the  Academy  until  1839.  In 
1824  he  published  a  series  of  six  Italian  and  Swiss 
views,  and  in  1848  'Six  Weeks  in  Corsica,'  with 
etchings  by  himself. 

COWPEK,  Douglas,  was  born  at  Gibraltar 
in  1817.  When  seventeen  years  of  age  he  won 
from  his  parents — who  were  unwilling  to  allow 
him  to  become  a  painter  —  a  reluctant  consent 
to  his  leaving  home,  and  making  his  way  to 
London,  he  obtained  admission  to  the  Royal 
Academy  schools,  and  soon  carried  off  the  silver 
medal  for  the  best  copy  in  painting.  His  first 
exhibited  works,  produced  when  only  twenty 
years  of  age,  were  a  portrait  and  the  '  Last  Inter- 
view,' followed  in  1838  by  'Shylock,  Antonio 
and  Bassanio,'  and  in  1839  by  his  master-piece, 
'Othello  relating  his  Adventures.'  He  exhibited 
no  more  at  the  Academy,  and  he  painted  but  five 
more  pictures,  four  of  which  he  sent  to  the  Suif oik 
Street  Gallery.  He  died  in  Guernsey  in  1839,  at 
the  early  age  of  twenty-two,  having  lived  only 
just  long  enough  to  justify  his  own  determination 
to  be  an  artist,  and  to  show  the  world  what  great 
things  he  might  have  done. 

COX,  David,  an  eminent  landscape  painter  both 
in  water-colours  and  in  oil,  was  born  in  Deritend,  a 
suburb  of  Birmingham,  on  the  29th  of  April,  1783. 
As  a  boy,  he  Avas  taught  to  wield  the  large  hammer 
used  in  his  father's  trade,  that  of  a  whitesmith  ; 
but,  as  his  mother  feared  he  was  too  delicate  for 
this  work,  he  was  apprenticed  in  1798  to  a  maker 
of  lockets  and  brooches,  which  he  adorned  with 
miniature  designs.  He  was,  however,  not  very  long 
engaged  in  this  field  of  industry,  for  his  master 
died  soon  after  he  was  apprenticed.  He  next 
obtained  employment  as  a  colour-grinder  to  the 
scene-painters  of  the  Birmingham  Theatre,  then 
under  the  management  of  the  elder  Macready. 
From  this  subordinate  post  he  very  soon  rose 
to  assist  in  the  painting  of  scenes,  and  on  one 
occasion  designed  and  executed  the  entire  scenery 
for  a  new  play  about  to  be  produced.  On  the  public 
announcement  of  the  piece,  however,  he  was  disap- 
pointed at  seeing  the  whole  credit  of  his  share  in 
its  production  given  to  an  imaginary  artist  of 
London  fame,  and  remonstrated  against  being 
thus  robbed  of  his  well-earned  honours.  Cox 
did  not  remain  much  longer  connected  with  the 
management  of  the  Birmingham  and  Leicester 
■Theatres.  _  In  1804  he  came  to  London,  and  for  a 
time  obtained  employment  in  the  scenic  depart- 
ment at  Astley's  Theatre,  but  only  as  a  temporary 


resource  till  other  arrangements  more  suited  to  his 
habits,  which  were  of  a  homely  turn,  could  be 
made.  Shortly  after,  he  retired  into  private  life, 
and  made  a  scanty  income  by  teaching  drawing, 
principally  at  schools,  and  by  making  sketches, 
which  he  sold  for  a  few  shillings  each,  but  which 
are  now  worth  more  than  as  many  pounds.  At 
length  a  wealthy  patron  appeared  who  sought  him 
out  in  his  humble  retreat  at  Dulwicb,  and  from 
this  point  his  fortunes  began  to  move  in  advance. 
His  pupils  increased  in  number,  and  in  remuner- 
ativeness,  and  his  sketches  began  to  command 
higher  prices.  In  1805  he  took  his  first  trip  into 
North  Wales,  and  visited  some  of  the  most  romantic 
spots  of  the  Principality,  which  was  ever  after- 
wards his  favourite  haunt. 

David  Cox  was  elected  a  member  of  the  Society 
of  Painters  in  Water-Colours  in  1813,  and  in  the 
year  following  he  was  appointed  a  teacher  at  the 
Military  College  at  Farnham.  This  occupation, 
however,  did  not  suit  him,  and,  probably  for  the 
sake  of  the  surrounding  scenery,  he  removed  to 
Hereford  in  1814,  and  in  the  same  year  published 
a  '  Treatise  on  Landscape  Painting  and  Effect  in 
Water-Colours.'  He  returned  again  to  London  in 
1827,  but  finally  retired  to  Harbome,  near  Birming- 
ham, in  1841,  where  he  resided  until  his  deali, 
which  occurred  on  the  7th  of  June,  1859. 

Although  best  known  by  his  water-colour  draw- 
ings, David  Cox  painted  also  in  oil,  and  in  this 
method  of  treatment  he  derived  much  benefit  from 
the  lessons  of  William  Miiller.  The  total  number 
of  his  oil  pictures  has  been  estimated  by  competent 
judges  at  a  little  over  one  hundred,  of  which  fifty- 
seven  were  exhibited  at  Liverpool  in  1875.  Several 
of  them  were  sold  in  the  Gillott  sale  in  1872  for 
very  large  amounts.  His  best  works  in  oil,  and 
the  dates  at  which  they  were  executed,  are  as 
follow : 

Outskirts  of  a  'Wood.     1843. 

"Washing  Day.     1843. 

Caer  Cennen  Oastle.     1844. 

Vale  of  Clwyd.     1846  and  1848. 

Peace  and  "War.     1846. 

Lancaster  Castle.     1846. 

Counting  the  Flock.    1847. 

The  Old  Mill  at  Bettws-y-coed.     1847. 

Going  to  the  Hayfield.     1849. 

Collecting  the  Flocks.    1849. 

The  Skylark.     1849. 

The  "Welsh  Funeral.     1850. 

The  Sea-shore  at  Ehyl.    1854-55. 

The  finest  among  the  innumerable  drawings 
which  David  Cox  produced  in  the  course  of  his 
fifty  years'  practice  of  art  may  also  here  be 
mentioned : 

Cader  Idris.    1828. 

Lancaster  Sands.     1835. 

Ulverstone  Sands.    1835. 

Hardwick  Hall  Hhree  interior  views).    1839. 

The  Stubble-field  with  Gleaners.    1843. 

Bolsover  Castle.    1843. 

The  Flood  at  Corwen.     1846. 

The  Outskirts  of  a  Forest.    1846. 

Caer  Cennen  Castle  (the  '  Bain  Cloud').    1847. 

"Windsor  Park.     1846. 

Bolton  Abbey.     1847. 

The  Skylark.     1848. 

Beeston  Castle.     1849. 

The  Welsh  Funeral.     1850. 

Broom  Gatherers  on  Chat  Moss.    1854. 

Peat  Gatherers  returning  from  the  Moors.    1856. 

The  Falls  of  the  Llugwy.     1859. 
Besides  several '  Hayfield '  and  '  Harvest '  subjects, 
full  of  atmosphere  and  summer  sunshine. 


Cozie 


PAINTERS  AND  ENGBaVERS. 


Coypel 


David  Cox  was  the  true  child  of  nature.  There 
was  a  native  simplicity  in  his  character,  and  a 
masculine  vigour  about  hie  touch,  which  have 
never  been  surpassed  ;  and  his  effects,  whether 
of  mountain  or  dell  or  fruitful  plain,  of  foam- 
ing torrent  or  meandering  stream,  such  as  so 
grandly  diversify  the  scenery  of  this  favoured 
isle,  were  always  striking,  and  often  imposing, 
though  they  never  overstepped  the  modesty  of 
nature. 

Wales  was  the  country  above  all  others  which 
Cox  loved,  and  in  the  neighbourhood  of  Bettws-y- 
coed  he  worked  for  years.  "  The  little  inn  there, 
'  The  Oak,'  (writes  the  author  of  'Our  Living 
Painters,'  in  1859,)  is  indeed  a  classic  spot,  and 
troops  of  painters  now  flock  thither  in  the  season, 
sit  in  the  parlour  whose  wall  David  Cox  has  him- 
self decorated  in  fresco,  and  with  pipe,  and  jug, 
and  talk  while  the  long  summer  twilights  pleasantly 
away.' '  There  he  painted  for  the  '  Royal  Oak '  the 
sign-board  which  in  1880  became  the  subject  of  a 
law-suit,  which  happily  ended  in  the  picture  re- 
maining in  the  inn  for  which  it  was  intended. 

Forty-two  drawings  by  David  Cox  were  be- 
queathed to  the  British  Museum  by  Mr.  John 
Henderson  in  1878,  and  there  are  twenty-two  in  the 
South  Kensington  Museum,  but  most  of  them  are 
comparatively  unimportant.  Eighteen  examples 
were  exhibited  at  the  Manchester  Art  Treasures 
Exhibition  in  1857,  upwards  of  twenty  in  the 
International  Exhibition  of  1862,  and  thirty-two 
in  the  Leeds  Exhibition  of  1868.  Special  exhi- 
bitions of  his  works  were  held  at  Hampstead  in 
1858,  at  the  German  Gallery  in  London  in  1859, 
at  Manchester  in  1870,  and  at  the  Liverpool  Art 
Club  in  1875.  Out  of  this  last  gathering  arose  the 
project  of  a  Cox  '  Liber  Studiorum,'  in  which  the 
plates  were  to  have  been  engraved  by  the  painter's 
friend  Edward  RadclyfEe,  but  the  death  of  the 
engraver  caused  the  work  to  be  abandoned  when 
only  three  plates—'  Dudley  Castle,'  the  'Outskirts 
of  a  Forest,'  and  'Bala  Lake,' — had  been  completed. 

A  '  Memoir  of  David  Cox '  by  Mr.  Neal  Solly  was 
published  in  1875,  and  a  '  Biography  of  David  Cox ' 
by  William  Hall  in  1881. 

COXIE,  MiCHIEL  VAN,  (CocxiB,  CoxoiE,  Coxis, 
CoxciEN  or  CoxcYBN,)  a  Flemish  painter,  was  born  at 
Mechlin  in  1499.  He  was  first  instructed  by  his 
father,  Michiel  van  Coxie  the  elder,  and  afterwards 
at  Brussels  by  Barend  van  Orley,  with  whom  he 
visited  Rome,  and  studied  especially  the  works  of 
Raphael.  Indeed,  his  almost  servile  imitation  of 
that  master  procured  for  him  later  the  appellation 
of  the  Flemish  Raphael.  His  talents  brought  him 
soon  into  notice,  so  that  he  was  engaged  for  the 
execution  of  several  important  works  in  that  city, 
and  when  he  became  acquainted  with  Vasari,  he 
had  already  painted  two  chapels  in  Santa  Maria 
deir  Anima.  On  his  return  to  Flanders  he  was,  in 
1539,  received  a  member  of  the  Guild  of  St.  Luke 
at  Mechlin,  and  came  to  be  much  employed.  There 
are  many  of  his  works  in  the  churches  of  Brussels 
and  Antwerp  that  establish  the  real  worth  of  his 
talents.  He  also  painted  several  large  works  for 
the  Emperor  Charles  V.  and  for  Philip  II.,  King  of 
Spain,  by  whom  he  was  chosen  court  painter.  He 
died  at  Mechlin  in  1592.  The  following  are  his 
most  important  works  : 

Antwerp.    Museum.     Martyrdom  of  St.  Sebastian.   1575. 

„  „  Martyrdom  of  St.  George. 

„  „  Martyrdom  of  St.  Margaret. 

„  „  The  Triumph  of  Christ. 

Berlm.  Gallery.     The  Adoration  of  the  Lamb. 

Y  2 


Eerh'n. 


Bruges.        Ch.  of  the 

Jesuits. 
Brussels.     Museum. 


Ghent. 


Gallery.    The  Almighty. 

{Parts  of  the  altar-piece  ly  the  Van 
Eycks  at  Ghent,  which  was  copied 
ly  him  for  Fhilip  II.  of  Spain. 
The  rest  of  the  copy  is  in  the 
Munich  Gallery,  and  in  St.  Bavo 
at  GheTit.) 
St.  Francis  Xavier  preaching  to 

the  Heathen. 
The  Last  Supper. 
„  Death  of  the  Virgin. 

,,  Christ  derided  by  the  Jews. 

S.  Gudule.    The  Resurrection  of  Lazarus. 
„  Christ  washing  the  feet  of  the 

Apostles. 
Christ  on  the  Mount  of  Olives. 
The  Nativity. 
Christ  on  the  Cross  between  the 

two  Thieves. 
Resurrection  of  Christ. 
St.  Cecilia. 

Scenes  from  the  Life  of  the  Virgin. 
The  Annunciation. 
Virgin  and  Child. 


8.  James. 


Madrid.        Gallery. 

))  )» 

Petersburg.  Hermitage, 
Vienna.       Belvedere. 

He  also  designed  32  subjects  from  the  Fable  of 
Cupid  and  Psj'che,  which  are  amongst  his  best 
works.  They  have  been  engraved  by  Agostino 
Veneziano  and  the  Master  of  the  Die.  In  con- 
junction with  Barend  van  Orley,  he  undertook  the 
direction  of  the  execution  of  some  tapestry  made 
after  Raphael's  cartoons.  His  son,  Raphael  van 
Coxie,  who  was  received  as  a  Master  in  the  Guild 
of  St.  Luke  at  Antwerp  in  1585,  was  much  inferior 
to  his  father.  He  was  born  at  Mechlin  in  1640, 
and  died  at  Brussels  in  1616. 

COYPEL  FAMILY. 

Noel  (1028—1707). 

Married 


lafc,  Madeleine  H^rault  (16M— 1682)- 


Antoine  (1661-1722). 
Charles  Antoine  (1694—1762). 


—2nd,  Anne  Frantjoise  Perin 
(died  1728). 

Noel  Nicolas  (1692—1734). 


COYPEL,  Antoine,  the  son  of  Noel  Coypel, 
was  born  in  Paris  in  1661.  His  father  instructed 
him  in  the  art  of  painting,  and  took  him  when  but 
eleven  years  of  age  to  Rome,  where  he  had  been 
appointed  director  of  the  French  Academy.  But 
neither  the  masterpieces  of  Rome,  nor  the  example 
of  his  father,  could  inspire  him  with  a  feeling  for 
the  truly  grand  and  beautiful.  He  preferred  the 
style  and  counsel  of  Bernini  to  the  study  of  Raphael 
and  the  Carracci  ;  and  the  depravity  of  his  taste  was 
confirmed  by  his  returning  to  Paris  at  the  age  of 
eighteen ;  that  is  to  say,  he  left  Rome  precisely  at 
the  time  that  he  should  have  gone  there.  He  was 
only  nineteen  when  he  painted  his  picture  of  the 
'  Assumption  '  for  the  cathedral  of  Notre-Dame,  and 
but  twenty  when  he  was  received  into  the  Academy. 
He  was  taken  into  the  employment  of  the  court, 
and  became  one  of  the  most  popular  painters  of 
his  time.  It  is  curious  to  compare  the  criticism  of 
two  of  the  most  esteemed  of  the  French  biogra- 
phers respecting  the  works  of  this  painter.  "  No 
artist,"  says  D'Argenville,  "  possessed  the  poetry  of 
the  art  in  a  higher  degree  than  Antoine  Coypel. 
Formed  by  nature  for  the  grandest  compositions, 
the  fertility  of  his  genius  displays  itself  through 
all  his  works.  He  was  graceful  in  the  airs  of  his 
heads,  painted  children  in  the  greatest  perfection, 
and  was,  above  all,  attentive  in  expressing  with 
propriety  the  passions  of  the  soul."  A  less  favour- 
able judgment  is  pronounced  by  Watelet :  "  Be- 
cause," says  that  writer,  "  he  was  equal  to  the 
production  of  a  great  machine  in  the  theatrical 

323 


Coypel 


A  BIOGRAPHICAL  DICTIONARY  OF 


Coypel 


style,  he  was  conceived  to  possess  the  poetry  of  the 
art ;  because  he  gave  to  his  heads  a  physiognomy 
purely  French,  they  are  thought  to  be  beautiful. 
His  coquetry  is  called  grace,  a  grace  to  be  learned 
of  the  dancing-master.  He  consulted  the  comedian 
Baron  for  the  attitudes  of  his  most  exalted  charac- 
ters, and  travestied  a  hero  of  antiquity  into  a 
puppet  of  the  theatre." 

It  cannot,  however,  be  denied  that  Antoine 
Coypel  possessed  those  qualities  which  are  found 
in  the  artists  most  admired  in  his  country,  quali- 
ties which  perhaps  were  necessary  to  the  gratifica- 
tion of  national  feeling,  and  the  acquisition  of 
popularity.  His  principal  works  in  Paris  were, 
'  Christ  among  the  Doctors,'  and  the  '  Assump- 
tion,' in  the  cathedral  of  Notre-Dame  ;  and  '  Christ 
healing  the  Blind  at  Jericho,'  at  the  Carthusians. 
He  was  much  employed  in  decorating  the  royal 
palaces,  and  was  made  principal  painter  to  the 
king  in  1716,  besides  holding  other  important 
posts.  The  Louvre  possesses  his  '  Athaliah  driven 
from  the  Temple,'  '  Susannah  accused  by  the 
Elders,'  '  Esther  before  Ahasuerus,'  and  '  Rebecca 
and  Bliezer,'  as  well  as  between  two  and  three 
hundred  drawings  and  sketches  by  him.  His 
own  portrait  by  himself  is  in  the  UfSzi,  Florence  ; 
the  Lille  Gallery  possesses  a  picture  of  '  Athalide 
et  Roxane,'  taken  from  the  '  Bajazet'  of  Racine ; 
and  the  Bordeaux  Museum,  a  '  Triumph  of  Apollo.' 
In  the  Dublin  National  Gallery  is  a  picture  of 
'  Christ  healing  one  possessed  by  a  Devil,'  dated 
1717.  Antoine  Coypel  died  in  Paris  in  1722.  We 
have  by  him  several  etchings,  executed  in  a  finished 
and  masterly  style,  among  which  are  the  following  : 

Melchizedek  presenting  the  Bread  to  Abraham. 

Judith ;  half-length ;  finished  by  Simoneau, 

The  Baptism  of  Christ. 

Ecce  Homo  ;  finished  by  Simoneau. 

The  Virgin  and  Infant,  in  an  oval. 

The  Virgin  suckling  the  Infant. 

St.  Cecilia. 

Cupid  conquering  Pan. 

Bacchus  and  Ariadne ;  finished  by  O.  Audran ;   very 

fine.     1693. 
The  Triumph  of  Galatea ;  finished  by  Simoneau  ;  fine. 
The  Head  of  Democritus.     1692. 
The  Portrait  of  La  Voisin,  who  was  broken  on  the 

wheel  for  poisoning ;  two  plates,  large  and  small. 

COYPEL,  Charles  Antoine,  a  painter  and 
etcher,  who  was  the  sou  of  Antoine  Coypel,  was 
born  in  Paris  in  1694.  He  was  instructed  by  his 
father,  whose  style  he  followed,  although  in  a  very 
inferior  manner.  He  quitted  historical  subjects  to 
paint  bambochades,  but  was  not  successful  even 
with  these,  his  taste  for  the  theatre  frequently 
betraying  itself  in  his  pictures  in  the  artificial  com- 
position and  in  the  forced  position  of  his  figures. 
There  are  two  specimens  of  his  work  to  be  seen 
in  the  Louvre.  He  executed  a  portrait  of  himself 
at  about  the  age  of  fifty,  in  which  he  is  represented 
leaning  against  a  table,  and  holding  a  porte-crayon. 
In  fact,  his  best  works  as  a  painter  are  his  por- 
traits J  that  of  Adrienne  Le  Couvreur  has  been 
admirably  engraved  by  Pierre  Imbert  Drevet.  0.  A. 
Coypel  etched  a  series  of  the  Muses,  a  caricature 
'  Histoire  d'une  Devote,'  and  some  other  subjects 
d  la  mode,  which  are  of  but  little  interest.  He 
died  in  Paris  in  1752. 

COYPEL,  Noel,  a  French  painter,  was  born  in 
Paris  in  1628.  He  was  first  placed  under  the 
tuition  of  an  artist  named  Ponoet,  at  Orleans  ;  but 
at  the  age  of  fourteen  he  became  a  scholar  of  Quil- 
lerier,  under  whom  he  acquired  sufficient  ability  to 

324 


be  employed  by  Charles  Errard,  who  was  charged 
with  the  superintendence  of  the  works  at  the 
Louvre.  It  was  not  long  before  he  distinguished 
himself,  and  he  was  received  into  the  Academy  in 
1663.  The  picture  he  painted  for  his  reception 
was  'Cain  and  Abel.'  It  was  about  the  same 
time  that  he  painted  his  celebrated  picture  of  the 
'  Martyrdom  of  St.  James,'  for  the  cathedral  of 
Notre-Dame.  He  was  now  regarded  as  one  of  the 
ablest  artists  of  France,  and  was  appointed  by  the 
king  director  of  the  French  Academy  at  Rome. 
Thither  he  went  in  1672,  and  presided  over  the 
Academy  with  great  reputation  for  three  years. 
It  was  during  his  residence  there  that  he  painted 
his  four  easel  pictures  for  the  king's  cabinet,  repre- 
senting '  Solon  explaining  his  laws  to  the  Athenians,' 
'Trajan  giving  public  audience  to  the  Romans,' 
'  Ptolemy  Philadelphus  giving  liberty  to  the  Jews,' 
and  '  Alexander  Severus  distributing  corn  to  the 
Roman  People.'  These  pictures  were  pubKcly 
exposed  at  Rome  in  the  Rotonda,  and  gained  him 
great  reputation.  They  are  now  placed  in  the 
gallery  of  the  Louvre,  where  is  also  preserved  his 
picture  of  '  Cain  and  Abel,'  as  well  as  several  other 
paintings  representing  classical  subjects.  He 
appears  to  have  imitated  in  these  works  the  style 
of  Poussin  and  Le  Sueur.  His  colouring  is  tender, 
warm,  and  clear,  and  his  execution  careful.  After 
his  return  to  Paris,  Coypel  was  employed  on  several 
fresco  paintings  in  the  Tuileries.  His  last  work, 
the  frescQ  of  the  '  Assumption  of  the  Virgin,'  over 
the  high-altar  of  the  church  of  the  Invalides,  was 
executed  at  the  advanced  age  of  78,  and  may  be 
considered  as  one  of  his  best  productions.  A 
picture  by  him  of  '  Susannah  accused  of  Adultery' 
is  in  the  Madrid  Gallery  ;  and  the  Bordeaux  Museum 
has  an  '  Allegory  '  by  him.  Many  of  his  paintings 
have  been  engraved  by  Poilly,  Duchange,  Cochin, 
and  others.  Noel  Coypel  married  in  1659  Made- 
leine HiRAULT,  the  sister  of  Charles  Herault, 
the  landscape  painter,  and  herself  an  artist  of 
ability.  She  was  bom  in  16.35,  and  died  in  Paris 
in  1682.  In  1685  Coypel  married,  as  his  second 
wife,  Anne  Franqoise  Perin,  a  young  artist  whose 
works  have  long  since  been  forgotten.  He  died 
in  Paris  in  1707.  His  widow  married  Fran9ois 
Bonart,  a  painter  and  engraver,  and  died  in  Paris 
in  1728.  Noel  Coypel  has  etched  the  following 
plates  : 

The  Virgin  caressing  the  Infant  Jesus. 

The  same  subject ;  larger. 

The  Holy  Family. 

COYPEL,  NoSl  Nicolas,  a  painter  and  etcher, 
born  in  Paris  in  1692,  was  a  younger  son  of  Noel 
Coypel.  He  received  his  first  instruction  from  his 
father,  whom  he  had  the  misfortune  to  lose  when 
he  was  fifteen  years  of  age.  It  does  not  appear 
that  he  had  the  advantage  of  seeing  Italy ;  he 
studied  from  the  best  works  of  art  in  his  own 
country,  and  became  of  sufficient  celebrity  to  be 
received  into  the  Academy  in  1720,  when  he  was 
twenty-eight  years  of  age.  His  reception  picture 
was  '  Neptune  carrying  off  Amymone.'  Amongst 
his  best  works  were,  the  ceiling  of  the  chapel  of  the 
Virgin  in  the  church  of  St.  Saviour,  and  the  altar- 
piece  in  the  same  chapel,  representing  the  Assump- 
tion. His  '  Triumph  of  Amphitrite,'  painted  in 
1727,  was  considered  the  best  work  that  entered 
the  lists  for  the  royal  prize  then  ofEered.  There 
are  several  other  works  of  this  artist  in  the  churches 
of  Paris.  He  died  in  Paris  in  1734.  We  have  the 
four  following  plates  etched  by  him : 


Cozens 


PAINTERS  AND  ENGRAVERS. 


Crabeth. 


St.  Theresa,  with  several  Angels. 
Tbe  Triumph  of  Amphitrite. 
Jupiter  and  Antiope. 

A  young  AVoman  caressing  a  Dove ;  afterwards  finished 
by  N.  Edelinck. 

COZENS,  Alexander,  a  natural  son  of  Peter  the 
Great  and  an  Englishwoman  from  Deptford,  was 
born  in  Russia  at  the  beginning  of  the  18th  cen- 
tury, but  studied  painting  in  Italy,  and  then  pro- 
ceeded, in  1746,  to  England,  where  he  died,  in 
London,  in  1786.  He  exhibited  at  the  Royal 
Academy  from  1772  to  1781.  ■  Some  tastefully- 
designed  pen-and-ink  sketches  by  him  are  in  the 
British  Museum,  but  he  chiefly  devoted  himself  to 
giving  instruction  and  writing  various  books  on 
art,  adorned  with  numerous  illustrations,  among 
which  are '  The  Principles  of  Beauty,  relative  to  the 
Human  Head  '  (1778),  and  'The  Shape,  Skeleton, 
and  Foliage  of  Trees'  (1771).  The  South  Ken- 
sington Museum  has  two  Landscapes  by  him. 

COZENS,  John  Robert,  the  son  of  Alexander 
Cozens,  was  born  in  London  in  1752.  He  visited 
Italy,  and  after  his  return,  in  1783,  painted  in  water- 
colours  with  great  success.  He  possessed  great 
taste  in  representing  scenes  of  a  still,  tender, 
or  melancholy  nature.  In  1794  he  became  de- 
ranged, and  died  in  1799.  The  South  Kensington 
Museum  has  five  examples  of  his  work. 

COZZA,  Carlo,  was  the  son  of  Giovanni  Battista 
Cozza,  and  was  born  at  Perrara  about  the  year 
1700.  He  was  instructed  by  his  father,  in  whose 
style  he  painted  several  pictures  for  the  churches  of 
his  native  city.  In  the  Chiesa  Nuova  is  a  picture 
by  him  of  the  '  Annunciation ; '  in  Santa  Lucia 
of  '  St.  Anthony  the  Abbot ; '  and  in  San  Matteo 
of  '  St.  Francis  of  Paola.'  He  died  at  Ferrara  in 
1769. 

COZZA,  Francesco,  a  painter  and  etcher,  was 
a  Calabrian,  born  at  Istilo  in  1605.  He  went 
early  in  life  to  Rome,  and  became  a  scholar  of 
Domenichino,  to  whom  he  attached  himself  by  the 
most  marked  affection,  and,  according  to  the  Abbate 
Titi,  finished  some  of  the  works  of  that  master 
after  his  death.  He  was  received  into  the  Aca- 
demy at  Rome  in  1650,  and  died  in  that  city  in 
1682.  One  of  his  best  works  is  the  'Vergine  del 
Riscatto,'  in  the  church  of  Santa  Francesca  Romana 
at  Rome.  The  Copenhagen  Museum  possesses  a 
'  Landscape,  with  Hagar  and  the  Angel,'  by  him. 
He  etched  several  excellent  plates  in  the  style  of 
Pietro  del  Po,  as  : 

St.  Peter.    1630. 

Cimon  and  Pera. 

Christ  sleeping  and  adored  by  Angels. 

St.  Mary  Magdalene.     1650. 

COZZA,  Giovanni  Battista,  was  born  at  Milan 
in  1676.  While  he  was  yet  young  he  settled  at 
Ferrara,  where  he  was  much  employed  for  the 
churches.  Without  great  correctness  of  design, 
he  possessed  a  copious  invention,  and  an  unusual 
facility  of  handling.  Of  his  numerous  works  at 
Ferrara,  the  following  are  the  principal.  In  the 
cathedral,  the  '  Immaculate  Conception  ; '  at  the 
Ognissanti,  the  '  Holy  Family ; '  in  Santa  Lucia, 
the  '  Annunciation ; '  and  in  San  Guglielmo,  the 
'  Assumption  of  the  Virgin.'  He  died  at  Ferrara  in 
1742. 

COZZALE,  Geazio,  (or  Cossale,)  was  a  native 
of  Brescia,  who  fiourished  about  the  year  1605. 
He  is  said  by  Cozzando,  in  his  '  Ristretto  della 
Storia  Bresciana,'  to  have  possessed  an  uncommon 
readiness  of  invention,  and  in  his  larger  works 


appears  to  have  imitated  the  style  of  Palraa 
without  having  sunk  into  his  mannerism.  His 
principal,  works  are,  the  '  Adoration  of  the  Magi,'  in 
S.  Maria  delle  Grazie,  at  Brescia ;  and  the  '  Pre- 
sentation in  the  Temple,'  in  S.  Maria  de'  Miracoli. 
This  artist  was  assassinated  by  one  of  his  sons. 
CRAASBECKE.  See  Craesbeeck. 
CRABBE,  Frans,  (or  Van  Espleghbm,)  was  a 
Flemish  painter,  who  became  a  master  of  the  Guild 
of  St.  Luke  at  Mechlin  in  1501,  and  is  supposed  to 
be  the  same  as  Fr'ans  Minnebeoer.  He  was  the  son 
of  Jan  Crabbe,  a  painter,  but  it  is  not  known  under 
whom  he  studied.  He  painted  in  tempera,  and 
possessed  the  faculty  of  giving  his  work^so  much 
vigour  that  they  seem  to  be  oil  paintings.  His 
heads  are  in  the  style  of  Quintin  Massys,  but  in  all 
other  respects  his  portraits  resemble  those  of  Lucas 
van  Leyden.  His  principal  work  was  a  triptych 
painted  over  the  high  altar  of  the  church  of  the 
Franciscan  convent  at  Mechlin,  the  principal  subject 
of  which  was  the  '  Saviour  on  the  Cross,'  but  this 
perished  when  the  churoh  was  sacked  by  the  Gueux 
in  the  16  th  century.  Crabbe  died  at  Mechlin  in 
1553,  leaving  a  son,  Jan  Crabbe,  who  was  also  a 
painter,  and  who  died  at  Mechlin  in  1576. 

Crabbe  is  probably  identical  with  the  engraver 
who  is  known  as  the  'Master  of  the  Crab,'  by 
whom  we  have  50  plates,  mostly  in  the  style  of 
Lucas  van  Leyden,  but  in  some  cases  in  that  of 
Jan  van  Mabuse.  They  are  described  in  Bartsch's 
'  Peintre-Graveur,'  vii.  527,  and  Passavant's 
'  Peintre-Graveur,'  iii.  15,  and  among  them  the 
following  are  the  best : 

The  Annunciation. 

The  Nativity. 

Christ  taking  leave  of  His  Mother. 

The  Passion  ;  fourteen  plates. 

Clirist  on  the  Cross. 

Ecce  Homo, 

The  Four  Evangelists ;  four  plates. 

Jephthah's  Daughter. 

Esther  before  Ahasuerus. 

Lucretia. 

CRABETH,  Adriaen,  of  Gouda.  Three  por- 
traits, in  one  picture,  bearing  the  date  1560,  attri- 
buted to  him,  are  in  the  Darmstadt  Gallery. 

CRABETH,  Dirk  and  Woutee,  two  brothers, 
were  natives  of  Gouda.  They  flourished  about 
the  years  1560-1620,  and  surpassed  all  their  pre- 
decessors in  the  art.  Their  principal  works  were 
fourteen  of  the  seventy- five  windows  of  the  great 
church  of  St.  John  at  Gouda.  The  best  are  the 
'  Baptism  of  Christ,'  '  Our  Saviour  driving  the 
Buyers  and  Sellers  from  the  Temple,'  and  the 
'Last  Supper,'  all  by  Dirk  Crabeth;  and  'The 
Offering  of  Elijah  before  the  Priests  of  Baal,'  the 
'Nativity,'  and  the  'Sacrilege  of  Heliodorus,-' all 
by  Wouter  Crabeth,  the  last-named  being  his 
master-piece,  and  the  finest  of  all  the  windows. 
Although  fine  compositions,  they  are  not  in  the 
best  style  of  the  art,  and  are  rather  poor  in  colour. 
Wouter  visited  France  and  Italy,  and  left  in 
every  town  where  he  resided  one  of  his  glass- 
paintings.  He  distinguished  himself  by  the  light 
and  brilliancy  of  his  colouring,  whilst  Dirk  ex- 
celled more  in  his  vigorous  touch. 

CRABETH,  WonTEE  Pieteeszoon,  the  younger, 
a  grandson  of  the  artist  of  the  same  names,  was  a 
scholar  of  Cornells  Ketel.  After  visiting  France 
and  Italy,  and  studying  the  works  of  the  best 
masters  in  Rome,  he  settled  down  in  Gouda  in 
1628  as  a  portrait  and  historical  painter.  In  1628 
he   painted   for  the    church    of    Purmerende   an 

325 


Crabetjo 


A  BIOGRAPHICAL  DICTIONARY  OF 


Cranach 


'  Assumption  of  the  Virgin,'  and  in  1644  a  '  Feast  of 
a  Siiooting  Club,'  wliich  is  still  preserved  at  Gouda. 

CRABETJE.     See  Asselijn. 

CRACO,  Jan,  a  Dutch  portrait  painter,  who 
flourished  in  the  latter  half  of  the  18th  century, 
was  a  native  of  Utrecht.  He  afterwards  resided 
at  Amsterdam,  in  which  city  he  died. 

CRADOCK,  Luke,  an  English  painter  of  birds, 
dead  game,  and  animals,  in  which  he  particularly 
excelled.  He  was  born  at  Somerton,  near  Ilchester, 
about  the  year  1660,  and  served  "an  apprenticeship 
to  a  house-painter  in  London.  Without  the  help 
of  an  instructor,  he  became  a  faithful  delineator 
of  birds  and  animals,  which  he  painted  with  a  free- 
dom and  a  fire  that  entitled  him  to  more  dis- 
tinction and  a  more  liberal  remuneration  than  he 
received  during  his  life.  After  his  death,  as  has 
but  too  frequently  been  the  lot  of  artists,  his 
works  were  sold  at  three  or  four  times  the  price 
he  received  for  them  when  living.  He  died  in 
London  in  1717. 

CRADOCK,  Mary,    See  Beale. 

CRAESBEECK,  Joost  van,  (Craasbeoke,  or 
Geaasbeok,)  the  pot  companion  and  scholar  of 
Adriaan  Brouwer,  was  born  at  Neerlinter,  in  South 
Brabant,  in  1608.  He  was  bred  a  baker,  and  had 
settled  at  Antwerp  in  that  capacity  at  the  time 
when  Brouwer  visited  that  city.'  Alike  in  their 
habits  of  debauchery,  an  acquaintance  sprang  up 
between  them,  and  Brouwer  became  Craesbeeck's 
inmate  on  quitting  the  protection  of  Rubens. 
Craesbeeck  forsook  his  oven,  and  became  the  dis- 
ciple of  his  friend,  and  it  is  surprising  that  a 
person  who  had  never  practised  painting  until  he 
had  reached  the  age  of  thirty  should  have  arrived 
at  a  proficiency  which  is  suflBcient  to  rank  him 
among  the  meritorious  artists  of  his  country,  par- 
ticularly as  a  colourist.  He  was  inscribed  as  a 
citizen  of  Antwerp  in  1631.  In  1633-34  he  entered 
the  Guild  of  St.  Luke  at  Antwerp,  and  in  1651  that 
at  Brussels,  where  he  was  still  living  in  1654.  The 
date  of  his  death  is  not  known,  but  it  was  cer- 
tainly before  1662.  His  paintings  represent  scenes 
in  taverns,  guard-room  subjects,  low  fights,  and 
drunken  brawls.  Those  of  his  works  that  are  of 
a  nobler  character  are  executed  in  the  style  of 
Rembrandt,  and  painted  with  a  fine  chiaroscuro,  a 
delicate  brush,  and  an  excellent  colouring. 

Among  his  paintings,  many  of  which  are  signed 
J.  V.C.B.,  there  are  the  following: 

Amsterdam.  Museum.  Portrait  of  Hugo  de  Groot. 
Berlin.  Gallery.   Peasant  with  felt  hat. 

Madrid.  Gallery.    The  Marriage  Contract. 

Paris.  Louvre.     The  Artist  himself  painting  a  por- 

trait. 
Petersburg.  Hermitaffe.  Le  Lever. 
Sohleissheim.    Aren-  )  The  Artist's   Studio,  with   Brou- 

ierg  Gallery.  J      wer's  portrait. 
Tienna.      Belvedere.    Soldiers  and  "Women  tallring. 

CRAEYER,  Gaspae  db.     See  De  Grayer. 

CRAFT,  William  H.,  an  enamel  painter,  ex- 
hibited fancy  and  allegorical  subjects  and  portraits 
at  the  Royal  Academy  from  1774  to  1781.  He 
died  after  1787.  He  was  most  probably  a  brother 
of  Thomas  Craft,  who  was  an  artist  at  the  Bow 
Porcelain  Works. 

CRAIG,  William  Marshall,  exhibited  at  times 
at  the  Royal  Academy,  from  1788  till  1827.  He 
first  lived  at  Manchester,  but  settled  in  London 
about  1791.  He  was  painter  in  water-colours  to 
the  Queen,  and  miniature  painter  to  the  Duke  and 
Duchess  of  York.     He  also  excelled  as  a  draughts- 

326  ^ 


man  on  wood,  and  as  a  book  illustrator,  and  he 
published  in  1821  'Lectures  on  Drawing,  Paint- 
ing, and  Engraving.'  He  is  said  to  have  been  a 
nephew  of  Thomson,  the  poet.  'The  Wounded 
Soldier '  by  him  is  in  the  Water-Colour  Gallery  at 
the  South  Kensington  Museum. 

CRAMER,  NicoLAAS,  a  Dutch  painter,  was  born 
at  Leyden  in  1670.  According  to  Van  Gool,  he 
was  for  some  time  a  scholar  of  Willem  Mieris, 
but  afterwards  studied  under  Karel  De  Moor,  whose 
manner  he  followed.  He  painted  subjects  taken 
from  private  life^  and  portraits  in  small.  His 
pictures  of  that  description  are  seen  in  the  best 
collections  in  Holland,  and  are  deservedly  admired. 
He  died  in  1710. 

CRAMER,  Peter,  who  was  born  at  Copenhagen 
in  1726,  was  a  self-taught  artist  who  prepared  the 
drawings  for  the  illustration  of  Norden's  '  Travels 
in  Egypt,'  and  then  became  a  decorative  and  the- 
atrical painter.  Together  with  this  occupation  he 
executed  popular  Danish  scenes  in  the  style  of 
Teniers,  and  several  of  his  pictures  were  engraved 
by  Haas,  Kleve,  and  Clemens.  He  died  at  Copen- 
hagen in  1782. 

CRANACH,  Hans,  appears  to  have  been  a  third 
son  of  Lucas  Cranach  the  elder.  Schuchifrdt,  who 
discovered  his  existence,  credits  him  with  an  altar- 
piece  at  Weimar,  signed  with  the  monogram  H.  C, 
and  dated  1537.     He  was  still  living  in  1558. 

CRANACH,  JoHANN  Lucas,  the  eldest  eon  of 
Lucas  Cranach  the  elder,  was  bom  about  1503. 
He  died  at  Bologna  in  1536.  Luther  mentions  his 
death  in  his  'Table  Talk,'  and  Johann  Stigel,  a 
contemporary  poet,  celebrates  him  as  a  painter. 

CRANACH,  Lucas,  (or  Keanach).  The  proper 
name  of  this  master  is  a  matter  of  some  uncer- 
tainty. Of  late  years  it  has  been  thought  to  be 
Sunder,  and  he  is  to  be  found  in  most  histories 
under  that  name,  but  Herr  Wamecke  ('Lucas 
Cranach  der  Aeltere,'  1879,)  has  recently  brought 
forward  evidence  to  show  that  it  was  Muller,  as 
formerly  supposed.  This  evidence,  however,  chiefly 
consists  in  a  phrase  in  a  narrative  of  Valentin 
Sternenboke,  written  in  1609,  which  runs  as 
follows— "And  the  Emperor  asked  him  how  he 
was  called,  and  he  replied  that  he  was  called  by  his 
parents  Lucas  Muller,  out  of  the  town  of  Cranach 
in  Franconia,  but  on  account  of  his  art  he  was  styled 
Lucas  the  Painter,  and  the  Elector  of  Saxony  had 
named  him,  from  his  native  land,  Lucas  Cranach." 
The  evidence  for  the  name  of  Sunder  likewise 
rests  on  very  slight  foundation. 

But  whatever  be  his  name,  he  was  certainly 
born  at  Kronach  in  the  bishopric  of  Bamberg 
on  the  4th  of  October,  1472.  He  is  said  to  have 
learnt  his  art  from  his  father,  who  is  supposed 
also  to  have  been  a  painter,  though  none  of  his 
works  remain.  It  is  not  known  where  his  early 
years  were  spent,  but  it  is  surmised  that  he  lived 
some  time  in  Gotha,  where  he  married  a  cer- 
tain Barbara  Brengbier,  who,  although  affirmed  by 
tradition  to  have  been  extremely  ugly,  is  never^ 
theless  celebrated  as  having  been  a  most  excellent 
wife  and  mother.  He  is  stated  to  have  accom- 
panied the  Elector  Frederick  the  Wise  to  the 
Holy  Land  in  1493,  but  this  is  not  certain.  In 
1504  we  find  him  established  at  Wittenberg  as 
court  painter  to  Frederick  the  Wise,  who  in  1508 
bestowed  on  him  a  coat  of  arms  and  patent  of 
nobility.  He  was  evidently  a  man  of  importance 
in  Wittenberg,  for  he  was  twice  (in  1537  and  1540) 
elected  Burgomaster  of  the  town,  where  he  carried 


Cranach 


PAINTERS  AND  ENGRAVERS. 


Cranach 


on,  besides  his  large  art  workshops,  a  book-printing 
business  and  an  apothecary's  shop.  His  house  in 
Wittenberg,  called  the  "  Adler,"  was  standing  till 
1871,  when  it  was  unfortunately  destroyed  by  fire. 

In  1509  Cranach  was  sent  by  the  Elector  on  an 
embassy  to  the  art-loving  Emperor  Maximilian, 
hut  nothing  is  known  as  to  their  intercourse,  ex- 
cept that  he  took  the  portrait  of  the  young  Prince, 
afterwards  Charles  V.  Cranach,  however,  after- 
wards executed  some  of  the  drawings  in  what  is 
called  'Maximilian's  Prayer-book,'  so  one  may 
imagine  that  some  relations  continued  to  exist 
between  them.  Cranach  held  the  ofSce  of  court 
painter  to  the  House  of  Saxony  under  three  suc- 
cessive Electors,  the  last  being  the  noble  but 
ill-fated  Frederick  the  Magnanimous,  to  whom  he 
was  so  much  attached,  that  after  the  battle  of 
Miihlherg  in  1547,  he  shared  and  enlivened  his 
captivity  at  Augsburg,  being  also,  it  is  said,  instru- 
mental in  procuring  his  release  from  Charles  V. 
In  1552,  when  the  Elector  was  at  last  set  free, 
Cranach,  then  a  very  old  man,  followed  his  lord 
to  Weimar,  where  our  master  died  at  the  age  of 
80,  on  the  16th  of  October,  1553. 

Lucas  Cranach  may  be  regarded  as  pre-eminently 
the  painter  of  the  German  Reformation.  Although 
not  approaching  Diirer  and  Holbein  in  intellectual 
power  and  aesthetic  perfection,  he  was  moved  even 
more  deeply  than  they  by  the  religious  influences  of 
the  times.  The  influences  of  the  Renaissance  were 
also  at  work  in  his  art,  as  seen  by  the  numerous 
classical  subjects  he  has  depicted  so  naively  ;  and 
moreover,  there  may  be  traced  in  it  a  sort  of  homely 
humour,  which  no  doubt  caused  Kugler  to  compare 
hira  to  Hans  Sachs.  He  was  the  intimate  friend 
of  Luther,  whom  he  has  several  times  represented 
in  his  pictures,  and  embracing  his  doctrine  warmly, 
he  endeavoured  to  set  it  forth  in  his  art. 

His  reputed  paintings  are  somewhat  unequal  in 
merit,  but  this  is  chiefly  because  many  of  those 
ascribed  to  him  are  merely  atelier- works, done  under 
his  direction  by  his  sons  and  pupils.  Among  the 
most  important  of  his  paintings  may  be  mentioned : 

Angsbnrg.  Bathhaus.     Samson  and  Delilah. 

Berlin.    .    Gallery.      Venus  and  Cupid  stung  by  a  Bee. 

Carlsrnhe.  The  Judgment  of  Paris. 

Florence.  Z7p8!.  Adam  and  Eve. 

Gotha.       Gallery.        The  Fall  and  Redemption  of  Man. 

Leipsio.  The    Eepose    in    Egypt.      1504. 

(Formerly  in  the  Sciarra  Falace, 

Some.) 
„  Museum,     A  Dying  Man. 

Londorf.  Baring  Coll.  CShrist  receiving  Little  Children. 
Munich.       Gallery.      "Woman  taken  in  Adultery. 
Petersbrg.  Bermitage.  Madonna  under  the  Apple-tree. 
Sehneeberg.  Stadtkirche.  The    Cruoiiixion,  Last    Supper, 

&c.  (an  altar-piece). 
Weimar.    Stadtkirche.  Crucifixion,    with     portraits     of 

Luther,    Melanchthon,  and   the 

painter  himself. 
TVorlitz.  Gothic  Souse.  St.  George  and  the  Dragon. 

Several  of  these  subjects  were  treated  frequently 
by  Cranach,  and  replicas  of  them  are  to  be  found 
in  many  galleries.  It  is  indeed  very  difficult  to 
distinguish  his  works  from  those  of  the  master 
now  known  as  the  '  Pseudo-Griinewald,'  and  from 
those  of  his  son  Lucas  Cranach  the  younger. 
Lucas  Cranach  the  elder,  as  he  is  called  to  distin- 
guish him  from  his  son,  always  painted  in  oils  on 
wooden  panels.  His  colouring  is  warm  and  rich, 
but  his  drawing  is  usu-ally  defective.  He  excelled 
in  portraiture,  and  evidently  delighted  in  it,  for  he 
often  introduces  portraits  of  his  friends  into  his 
pictures.      His  female  portraits  have  a   sort   of 


naive  grace  that  renders  them  very  pleasing. 
There  is  one  by  him  in  the  National  Gallery  of  a 
young  girl  in  elaborate  costume,  which  is  entirely 
characteristic. 

He  was  fond  also  of  drawing  birds  and  animals, 
and  often  depicted  hunting  scenes.  His  art  indeed 
may  be  defined  as  thoroughly  national,  homely 
and  individual,  marked  by  cheerful  fancy  and 
quaint  invention,  sometimes  bordering  on  carica- 
ture. He  had  three  sons,  who  are  believed  to 
have  been  painters,  but  only  his  second  son,  Lucas 
Cranach,  the  younger,  acquired  any  reputation. 
Cranach  usually  signed  both  his  paintings  and 
engravings  with  the  crest  granted  hini  by  the 
Elector  Prederick^ — a  flying  dragon  with  a  crown 
upon  its  head.  He  is  said  to  have  painted  so 
rapidly  that  on  his  tombstone  he  was  described  as 
'celerrimus  pictor.' 

But  it  is  as  an  engraver  rather  than  as  a  painter 
that  Cranach  is  best  known.  Heller  describes 
more  than  800  prints  by  him.  These  are  mostly 
wood-cuts,  but  he  executed  also  a  few  copper-plates. 
These  are  now  rare,  though  some  of  his  wood- 
engravings  are  often  met  with.  Drawings  also 
by  him  are  to  be  found  in  most  public  collections. 

PRINCIPAL  COPPER  ENGRAVINGS. 
The  Penitence  of  St.  John  Chrysostom.    1509. 
Three  portraits  of  Luther,  dated  1519,  1520,  and  1521. 
Portraits  of  the  Elector  Frederick  III.,  with  an  angel 

holding  a  crown  of  laurel. 
Portraits  of  otlver  Electors. 

PRINCIPAL  WOOD  ENQEAVINGS. 
Passion  of  Christ.  A  series  of  15  cuts. 

The  Martyrdom  of  the  Apostles.    1549.        12    „ 
Christ  and  the  Apostles.  14    „ 

The  Wittenberg  Hagiology.     1509.  119    „ 

Passional  Christi  et  Antichristi,     1521.         26    ,, 
Hortulus  Animae.  33    „ 

Adara  and  Eve  in  Paradise   surrounded  by  animals. 

(B.  1.) 
The  Eepose  in  Egypt,  with  dancing  angels.    (B.  4.) 
Christ  and  the  Samaritan  Woman.     (B.  22.) 
Temptation  of  St.  Anthony.     (B.  56.) 
St.  Christopher.     (B.  58.) 
St.  Jerome  in  the  Desert.     (B.  63.) 
Beheading  of  John  the  Baptist.     (B.  62.) 
Venus  and  Cupid.     (B.  113.) 
Judgment  of  Paris.     (B.  114.) 
Marcus  Curtius.     (B.  112.) 

Bibliography: — Heller:  'Lucas  Cranach's  Leben 
und  Werke,'  2nd  ed.,  1854.  Schuchardt:  'Lucas 
Cranach  des  Aeltern  Leben  und  Werke,'  3  vols. 
1851 — 1871.  Eisemann:  '  Kunst  und  Kiinstlej-,' 
vol.  i.  Warneeke :  '  Lucas  Cranach  der  Aeltere,' 
1879.  Bartsch  :  '  Le  Peintre-Graveur,'  vii.  273 ; 
Passavant :  'Le  Peintre-Graveur,' iv.  1.     iif  m  jr 

CRANACH,  Lucas,  the  younger,  was  the  second 
son  of  Lucas  Cranach  the  elder.  He  was  born 
in  1615,  and  received  his  education  in  art  in  bis 
father's  workshops.  He  is  weaker  in  drawing 
than  his  father,  and  softer  in  colouring,  hat  it  is 
difficult  to  distinguish  their  works,  for  he  signed 
with  the  same  mark,  the  flying  dragon,  though, 
according  to  Schuchardt,  the  dragon  of  the  son  may 
be  known  by  its  wings  being  folded.  All  pictures 
after  the  date  1553,  (that  of  his  father's  death,) 
may  be  safely  ascribed  to  him,  and  many  such 
exist.  J.  A.  Crowe,  in  the  last  edition  of  Kugler's 
'  Handbook,'  mentions  several  in  the  principal 
church  at  Wittenberg.  One  of  these  he  describes 
as  a  singular  work  bearing  ''distinct  reference  to 
the  state  of  the  Church  in  his  time."  It  represents 
the  vineyard  of  the  Lord,  •'  one  half  of  which  is 

327 


Cranch. 


A  BIOGEAPHICAL  DICTIONARY  OF 


Credi 


being  destroyed  by  the  clergy  of  the  Eomish 
Church,  whilst  the  heroes  of  the  Reformation  are 
employed  in  cultivating  the  other,"  and  is  dated 
1569.  By  this  it  is  clear  that  he  must  hav^  had  the 
same  warm  Protestant  sympathies  as  his  father. 
Other  paintings  by  him  are : 

Berlin.  Gallery.    The  Fountain  of  Youth.    1546.  _ 

Brunswick.   Gallery.    Preaching  of    John   the   Baptist. 

1549. 
'  Dresden.       Gallery.    Crucifixion. 

„  „  Portraits  of  the  Electors  Maurice 

and  Augustus. 
Leipsic.         Museum.   Crucifixion.     1557. 
Munich.        Gallery.     Virgin  and  Child  with  Grapes. 
Nordhausen.  Baising  of  Lazarus. 

Wittenberg.  Stadtkirche.  Nativity. 
„  „  Crucifi^on. 

He,  like  his  father,  appears  to  have  been  a  man 
of  importance  in  Wittenberg,  for  he  also  filled 
the  office  of  Burgomaster.  He  died  at  Wittenberg 
in  1586.  No  engravings  by  him  are  known,  but 
it  is  believed  that  he  furnished  the  designs  for  the 
woodcuts  in  Luther's  translation  of  the  Bible, 
printed  at  Leipsic  in  1542,  as  well  as  for  some  por- 
traits, among  which  is  a  series  of  the  Princes  of 
Saxony.  (See  Passavant's  '  Peintre-Graveur,'  iv. 
24.)  M.  IT.  H. 

CRANCH,  John,  who  was  born  at  Kingsbridge, 
Devon,  in  1761,  practised  historical  and  portrait 
painting  as  an  amateur,  with  no  great  success,  in 
London  and  Bath,  where  he  died  in  1821.  Bis 
best  work  was  the  '  Death  of  Chatterton.'  He 
excelled  in  so-called  'poker  pictures.'  The  South 
Kensington  Museum  possesses  a  work  by  him, 
entitled  'Playing  with  Baby'  (1795). 

CRANE,  Thomas,  was  born  at  Chester  in  1808. 
Showing  early  a  taste  for  art,  in  1824  he  came  up 
to  London,  where  he  joined  the  schools  of  the 
Academy,  and  remained  two  years,  obtaining,  in 
1825,  the  medal  for  his  drawings  from  the  antique. 
Returning  to  Chester,  he  commenced  his  profession 
as  a  miniature  painter,  and  not  very  long  after,  he 
published,  in  conjunction  with  a  brother,  some 
sketches  of  celebrated  characters  in  North  Wales, 
among  whom  were  Lady  Eleanor  Butler  and  Miss 
Ponsonby,  the  eccentric  "  Ladies  of  Llangollen." 
In  18,S2  he  made  his  first  appearance  as  an  exhibitor 
at  the  Liverpool  Academy,  and  continued  to  con- 
tribute to  that  Institution  for  many  years.  In 
1835  he  was  elected  an  Associate,  and  in  1838  a 
full  member  of  that  Academy.  But  the  delicate 
state  of  his  health  would  not  permit  of  his  re- 
maining in  that  town,  and  he  removed  to  Torquay, 
where  he  resided  twelve  years,  occasionally  visit- 
ing the  scene  of  his  earlier  connections  in  the 
North,  where  he  procured  lucrative  commissions. 
He  died  in  London  in  1859.  Crane  was  most  success- 
ful in  portraits  of  females  and  children,  both  in  oil 
and  water-colours  ;  his  treatment  of  such  subjects 
being  so  elegant  and  so  full  of  fancj'  as  almost  to 
make  them  ideal  works,  yet  without  compromising 
their  likeness.  He  also  painted  figure  subjects, 
as:  'The  First  Whisper  of  Love,'  'The  Deserted 
Village,'  'The  Cobbler,"  The  Old  Romance,"  The 
Bay  Window,'  and  '  Masquerading,'  most  of  which 
were  exhibited  at  the  Royal  Academy. 

CRANENBURGH,  Hendeik  van,  a  Dutch  land- 
scape painter,  was  born  at  Amsterdam  in  1754. 
He  was  a  pupil  of  Bnrbiers,  but  at  the  age  of  thirty 
he  abandoned  painting  for  the  counting-house. 
He,  however,  continued  to  make  many  excellent 
copies  of  the  works  of  the  old  masters,  and  died  at 
Amsterdam  in  1832. 

328 


CRANSSE,  Jan,  a  Flemish  painter,  was  bom  at 
Antwerp  in  1480.  He  painted  historical  subjects, 
and  was  received  into  the  Guild  of  St.  Luke  at 
Antwerp  in  1628,  and  became  dean  thereof  in 
1635.  Van  Mander  speaks  highly  of  a  picture  by 
this  master  which  was  formerly  in  the  cathedral  of 
Antwerp,  representing  '  Christ  washing  the  Feet  of 
His  Disciples.'  Two  panels  of  coats  of  arms,  one 
of  the  Chamber  of  Rhetoric  of  Diest,  and  the  other 
of  that  of  Turnhout,  by  him,  are  in  the  Antwerp 
Gallery. 

CRAPELET,  Louis  Amable,  a  French  water- 
colour  painter,  born  at  Auxerre  in  1822,  studied 
under  Corot,  Durand-Brager,  and  S^chan.  He  went 
to  Egypt  in  1852,  and  ascended  the  Nile  as  far  as 
the  third  cataract^  returning  to  France  in  1854. 
Many  of  his  drawings  were  the  result  of  this  expe- 
dition.    He  died  at  Marseilles  in  1867. 

CRASTONA,  GiosKKFO,  was  bom  at  Pavia  in 
1664,  and  was  a  scholar  of  Bernardino  Ciceri.  He 
excelled  in  painting  landscapes  and  views  of  the 
vicinity  of  Rome,  from  designs  he  had  made  during 
a  long  residence  in  that  city ;  and  these  pictures, 
according  to  Orlandi,  were  greatly  in  vogue  in  his 
time.     He  died  in  1718. 

CRAWFORD,  William,  a  Scotch  portrait  and 
genre  painter,  was  a  native  of  Ayr.  His  father 
placed  him  at  the  Trustees'  Academy,  under  Sir 
William  Allan,  where  he  gained  a  travelhng  bursary, 
which  enabled  him  to  study  in  Rome  for  about  two 
years.  On  his  return  he  conducted  the  drawing 
classes  of  the  Trustees'  Academy  for  several  years, 
and  also  occasionally  contributed  art  criticisnis  to 
Edinburgh  newspapers.  His  crayon  portraits,  of 
which  a  good  many  were  exhibited  at  the  Royal 
Academy  in  London,  were  much  sought  after.  He 
was  elected  an  Associate  of  the  Royal  Scottish 
Academy  in  1862.  Among  his  genre  paintings  we 
may  mention  his  '  Highland  Keeper's  Daughter ' 
(1866),  '  Waiting  for  the  Ferry,' '  Return  from  May- 
ing,' and  '  Too  Late,'  a  striking  picture  exhibited 
at  the  Royal  Scottish  Academy  in  1869,  in  which 
year  he  died. 

CRAYER,  Gaspae  de.    See  De  Ceayee. 

CREDI,  LoEENZO  Di,  whose  surname  appears  to 
have  been  Barddcoi,  and  not  Sciarpelloni,  as  stated 
by  Vasari,  was  born  at  Florence  in  1459.  He  was  a 
disciple  of  Andrea  del  Verroochio  at  the  time  that 
Perugino.  and  Leonardo  da  Vinci  were  studying 
under  that  master.  Lorenzo  displayed  a  preference 
for  the  style  of  Leonardo  over  that  of  his  instructfar, 
and  copied  the  paintings  of  the  former  with  great 
success  ;  whilst  the  graceful  and  expressive  manner 
in  which  he  painted  Madonnas  and  Holy  Families 
remind  one  somewhat  of  the  style  of  Perugino.  He 
died  at  Florence  in  1537.  He  also  practised  the 
art  of  sculpture,  and  Verrocohio  in  his  will  ex- 
pressed a  desire  that  the  completion  of  his  famous 
equestrian  statue  of  Bartolommeo  CoUeoni  "should 
be  intrusted  to  Lorenzo.  It  was,  however,  given 
by  the  Venetians  to  Alessandro  Leopardo  to  finish. 
Giovanni  Antonio  Sogliani  and  Tommaso  di  Stefano 
were  his  pupils.  The  following  paintings  by  him 
may  be  noted : 

^' 
Madonna  and  Child. 
St.  Mary  of  Egypt. 
Madonna  and  Child,  and  St.  John. 
Madonna  and  Child,  with^&old- 

finch. 
Madonna  and  Child,  with   SS. 
Sebastian     and     John     the 
Evangelist. 
The  Nativity. 


Berhn.        Gallery. 
Dresden.     Gallery. 


Florence.    Acadejny. 


Creed 


PAINTERS  AND  ENGRAVERS. 


Cresceuzio 


„         Fitti  Pal. 
London,     ^at.  Gall. 


Munich.      Finakothek. 
Naples.      Museum. 
Paris.         Louvre, 


Borne.     £orghese  Gall. 
Turin. 


Florence.    Uffizi.  Baptism  of  our  Lord. 

II  I,  Christ  appearing  to  the  Magda- 

len. 
»  »  Portrait  of  Andrea  del  Verroc- 

ohio. 
The  Annunciation. 
Holy  Family. 
The  Virgin  and  Child. 
The  Virgin  adoring  the  Infant 

Christ. 
Holy  Family. 
The  Nativity. 
Virgin  and  Child. 
Christ  and  the  Magdalen. 
The  Annunciation. 
Virgin  and  Child,  witi  St.  John 

the  Baptist. 
Virgin  and  Child. 

CREED,  Caeey,  was  an  English  engraver,  who 
published,  in  1731,  a  set  of  plates  of  the  statues  and 
busts  at  Wilton  House,  -which  possess  considerable 
merit. 

CREED,  Elizabeth,  a  daughter  of  Sir  Gilbert 
Pickering,  Bart.,  and  cousin  to  the  poet  Dryden, 
was  born  in  1642.  She  married  a  gentleman 
named  Creed,  of  Oundle,  in  Northamptonshire,  and, 
as  an  amateur,  painted  altar-pieces  for  several 
churches  in  the  neighbourhood,  and  also  portraits 
of  her  friends.     She  died  in  1728. 

CREGAN,  Maetin,  a  portrait  painter,  practised 
both  in  Dublin  and  London.  He  was  born  in 
1788,  and  was  a  member  of  the  Royal  Hibernian 
Academy  from  its  foundation  in  1823,  and  for 
many  years  its  President.  Prom  1812  to  1821, 
whilst  he  resided  in  London,  he  exhibited  yearly 
at  the  Royal  Academy.  His  last  contribution  was 
a  portrait  of  Miss  Dance  as  'Mrs.  Haller.'  He 
returned  to  Dublin  in  1822,  and  was  patronized  by 
the  elite  of  that  city.  He  died  in  1870.  The 
Dublin  National  Gallery  has  a  copy  by  him  of  Sir 
Joshua  Reynolds's  portrait  of  Master  Crewe. 

CREMONA,  Antonio  da,  an  Italian  engraver 
on  wood,  who  flourished  about  the  year  1560. 
Among  other  prints,  he  engraved  a  cut  representing 
'  Mutius  Scsevola  burning  his  hand  in  the  presence 
of  Porsena.'  It  is  executed  on  a  single  block, 
without  any  cross-hatching.  He  is  supposed  to 
be  identical  with  Antonio  Campi. 
'  CREMONA,  Niccol6  da,  was  a  native  of  Cre- 
mona, who  flourished  about  the  year  1518.  Accord- 
ing to  Masini  ('Bologna  perlustrata ')  he  was  a 
good  painter  of  history.  For  Santa  Maria  Mad- 
dalena,  at  Bologna,  he  painted  a  picture  of  the 
'Descent  from  the  Cross  ; '  dated  in  1618.  In  the 
Bologna  Gallery  is  the  '  Marriage  of  the  Virgin ' 
from  the  church  of  San  Giuseppe. 
CREMONBSE,  II.  See  Caletti. 
CREMONESE  dei  PAESI,  II.  See  Bassi,I'kan- 
CESCO  Maeia. 

CREMONINI,  Giovanni  Battista,  was  born  at 
Cento  in  1650.  At  Bologna  he  executed  several 
frescoes  and  friezes  in  chiaroscuro  for  palaces  and 
houses,  and  painted  several  pictures  for  the 
churches  of  San  Girolamo,  San  Domenico,  and 
Madonna  del  Monte.  He  excelled,  however,  more 
especially  as  a  painter  of  decorations  for  theatres, 
festivities,  and  tournaments  ;  many  of  his  pro- 
ductions of  that  class  are  in  the  possession  of  the 
Duke  of  Mirandola.  He  had  great  talent,  but  was 
most  superficial  in  the  execution  of  his  works. 
He  died  at  Bologna  in  1610. 

CRISPIN,  Louis  Philippe,  a  French  marine 
painter,  born  in  Paris  in  1772,  was  a  scholar  of 
Regnault  and  Hubert  Robert ;  he  also  had  lessons 


from  Joseph  Vernet,  and  followed  very  success- 
fully the  stj'les  of  those  masters.  He  was  fond  of 
representing  engagements  between  French  and 
English  vessels  of  war,  particularly  where  the 
former  fought  under  .  great  disadvantage.  He 
painted  many  other  subjects  of  more  general 
interest,  which  will  be  esteemed  when  the  battles 
are  forgotten.  He  painted  in  water  and  body 
colour,  and  etched  and  aquatinted  in  the  English 
manner.     Cr^pin  died  in  Paris  in  1851. 

CREPU,  Jan  Baptist,  (often  called  in  error 
Nicolaas,)  was  born  at  Brussels  in  1680.  He  was 
an  officer  in  the  Spanish  service,  which  he  quitted 
at  about  the  age  of  forty,  and  devoted  himself  to 
flower-painting,  in  which  he  showed  considerable 
talent.  He  composed  well,  and  painted  with  a 
light  and  free  pencil :  his  works  were  highly 
esteemed  by  his  contemporaries.  He  died  at  Ant- 
werp in  1742. 

CRiiFY,  Jean  and  Louis,  (or  Ckespy,)  were  two 
indifferent  French  engravers  and  printsellers.  Jean, 
the  father,  was  born  in  Paris  about  1650,  and 
engraved  some  portraits,  among  which  is  a  series 
of  very  small  ovals  of  the  princes  of  the  royal 
family  of  France,  remarkable  for  their  extremely 
minute  execution.  Louis,  the  son,  was  born  in 
Paris  about  1680.  Many  prints,  especially  por- 
traits, which  bear  the  name  of  Cr^py,  were  not 
engraved,  but  simply  publislied  by  them.  We 
have,  however,  the  following  plates  by  them  : 

Mary  Magdalene ;  Crepy,  inv.  ei  fecit. 

The  Nativity ;  after  Aliani  ;  their  best  print. 

The  Descent  from  the  Cross  ;  afftr  Carlo  Ciynani, 

The  Holy  Family ;  after  Lebrun. 

The  Presentation  in  the  Temple ;  after  the  same. 

CRESCENZI,  Baetolommeo.  See  Cavaeazzi. 
CRESCENZI,  Giovanni  Battista,  Marquis  de 
LA  ToKEE,  an  Italian  painter  and  architect,  was  born 
at  Rome  in  1595.  He  was  a  pupil  of  Pomerancio, 
and  was  brought  to  Spain  by  Cardinal  Zapata 
shortly  before  1617,  in  which  year  he  was  invited 
amongst  others  to  send  in  his  plans  for  the  building 
of  the  Panteon  in  the  Escorial.  A  well-executed 
flower-piece  by  him  is  said  to  have  attracted  the 
attention  of  Philip  III.  His  plans  approved,  in 
1619  he  was  sent  to  Italy,  with  an  allowance  of 
2000  ducats,  and  letters  were  forwarded  to  the 
Spanish  ambassadors  at  foreign  courts  to  collect 
models  and  artisans  in  their  respective  countries . 
Returning  in  1620  with  eight  Italian  and  Flemish 
ae^stants,  he  began  the  buildirg  of  the  Panteon, 
which  occupied  him  38  years,  being  interrupted  in 
1621  by  the  death  of  Philip  III.  By  Philip  IV. 
Crescenzi  was  loaded  with  favours,  created  Marquis 
de  la  Torre,  and  appointed  head  of  the  Board  of 
Woods  and  Works,  with  a  monthly  pension  of  140 
ducats.     He  died  at  Madrid  in  1660. 

CRESCENZIO,  Antonello,  known  as  Anto- 
NBLLO  da  Paleemo,  who,  according  to  De  Marzo, 
was  the  son  of  Antonio  Crescenzio,  was  born 
early  in  the  16th  century,  and  practised  both  as 
a  sculptor  and  a  painter.  He  was  an  assistant 
to  the  sculptor  Gagnino  in  1527.  In  1537  he  com- 
pleted two  copies  of  Raphael's  '  Spasimo  ; '  one  of 
them  is  in  the  Carmelite  Church  at  Palermo,  and 
the  other  in  the  Monastery  of  Fazello,  near  Sciacca. 
The  date  of  his  death  is  uncertain. 
Palermo,     io  Ganzia.     Madonna  and  Child,  dated  1528. 

CRESCENZIO,  Antonio,  a  native  of  Parma,  the 
dates  of  whose  birth  and  death  are  not  known, 
flourished  from  about  1417  to  1440.     He  painted  a 

329 


Crespi 


A  BIOGRAPHICAL  DICTIONARY  OF 


Crespi 


fresco  in  the  hospital  of  Palermo,  representing 
'  Death  on  the  Pale  Horse  smiting  and  threatening 
the  rich  ones  of  this  world,  whilst  the  poor  and 
wretched  in  vain  beg  for  their  release.'  The  chapel 
of  the  Vanni  family,  close  to  the  church  of  Santa 
Maria  e  Gesii,  near  Palermo,  contains  the  remains 
of  wall-paintings  in  monochrome  representing 
different  saints  assigned  to  this  artist.  In  the 
University  Gallery  of  the  same  city  there  is  a 
painting  by  him  of  the  '  Enthroned  Madonna  and 
Saints,'  and  two  panels. 

CRESPI,  Antonio,  the  son  and  pupil  of  Giuseppe 
Maria  Crespi,  painted  much  for  the  churches  of 
Bologna.  He  died  in  1781.  A  picture  of  St. 
Francis  of  Paola  by  him  is  in  the  Bologna  Gallery. 

CRESPI,  Benedetto,  called  Busting,  a  native  of 
Bnsto  Ar-sizio,  near  Milan,  worked  in  Como  about 
the  middle  of  the  17th  century.  In  the  Pinaooteca 
at  Milan  is  a  '  Circumcision  of  Christ '  by  him ; 
and  the  Madrid  Gallery  has  a  'Roman  Charity.' 
He  had  a  son,  Antonio  Maria,  who  was  his  pupil. 

CRESPI,  Danielb,  was  born  at  Busto  Arsizio, 
near  Milan,  in  1590,  and  was  first  a  scholar  of  Gio- 
vanni Battista  Crespi,  c^led  Cerano,  but  afterwards 
studied  under  Giulio  Cesare  Procaccini.  Although 
he  did  not  survive  his  fortieth  year,  he  undoubt- 
edly surpassed  his  first  instructor  ;  and,  according 
to  Lanzi,  in  the  opinion  of  many,  ho  was  equal  to 
the  second.  He  was  an  able  artist  of  the  Milan- 
ese school,  though  little  known  except  in  his  own 
country.  To  an  acute  and  penetrating  genius,  and 
an  uncommon  readiness  of  hand,  he  added  a  judg- 
ment that  enabled  him  to  take  advantage  of  the 
excellences  of  those  who  had  preceded  him,  and  to 
avoid  their  defects.  Although  he  never  frequented 
the  school  of  the  Carracci,  he  appears  to  have 
approved  and  adopted  their  principles  and  their 
practice.  In  the  expression  of  his  heads  he  is 
varied,  yet  select ;  and  is  particularly  admired  for 
the  fervid  devotion  expressed  in  the  character  of 
his  saints.  His  colouring  is  excellent,  both  in  oil 
and  in  fresco,  and  partakes  of  the  strength,  as  well 
as  of  the  amenity,  that  we  admire  in  Titian.  The 
most  esteemed  works  of  this  artist  are  the  '  Taking 
down  from  the  Cross,'  and  several  portraits  in 
fresco,  in  the  Chiesa  della  Passione  at  Milan  ;  and 
his  celebrated  series  of  pictures  of  the  Life  of  St. 
Bruno,  at  the  Oertosa.  Nine  paintings  by  him  are 
in  the  Brera,  and  others  are  to  be  met  with  in  the 
palaces  and  churches  of  Milan  and  the  neighbour- 
ing towns,  as  well  as  in  the  following  galleries : 
Florence.     Vffizi,         An  Old  Beggar. 

„  ,,  His  own  Portrait. 

Madrid.       Gallery,      Pieti, 

Vienna.       Belvedere.    The  Angel  appearing  to  Joseph  in 
a  Dream. 

His  works  have  been  engraved  by  Weggers,  Fer- 
roni,  Longhi,  and  Felsing.  This  able  painter  was 
unfortunately  carried  oflF,  in  the  prime  of  life,  with 
all  his  family,  by  the  plague  which  visited  Milan 
in  1630. 

CRESPI,  Giovanni  Battista,  was  born  at  Ce- 
rano, a  small  town  near  Novara,  in  the  Milanese, 
in  1 557,  and  is  frequently  called  II  Cebano.  He 
was  descended  from  a  family  distinguished  in  the 
art,  who  educated  him  for  the  learned  professions  ; 
and  he  was  a  student  of  great  promise  in  litera- 
ture and  science.  A  strong  attachment  to  paint- 
ing, however,  induced  him  to  follow  the  art  in 
which  his  family  had  acquired  its  celebrity.  He 
attended  the  school  of  Procaccini,  visited  Rome 
and  Venice,  and  established  himself  at  Milan,  where 

330 


he  was  patronized  by  the  duke  and  by  Cardinal . 
Federigo,  made  director  of  the  Academy,  and 
employed  as  an  architect,  tculptor,  and  painter. 
In  his  works  as  a  painter  are  found  many  beauties, 
accompanied  by  unaccountable  defects.  His  style 
is  free  and  spirited,  and  his  colouring  harmonious ', 
but  his  design  is  occasionally  conceited  and  absurd, 
from  an  afEectation  of  the  grand  and  the  graceful. 
Of  these  deficiencies  we  have  evidence  in  his 
pictures  in  the  ChieSa  della  Pace,  where  his  drawing 
of  the  nude  is  heavy  and  tasteless,  and  the  move- 
ment of  his  figures  distorted  by  the  violence  of 
their  attitudes.  His  merits,  however,  must  be 
allowed  to  outweigh  his  defects,  and  some  of  his 
works  may  be  compared  with  the  best  productions 
of  the  Milanese  school  at  his  time.  Such  is  his 
picture  of  the  '  Baptism  of  St.  Augustine,'  in  San 
Marco,  which  disputes  the  palm  with  Giulio  Cesare 
Procaccini,  and  in  the  judgment  of  some  is  superior. 
Soprani,  in  the  'Life  of  Sinibaldo  Scorza,'  says  that 
this  artist  excelled  in  painting  animals  and  birds, 
of  a  cabinet  size.  He  died  at  Milan  in  1633. 
Other  paintings  by  him  are  as  follow : 

Berlin.       Gallery.         An  Assembly  of  Francisca,n8. 
Milan.       Brera.  Madonna  del  Bosario. 

Vienna.    Belvedere.      Christ  appearing  to  the  Apostles 
SS.  Peter  and  Paul. 

CRESPI,  Giuseppe  Maria,  called  Lo  Spagnuolo, 
a  name  given  to  him  by  his  fellow-students  on 
account  of  the  finery  of  his  dress,  was  a  painter 
and  etcher,  born  at  Bologna  in  1665.  He  studied 
first  under  A.  M.  Toni,  and  then  entered  the  school 
of  D.  M.  Canuti,  but  afterwards  passed  some  time 
under  C.  Cignani,  and  still  later  under  G.  A.  Bur- 
rini.  He  visited  Venice,  Parma,  and  Modena, 
where  he  painted  after  the  style  of  Barocci,  Guer- 
cino,  and  Pietro  da  Cortona.  Desirous  of  discover- 
ing and  establishing  a  new  mode  of  working,  he 
adopted  a  flimsy  method  of  colouring,  without 
solidity,  and  consisting  chiefly  of  glazing,  which 
has  occasioned  many  of  his  works  to  become  almost 
obliterated.  He  bad  a  particular  talent  for  cari- 
cature ;  and  some  of  his  compositions  of  that  kind 
are  full  of  humour  and  eccentricity.  He  was  for 
some  time  in  the  employment  of  the  Grand-Duke 
Ferdinand,  for  whom  he  executed  sever^  works  in 
the  Pitti  Palace.  He  died  blind  at  Bologna  in 
1747.  There  are  many  of  his  pictures  in  the 
churches  and  palaces  of  Bologna,  besides  those 
in  the  under-mentioned  galleries  : 
Bologna.        S.  Niccolb.  St.  Anthony  the  Abbot. 

„  Finacoteca.  Madonna  with  Saints  and  Angels. 

Dresden        Gallery.       The  Virgin  and  Child,  and  St. 
John. 
Also  eleven  others. 
Ferrara.        Gesu.  Swooning  of  St.  Stanislaus.. 

Florence.      JPitti  Fat.   Holy  Family. 

„  ,,  Portrait  of  an  Old  Man. 

„  TJff.zi.  His  own  Portrait. 

Munich.        Gallery.      A  weeping  Nun. 
Paris.  Louvre.       A  Schoolmistress. 

Petersburg.  Hermitage.  Holy  Family. 

„  „  Death  of  St.  Joseph. 

„  „  Portrait  of  Himself. 

Vienna.        Belvedere.  The     Centaur    Chiron    teaching 
Achilles  to  shoot. 

„  „  .*neas  and  the  Cumseaii  Sibyl  on 

Charon's  Boat. 

Giuseppe  Maria  Crespi  has  etched  several  plates, 
some  of  which  bear  the  name  of  L.  Mattioli,  a 
friend  of  his,  whom  he  assisted  in  his  distress, 
The  following  are  among  the  number : 

The  Massacre  of  the  Innocents. 

Two  plates  of  the  Resurrection ;  in  the  style  of  Eemlrandt. 


Crespy 


PAINTERS  AND  ENGRAVERS. 


Creutzfelder 


The  Miraculous  Crucifix  of  Pistoja. 

St.  Anthony ;  in  the  manner  of  Rembrandt. 

St.  Pascal. 

Five  plates  of  the  Trades ;  in  the  style  of  S.  Rosa. 

A  Shepherd  and  Shepherdess. 

The  Circumcision  ;  after  L.  Carracci. 

The  Nurse ;  after  Van  Dyck. 

Besides  Antonio,  he  had  two  sons  who  were  also 
artists :  LuiGi,  who  held  certain  ofBces  in  the  papal 
court,  wrote  '  Vite  dei  Pittori  Bolognesi,'  1769,  and 
died  in  1779  ;  and  Ferdinando,  a  Franciscan  monk, 
who  painted  miniatures,  and  died  in  1754. 

CRESPY,  Jean  and  Louis.    See  CkiSpy. 

CRESTl,  BoMENico,  called  II  Passignano,  was 
bom  at  Passignano,  near  Florence,  in  1558.  He 
was  first  a  scholar  of  Macchietti  and  of  Battista 
Naldini,  but  afterwards  studied  under  Federigo 
Zuccaro,  to  whose  style  his  own  is  more  conform- 
able. He  resided  some  time  at  Venice,  where 
he  received  instruction  from  Paolo  Veronese,  and 
became  so  fascinated  with  the  works  of  the  great 
masters  of  the  Venetian  school,  that,  according 
to  Boschini,  he  used  to  observe,  that  whoever 
had  not  seen  Venice  could  not  hope  to  become 
a  painter.  Though  neither  select  in  his  forms 
nor  correct  in  his  design,  he  is  ingenious  and 
abundant  in  his  compositions ;  and  in  the  splen- 
dour of  his  costumes  and  the  richness  of  his 
architecture  he  resembles  Paolo  Veronese  more 
than  does  any  other  of  the  Florentine  painters. 
He  sometimes  reminds  us  of  Tintoretto,  in  the 
strained  attitudes  of  his  figures,  and,  like  that 
master,  he  painted  many  of  his  pictures  with 
colours  so  thin  and  oily,  that  several  of  his  works 
have  perished.  Such  has  been  the  fate  of  his 
pictures  of  the  '  Crucifixion  of  St.  Peter,'  and  the 
'Presentation  in  the  Temple,'  painted  for  the 
Basilica  of  St.  Peter,  in  the  pontificates  of  Paul  V. 
and  Urban  VIII.  There  are,  however,  some  of 
his  pictures  remaining,  which  are  painted  with  an 
excellent  impasto  of  colour.  Of  these  may  be 
mentioned  a  'Dead  Christ,'  in  the  Cappella  di 
Mondragone,  at  Frascati ;  a  '  Descent  from  the 
Cross,'  in  the  Palazzo  Borghese,  at  Rome ;  and 
'  Christ  bearing  the  Cross,'  in  the  Ufiizi,  at  Florence. 
His  extraordinary  facility  and  rapidity  of  execution 
won  for  him  the  nickname  '  Passa  ognuno,'  a  play 
upon  his  surname  of  'Passignano.'  He  died  in 
1638.   The  following  are  also  among  his  paintings : 

Florence.  |  %^^f^^  |     The  Descent  of  the  Holy  Ghost. 


Paris. 


Uffizi. 
Louvre. 


The  Assumption. 
His  own  Portrait. 
Christ  bearing  the  Cross. 
A  Miracle  of  the  true  Cross. 


^^'■{iifa^vlue.}     The  Assumption, 
Vienna.      Belvedere.        Feast  of  Ahasuerus. 

CRESWICK,  Thomas,  a  landscape  painter,  was 
born  at  Sheffield  in  1811.  He  was  sent  when  very 
young  to  Birmingham,  where  he  became  a  pupil 
of  J.V.  Barber.  He  went  to  London  in  1828, 
and  immediately  commenced  to  exhibit  at  the 
British  Institution,  and  at  the  Royal  Academy, 
to  both  of  which  he  was  henceforward  a  constant 
contributor.  His  early  works,  which  were  chiefly 
Welsh  scenes,  had  a  great  success,  and  in  1840  he 
began  to  exhibit  views  in  the  North  of  England. 
In  1842  he  was  awarded  a  premium  of  fifty  guineas 
by  the  directors  of  the  British  Institution  for  his 
general  excellence,  and  in  the  same  year  he  was 
elected  an  Associate  of  the  Royal  Academy:  nine 
years  later  he  became  an  Academician.  The  quiet 
beauties  of  inland  scenery,  and  more  especially 


scenes  with  rippling  streams,  quiet  riverside  nooks, 
and  glens  and  dells,  were  his  favourite  subjects, 
although  occasionally  he  painted  coast  scenes. 
His  power  in  the  delineation  of  aerial  perspective 
and  his  knowledge  of  the  effects  of  colour  were 
almost  equal  to  Turner.  Some  of  Creswick's  later 
pictures  were  painted  in  conjunction  with  Goodall, 
Elmore,  John  Phillip,  Frith,  and  Ansdell,  who 
introduced  the  figures  and  cattle.  He  was  an 
active  member  of  the  Etching  Club,  and  furnished 
many  charming  etchings  for  its  pubhcations ; 
notably  the  editions  of  Gray's  'Elegy,'  Milton's 
'  L'Allegro,'  and  Goldsmith's  '  Deserted  Village.' 
He  also  occasionally  drew  on  wood  blocks.  He 
died  in  London  in  1869,  and  was  buried  at  Kensal 
Green  Cemetery. 

The  following  are  some  of  his  principal  works  : 

1839.    The  Pathway  to  the  Village   Church  {in    thi 
National  Gallery). 

1842.  Afternoon. 

1843.  Welsh  Glen. 

1844.  A  Scene  on  the  Tummel,  Perthshire  {in  the  South 

Kensington  Museum). 
1844.    A  Summer's  Afternoon  {in  the  South  Kensington 


1845.  A  Kecollection  of  the  Alps. 

1845.  Eain  on  the  Hills. 

1846.  The  pleasant  way  home. 
.  1847.  England. 

1847.  The  London  Koad  a  hundred  years  ago. 

1849.  Passing  Showers. 

1850.  The  Wind  on  shore. 
1850.  First  glimpse  of  the  Sea. 
1850.  Old  Trees. 

1850.  South  Downs  {the  sheep  are  hy  Ansdell). 

1851.  The  Valley  Mill. 

1851,  Over  the  Sands. 

1852.  A  Mountain  Lake — Moonrise. 
1854.  The  Blithe  Brook. 

1859.  The  Village  Bridge. 

1861.  In  the  North  Countrie. 

1864.  Across  the  Beck. 

1865.  Changeable  "Weather. 

A  Dream  of  the  Future  {the  girl  is  ly  Frith,  and 
the  dog  hy  Ansdell). 

Upwards  of  a  hundred  of  Creswick's  works  were 
exhibited  at  the  International  Exhibition  in  London 
in  1873. 

CRETI,  DoNATO,  was  born  at  Cremona  in  1671, 
and  was  educated  at  Bologna,  under  Lorenzo 
Pasinelli,  whose  style  he  blended  with  an  imitation 
of  the  works  of  Simone  Cantarini,  and  so  formed 
a  manner  which  has  little  claim  to  originality.  His 
colouring  is  distinguished  by  a  hardness  and 
crudity,  occasioned  by  his  never  properly  blending 
his  tints.  He  resided  chiefly  in  Bologna,  where  he 
painted  several  pictures  for  the  churches — for  San 
Pietro  an  altar-piece  of  '  St.  Charles  Borromeo  ask- 
ing Charity  for  the  Poor; '  for  San  Domenico,  'St. 
Vincent  of  Ferrara  resuscitating  a  Child  ; '  for  San 
Luca,  the  '  Coronation  of  the  Virgin,'  one  of  his 
best  works ;  and  for  the  Mendicanti,  the  '  Ador- 
ation of  the  Magi.'  In  the  Palazzo  Pubblico,  he 
painted  four  pictures  of  the  'Life  of  Achilles' 
and  other  works.  He  was  also  employed  in  the 
churches  at  Rimini,  Bergamo,  Lucca,  and  Palermo. 
The  Bologna  Gallery  possesses  a  '  Coronation  of 
Charles  V.  at  Bologna'  by  him.  He  died  at 
Bologna  in  1749. 

CREUSE,  AtJGUSTB  DE,  a  French  portrait  painter, 
who  was  born  at  Montrond  (Doubs)  in  1806,  and 
died  in  Paris  in  1839.  He  was  a  pupil  of  Gros, 
and  painted  many  of  the  historical  portraits  which 
are  at  Versailles. 

CREUTZFELDER,  Johann,  a  portrait  painter, 
was  born  at  Nuremberg  in  1570.    He  was  a  scholar 

331 


Crevoisier 

of  N.  Juvenel,  and  painted  also  historical  subiects. 
His  paintings  representing  Martyrdoms  are  beauti- 
fully executed.  He  died  at  Nuremberg  in  1636. 
There  are 'by  him  : 

Nuremberg. -S.&SttZtiMS.  Adam  and  Eve.    1603. 
Vienna.        Belvedere.     The  Martyrdom  of  St.  Ignatius. 

He  signed  his  portraits  with  this  monogram    ^ 

CKEVOISIER,  Marie  Jeanne.     See  Clemens. 

CRISCUOLO,  Giovanni  Angelo,  was  the  younger 
brother  of  Giovanni  Filippo  Crisouolo.  Although 
he  showed  an  early  inclination  for  art,  his  father 
would  not  permit  him  to  make  it  his  profession, 
but  obliged  him  to  follow  the  business  of  a  notary. 
On  the  death  of  his  father,  the  reputation  his 
brother  had  acquired  induced  him  to  abandon  his 
occupation,  and  place  himself  under  the  tuition 
of  Marco  di  Pino  da  Siena,  by  whose  instruction  he 
became  a  reputable  artist.  Dominici  describes 
many  of  his  works  in  the  churches  at  Naples, 
among  which  is  an  altar-piece  in  the  church  of 
San  Stef ano,  representing  the  '  Martyrdom  of  St. 
Stephen ' ;  in  Monte  Calvario,  a  picture  of  the 
'Virgin  and  Infant,  with  St.  Jerome,'  dated  1572 ; 
in  San  Severino,  an  '  Annunciation  ; '  and  in  San 
Giacomo  degli  Spagnuoli,  an  '  Assumption  of  the 
Virgin.'  He  wrote  a  '  History  of  the  Neapolitan 
Artists  to  1569.'  The  exact  date  of  his  death  is 
not  known  ;  some  say  about  1580. 

CRISOUOLO,  Giovanni  Filippo,  was  born  at 
Gaeta  in  1495.  He  was  instructed  in  painting  by 
A.  Sabbatini,  but  afterwards  devoted  his  attention 
rather  to  the  works  of  Perino  del  Vaga.  He  died 
at  Naples  in  1684.     His  best  works  are  as  under : 

Naples.    S.  Patrisia.    The  Adoration  of  the  Magi. 

iS  iK".  i)oK)!a  I  The  Death,  Ascension,  and  Coro- 
Regina.     /     nation  of  the  Virgin. 

CRISCUOLO,  Maeianqiola,  who  married  Gio- 
vanni d'Amato  the  younger,  is  apparently  known 
only  by  some  finely-executed  'Madonnas'  in  two 
of  the  churches  of  Naples. 

CRISPI,  SciPiONB,  was  a  Piedmontese  painter, 
born  at  'Tortona,  who  flourished,  according  to 
Lanzi,  from  the  year  1692  till  1599.  It  is  uncer- 
tain by  whom  he  was  instructed;  but  he  was  an 
artist  of  considerable  merit,  as  is  evident  from  his 
picture  of  the  '  Visitation  of  the  Virgin  to  St.  Eliza- 
beth,' in  the  church  of  San  Lorenzo,  at  Voghera, 
and  an  altar-piece  at  Tortona  of  '  SS.  Francis  and 
Dominic,'  which  is  dated  1692. 

CRISFINUS.     See  Van  den  Broeck. 

CRISTALL,  Joshua,  was  born  in  1767  at  Cam- 
bourne  in  Cornwall.  His  father  was  Scotch,  and 
was  bitterly  opposed  to  his  son's  artistic  tastes,  but 
his  mother  secretly  aided  him  in  his  struggles  to 
study  art.  He  was  first  apprenticed  to  a  china 
dealer  at  Rotherhithe,  but,  finding  that  business  too 
irksome,  he  left  both  his  master  and  his  home,  and 
went  to  the  Potteries,  where  he  found  some  em- 
ployment as  a  china  painter.  Finding  this  too 
monotonous,  he  came  to  London,  and  commenced 
a  life  of  great  privations  and  hard  efforts  to  study 
the  fine  arts.  It  is  said  that  at  this  period  of  his 
life  he  seriously  injured  his  health  by  trying  to  live 
for  a  year  on  nothing  else  but  potatoes  and  water. 
Aided  in  secret  by  his  mother,  who  shared  in  and 
had  herself  directed  his  taste  for  classic  art,  he 
persevered  in  his  endeavours,  and  finally  gained 
admission  to  the  school  of  the  Royal  Academy, 
where  he  made  rapid  progress.  He  became  per- 
sonally known  to  Dr.  Monro,  and  visited  at  his 

332 


A  BIOGRAPHICAL  DICTIONARY  OF 


Criatus' 


house,  where  he  met  the  rising  water-colour  artists 
of  that  day.  At  the  foundation  of  the  Society 
of  Painters  in  Water-Colours  in  1805,  he  first  pub- 
licly exhibited  his  works,  and  continued  to  do  so 
for  many  years.  He  was  one  of  the  foundation 
members  of  this  society,  and  afterwards  became  its 
President,  and  was  always  its  warm  and  active 
supporter.  In  1822,  finding  his  health  much  im- 
paired, Cristall  went  to  Goodrich  on  the  Wye, 
where  he  had  already  bought  a  house,  and  where 
he  spent  many  happy  years  until  the  loss  of 
his  wife,  who  died  in  1840,  drove  him  again  to 
London,  where  he  died  in  1847.  His  body  was 
carried  to  Goodrich,  and  buried  by  the  side  of  his 
wife,  at  his  own  earnest  request.  Cristall's  usual 
subjects  in  his  early  years  were  classical  figures  with 
landscapes,  such  as  his  'Lycidas,'  'Judgment  of 
Paris,'  '  Hylas  and  the  Nymphs,'  and  '  Diana  and 
Endymion,'  but  he  afterwards  produced  genre  sub- 
jects and  rustic  groups.  About  1813  he  tried  portrait 
painting,  generally  small  full-lengths  with  landscape 
backgrounds,  in  which  he  used  no  body-colour.  As 
a  water-colour  painter  Cristall  will  always  hold  an 
honourable  position  from  the  freedom  and  sim- 
plicity of  his  style  and  manner  of  execution.  Five 
of  his  drawings,  viz.  '  The  Young  Fisher-Boy,'  '  The 
Fish  Market  on  Hastings  Beach,'  and  three  others, 
are  in  the  South  Kensington  Museum.  Cristall  was 
one  of  the  early  members  of  the  Sketching  Society  : 
he  also  furnished  some  of  the  classical  figures  in 
Barret's  landscapes,  as  well  as  some  of  the  groups 
in  Robson's 'Scotch  Scenery.' 

CRISTIANI,  Giovanni  di  Baetolommeo,  who 
lived  at  Pistoja  in  the  14th  century,  is  thonglit 
by  Ciampi  to  have  been  employed  at  the  Campo 
Santo  of  Pisa  in  1382.  He  is  known  to  have 
painted  a  '  Virgin  and  Child  between  SS.  Nicholas 
and  John  the  Baptist '  in  the  Oratorio  dei  Nerli  at 
Montemurlo.  His  last  work,  which  is  now  lost, 
was  the  decoration  of  a  church  in  Pistoja,  which 
was  begun  in  1396  and  finished  in  1398.  Very 
little  remains  of  this  artist's  productions,  and  no 
exact  date  is  known  of  his  death.  In  the  Sacristy 
of  San  Giovanni  Evangelista  at  Pistoja  there  is  a 
painting  by  him  of  '  St.  John  the  Baptist  enthroned 
with  Angels '  (1370). 

CRISTOFANO,  a  painter  of  Bologna,  aided 
Jacopo  and  Simone  in  the  production  of  a  series 
of  frescoes,  completed  in  1404,  in  the  church  of 
the  Madonna  della  Mezzaratta  in  that  city. 

CRISTOFORO,  Babio,  and  Pieteo  Paolo,  two 
artists,  father  and  son,  who  were  the  founders  of  the 
mosaic  school  in  the  Vatican  during  the  pontificate 
of  Clement  XL  (1700—1721),  are  deserving  of 
notice  for  the  perfection  to  which  they  carried  that 
art.  They  executed  in  the  Basilica  of  St.  Peter, 
from  the  originals,  the  '  Communion  of  St.  Je- 
rome,' after  Domenichino  ;  '  St.  Petronilla,'  after 
Guercino ;  the  '  Baptism  of  Christ,'  after  Carlo 
Maratti ;  and  other  works.  Pietro  Paolo  Cristoforo 
died  in  1740. 

CRISTOFORO  da  BOLOGNA.     See  Bologna. 

CRISTOFORO  DA  PARMA.     See  Caselli. 

CRISTUS,  Peteus,  sometimes  wrongly  called 
Christophsen,  was  born  at  Baerle,  near  Tronchi- 
ennes,  in  Flanders,  early  in  the  15th  century,  and 
attended  the  school  of  the  Van  Bycks.  In  his 
early  paintings  he  imitated  tliose  masters,  but  lie 
was  inferior  to  Hubert  in  his  style,  and  did  not  by 
far  approach  Jan,  either  in  his  design  or  colour- 
ing. His  later  works  are  more  after  the  style 
of  the  Masters  of  Cologne.     About  1417  he  began 


Crivellari 


PAINTERS  AND  ENGRAVERS. 


Crivelli 


to  paint  in  oil ;  was  made  a  burglier  of  Bruges  in 
1444 ;  entered  the  Guild  of  St.  Luke  there  in  1450 ; 
worked  at  Cambrai  in  1454,  and  at  Bruges  in  1463, 
where  he  was  elected  Dean  of  the  Guild  in  1471. 
His  works  are  executed  with  great  care,  but  the 
forms  of  the  figures  are  clumsy  and  the  carnations 
are  red-brown.  The  following  is  a  list  of  several 
of  his  paintings : 


Antwerp.        Gallery. 
Berlin.  Gallery. 


Bruges.        Academy. 


Cologne.  OppenheCm  Coll. 


Copenhagen.  Gallery. 
Florence.  Pj^zi. 


Frankfort.   Stddel  Inst, 


Gorhambiuy.    Sari  of  \ 

Verulam.  | 

London.  National  Gall. 


Madrid.        Gallery. 


Petersburg.  Hermitage. 


St.  Jerome  (dimUfiU). 

The  Last  Judgment,  1  ^"^^''^  > 
The    Annuuoiation,  I    «,<^«'»'«« 
and  the  Nativity.  J     "^^^''S'"- 

A  Young  Lady  of  the  Talbot 
Family. 

The  Genealogy  of  Christ.  Painted 
f&r  the  Annual  Procession  of 
the  Holy  Blood  in  that  city. 
1463. 

.St.Blisius.  Painted  for  the  Guild 
of  the  Goldsmiths  at  Antwerp. 
1449. 

St.  Anthony  with  Patron. 

Portraits  of  a  Man  and  a  Woman 
{assigned  erroneously  to  Van  der 
Goes). 

The  Madonna  and  Child,  with 
SS.  Francis  and  Jerome.  1417 
[1447?]. 

Portrait  of  Edward  Grimston. 
1446. 

Portrait  of  Marco  Barbarigo 
(ascribed  in  the  catalogue  to 
Gerard  van  der  Meire,but  thought 
hy  Crowe  and  Cavalcaselle  to  be 
by  PeiTU-s  Cristus), 

St.' John  the  Baptist,  St.  Barbara, 
and  the  Donors  (ascribed  in  the 
catalogue  to  Jan  van  Eyck,  but 
conjectured  by  Crowe  and  Caval- 
caselle to  be  by  Petrus  Cristus). 
1438. 

The  Annunciation,  Visitation, 
Nativity,  and  Adoration. 

Two  wings  of  a  triptych:  Christ 
Crucified,  and  Christ  in  Judg- 
ment. 

(See  'Le  Beffroi,'  1863,  and  Crowe  and  Cavalcaselle's 
'  Early  Flemish  Painters,'  1872.) 

CRIVELLARI,  Bartolommeo,  was  a  Venetian 
engraver,  born  in  1725.  He  was  a  pupil  of  Joseph 
Wagner,  for  whom  he  executed  several  plates, 
after  Gherardini,  Tiarini,  and  Tiepolo.  We  have 
by  him  the  following  : 

The  Portrait  of  Christian,  Electoral  Prince  of  Saxony. 
The  Portrait  of  the  Archduchess  of  Austria. 
Three  Portraits  from  the  Life  of  St.  Pietro  Petronio. 
Four  Plates  of  musical  and  gallant  Assemblies;  after 

Niccolb  dell'  Abbate. 
The  Canonization  of  St.  Alexander  Saul;   after  M. 

Bartoloni. 

CRIVELLI,  Angiolo  Maria,  called  Ckivel- 
LONE,  was  a  native  of  Milan,  who,  acsording  to 
Orlandi,  painted  animals  and  hunting-scenes  with 
surprising  truth  a^d  spirit,  and  was  considered  one 
of  the  ablest  painters  of  those  subjects  whom  his 
country  had  produced.  He  died  in  1730.  Two 
pictures  of  ruins  by  him,  with  figures  by  Alessan- 
drino,  are  in  the  Dresden  Gallery ;  and  the  Brera, 
Milan,  has  a  '  Portrait  of  a  Huntsman '  by  him. 

CRIVELLI,  Carlo,  who  was  probably  born  at 
Venice  between  1430  and  1440,  is  likely  to  have 
been  the  pupil  of  Antonio  and  Bartolommeo  da 
Murano.  Ridolfi  says  that  he  derived  his  instruction 
from  Jacobello  dei  Fiori,  but  this  statement  cannot 
be  correct,  as  Jacobello  flourished  too  long  before.  [ 
There  is  a  '  Virgin  and  Child,'  formerly  in  the  con-  J 


vent  of  San  Lorenzo,  and  now  in  the  Museum  of 
Verona,  which  is  one  of  his  earliest  productions,  and 
which  much  recalls  the  two  above-named  artists. 
For  over  twenty-two  years  he  seems  to  have  almost 
exclusively  worked  in  those  cities  which  lie  in  the 
Marches  of  Ancona,  between  Potenza  and  Tronto. 
In  the  sacristy  of  San  Silvestro,  Massa,  is  an  altar- 
piece  of  his  in  tempera,  now  hanging  in  detached 
pieces,  signed  and  dated  1468.  The  cathedral  of 
Asooli  has  a  '  Virgin  and  Child  between  SS.  Peter, 
John  the  Baptist,  Emidius,  and  Paul,'  dated  1473. 
In  1476  he  completed  the  great  altar-piece,  in  tem- 
pera, for  San  Domenioo,  at  Ascoli,  now  in  the  Na- 
tional Gallery,  London.  In  1490  he  was  knighted 
by  Prince  Ferdinand  of  Capua,  and  immediately 
afterwards  in  a  picture  which  he  painted  for  the 
Odoni  Chapel,  in  San  Francesco  of  Matelioa,  he 
signed  himself  Crivellus,  Venetus  Miles,  and  never 
afterwards  omitted  the  title  on  his  pictures.  His 
latest  painting  is  the  'Coronation  of  the  Virgin, 
with  Saints,'  dated  1493,  now  in  the  Oggioni  Col- 
lection at  Milan.  The  exact  date  of  his  death  is 
unknown.  There  are  many  paintings  by  this  artist 
in  English  and  Continental  galleries.  They  are 
all  in  tempera.  Amongst  them  are  : 
Ancona.  Zoccolantidi\j^^ 

S.  Francesco.  J  ■^°•""""''• 
Ascoli.        Cathedral.    The  Twelve  Apostles.    1473. 
„  „  PietA. 

„  „  The  Virgin  and  Child,  with  Saints. 

Brussels.    Museum.       Madonna. 

„  „  St.  Francis  of  Assisi. 

Frankfort.  Stddel  Inst.  The  Annunciation. 
London.     Wat.  Gall.    The  Dead  Christ. 

„  „  The  Beato  Ferretti.     - 

„  „  Madonna    and    Child    enthroned, 

with  SS.  Jerome  and  Sebastian. 
„  „  The  Annunciation.     1486. 

„  „  Madonna    and    Child    enthroned, 

surrounded  by  Saints  (an  altar- 
piece  in  three  stages  and  thirteen 
compartments).    1476. 
„  „  Madonna    and    Child  enthroned 

1491. 
„  „  Madonna  in  ecstasy.     1492. 

„  SS.    Catharine    and    Mary    Mag- 

dalene. 
„  Grosvenor  House.  Madonna  and  Saints.    1491. 
„     Dudley  House.    The  Virgin. 
„  „  A  Pieta. 

Milan.        Brera.  Virgin  and  fonr  Saints.     1482. 

„  „  Virgin  and  Child. 

„  „  Various  Saints. 

Louvre.         St.  Bernardino  of  Siena.    1477. 
„  Pieta. 

Esterhazy  Gall.  Madonna. 
Vatican.  Madonna. 

,,  ,,  x^ieija. 

„      Lateran  Mus.     Virgin  and  Saints. 

There  is  in  San  Pietro  ad  Aram  at  Milan,  a 
Madonna,  dated  1497,  by  an  obscure  Peotasio  de' 
Crivelli  of  that  city. 

CRIVELLI,  Jacopo,  the  son  of  Angiolo  Maria 
Crivelli,  painted  birds  and  fish.  He  worked  much 
at  the  court  of  Parma,  and  died  in  1760. 

CRIVELLI,  Taddbo,  a  miniature  painter  of 
Ferrara  in  the  15th  century,  was  engaged  from 
1455  to  1461,  in  company  with  Franco  de'  Russi, 
in  painting  the  pictures  in  the  costly  Bible  of 
Duke  Borso  of  Ferrara ;  he  also  illustrated  a  num- 
ber of  other  works.     He  died  about  1484. 

CRIVELLI,  ViTTORio,  was  a  relation,  some  say 
a  brother,  of  Carlo  Crivelli,  and  learned  his  art 
from  him.  He  lived  in  the  15th  century,  and 
closely  imitated  his  namesake.  At  Fermo,  in  the 
possession  of  Cavaliere  Vinci,  is  an  altar-piece 
signed  and  dated  by  him  in  1481.     In  the  church 

333 


Paris. 


Pesth. 
Eome. 


Crivellone 


A    BIOGRAPHICAL   DICTIONARY   OF 


Crome 


of  Santa  Maria  del  Pozzo,  Monte  San  Martino,  the 
altar-piece  representing  the  'Virgin  enthroned,  the 
Ciiild  giving  the  kejB  to  St.  Peter,'  is  dated  1489 ; 
and  at  Alia  Matrice  in  the  same  town,  the  altar- 
piece  by  him  is  dated  1490.  The  South  Kensing- 
ton Museum  possesses  a  '  Virgin  and  Child,'  with 
other  subjects,  painted  by  Vittorio  Crivelli.  A 
'Birth  of  Christ,'  and  various  Saints,  by  him,  are 
in  the  Brera,  Milan.  No  dates  are  known  as  to  his 
birth  or  death. 

CRIVELLONE.    See  Ckivelli,  Angiolo  Maria. 

CEOCE,  Baldassarb,  was  born  at  Bologna  in 
1563.  He  was  instructed  by  Bartoldmmeo  Passa- 
rotti,  and  visited  Rome  during  the  pontificate  of 
Gregory  XIII.,  by  whom  he  was  employed  in  the 
'Vatican.  He  painted  with  great  power  and  free- 
dom, both  in  oil  and  fresco.  His  principal  works 
at  Rome  are  the  cupola  of  the  chapel  of  San 
Francesco  in  the  church  of  the  Gesu  ;  the  vault 
of  the  choir  in  St.  John  Lateran ;  and  the  '  His- 
tory of  Susannah,'  in  the  church  of  her  name.  He 
executed  also  some  paintings  in  the  town-hall  at 
Viterbo.     He  died  at  Rome  in  1638. 

CROCE,  Sai^ta.     See  Santa  Croce. 

CKOGE,  Teodoro  della.     See  Veekrtjys. 

CROCIFISSAJO,  GiROLAMO  del.     See  Macchi- 

ETTI. 

CEOCIPISSI,  SiMONE  DEI.    See  Bologna,  Simone 

DA. 

GROISEY,  P.,  a  French  line-engraver  and  pub- 
lisher, who  worked  at  Versailles,  and  died  at  the 
commencement  of  the  present  century,  executed  a 
large  number  of  maps.  He  also  engraved  an  oval 
medallion  of  Queen  Marie  Antoinette,  when  Dau- 
phiness  of  France,  which  is  one  of  the  best  portraits 
extant  of  the  youthful  princess. 

CROISIER,  Marie  Anne,  a  French  engraver, 
born  in  1765,  was  a  pupil  of  Augustin  de  Saint- 
Aubin.  She  at  first  engraved  some  subjects  after 
the  old  masters,  but  these  she  abandoned  for  poli- 
tical pieces  in  the  days  of  the  Revolution.  There 
is  by  her  a  beautifully  executed  plate  representing, 
in  three  small  medallions,  the  Duke  of  Orleans,  the 
Duke  of  Chartres  (Philippe  Egalite),  and  the 
Duchess  of  Chartres. 

CROLA,  Geoeg  Heinrioh,  a  Geiman  landscape 
painter,  was  born  at  Dresden  in  1804.  He  went  to 
Munich  in  1830,  and  was  until  1840  a  prominent 
member  of  the  group  of  landscape  painters  estab- 
lished in  that  city.  In  the  latter  year  he  married 
and  settled  in  the  Harz,  where  he  died  at  Ilsenburg 
in  1879. 

CROLL,  Francis,  was  born  at  Edinburgh  in  1827, 
and  was  first  articled  to  an  engraver,  naturalist, 
and  excellent  draughtsman  of  that  city,  named 
Debbie.  He  was  subsequently  placed  with  R.  C. 
Bell,  with  whom  he  remained  two  years.  Besides 
his  labours  for  Bell,  CroU  had  found  time  to  attend 
the  drawing  lessons  given  by  Sir  William  Allan,  the 
then  director  of  the  schools  of  the  Scottish  Academy, 
by  which  he  greatly  profited.  Besides  the  por- 
traits with  which  he  was  entrusted  by  the  publishers 
of  Edinburgh  for  their  various  works,  Croll  en- 
graved '  The  Tired  Soldier,'  after  Goodall,  for  the 
Vernon  Gallery.  The  Scottish  Society  for  the 
Encouragement  of  Art  commissioned  him  to 
engrave  one  of  the  series  of  plates  from  the  designs 
of  John  Faed  for  '  The  Cottar's  Saturday  Night,' 
but  this  unhappily  he  was  not  able  to  complete 
before  his  death,  which  took  place  in  1854. 

CROME,  John— or  '  Old  Crome,'  as  he  is  usually 
styled  to  distinguish  him  from  his  eldest  sou,  John 

334  ' 


Bernay  Crome,  who  was  also  a  painter — was  born 
in  a  small  public-house  in  Norwich,  in  1769.  His 
father  was  a  journeyman  weaver  by  trade,  and  his 
early  surroundings  were  of  the  poorest  description, 
and  it  is  not  likely  that  he  received  more  than  tlje 
mere  rudiments  of  education.  At  twelve  years  of 
age  he  started  in  life  for  himself  in  the  capacity  of 
errand-boy  to  Dr.  Rigby,  a  physician  in  Norwich  ; 
but  finding  the  distribution  of  medicine  an  unsatis- 
factory employment  for  his  youthful  energies,  he 
soon  gave  it  up,  and  of  his  own  accord  apprenticed 
himself  for  seven  years  to  a  certain  Frank  Whisler, 
a  house  and  sign  painter  in  Norwich.  Here  he 
learnt  the  use  of  the  brush,  and  quickly  became 
ambitious  of  applying  it  to  other  subjects  than 
the  painting  of  cornices  and  coaches.  After  his 
apprenticeship  was  over  he  worked  for  a  time  as 
journeyman  to  Whisler,  and  is  said  to  have  been 
the  first  painter  who  practised  graining  in  imitation 
of  the  natural  marks  in  wood.  During  this  period 
he  forraed  an  intimate  friendship- with  Robert  Lad- 
brooke,  who  was  then  an  apprentice  to  a  printer. 
The  two  youths  spent  all  their  spare  time  in  draw- 
ing and  studying  together,  sometimes  from  old 
prints,  but  more  often  from  nature. 

Among  Crome's  earliest  patrons  were  Sir 
William  Beechey,  and  a  Mr.  Harvey,  who  let  him 
copy  from  his  collection  of  Flemish  and  Dutch 
paintings.  Whenever  Crome  went  to  London  he 
passed  a  great  part  of  his  time  in  Beechey's 
painting-room,  gaining  all  the  practical  instruc- 
tion he  could.  He  was  also  patronized  by  Mr. 
John  Gurney,  of  Barlham,  and  Mr.  Dawson 
Turner  ;  but  in  spite  of  the  help  afforded  by  these 
and  a  few  other  Norfolk  gentlemen,  it  is  to  be 
feared  that  Crome  had  a  hard  struggle  before 
assuring  a  position.  He  found  himself  obliged 
to  devote  more  and  more  time  to  teaching,  which 
brought  him  for  a  long  period  far  better  remunera- 
tion than  landscape  painting.  Insensibly,  also, 
it  brought  him  into  greater  local  repute,  for  it 
made  him  known  in  many  families  of  high  stand- 
ing around  Norwich,  who  commissioned  pictures 
and  spread  his  fame  at  all  events  in  his  own 
county,  and  he  became  the  founder  of  the  only 
local  school  of  painting  in  England  of  any  import^ 
ance.  He  was  not  even  an  exhibitor  at  the  Royal 
Academy  until  1806,  and  during  the  whole  of  his 
career  the  total  number  of  his  works  sent  for  ex- 
hibition amounted  only  to  fourteen. 

After  a  time  he  achieved  a  large  local  celebrity, 
and  his  paintings  were  quickly  sold  to  Norfolk  pur- 
chasers without  the  trouble  of  sending  them  to 
London.  He  never,  it  is  true,  got  a  very  high 
price  for  his  works,  fifty  pounds  being,  it  would 
seem,  about  as  much  as  he  usually  got  for  a  finely 
finished  work,  even  to  the  end  of  his  life ;  but  he 
managed  to  win  a  comfortable  independence,  and 
to  live  in  respectable  style  in  his  native  city. 

In  1803,  Crome,  in  conjunction  with  several 
amateurs  and  a  number  of  young  artists  whom 
he  had  by  this  time  gathered  around  him,  founded 
what  was  called  "  The  Norwich  Society  of  Artiste," 
for  the  purpose  of  encouraging  a  love  of  the  Fine 
Arts  and  promoting  artistic  culture. 

The  first  exhibition  of  the  Norwich  Society  was 
held  in  1805,  two  years  after  its  commencement. 
It  contained  223  works  in  oil  and  water-colour,  and 
several  specimens  of  sculpture  and  engraving. 
Twenty-three  of  these  works  were  contributed  by 
Crome,  who,  it  would  seem,  must  have  been 
travelling  about  this  time,  for  among  the  subjects 


Crome 


PAINTERS  AND  ENGRAVERS. 


Cromek 


enumerated  are  '  A  Scene  in  Cumberland,'  '  Interior 
of  Tintern  Abbey,'  'View  of  Piercefield-on-the- 
Wye,'  'Part  of  Chepstow  Castle,'  'Part  of  the 
Chapel  in  Chepstow  Castle,'  and  '  Waterfall  at  St. 
Michael's-le-FlemingSj  Westmoreland,'  against 
which  last  is  noted  in  the  catalogue  "  coloured 
on  the  spot."  By  this  it  would  appear  that  the 
painting  in  question  was  in  water-colours ;  for 
Crome,  strange  to  say,  seldom  painted  in  oils  out 
of  doors.  He  made  careful  studies  and  sketches 
from  nature,  and  must  have  been  gifted  with 
remarkable  powers  of  observation,  for  he  rarely 
misses  any  detail  of  sky,  stream,  or  leaf ;  but  his 
pictures  nevertheless  were  painted  in  his  studio, 
like  those  of  his  prototypes,  the  Dutch  landscapists. 

Crome  travelled  a  little  in  England  and  Wales  at 
various  times,  as  may  be  seen  by  the  places  repre- 
sented ;  and  once,  in  1814,  he  extended  his  journey- 
ing to  Paris,  going  by  way  of  Belgium,  where  he 
must  have  found  the  scenery  familiar,  though  the 
only  record  he  appears  to  have  made  of  it,  beyond 
slight  sketches,  is  his  '  View  on  the  Ostend  Canal 
at  Bruges,'  a  fine  moonlight  efEect,  that  was  evi- 
dently noted  on  the  spot  and  afterwards  reproduced. 
About  this  time  he  painted  the  '  Boulevard  des 
Italiens,  Paris,'  and  the  '  Fish-market  on  the  Beach 
at  Boulogne.' 

Crome  was  now  in  the  receipt  of  a  good  income, 
for  although,  as  before  said,  he  never,  even  to  the 
last,  obtained  high  prices  for  his  pictures,  he  painted 
a  great  many,  contributing  generally  eighteen  to 
twenty  different  works  to  the  Norwich  Society's 
annual  exhibition. 

In  1810  he  was  elected  President  of  the  Norwich 
Society  ;  John  Sell  Cotman,  the  second  best  artist 
of  the  school,  being  associated  with  him  as  Vice- 
President.  Among  the  members  were  now  to  be 
reckoned  such  men  as  James  Stark,  George  Vincent, 
Joseph  Stannard,  John  Thistle,  the  etchers  Edmund 
and  Richard  Girling,  and  Jobn  Bernay  Crome,  all 
of  whom  accomplished  good  work  as  landscapists 
under  Crome's  influence.  In  1816,  however,  there 
came  a  secession  from  this  flourishing  little  Society, 
and  a  separate  exhibition  at  tlie  Assembly  Rooms 
Plain. 

It  was  from  the  midst  of  society  such  as  this, 
from  a  busy,  jolly  artist  life,  that  Crome  was  called 
away  on  the  22nd  of  April,  1821,  after  a  few  days' 
illness.  His  last  words  are  said  to  have  been, 
"  Hobbema,  my  dear  Hobbema,  how  I  have  loved 
you  1  "  An  exhibition  of  his  paintings  was  held  in 
Norwich  shortly  after  his  death,  when  one  hundred 
and  eleven  of  his  works  were  gathered  together, 
including  those  that  remained  unsold  in  his  studio. 
But  even  this  exhibition,  though  it  greatly  increased 
his  local  fame,  did  not  make  him  more  known  to 
the  world  at  large,  and  thus  it  has  happened  that 
up  to  the  present  day  almost  all  his  pictures  have 
remained  as  cherished  possessions  in  Norfolk 
homes,  very  few  comparatively  having  found  their 
way  into  the  market.  In  1878,  at  the  Winter 
Exhibition  at  the  Royal  Academy,  there  were  no 
less  than  twenty-seven  of  his  works  exhibited. 
They  attracted  much  attention  and  high  praise. 

Of  his  extensive  landscapes,  embracing  generally 
a  far-reaching  view  over  heath  and  hill,  with  a  wind- 
mill or  two  to  give  human  interest  to  the  scene,  the 
well-known  picture  of  '  Mousehoid  Heath,'  in  the 
National  Gallery,  may  be  taken  as  a  good  example. 
This  was  painted  about  the  year  1816,  and  shows 
his  powers  at  their  full.  He  painted  it,  as  he  once 
remarked,  for  the  sake  of  "  air  and  space  ;  "  and, 


in  truth,  we  feel,  in  looking  at  it,  that  here  there 
is  plenty  of  room  in  which  to  breathe. 

The  National  Gallery  also  possesses  a  '  View  at 
Chapel-Fields,  Norwich,'  wherein  the  chequered 
sunlight  falling  through  the  trees  has  a  very 
delightful  efEect;  'The  Windmill,'  a,  pleasant 
country  scene,  painted  with  forcible  realism  and 
thorougli  understanding  of  light  and  shade ;  and 
the  solemn  and  somewhat  dreary  '  Slate  Quarries.' 

In  his  etchings — for  we  must  regard  Crolne  as 
an  etcher  as  well  as  a  painter — he  dealt  chiefly 
with  woodland  and  river  scenes.  Nothing  can,  in 
its  way,  be  much  more  perfect  than  his  rendering 
in  etching  of  the  little  bits  of  picturesque  beauty 
that  he  met  with  in  his  daily  walks.  His  etchings, 
chiefly  done  for  his  own  delight,  were  not  pub- 
lished until  after  his  death,  when  thirty-one  were 
collected,  and  a  small  number  worked  oS  for  the 
benefit  of  his  widow,  under  the  title  of  '  Norfolk 
Picturesque  Scenery.'  Another  edition,  in  which 
some  of  the  plates  were  re-bitten  by  Mr.  Ninham, 
and  others  re-touched  by  Mr.  Edwards,  appeared 
in  1838,  with  an  Essay  by  Dawson  Turner.  There 
is  a  fine  collection  of  Crome's  etchings  in  the 
British  Museum,  most  of  them  being  represented 
in  two,  or  three,  and  sometimes  in  four  different 
states. 

CROME,  John  Beenay,  the  son  of  'Old  Crome,' 
was  born  in  1793  at  Norwich,  and  was  educated 
as  a  painter.  He  first  exhibited  in  his  native 
city,  but  from  1811  until  the  close  of  his  life 
he  was  an  occasional  contributor  to  the  Royal 
Academy.  He  died  in  1842  at  Yarmouth,  where 
he  had  resided  for  some  years.  His  works  are 
similar  in  style  to  those  of  his  father,  but  are  far 
inferior. 

CROMEK,  RoBEET  Haetley,  was  the  son  of 
Thomas  Cromek,  of  Berwick-in-Elmete,  Yorkshire, 
and  was  born  at  Hull  in  1771.  He  was  originally 
intended  for  the  law,  but  showed  so  much  aversion 
to  that  profession  that  he  was  permitted  to  follow 
his  own  strong  inclinations  for  literature  and  the 
fine  arts.  He-  first  went  to  Manchester,  and  there 
studied  hard  for  some  time,  when,  showing  an  evi- 
dent taste  and  talent  for  engraving,  he  was-  sent  to 
London  and  put  under  Bartolozzi'g  care.  He  en- 
graved many  of  Stothard's  designs  for  book-plates, 
which  was  then  about  the  only  work  engravers 
could  find  to  do.  He  also  engraved  the  '  Can- 
terbury Pilgrims,'  concerning  which  he  laboured 
for  some  time  under  the  false  imputation  of  having 
first  seen  Blake's  design  for  that  subject,  and  then 
induced  Stothard  to  draw  it  for  him  as  a  speculation 
in  engraving.  Among  Cromek's  works  may  be  men- 
tioned the  illustrations  to  Blair's  '  Grave ' ;  those  in 
'The  Reliques  of  Robert  Burns,'  published  in  1808  ; 
and  those  in  '  The  Remains  of  Nithsdale  and 
Galloway  Song,'  published  in  1810  ;  also  the  plates 
in  Gesner's  works,  after  Stothard,  and  the  plates  in 
Sharpe's  edition  of  'The  Spectator.'  He  died  in 
London  in  1812. 

CROMEK,  Thomas  Haetley,  the  son  of  Robert 
H.  Cromek,  was  born  in  I,,ondon  in  1809.  His  first 
instructor  in  art  was  James  Hunter,  a  portrait 
painter  at  Wakefield  ;  but  in  1826  he  went  to 
Leeds,  and  there  studied  landscape  painting  under 
Joseph  Rhodes,  an  artist  of  considerable  ability, 
and  also  instructed  himself  in  anatomical  drawing. 
In  1830  he  decided  to  go  to  Italy  for  the  purpose 
of  perfecting  himself  by  the  study  of  the  great 
masters.  He  passed  through  Belgium,  the  Rhine 
country,  Switzerland,  and  Florence,  and  at  length 

335 


Cromer 


A    BIOGRAPHICAL    DICTIONARY   OF 


Croutelle 


reached  Rome,  where  he  soon  attracted  attention 
by  the  excelience  of  his  drawings  and  his  careful 
colouring.  From  1831  until  1849,  with  the  excep- 
tion of  two  short  visits  to  England,  Croraek  passed 
his  time  in  visiting  and  making  drawings  of  the 
principal  buildings  and  the  picturesque  scenery  of 
Italy  and  Greece.  In  1860  he  was  unanimously 
elected  an  Associate  of  the  New  Society  of  Painters 
in  Water-Colours,  when  he  retired  to  Wakefield, 
where  he  died,  after  a  long  and  painful  illness,  in 
1873.  His  drawings,  which  are  chiefly  to  be  found 
in  the  royal  and  private  collections,  are  much 
esteemed  for  the  beauty  of  their  colouring  and 
their  truthfulness  to  nature. 

CROMER,  GiULlo,  a  pupil  of  Mona,  was  bom  in 
Silesia  before  1670,  and  died  at  Ferrara  in  1632. 
In  the  latter  city  he  painted  'The  Preaching  of 
St.  Andrew,'  for  the  church  dedicated  to  that 
saint ;  also  '  The  Calling  of  SS.  Peter  and 
Andrew.' 

CRONE,  Robert,  was  born  in  Dublin  about  the 
middle  of  the  last  century,  and  received  his  early  in- 
struction from  Robert  Hunter,  the  portrait  painter ; 
but  he  soon  left  that  branch  of  the  profession,  aind 
commenced  painting  landscapes,  in  which  he 
achieved  considerable  success.  He  afterwards 
went  to  Rome  and  studied  under  Richard  Wilson. 
From  1772  until  1778  he  annually  exhibited  at 
the  Royal  Academy,  although  much  hindered 
and  tried  by  ill-health  superinduced  by  frequent 
epileptic  fits.  His  first  exhibited  pictures  were 
two  landscapes  called  '  Morning  '  and  '  Evening.' 
Crone  likewise  exhibited  drawings,  some  of  which 
were  finished  after  Richard  Wilson's  style  in 
black  and  white  chalk  on  a  bluish-grey  paper. 
His  landscapes  are  now  very  scarce  and  much 
sought  after ;  a  few  examples  are  in  the  Royal 
Collection.     He  died  in  London  in  1779. 

CRONENBURG,  (or  Ceonenburch,)  Anna  van, 
a  Dutch  painter,  was  born  at  Pietersbierum  in 
1552.  She  married  Jan  Craen,  and  secondly,  in 
1579,  Jelle  Sybes  van  Wythama,  burgomaster  of 
Leeuwarden.  Four  female  portraits  by  her  are  in 
the  Madrid  Museum. 

CRONSTADT,  Jacob  Lucius  von.     See  Corona. 

CROOCK,  Hubert  de.     See  De  Ceoock. 

CROOS,  Jacobus  van,  a  Dutch  landscape  painter, 

flourished  in  the  latter  part  of  the  17th  century. 

There  is  in  the  town-hall  of  the  Hague  a  '  View 

of  the  Hague,'  painted  by  him  in  1666. 

CROOST,  Antonie  van  dee.  See  Van  der 
Croost. 

CROSS,  John,  the  son  of  the  superintendent  of 
a  lace  factory  at  Tiverton,  was  born  in  that  town  in 
1819.  Soon  afterwards  his  father  went  to  St. 
Quentin,  as  superintendent  of  an  English  factory, 
and  young  Cross  was  admitted  into  the  School  of 
Design,  and  there  showed  so  much  ability  that  he 
was  sent  to  Paris,  where  he  entered  the  atelier  of 
Picot,  a  painter  of  some  celebrity  in  the  old  classic 
school.  In  1843  Cross  sent  to  the  competition  for 
the  decoration  of  the  Houses  of  Parliament,  held  in 
Westminster  Hall,  a  cartoon  of  '  The  Assassination 
of  Thomas  k  Becket,'  which,  from  not  fully  com- 
plying with  the  terms  of  the  competition,  was  not 
successful.  His  second  attempt  in  1847,  with  the 
oil-painting  of  'The  Clemency  of  Cceur-de-Lion,' 
gained  for  him  the  first  premium  of  £300,  and 
was  afterwards  purchased  by  the  royal  commis- 
sioners for  £1000.  In  1850  he  first  exhibited  at  the 
Royal  Academy,  his  subject  being  '  The  Burial  of 
the  Young  Princes  in  the  Tower. '  This  was  followed 
336 


by  '  Edward  the  Confessor  leaving  his  Crown  to 
Harold,'  in  1851  ;  '  The  Death  of  Thomas  a  Becket,' 
in  1853;  'Lucy  Preston's  Petition,' in  1856;  and 
'  The  Coronation  of  William  the  Conqueror,'  in 
1869;  but  none  of  Cross's  later  productions  equalled 
his  first  effort,  for  they  were  all  deficient  alike  in 
drawing,  colour,  and  execution.  His  death  occurred 
in  London  in  1861,  after  which  his  friends  bought 
his  '  Assassination  of  Thomas  a  Becket,'  and  placed 
it  in  Canterbury  Cathedral. 

CROSS,  Michael,  was  a  painter  employed  by 
Charles  I.  to  copy  some  of  the  fine  pictures  in  Italy, 
and  who  is  said  to  have  contrived  to  abstract  a 
'  Madonna '  by  Raphael  from  the  church  of  St. 
Mark,  at  Venice,  and  instead  thereof  to  leave  his 
copy.  The  picture  was  sold  with  the  rest  of  the 
Royal  Collection,  and  is  said  to  have  been  pur- 
chased by  the  Spanish  Ambassador,  together  with 
the  '  Twelve  Caesars  '  by  Titian,  for  the  King  of 
Spain.  Charles  certainly  knew  nothing  of  the 
theft ;  nor  can  it  be  supposed  that  he  mistook  the 
original  for  a  copy. 

CROSS,  Thomas,  was  an  English  engraver,  who 
flourished  from  about  1645  to  1685.  He  was 
chiefly  employed  in  producing  portraits  and  plates 
for  the  booksellers,  mostly  from  his  own  designs. 
We  have  by  him,  among  others,  the  following 
portraits  : 

King  Richard  III. 

Francis  Bacon,  Viscount  St.  Alban's. 
Sir  Robert  Cotton  Brnce,  Bart. 
Joseph  Hall,  Bishop  of  Exeter. 
George  Webbe,  Bishop  of  Limerick. 
Richard  Cromwell. 

CROSSE,  Lewis,  was  a  celebrated  miniature 
painter  in  the  time  of  Queen  Anne,  who  enjoyed 
the  patronage  of  the  most  distinguished  personages 
of  that  period.  He  also  highly  excelled  in  painting 
copies  in  water-colours  from  the  old  masters.  He 
is  said  to  have  succeeded  so  admirably  in  a  por- 
trait of  '  Mary,  Queen  of  Scots,'  painted  by  him  for 
the  Duke  of  Hamilton,  who  wished  him  to  make  it 
as  handsome  as  he  could,  that  for  many  years  it 
was  considered  to  be  a  painting  of  the  16fh  cen- 
tury, and  on  that  account  many  times  copied.  He 
formed  a  valuable  collection  of  early  miniatures 
and  drawings,  which  he  sold  in  1722.  He  died  in 
1724. 

CROSSE,  Richard,  a  miniature  painter,  was  born 
in  Devonshire  in  1745.  He  was  a  member  of  the 
Free  Society  of  Artists  in  1763,  with  whom  he 
exhibited  from  1761  to  1769.  His  first  appearance 
at  the  exhibition  of  the  Royal  Academy  was  in 
1770,  and  he  continued  to  exhibit  there  up  to  1795. 
He  is  said  by  Haydon  to  have  been  dumb,  and  to 
have  made  his  fortune  by  his  art  in  early  years ; 
also,  to  have  retired  to  Wells  on  account  of  beir'g 
disappointed  in  his  hopes  of  marrying  Haydon's 
mother.  He  was  celebrated  for  his  miniatures  and 
small  whole-lengths  in  water-colours.  In  this 
latter  style  he  painted  the  portrait  of  Mrs.  Billing- 
ton,  exhibited  by  him  in  1778.  In  1790  he  was 
appointed  painter  in  enamel  to  King  George  III., 
although  he  practised  very  little  in  his  later 
years.  He  died  at  Knowle,  near  Cullompton,  in 
1810.  The  South  Kensington  Museum  has  by  him 
a  miniature  portrait  of  Captain  Swinburne. 

CROUTELLE,  Louis,  a  French  line-engraver, 
who  executed  chiefly  book-plates  and  vignettes, 
was  born  in  Paris  in  1765,  and  was  a  pupil  of 
Delaunay.  His  most  interesting  work  is  an  alle-^ 
gorical  portrait  of  Voltaire,  published  in  the  Kehl 


Crowley 


PAINTERS  AND  ENGRAVERS. 


Cruikshank 


edition  of  the  philosoplier's  works,  proofs  of  which 
are  extremely  rare.     He  died  in  Paiis  in  1829. 

CROWLEY,  Nicholas  J.,  was  born  in  Ireland, 
and  was  elected  a  member  of  the  Royal  Hibernian 
Academy  in  1838.  In  that  year  he  came  to 
London,  and  his  works  were  constantly  to  be 
seen  in  the  Royal  Academy  Exhibitions.  The 
first  picture  which  he  exhibited  in  London,  in 
1835,  was  'The  Eventful  Consultation,'  and  had 
been  sent  from  Belfast,  where  he  then  resided. 
He  was  highly  esteemed  as  a  portrait  painter,  and 
was  especially  clever  in  painting  portrait  groups. 
His  death  occurred  in  1857. 

CROWQUILL,  Alfred.    See  Foeester,  A.  H. 

CROZIER,  J.  P.,  was  a  French  engraver  of 
talent,  whose  history  is  unfortunately  lost  to  us. 
We  know  only  that  he  flourished  about  1646,  from 
which  we  may  conjecture  that  he  was  born  about 
1620.  We  have  by  him  the  following  plates, 
which  are  very  scarce 

The  Healing  of  the  Paralytic. 
St.  John  in  the  Desert. 

gilenus  about   to  make  an  offering  at  the  Altar  of 
Bacchus. 

There  is  also  a  plate  existing  by  a  J.  J.  Cbozibr, 
engraved  in  honour  of  the  appointment  of  Cardinal 
Bicrhi  as  Papal  Nuncio. 

CRDG,  LuDWiG.     See  Krug. 

CRUGER.     See  Krugee. 

CRUIKSHANK,  George,  the  younger  son  of 
Isaac  Cruikshank,  was  born  in  London  in  1792. 
Very  early  in  life  he  had  a  predilection  for  the  sea, 
but  his  mother  opposed  the  wish,  and  urged  his 
father  to  instruct  him  in  art.  This,  however,  the 
father  refused  ;  saying,  that  if  George  was  destined 
to  become  an  artist,  he  would  find  the  way  without 
any  instruction.  The  youth  applied  for  admittance 
into  the  Royal  Academy  schools,  but  was  unsuccess- 
ful .  His  father  died  when  he  was  still  very  young  ; 
and  when  that  event  took  place,  he  determined  to 
do  his  best  to  support  his  mother.  Some  wood 
blocks  which  his  father  had  on  hand  were  finished 
by  him,  and  from  that  time  his  employment  was 
secured,  and  his  destiny  in  life  fixed.  He  was 
soon  engaged  in  a  variety  of  undertakings.  He 
illustrated  with  caricatures  a  monthly  periodical 
called  '  The  Scourge,'  and  also  one  called  '  The 
Meteor,'  which  he  founded  in  conjunction  with  a 
person  named  Erie.  He  executed  a  great  deal  of 
this  kind  of  work  for  Hone,  most  of  whose  publi- 
cations about  that  time  bear  the  marks  of  his 
active  pencil.  And  not  only  with  his  pencil  did  he 
assist  Hone,  for  to  the  imagination  of  the  young 
artist  the  origin  of  many  of  the  best  political 
squibs,  such  as  the  '  Slap  for  Slop,'  was  mainly 
due.  Merely  to  enumerate  the  pictorial  trifles 
which  that  epoch  of  his  career  produced,  would 
be  an  endless  task.  His  was  '  The  Queen's  Matri- 
monial Ladder,'  '  The  Man  in  the  Moon,'  and  '  Non 
mi  ricordo  ' — all  squibs  referring  to  the  infamous 
trial  of  Queen  Caroline.  A  collection  of  the  political 
caricatures  which  were  published  by  Cruikshank 
at  this  time  would  furnish  a  kind  of  political  his- 
toiy  of  the  day,  and  would  even  illustrate  many 
of  the  changes  of  opinion  which  prevailed.  The 
first  work  of  any  great  importance  in  which  Cruik- 
shank bore  part  was  the  famous  'Life  in  London,' 
the  original  suggestion  of  which  was  due  to  him 
alone.  The  original  design  was  to  publish  a 
series  of  tableaux  illustrating  the  bright  side  of 
'life'  in  London,  and  also  the  reverse.  He  was 
z 


ultimately  persuaded,  however,  to  develop  the  idea 
in  collaboration  with  his  brother  Robert  and  Pierce 
Egan,  and  the  result  was  that  whilst  the  last-named 
gentleman  derived  all  the  glory  of  writing  one  of 
the  most  popular  books  of  the  time,  the  wholesome 
moral  which  was  originally  intended  was  entirely 
lost  sight  of.  Disgusted  with  the  perversion  of 
his  plan,  George  Cruikshank  virtually  left  the  com- 
pletion of  the  plates  to  his  brother  Robert.  After 
this,  Cruikshank  illustrated  a  periodical  called  '  The 
Humourist.'  In  1823-26  he  illustrated  with  some 
capital  etchings  Grimm's '  German  Popular  Stories,' 
and  '  Fairy  Tales ' ;  and  soon  after  published  a 
very  curious  set  of  comic  prints  called  '  Points  of 
Humour.'  From  this  time  he  was  called  upon  to 
illustrate  many  of  the  most  popular  works  of  the 
day.  In  1847,  although  not  at  that  time  a  tee- 
totaller, he  published  a^  series  of  eight  woodcuts, 
called  'The  Bottle,' which  were  very  successfuL 
To  this  he  next  year  added  '  The  Drunkard's 
Children,'  intended  to  show  the  terribly  degrading 
effects  of  the  immoderate  use  of  strong  drink. 
He  also  published,  '  Sunday  in  London,'  '  The  Gin 
Trap,'  and  '  The  Gin  Juggernaut,'  all  of  \^^hich  had 
an  immense  circulation,  and  no  doubt  helped  to 
further  the  cause  of  temperance.  Whilst  he  was 
thus  engaged,  he  was  waited  upon  by  some  dis- 
ciples of  Father  Mathew,  who  convinced  him  that 
'  moderate  drinking  '  was  not  the  best  way  to  aid 
the  temperance  movement,  and  Cruikshank,  enter- 
ing into  the  movement  with  all  the  fervour  of  a 
naturally  ardent  temperament,  became  a  total 
abstainer. 

In  his  later  years  George  Cruikshank  tried  oil- 
painting,  but  his  works  in  this  branch  of  art  are 
as  much  caricatures  as  any  etching  he  ever  exe- 
cuted :  yet  they  betray  a  marvellous  power  of 
grotesque  humour  and  deep  insight  into  human 
nature.  His  '  CindereUa,'  painted  in  1864,  is  in 
the  South  Kensington  Museum,  and  the  last  and 
greatest  of  his  efforts  in  oil-painting,  '  The  Wor- 
ship of  Bacchus,'  painted  for  the  National  Tem- 
perance League  in  1862,  is  now  in  the  National 
G  allery. 

George  Cruikshank  died  in  London  in  1878,  and 
was  buried  in  St.  Paul's  Cathedral.  The  following, 
arranged  in  chronological  order,  are  the  most 
important  of  the  books  which  he  illustrated  with 
etchings : 

life  in  London ;  or  the  Day  and  Night  Scenes  of  Jerry 
Hawthorn,  Esq.,  Corinthian  Tom,  and  Bob  Logic,  in 
their  rambles  through  the  metropolis.  By  Pierce 
Egan.  With  coloured  plates  by  G.  and  E.  Cruik- 
shank.   1821. 

Grimm's  German  Popular  Stories.    1824-26. 

Hans  of  Iceland.     1825. 

Mornings  at  Bow  Street.    1825. 

Grimm's  Fairy  Tales.    1827. 

Punch  and  Judy.     1828. 

John  Gilpin.    By  Oowper.    1828. 

The  Bpping  Hunt.     1830. 

The  Novelist's  Library.    Edited  by  T.  Eosooe.    1831-32. 

My  Sketch  Book ;  containing  200  groups.   1833-34. 

Thirty-five  Illustrations  of  Don  Quixote,  in  a  series  of 
fifteen  plates,  designed  and  etched  by  G.  Cruik- 
shank.   1834. 

The  Comic  Almanac.    1835-52. 

Sketches  by  "  Boz  "  (Charles  Dickens).    1836-37. 

Memoirs  of  Joseph  Grimaldi.    1838. 

Jack  Sheppard.    1839. 

Oliver  Twist.    (By  Charles  Dickens.)     1839. 

The  Ingoldsby  Legends.  (By  E.  H.  Barham.)  Series 
i.— iii.    1840-47. 

George  Cruikshank's  Omnibus,  Edited  by  L.  Blanchard. 
1842. 

337 


Cruikshank 


A  BIOGRAPHICAL  DICTIONARY  OF 


Cuitt 


George  Cruikshank 's  Table  Book.    Edited  by  G.  A.  i 
Beckett.     1845. 

"Windsor  Castle.     1847. 

The  Miser's  Daughter.     1848. 

Three  Courses  and  a  Dessert.     1849. 

The  Loving  Ballad  of  Lord  Bateman.     1851. 

George  Cruikshank's  Fairy  Library.     1853. 

The  Tower  of  London.     1854. 

Guy  Fawkes  ;  or,  the  Gunpowder  Treason,  an  historical 
romance.     1857. 

Fuller  details  may  be  found  in  Mr.  G.  W.  Reid's 

Descriptive  Catalogue  of  the  Works  of  George 
Cruiksbank,'  published  in  1871. 

CRUIKSHANK,  Isaac,  was  bom  at  Edinburgh 
in  1756  or  1757.  His  father  had  been  one  of  the 
followers  of  the  Pretender,  and  had  lost  his  pro- 
perty in  that  hopeless  cause.  Isaac  first  came  to 
London  at  the  close  of  the  last  century,  and,  after 
the  death  of  his  father,  tried  to  gain  his  living 
by  drawing  caricatures.  He  was  the  contemporary 
of  Rowlandson  and  Gillray,  and  his  first  published 
print  was  one  in  defence  of  Pitt  in  1796,  who  was 
at  that  time  bitterly  assailed  by  Gillray.  The 
greater  part  of  the  humorous  sketches  illus- 
trating the  works  of  Dean  Swift,  Joe  Miller,  and 
John  Browne,  and  published  by  Messrs.  Laurie 
,and  Whittle,  were  by  Isaac  Cruikshank.  He 
exhibited  at  the  Royal  Academy  in  1789,  1790, 
and  1792,  and  in  his  water-colour  drawings  ex- 
liibited  some  talent.  He  died  in  London  in  1810, 
or  the  year  following.  He  was  the  father  of 
Robert  Isaac  and  George  Cruikshank. 

CRUIKSHANK,  Robert  Isaac,  the  elder  son  of 
Isaac  Cruikshank,  was  born  in  or  about  1790,  and 
commenced  life  as  a  midshipman  on  board  the  East 
India  Company's  ship  '  Perseverance.'  Probably 
influenced  by  his  brother  George's  success  as  a 
caricaturist  and  artist,  he  left  the  service  and 
practised  in  water-colours  and  made  comic  designs, 
in  which,  however,  he  rarely  went  beyond  medi- 
ocrity. He  was  connected  with  his  brother  George 
in  illustrating  '  The  Universal  Songster,'  1828 ; 
and  '  Cruikshank  at  Home,'  which  was  followed 
by  a  supplementary  volume,  entitled  '  The  Odd 
Volume,'  in  illustrating  which  Robert  Seymour 
was  associated.  Robert  I.  Cruikshank's  best  draw- 
ings were  those  made  for  the  illustration  of 
Cumberland's  '  British  Theatre '  and  '  Minor 
Theatre.'  His  designs  on  wood  were  often  excel- 
lent, but  generally  spoilt  by  the  engraver.  His 
death  occurred  in  1856. 

ORUYL,  LiEViN,  a  Flemish  priest,  who  was  a 
designer  and  engraver,  was  born  at  Ghent  about 
the  year  1640,  and  died  there  in  1720.  He  de- 
signed the  views  of  the  most  interesting  objects  in 
and  near  Rome,  enj-iched  with  figures  and  animals  : 
these  are  touched  with  spirit  and  in  a  pleasing 
style.  Several  of  his  drawings  have  been  engraved 
by  Giulio  Testa  ;  and  we  have  by  him  some  very 
interesting  etchings  from  his  own  designs.     He 

generally  marked  his  plates  ^^ruyl.     The  follow- 
ing are  by  him : 

A  set  of  Twenty-three  Plates  of  Ancient  and  Modern 

Rome  ;  Z.  Cruyl  del.  et  scul.     1665. 
A  set  of  Views  of  Eoman  Euins,  &o.     1667. 
The  Triumphs  of  the  Roman  Emperors ;  after  Andrea 

Mantegna  ;  ten  plates. 

CRUYS,  Theodoe  vek.     See  Verkeuts. 
CRUZ,  Juan  Pantoja  de  la.     See  Pantoja. 
CRUZ,  Manuel  and  Miguel  db  la.     See  De  la 
Cruz. 
CRUZ,  Santos.    See  Santos  Cruz. 
338 


CTESICLES,   (or  Clesides,)  was  a  painter  of 
BphesuB,  who  was  living  in  B.C.  294.     Although 
this  artist  is  not  spoken  of  as  a  painter  of  very 
distinguished   talents,  yet  he   may   be   presumed 
to  have  possessed  some  merit,  from  the  celebrity 
he  acquired  by  the  outrageous  insult  he  offered  to 
Stratonice,  the  queen  of  Antiochus.     Piqued  at  not 
being  treated  by  her  with  the  distinction  which  he 
thought  he  merited,  he  painted  a  picture  of  her  in 
the  arms  of  a  fisherman,  whom  rumour  gave  to  her 
as  a  paramour,  and  placing  it  in  the  most  public 
part  of  the  port  of  Ephesus,  he  immediately  em- 
barked.    Stratonice,  however,  would  not  suffer  the 
picture  to  be  destroyed,  such  was  the  exact  resem- 
blance the  artist  had  given  both  to  herself  and  the 
object  of  her  affection. 

CTESILOCHUS,  a  Greek  painter  of  the  time  of 
Alexander,  was  a  disciple  of  Apelles,  and  is  chiefly 
remarkable  for  the  singular  manner  in  which  he 
treated  one  of  his  principal  works,  representing 
the  Birth  of  Bacchus. 

CUERENHERT,  Dirk  Volkeetsz,  (or  Kooen- 
HAEET,)  a  Dutch  engraver,  was  born  at  Arastefdam 
in  1522.  He  is  more  distinguished  as  a  religious 
controversialist  than  as  an  artist.  He  has,  however, 
the  credit  of  having  been  the  •instructor  of  Hen- 
drik  Goltzius.  He  resided  at  Haarlem,  but  died  at 
Gouda  in  1590.  Heinecken  and  Huber  have  given 
catalogues  of  his  engravings,  but  they  are  far  from 
being  complete.     His  plates  are  signed  with  the 

initials  D.  V.  C-,  or  with  the  monogram    jxl^ 

Amongst  them  are  the  following : 

The  Creation  of  the  World.    Seven  plates. 
The  Descent  from  the  Cross ;  after  L.  Lombard.    1556. 
Joseph  explaining  his  Dream  ;  aftei'  M.  Heemskerk. 
Joseph  interpreting  the  Dreams  of  the  Prisoners  of 

Pharaoh ;  after  the  same. 
Job  reproached  by  his  "Wife ;  after  the  same. 
Balaam  and  his  Ass  ;  after  the  same.     1554. 
The  Elector  of  Saxony  appearing  before  Charles  V.; 

after  the  same. 
The  Landgrave  of  Hesse  Cassel   before  Charles  V.; 

after  the  same. 

CUEVAS,  — ,  a  Spanish  painter,  was  a  native  of 
Hueaoa,  who  studied  under  and  assisted  Tomas 
Pelegret  in  his  decorative  paintings  for  the  cathe- 
dral of  that  city.  He  flourished  about  the  middle 
of  the  16th  century,  and  died  at  Huesca  at  the  age 
of  33. 

CUEVAS,  EuGENio  and  Pedeo  de  las.    See  Dk 

LAS  CUBVAS. 

CUITT,  Geoege,  the  elder,  was  bom  at  Moul- 
ton,  in  Yorkshire,  in  1743,  and  having  shown  a 
natural  taste  for  drawing  and  design  was  sent  to 
Italy  at  the  expense  of  Sir  Lawrence  Dundas, 
whose  family  had  already  been  painted  by  hira. 
He  studied  earnestly  for  six  years  at  Rome,  and 
also  pursued  landscape  painting,  a  branch  of  art 
that  was  more  congenial  to  his  tastes.  He  re- 
turned to  England  in  1775,  and  in  1776  he 
exhibited  at  the  Royal  Academy  'The  Infant 
Jupiter  fed  with  goat's  milk  and  honey.'  He 
afterwards  exhibited  portraits  and  landscapes,  his 
last  contribution  being  in  1798.  Owing  to  fre- 
quent attacks  of  low  fever  he  was  unable  to  reside 
in  London,  and  he  finally  settled  at  Richmond  in 
Yorkshire.  Here  he  found  constant  employment 
in  the  commissions  given  hira  by  gentlemen  whose 
parks  and  residences  were  in  his  neighbourhood. 
His  death  occurred  in  1818.  His  portraits  ai« 
elaborately  finished,  although  very  thinly  painted, 


Cuitt 


PAINTERS  AND  ENGRAVERS. 


Cureau 


whilst  his  earlier  landscapes  show  much  ability 
and  feeling  in  their  execution. 

CUITT,  George,  the  younger,  the  only  son  of 
the  painter  of  the  same  names,  was  born  at 
Richmond,  in  Yorkshire,  in  1779,  He  followed  his 
father's  profession  from  his  youth,  and  added  to  it 
the  art  of  etching,  which  he  developed  with  great 
success,  being  induced  to  do  so  by  a  careful  study 
of  Piranesi's  'Roman  Antiquities.'  He  went  to 
Chester,  where  he  became  a  teacher  of  drawing, 
and  published,  in  1810  and  1811,  '  Six  Etchings  of 
Saxon  and  other  Buildings  remaining  at  Chester,' 
'  Six  Etchings  of  Old  Buildings  in  Chester,-'  and 
'  Six  Etchings  of  Picturesque  Buildings  in  Chester,' 
and,  in  1815,  five  etchings  for  a  '  History  of  Ches- 
ter.' About  1820,  having  realized  a  certain  com- 
petence by  his  labours,  he  retired  from  the  more 
active  duties  of  his  profession,  and  built  himself  a 
house  at  Masham,  near  Richmond,  from  whence  he 
published  his  '  Yorkshire  Abbeys,'  and  in  1848  his 
collected  works,  under  the  title  of  '  Wanderings  and 
Penoillings  amongst  the  Ruins  of  Olden  Times.' 
These  etchings  exhibit  considerable  talent,  verve, 
originality,  and  truth.  His  death  occurred  at 
Masham  in  1854. 

CULMBACH,  Hans  von.    See  Fuss. 

CUMING,  William,  flourished  at  Dublin  in  the 
early  part  of  the  19th  century,  and  in  1823  was 
one  of  the  three  artists  qjiosen  by  their  fellows 
to  elect  the  remaining  eleven  who  formed  the 
nucleus  of  the  Royal  Hibernian  Academy.  He 
was  chiefly  esteemed  for  his  female  portraits. 

CUNDIER,  Jacques,  a  French  engraver,  born  in 
1691,  was  a  native  of  Aix.  There  are  by  him  a 
large  number  of  portraits  which  bear  dates  ranging 
between  1717  and  1727. 

CUNEGO,  DoMENico,  an  Italian  designer  and 
engraver,  was  born  at  Verona  in  1727,  and  died 
at  Rome  in  1794.  He  was  instructed  in  the  art  of 
painting  by  Ferrari,  but  devoted  himself  after- 
wards entirely  to  engraving.  His  copies  from  the 
works  of  the  Italian  masters  gained  him  a  great 
reputation,  and  his  plates  are  distinguished  for 
their  deep  appreciation  of  the  original,  excellence 
of  design,  and  beauty  of  execution.  He  engraved 
several  portraits  of  the  royal  family  of  Prussia ; 
and  was  employed  by  Mr.  Hamilton  to  engrave 
some  of  the  plates  for  his  '  Schola  Italica.'  Cunego 
afterwards  came  to  England,  and  engraved  some 
plates  for  Boydell's  collection.  Among  many 
others  we  have  the  following  engravings  by  this 
artist : 

SnBJECTS   FOR   HAMILTON'S    '  SOHOLA   ITALICA.' 

Three  subjects  of  the  Creation,  from  the  Sistine  Chapel ; 

after  Michelangelo. 
Baphael's    Mistress,   called    '  La    Fornarina ' ;    after 

Saphael. 
Galatea;  from  the  picture  in  the  Barberini  Palace; 

after  the  same. 
Ganymede ;  after  Titian. 
Head  of  the  Magdalen ;  after  Guido. 
The  Prodigal  Son ;  after  Guercino. 
The  Birth  of  St.  John  the  Baptist ;  after  L.  Carracci. 
Galatea,   from  the  Faiuese  Gallery ;   after  Agostino 

Carracci. 
Apollo  and  Silenus ;  after  Annihale  Carracci. 
St.   Cecilia  receiving  the  Palm  of  Martyrdom ;  after 

Somemchino. 

SUBJECTS  AFTER  VARIOUS   MASTERS. 

Portrait  of  Raphael  Mengs ;  after  Mengs.    1778. 
The  Virgin  and  Infant ;  after  the  same. 
Five  sheets  after   Paintmgs  in  the   Library  of    the 
Vatican  ;  after  the  same. 
■^  z  2 


The  History  of  Achilles  and  Hector ;  five  plates ;  after 

G.  Hamilton. 
The  Virgin  and  Infant ;  after  Correggio. 
The  Entombment ;  after  Raphael. 
The  Annunciation,  the  Visitation,  the  Nativity,  the 

Circumcision,  the  Adoration  of  the  Magi,  and  the 

Presentation    in    the    Temple ;    six   plates ;    after 

DomenichiTio.    1779. 
Binaldo  and  Armida ;  after  Guercino. 
A  set  of  thirteen  plates  of  Buins ;  after  Clerisseau. 
Musical  Assemblies  and    Conversation  Pieces ;   after 

Niccolb  dell'  Ablate. 
Portrait  of  Cardinal  de  Beruis;  after  A.  Callet. 
Portrait  of  Emmanuel  de  Rohan ;  after  Fabre.    1776. 

CUNEGO,  Giuseppe,  the  younger  son  of  Do- 
menico  Cunego,  was  born  at  Verona  in  1760,  and, 
like  his  brother,  was  instructed  by  his  father. 
By  this  artist  we  have  the  following  plates  of 
landscapes : 

Four  Italian  Landscapes,  with  figures ;  after  F.  de  Capo. 
Eight  Landscapes ;  afterthe pictures  by  Gaspard  Ptmssin, 
in  the  Colonna  Palace. 

CUNEGO,  Ldigi,  the  elder  son  and  pupil  of 
Domenico  Cunego,  was  bom  at  Verona  in  1750. 
He  chiefly  resided  at  Leghorn.  We  have  by  him 
a  few  plates,  of  which  the  follovsdng  are  the 
principal : 

The  Statue  of  the  Apollo  Belvedere. 
St.  Margaret ;  after  Guercino. 
The  Persian  Sibyl ;  after  the  same. 
Mary  Magdalene ;  after  Guido. 

CUNINGHAM,  William,  was  a  physician,  who 
practised  at  Norwich  about  1659,  when  he  pub- 
lished his  work  called  '  The  Cosmographical  Glasse,' 
which  contained  many  woodcuts,  as  well  as  a  bird's- 
eye  map  of  Norwich,  the  whole  engraved  by  himself. 

CUNNINGHAM,  Edward  Francis,  (sometimes 
called  Kelso  or  Calze,)  was  sprung  from  a  good 
Scotch  family,  and  is  said  to  have  been  born  at 
Kelso  about  1742.  His  father,  having  been  im- 
plicated in  the  attempt  of  the  Pretender  in  1745, 
was  obliged  to  fly  from  Scotland  to  the  Continent, 
and  took  his  son  with  him.  Cunningham  studied 
art  with  much  perseverance  at  Parma,  Rome, 
Venice,  and  Paris.  He  is  said  to  have  assumed 
the  cognomen  of  '  Calze  '  in  Italy.  Soon  after  his 
arrival  in  Paris  he  inherited  the  family  estates,  and 
shortly  afterwards  a  second  bequest  fell  to  his 
share  ;  but  being  dissipated  and  extravagant  he 
speedily  ran  through  all  his  money,  and  was  then 
induced  to  follow  the  Duchess  of  Kingston  to 
Russia.  On  leaving  her  Grace  he  entered  the  ser- 
vice of  the  Russian  Court,  and  afterwards  went 
to  Berlin,  where  he  found  full  employment  as 
a  portrait  painter.  Unhappily  his  improvident 
habits  continued,  and  he  finally  came  to  London, 
where  he  died  in  great  poverty  in  1795.  As  a 
portrait  painter  he  achieved  a  deserved  success, 
and  some  of  his  portraits  have  been  engraved.  He 
also  painted  a  few  historical  subjects. 

CUQUET,  Pedro,  a  Spanish  painter,  was  bom 
at  Barcelona  in  1596.  According  to  Palomino,  his 
works  were  confined  to  the  churches  and  convents 
of  his  native  city,  the  principal  being  some  pictures 
of  the  life  of  St.  Francis  of  Paola,  in  the  cloister 
of  the  convent  of  that  name.  He  died  at  Barce- 
lona in  1666.  The  industrious  restorers,  who  for 
some  time  overran  Spain,  have  destroyed  the 
greater  part  of  his  works. 

CUREAU,  GuiLLAUME,  a  native  of  Bordeaux,  was 
principally  employed  in  the  early  half  of  the  17th 
century  in  painting  the  portraits  of  the  Mayors  and 
Jurats  of  Bordeaux.     A  collection  of  his  works  was 

339 


Curia 


A  BIOGRAPHICAL  DICTIONARY  OF 


CuviUiSs 


sold  by  the  city  in  1793,  but  Bordeaux  still  retains 
in  its  Museum   a  portrait  of  Messire  de  Mullet, 
■Seigneur  de  Latour,  by  Cureau,  who  died  in  his 
native  city  in  1647. 

CUEIA,  Francesco,  was  born  at  Naples  in  1638. 
He  was  instructed  in  painting  by  Leonardo  di 
Pistoja,  but  afterwards  visited  Rome,  where  he 
studied  tlie  works  of  Raphael,  and  other  dis- 
tinguished masters.  On  his  return  to  Naples, 
he  painted  many  pictures  for  the  public  edilicep. 
He  distinguished  himself  by  the  grandeur  of  his 
compositions,  the  fine,  expression  of  his  heads,  and 
a  vagueness  of  colouring  that  approaches  to  nature, 
but  was  not  free  from  the  mannered  style,  which 
was  also  adopted  by  Vasari  and  Zuccaro.  His 
most  admired  work  is  that  in  the  Chiesa  della 
Pieti,  representing  the  'Circumcision.'  It  is  an 
admirable  composition  of  many  figures,  painted 
in  a  fine  style,  and  is  considered  by  Lanzi  as  one 
of  the  finest  pictures  at  Naples.  He  was  the 
founder  of  a  prosperous  school  in  that  city,  and 
died  there  in  1610. 

CURRADO,  Francesco,  was  born  near  Florence 
in  1570,  and  was  brought  up  in  the  school  of 
Battista  Naldini.  He  painted  first  for  the  churches 
at  Florence,  and  afterwards  visited  Rome,  where 
he  stayed  some  time  and  painted  several  works  for 
the  King  of  Portugal,  who  gave  him  the  Order  of 
Christ.  After  his  return  to  Florence,  he  was  un- 
remittingly occupied  during  a  long  life,  until  he 
reached  his  91st  year,  in  painting,  and  in  the 
instruction  of  his  numerous  pupils.  He  painted 
historical  subjects,  and  some  of  his  large  works 
are  in  the  churches  of  Florence :  the  altar-piece 
of  'St.  Francis  Xavier  preaching  in  India,'  in 
the  church  of  San  Giovannino,  is  esteemed  one 
of  the  best.  But  he  chieily  excelled  in  historical 
pictures  of  an  easel  size,  of  which  two  of  the  finest, 
representing  the  'Magdalen'  and  the  'Martyrdom 
of  St.  Thecla,'  are  in  the  gallery  at  Florence.  His 
works  are  composed  with  taste  and  judgment,  his 
drawing  is  correct,  and  his  heads  are  full  of  ex- 
pression. In  his  colouring,  like  most  of  the  Tuscan 
painters,  he  is  more  to  be  admired  for  sobriety  than 
vivacity.    He  died  in  1661.    We  find  of  his  works  : 

Florenee.  Zrjizi.  His  own  Portrait. 

„  „  The  Magdalen. 

„  ,,  Martyrdom  of  St.  Thecla. 

„  Pitti  Fal.  Narcissus. 

„  „  St.  Catharine. 

Vienna.  belvedere.  Abraham  receiving  the  Angels. 

PiBTRO  and  CosiMO,  his  brothers  and  pupils,  became 
his  faithful  followers. 

CURRAN,  Amelia,  who  was  the  daughter  of  the 
famous  Irish  advocate  and  orator,  the  Right  Hon. 
John  Philpot  Curran,  practised  painting  only  as  an 
amateur.  She  died  at  Rome  in  1847.  A  portrait 
of  Percy  Bysshe  Shelley  by  her  was  exhibited  at 
the  National  Portrait  Exhibition  in  1868. 

CURTI,  Bernardino,  was  a  native  of  Bologna, 
who  flourished  about  the  year  1645.  He  engraved 
some  portraits,  among  which  is  that  of  Lodovico 
Carracoi.  We  have  also  by  him  a  middle-sized 
plate,  representing  an  emblematical  subject  after 
Luca  Ferrari. 

CURTI,  Francesco,  an  Italian  engraver,  was 
born  at  Bologna  about  the  year  1603,  and  died 
there  about  1670.  He  worked  principally  with 
the  graver,  in  a  neat,  clear  style,  resembling  the 
manner  of  Cherlibino  Alberti,  but  very  unequal  to 
that  artist  in  drawing.  Besides  some  portraits,  we 
Lave  the  following  by  him  : 
340 


Two  Busts  of  the  Virgin  and  St.  Catharine,  on  the 

same  plate. 
The  Virgin  teaching  the  Infant  Jesus  to  read;  after 

Guercino. 
The  Marriage  of  St.  Catharine ;  after  D.  Calvaert. 
Venus  directing  Vulcan  to  forge  Arms  for  Mnetis; 

after  Carracci. 
Hercules  combating  the  Hydra ;  after  Guercino. 
The  Infant  Christ  sleeping;  after  Guido;  etched  and 

finished  with  the  graver. 

CURTI,  GlEOLAMO,  called  II  Dentone,  was  born 
at  Bologna  in  1670,  and  was  first  a  disciple  of 
Lionello  Spada,  and  of  Baglioni,  a  painter  of  decor- 
ations, but  he  afterwards  applied  himself  to  study 
from  the  noble  edifices  erected  from  the  plans 
of  Giacomo  Barozzi,  called  Vignola.  He  next 
went  to  Rome,  where  he  improved  his  taste  by 
contemplating  the  magnificent  vestiges  of  ancient 
architecture  in  that  capital.  He  was  a  perfect 
master  of  chiaroscuro,  and  gave  to  his  works  so 
surprising  a  relief,  that  they  have  the  appear- 
ance of  perfect  illusion.  There  are  many  of  his 
works  in  the  palaces  and  public  edifices  at  Bologna, 
in  which  the  figures  are  painted  by  the  most  distin- 
guished of  his  contemporaries.  He  died  in  that 
city  in  1631. 

CURTIS,  Charles  M.,  was  bom  in  London  in 
1795,  and  practised  chiefly  on  natural  history 
subjects,  which  he  drew  with  much  accuracy  and 
spirit.  His  brother  was  the  author  of  'British 
Entomology.'     His  death  occurred  in  1839. 

CURTIS,  John,  was  a  landscape  painter,  and  the 
pupil  of  William  Marlow.  He  exhibited  at  the 
Royal  Academy  from  1790  to  1797,  his  first 
painting  being  a  '  View  of  Netley  Abbey,'  and  his 
last  a  sea-piece,  called  '  Sir  Edward  Pellew' s  Action 
with  the  French  Seventy-Four,  "Les  Droits  de 
rHomme.'" 

CURTIS,  Sabah,  was  bom  in  the  latter  part 
of  the  17th  century,  and  was  a  pupil  of  Mrs. 
Beale.  On  her  marriage  with  Dr.  Hoadly,  after- 
wards Bishop  of  Winchester,  she  quitted  her  pro- 
fession, and  died  in  1743.  Her  productions  are 
mediocre,  and  wanting  in  both  life  and  colour. 
She  painted  the  portraits  of  Whiston,  Bishop 
Burnet,  and  her  own  husband.  Bishop  Burnet's 
portrait  was  engraved  by  William  Faithorne. 

CUSENS.     See  Monteman  y  CnsENS. 

CUSIGHE,  SiMONE  DA,  also  known  as  Simone 
DAL  Peron,  both  being  the  names  of  villages  near 
Belluno,  was  living  in  portions  of  the  14th  and 
15th  centuries,  and  is  thought  to  have  died  close 
upon  1416.  The  altar-piece  of  the  high  altar  in 
the  cathedral  of  Belluno  was  executed  by  him  in 
1397.     There  also  remain  of  his  works : 

Belluno.  Baptistery.  St.  Martin  dividing  his  Cloak: 
and  sixteen  other  episodes  from 
his  life. 
„  Casa  Pagani.  Virgin  of  Mercy,  between  16 
subjects  from  the  life  of  St. 
Bartholomew. 

CUSTODIS,  HiERONYMO,  was  a  painter  of  Ant- 
werp, of  whom  nothing  is  known  beyond  the  few 
words  he  has  inscribed  on  his  portraits.  Two  of 
these,  Giles  Bruges,  Lord  Chandos,  and  Elizabeth 
Bruges,  Lady  Kennedy,  are  at  Woburn  Abbey, 
and  a  third.  Sir  John  Parker,  is  at  Hampton  Court 
All  three  were  painted  in  England  in  1589,  and  are 
very  poor  productions. 

GUSTOS,  DoMiNicus.    See  De  Coster. 

CUVILLIES,  FEAN90IS,  a  French  architect,  aiid 
engraver  of  ornaments,  was  bom  at  Soissons  in  loBo, 


Cuvillifes 


PAINTERS  AND  ENGRAVERS. 


Cuyp 


and  went  to  Paris  in  1714  to  study  architecture 
under  Robert  de  Cotte.  About  1720  he  was  sent 
to  Cologne  to  execute  work  for  the  Elector  James 
Clement,  and  in  1738  he  was  nominated  architect 
to  the  Elector  of  Bavaria,  afterw  irds  the  Emperor 
Charles  VII.  He  died  about  the  end  of  1767  or 
the  beginning  of  1768. 

CUVILLlfeS,  FEANgois,  the  son  of  the  preceding, 
was  an  engineer  and  architect,  bom  at  Munich  in 
173'4.  He  succeeded  his  father  at  the  court  of 
Munich,  and  there  published  his  father's  works  in 
1769—1772.  He  etched  some  plates  of  Funeral 
Monuments,  Fountains,  and  Caryatides,  and  is  sup- 
posed to  have  died  about  1805. 

CUYCK  VAN  MIEROP,  Frans  van,  (or  Cdyck 
VAN  MiEEHOP,)  was  born  at  Bruges  in  1640,  and 
painted  in  Ghent  historical  pictures,  with  portraits 
of  the  persons  in  the  events  depicted,  but  his 
best  productions  represent  animals,  especially  fish, 
and  some  of  his  works  are  scarcely  to  be  dis- 
tinguished from  those  of  Snyders.  He  was  de- 
scended from  a  noble  family,  and  at  first  painted 
only  for  amusement ;  but  a  reverse  of  fortune 
compelled  him  to  pursue  the  art  as  a  profession. 
He  died  after  1686.  The  Academy  of  Bruges  has 
a  picture  of  '  Still  Life '  by  this  painter. 

CUYLENBORCH,  Abraham  van,  (Cuylenbueg, 
or  KuYLENBUEQ,)  was  a  painter  of  Utrecht,  who 
flourished  in  the  17th  century.  He  was  instructed 
by  Poelenburg,  in  whose  manner  he  executed  land- 
scapes with  idyllic  and  mythological  scenes;  his 
figures,  however,  are  but  abortive  imitations  of  that 
master.  In  1639  he  was  appointed  master  of  the 
Guild  at  Utrecht,  and  his  name  occurs  in  the 
records  as  late  as  1660.  Among  his  paintings  we 
may  notice : 


Brunswick. 

Cologne. 
Hague. 


Gallery. 


A  Grotto.  1646. 

A  Grotto.  1647. 

Diana.  1660. 
Diana. 


CUYLENBURG,  Cs.  van,  of  Utrecht,  painted  in 
Holland  in  the  early  years  of  the  nineteenth  century. 
He  died  at  the  Hague  after  1816.  A  portrait  of 
Willem  Crul  by  him  is  in  the  Amsterdam  Gallery. 

CUYP,  Aelbeet,  the  son  of  Jacob  Gerritsz  Cuyp, 
was  born  at  Dordrecht  in  1605,  and  studied  under 
his  father.  He  married  in  1658,  and  lived  chiefly 
on  his  estate,  Dordwijk,  near  Dordrecht,  in  which 
town  he  was  considered  of  some  importance.  His 
name  does  not  occur  in  the  records  of  the  Guild  : 
and  it  is  thought  by  some  that  he  may  have  practised 
art  only  as  an  amateur.  But  little  is  known  of  his 
life.  He  died  in  1691,  and  was  buried  in  the  church 
of  the  Augustines  at  Dordrecht. 

Cuyp,  who  has  been  called  the  Dutch  Claude, 
acquired  the  chaste  and  exquisite  style,  for  which 
he  is  so  particularly  admired,  by  a  close  and  vigilant 
attention  to  nature,  under  all  the  vicissitudes  of 
atmosphere  and  season.  His  pictures  frequently 
represent  the  borders  of  the  Maas,  with  shepherds 
and  herdsmen  tending  their  cattle.  These  sub- 
jects he  has  treated  with  an  enchanting  simplicity, 
that  may  truly  be  said  to  be  peculiar  to  him. 
Whether  he  wished  to  exhibit  the  dewy  vapour  of 
morning,  ushering  in  the  brightness  of  a  summer 
day,  the  glittering  heat  of  noon,  or  the  still  radiance 
of  evening,  nature  is  perfectly  represented.  No 
painter,  perhaps,  has  surpassed  him  in  the  purity  of 
aerial  tint.  Cuyp  did  not  confine  himself  to  land- 
scapes and  figures ;  he  painted  with  equal  success 
sea-pieces  and  views  of  rivers,  with  boats  some- 


times sailing  with  a  fresh  breeze,  sometimes  at 
anchor  in  a  sultry  calm  ;  winter-scenes,  with  people 
amusing  themselves  on  the  ice ;  and  pictures  of 
birds,  which  would  have  been  a  credit  to  D'Honde- 
coeter.  He  excelled  also  in  horse-fairs  and  skir- 
mishes of  cavalry,  which  he  painted  with  infinite 
spirit,  in  a  manner  equal,  if  not  superior,  to  Wou- 
werman.  He  was  not  less  happy  in  his  pictures 
of  moonlight ;  in  which  the  works  of  Van  der  Neer 
are  eclipsed  by  a  superior  and  a  more  delicate 
degradation  of  light.  He  also  painted  portraits 
(an  example  is  in  the  National  Gallery),  interiors  of 
churches,  fruit,  and  flowers ;  and  may  thus  be  called 
the  most  universal  painter  of  the  school  to  which  he 
belonged.  The  pictures  of  Cuyp  are  to  be  met 
with  more  frequently  inEngland  than  in  any  other 
country,  and,  with  the  exception  of  those  in  the 
Louvre,  almost  all  his  masterpieces  may  be  found 
in  the  public  galleries  and  private  collections  of 
this  country,  for  it  was  in  England  that  the  beauty 
of  his  pictures  was  first  appreciated.  Till  about  the 
middle  of  the  18th  century,  they  could  be  bought 
for  as  little  as  thirty  florins  a-piece ;  they  now 
fetch  as  much  as  £3,000. 

The  following  are  some  of  his  principal  works, 
which  are  usually  signed  (in  early  life,  A.  C,  and 
later,  A.  Cdijp),  but  rarely  dated. 


Amsterdam.  Gallery. 

Hilly  Landscape. 

a 

» 

Shepherds  with  their  Flocks  in 
a  landscape. 

11 

n 

Cavalry  Combat. 

'J 

i» 

Cock  and  Turkey  fighting. 

„      Van  der  Soop 

)  Cattle. 

/View  of  Dordrecht. 

Collection. 

Amsterdam    Six  Coll. 

View  of  Dordrecht. 

)» 

»»      J) 

Moonlight  Scene. 

Antwerp. 

Gallery. 

The  Two  Cavaliers. 

Berlin, 

Musetwt. 

Sandy  Landscape. 

)? 

J) 

Sunny  View  of  the  Dimes. 

)j 

Kiver  Scene. 

Cows  in  a  Tja.ndscape. 

Brussels. 

Museum. 

Interior  of  a  Stable,  with  an  Ox 
and  Fowls. 

Copenhagen.    Museum, 

Landscape  with  Horsemen. 

Darmstadt 

Museum. 

Herdsman  and  Cattle. 

Dorking. 

Mope  Coll 

Herdsman  and  Cattle, 

Dresden, 

Gallery. 

Hunting  Scene. 

)> 

it 

Boy  with  a  Greyhoimd. 

n 

w 

Portrait  of  Himself,  as  a  bride- 
groom. 

;» 

J» 

A  Grey  Horse  with  a  Groom. 

Dublin. 

JVat.  Gall. 

Milking  Cows. 

Dulwich. 

Gallery. 

The  White  Horse  in  a  riding 

stable. 
Evening  Ride  near  a  Eiver. 

J} 

)i 

}} 

»j 

A  Eoad  near  a  River. 

jt 

>» 

Cattle  and  Figures  near  a  Eiver, 
with  Mountains. 

j» 

)) 

Cattle  near  a  Eiver. 
And  eight  others. 

Frankfort. 

Stadel. 

Portrait  of  a  Boy. 

J, 

„ 

Evening  Landscape. 

Hague. 

Gallery. 

A  member  of  the  De  Robvere 
Family  directing  Salmon-fish- 
ing in  the  environs  of  Dor- 
drecht. 

London. 

Sat.  Gall. 

Landscape,    with     Cattle    and 
Figures :  Evening  (a  master- 
piece). 
A  Man's  Portrait  {dated  1649). 

n 

» 

» 

» 

Horseman    and    Cows     in    a 
Meadow :  Evening. 

)j 

J) 

Eiver  Scene  with  Cattle. 

" 

„ 

Ruined  Castle  in  a  Lake. 

1, 

The  'Windmills. 

n 

» 

Cattle  and  Figures  (the  '  Large 
Dort  '1 

») 

f) 

Cattle  and  Figures  (the  '  Small 
Dort'). 

341 

Cuyp 


A  BIOGRAPHICAL  DICTIONAEY  OF 


Babos 


London.      Bridgewater  I  Landscape,    with    Figures    on 
House.         j      horseback  and  on  foot. 
,,  ,^  „        Woman  milking  a  Oow. 

^^  „         View  on  the  Meuse. 

^SucUngham  1  A  Herdsman,  a  Woman,  and 
Palace.        J      Cattle. 
^,  „       Landscape  with  River. 

"  Bedford  Coll.  Fishermen  on  the  Ice. 

BolfordColl.  View  of  Dordrecht. 
„  Ashiurton  Col.  Portrait  of  a  Man  in  a  velvet 

coat. 
Munich.       Finakothek.     A  Horseman  holding  a  white 
Horse, 
j^  „  Fowls  in  a  Stable. 

Paris.  Louvre.  Landscape  with  Shepherd  and 

six  Cows  («  master-piece) . 
„  Starting  for  a  Hide. 

„  i,  The  Hide. 

„  Portraits  of  Children  {also  as- 

'  cribed  to  Jacob  Oerritsz  Cuyp). 

„  Portrait  of  a  Man. 

„  Sea-piece. 

Pesth.  Gallery.  Landscape  and  Cattle. 

^,  „  Portraits     of     Himself     and 

Family. 
Petersburg.  Hermitage.      Cows  in  a  Landscape. 
,  The  Meuse. 

„  „  The  Scheldt. 

„  „  Cattle  in  a  Landscape. 

„  „  Horses  on  the  Bank  of  a  Eiver. 

„  „  Moonlight  at  Sea. 

„  „  Landscape — Woman  with  Cows. 

Botterdam.  Museum.         Biver  Scene. 

„  „  Interior,  with  a  Forge. 

„  „  Two  Grey  Horses. 

Fish. 
„  „  Game. 

„  „  Poultry. 

„  „  Head  of  a  Cow. 

Aelbert  Cuyp  has  left  eight  small  etchings  of 
cows,  which,  though  not  executed  with  much 
delicacy  or  care,  evince  the  hand  of  the  master. 
They  are  very  scarce. 

CUYP,  Benjamin,  a  pupil,  and  apparently  a 
nephew  of  Jacob  Gerritsz  Cuyp,  was  bom  at 
Dordrecht  in  1608,  and  was  received  into  the 
Guild  there  in  1631.  He  formed  his  style  on 
that  of  Aelbert  Cuyp,  Rembrandt,  and  Teniers 
the  elder.  His  subjects  are  taken  from  sacred 
history,  coast  scenery,  and  peasant  life.  His 
works  are  rarely  met  with  in  public  galleries. 
The  following  are  attributed  to  him : 

Berlin.       Gallery.         Adoration  of  the  Shepherds. 
Dresden.    Gallery.  Peasants  playing  and  singing. 

Lille.        Museum,         The  Eesurrection. 

„  „  Portrait  of  a  Young  Woman. 

Petersburg.  Hermitage.  Peasants  quarrelling. 

CUYP,  Jacob  Gbrbitsz,  the  father  of  the  cele- 
brated Aelbert  Cuyp,  and  a  pupil  of  Abraham 
Bloemaert,  was  born  at  Dordrecht  in  1575.  He 
occasionally  painted  views  of  towns,  landscapes, 
and  battle-pieces,  but  he  is  principally  famous  for 
his  portraits.  He  was  one  of  the  four  founders  of 
the  Guild  of  St.  Luke  at  Dordrecht.  He  was  still 
living  in  1649.    The  following  works  are  by  him : 

Amsterdam.  Gallery.     A  Dutch  Family.  ! 

Berlin.  Gallery.      Portrait  of  an  Old  Woman.   1624. 

„  „  Portraits    of    a    newly-married 

Couple. 

„  „  Portrait  of  a  Young  Man. 

Frankfort.       Stddel.       Portrait  of  a  Lady. 
Munich.         Pinakotheh.  View  of  a  Town  on  a  broad  river. 
Petersburg.    Hermitage.  Two  Soldiers  sitting  at  Table. 
Botterdam.    Museum.     Three  Children  in  a  Landscape. 
1635. 

„  „  Portrait  of  an  Officer.     1644. 

„  „  Portrait  of  a  Lady.    1644. 

CUYPEEE,  Andbies  de.    See  Stevens. 
342 


CYDIAS,  a  native  of  Cythnus,  who  was  living 
in  B.C.  364,  may  be  presumed  to  have  been  a 
painter  of  considerable  ability,  as  one  of  his 
pictures,  representing  'Jason  and  his  followers 
embarking  for  Colchis,  in  search  of  the  Golden 
Fleece,'  was  purchased  at  Rome  by  the  orator 
Hortensius  for  forty-four  thousand  sesterces,  and 
was  afterwards  bought  by  Marcus  Agrippa,  and 
placed  in  the  Porticus  of  Neptune  to  commemorate 
his  naval  victories. 

CYL,  Geeaed  van,  a  painter  of  Amsterdam  or 
Leyden,  who,  about  the  year  1649,  produced  a 
number  of  portraits  and  conversation  pieces  in  the 
style  of  Van  Dyck,  whom  he  imitated  with  decep- 
tive accuracy. 

CZECHOVVICZ,  Simon,  was  born  at  Cracow  in 
1689,  and  went  when  quite  young  to  Rome,  where 
he  placed  himself  for  improvement  under  Maratti, 
and  resided  during  thirty  years.  After  his  re- 
turn he  worked  principally  in  Warsaw,  but  also  in 
Cracow,  Wilna,  Podhorce,  and  Polock.  He  at 
length  entered  the  order  of  the  Capuchins,  and 
from  that  time  devoted  himself  wholly  to  painting 
for  them.  He  established  the  first  school  of  paint- 
ing in  Poland.  His  death  occurred  at  Warsaw  in 
1775.  Some  three  hundred  strictly  religions  pic- 
tures by  him  have  been  estimated  to  exist,  of  which 
107  are  in  Podhorce  Castle,  and  others  in  the 
Jesuits'  College  at  Polock,  and  the  churches  of  the 
Piarists  and  St.  Florian  at  Cracow.  His  masterpiece 
is  the  '  Miracle  of  the  Broken  Milk-pot,'  at  Wilna. 

CZERMAK,  Jaroslav.    See  Ceemak. 

D 

DA,  Abraham,  an  engraver,  was  probably  a  na- 
tive of  Germany,  as  he  appears  to  have  imitated 
the  style  of  Theodor  De  Bry.  There  is  a  plate  by 
him  of  '  The  Last  Supper,'  executed  with  the  graver 
in  a  neat  but  stiS  style,  and  inscribed  Abraham 
Da  fecit  J-  from  which  it  may  be  presumed  that  it 
is  from  his  own  design. 

DA  ANNUNCIAglO,  Thomas  3os&,  who  was 
born  at  Ajuda  near  Lisbon,  in  1821,  learned  his 
art  in  the  academy  of  that  city,  and  afterwards 
travelled  through  Spain  and  France.  He  was  prin- 
cipally an  animal  painter,  and  was  considered  the 
best  artist  in  that  branch  of  art  in  the  Peninsula ; 
but  he  occasionally  executed  genre  pictures.  He 
was  Director  of  the  Academy  of  Fine  Arts  at 
Lisbon,  where  he  died  in  1879.  The  following  are 
some  of  his  most  noteworthy  works : 
Lisbon.    Galeria  Nacional.   View  of  Amora. 

„  „  „  Two  Women  at  a  Fountain. 

„  „  „  View  of  the  Penhade  Franca. 

„  „  „  Oxen  treading  out  Com  at 

Eibatejo. 

„  „  „  After  pasture — View  on  the 

Tagus. 
„  „  The  Shepherd's  Rest.   1852. 

DABOS,  Laurent,  a  painter  of  portraits  and 
of  historical  and  genre  subjects,  who  was  born  at 
Toulouse  in  1761,  was  instructed  by  Francois  An- 
dre Vincent,  and  first  exhibited  at  the  '  Exposition 
de  la  Jeunesse '  in  1788.  Among  his  works  may  be 
mentioned :  '  Mary  of  England,  Queen  of  France, 
lamenting  the  death  of  her  husband,  Louis  XII.,' 
'The  Return  of  the  Grande  Armde,'  and  'Louis 
XVI.  writing  his  Will,'  a  picture  painted  in  the 
Temple  during  the  captivity  of  the  royal  family. 
Besides  these  he  painted  from  life  the  portrait  of 
the  Dauphin  (Louis  XVII.).     He  died  in  Paris  in 


Dach 


PAINTERS  AND  ENGRAVERS. 


Dagley 


1835.  His  wife,  Jeanne  Bernaed,  who  was  a  pupil 
of  Madame  Guyard,  also  painted  genre  subjects. 
She  was  born  at  Luneville  in  1763,  and  died  in  1842. 

DACH,  Jean.    See  Aachen,  Johahn  von. 

DACHBRETT,  Pbtek.     See  Tagpeet. 

DA  CUNHA  TABORDA,  Josi:,  a  Portuguese 
painter  and  architect,  was  born  at  Fundao,  in  the 
diocese  of  Guarda,  in  1766.  After  studying  paint- 
ing under  Joaquim  Manoel  da  Rocha,  he  went  in 
1788  to  Rome,  where  he  placed  himself  under  the 
tuition  of  Antonio  Gavallucci,  and  gained  reputation 
by  a  picture  of  '  The  Summoning  of  Cinoinnatus 
to  the  Dictatorship.'  After  his  return  to  Portugal 
he  was  in  1799  appointed  professor  at  the  Lisbon 
Academy,  and  in  1803  court  painter,  in  which 
capacity  he  painted  in  the  royal  palace  of  Ajuda 
and  the  hall  of  the  Cortes.  There  is  no  mention  of 
the  date  of  his  death. 

DADDI,  Beenakdo,  a  Florentine  painter,  was 
the  contemporary  and  colleague  of  Jacopo  Landini 
di  Casentino  in  the  formation  of  the  Academy  of 
St.  Luke  at  Florence  in  1349.  He  was  born  towards 
the  close  of  the  13th  century,  and  was  one  of  the 
most  able  of  the  pupils  of  Giotto.  He  painted  in 
fresco  the  histories  of  St.  Lawrence  and  St.  Stephen 
in  the  Berardi  chapel  in  Santa  Groce,  and  also  the 
gates  of  the  old  city  of  Florence ;  but  the  only 
frescoes  which  remain  are  those  representing  the 
Martyrdoms  of  St.  Stephen  and  St.  Lawrence.  In 
1346-7  he  painted  his  best  work,  the  miracle- 
working  picture  of  the  Virgin,  which  is  still  in 
Or  San  Michele  at  Florence.  His  death  took 
place  in  1360. 

Besides  the  above-mentioned,  the  following 
works  by  Daddi  are  extant : 

England.  The  Crucifixion  (formerly  in  the 

church  of  St.  George  at  Htchalla). 
1348. 

Florence.  Accademia.  Virgin  enthroned,  with  two  Saints 
{ceTitral  portion  of  a  small  trip- 
tych^ erroneously  ascribed  in  the 
catalogue  to  Bernardo  Orcagna). 
1332? 
„  Ognissanti.    Virgin  and  Child,  with  St.  Mat- 

thew and  St.  Nicholas.    1328. 

Pisa.  Camposanto.    Frescoes  of  the  Triumph  of  Death, 

the  Last  Judgment,  and  the 
Inferno. 

Siena.  Istituto  rfi)  Virgin  and  Child,  with  Saints  {a 

Belle  Arti.i     small  triptych).    1336. 
„  „  Virgin  and  Child,  with  a  corona 

of  Saints  in  adoration  {central 
portion  of  a  triptych). 

DADDI,  CosiMO,  was  a  native  of  Florence,  who 
flourished  about  the  year  1614.  He  was  a  scholar 
of  Battista  Naldini,  and  painted  historical  subjects 
with  much  skill ;  but  he  is  better  known  as  having 
been  the  master  of  Volterrano.  Several  of  his 
works  are  noticed  by  Baldinucci,  particularly  a 
picture  of  the  '  Visitation  of  the  Virgin  to  St.  Eliza- 
beth,' and  some  subjects  from  the  Life  of  the 
Virgin,  at  the  monastery  of  San  Lino,  at  Florence. 
In  the  church  of  Or  San  Michele  is  an  altar-piece, 
representing  the  Archangel  discomfiting  the  rebel 
Angels.  Daddi  died  of  the  plague  in  1630.  Zani 
says  that  his  name  was  Dati,  and  that  he  painted 
in  1688. 

DADURE,  Makie  Michel  Alphonse,  a  French 
portrait  and  historical  painter,  who  was  a  pupil  of 
Ingres,  was  born  in  Paris  in  1804,  and  died  there 
in  1868.  His  best  work  is  the  '  Pilgrimage  of  St. 
Helena,  Queen  of  Sweden. ' 

DABBLING,  Heinbich  Anton,  a  historical  and 
genre  painter,  was  born  at  Hanover  in  1773.     In 


1794  he  went  to  Berlin,  where  he  was  engaged  in 
miniature  painting  and  as  a  teacher  of  drawing. 
In  1802  he  visited  Paris,  and  the  study  of  the 
galleries  there  first  induced  him  to  attempt  paint- 
ing in  oil.  From  1811  until  his  death  he  was  a 
member  of  the  Berlin  Academy,  and  professor  at 
the  same  fi-om  1814  onwards.  He  died  .at- Pots- 
dam in  1850.  One  of  his  most  famous  pictures  is 
'  The  Descent  from  the  Gross,'  the  altar-piece  at  the 
Garrison  Church  in  Potsdam.  In  the  Berlin  Gal- 
lery is  a  '  State  Entry,'  painted  by  him. 

DAEL,  Jan  Feans  van,  an  excellent  painter  of 
fruit  and  flowers,  was  born  at  Antwerp  in  1764,  but 
went  early  to  Paris  and  settled  there.  He  was 
self-inatructed  in  art,  but  made  such  progress  that 
he  soon  distinguished  himself  at  the  exhibitions, 
on  one  occasion  obtaining  the  prize  of  4000  francs, 
and  on  two  others,  the  large  gold  medal.  His 
style  is  in  the  manner  of  Van  Huysum  and  Van 
Spaendonck,  although  he  did  not  confine  himself 
strictly  to  fruit  and  flowers,  but  painted  other  sub- 
jects, in  which  such  objects  might  with  propriety  be 
introduced.  Two  of  his  pictures,  which  he  painted 
for  the  Empress  Josephine,  represent  '  An  OfEering 
to  Flora,'  and  '  The  Tomb  of  Julia  '  ;  the  latter  is 
now  in  the  Louvre.  His  master-piece,  known  as 
'La  Croisee,'  the  fruit  of  three  years'  labour,  was 
likewise  purchased  by  the  Empress  Josephine,  and 
is  now  in  a  private  collection  at  Liege.  He  was 
also  patronized  by  the  Empress  Marie  Louise,  who 
took  one  of  his  pictures  with  her  to  Parma.  He 
died  in  Paris  in  1840,  and  was  buried  in  the  ceme- 
tery of  Pere  Lachaise  by  the  side  of  his  friend  Van 
Spaendonck.  The  Louvre  has  also  by  him  three 
pictures  of  '  Flowers  '  and  one  of  '  Fruit.' 

DAELE,  Jan  van,  a  Flemish  landscape  painter, 
who  was  born  at  Antwerp  in  1530,  and  died  in 
1601,  excelled  in  representing  mountainous  and 
rocky  scenery.  Balkema  erroneously  names  him 
Cornells. 

DAELENS,  DiEK  van.     See  Deelen. 

DAERIN6ER,  Johann  Geoeg,  an  Austrian  his- 
torical painter,  was  born  at  Ried  in  1769.  He 
painted  many  altar  pictures,  and  held  the  post  of 
corrector  of  the  Academy  at  Vienna,  where  he 
died  in  1809. 

DAFFINGER,  Moeiz  Michael,  a  distinguished 
miniature  painter,  who  has  been  called  the  Austrian 
Isabey,  was  born  at  Vienna  in  1790.  While 
studying  at  the  Academy  under  Fiiger  he  showed 
considerable  talent  for  portrait  painting,  which  he 
improved  at  a  later  period  by  a  study  of  the 
manner  of  Lawrence,  who  visited  Vienna  during 
the  Congress  of  1814.  DafiBnger  painted  portraits 
of  the  Duke  of  Reichstadt  and  many  of  the 
nobility  of  the  court  of  Vienna,  and  etched  four 
plates,  one  of  which  was  his  own  portrait.  He 
died  at  Vienna  in  1849. 

DA'  FRUTTI,  II  Gobbo.     See  Bonzi. 

DAGIIJ,  Fbancesco,  called  II  Capella,  who 
was  born  at  Venice  in  1714,  was  a  scholar  of 
Giovanni  Battista  Piazzetta.  He  painted  history, 
and  was  chiefly  employed  for  the  churches  at  Ber- 
gamo, and  by  the  state.  One  of  his  best  pictures 
is  '  St.  George  and  the  Dragon,'  in  the  church  of 
San  Bonate.     He  died  in  1784. 

DAGLEY,  RiCHAED,  an  English  subject 
painter,  was  born  in  the  latter  half  of  the  18th 
century.  He  was  brought  up  at  Christ's  Hospital, 
and  at  first  made  designs  for  jewellery.  From  1784 
to  1806  he  exhibited  domestic  subjects  at  the 
Royal  Academy.     He  then  turned  his  attention  to 

343 


Dagli  Occhiali 


A  BIOGRAPHICAL  DICTIONARY  OF 


Daiwaille 


teaching  drawing,  but  "again  appeared  at  tlie  Aca- 
demy from  1815  to  1833.  Asa  medallist  hie  obtained 
Bome  success,  and  he  published  works  on  Gems  in 
1804  and  1822.  His  life  was  a  continued  struggle 
against  poverty.     He  died  in  London  in  1841. 

DAGLI  OCCHIALI,Gabkielb.  SeePEREANTim. 

DAGLI  OCCHIALI,  Gaspaeo.     See  Wittel. 

DAGNAN,  Isidore,  a  Trench  landscape  painter, 
was  born  at  Marseilles  in  1794,  and  died  in  Paris 
in  1873.  Among  his  pictures,  which  consist 
chiefly  of  views  in  Southern  France,  Italy,  and 
Switzerland,  are  the  following  : 

Fontainebleau.       Falace.      Tiew  of  Lausanne.    1822. 
„  „  View  in  DauphinS.    1827. 

Versailles.  Trianon.    Lake  of  Geneva.     1822. 

,  „         View  of  Paris  from  the  Quai 

de  la  Cit6, 1831  (one  of  Ms 
lest  wo7'ks). 
„  „         Banks  of    the    Vigne   near 

Vancluse. 
„         Valley  of  the  Lauterbrunnen. 
1841. 
„  „  Petrarch's  House. 

„  „         Old  Beeches  in  the  Forest  of 

Fontaiuebleau. 

D'AGOTY,  Gauthieb.     See  Gauthier  d'Agoty. 

DAGUERRE,  Louis  Jacques  Mand^,  a  French 
scene-painter,  was  bom  at  Cormeilles-en-Parisis  in 
Normandy  in  1787.  He  studied  under  Degoti,  and 
very  soon  surpassed  all  other  masters  in  the  art  of 
theatrical  decoration.  In  1822,  in  conjunction  with 
Bouton,  be  founded  at  Paris  the  Diorama,  which 
enjoyed  great  popularity  until  its  destruction  by 
fire  in  1839.  But  the  great  event  of  Daguerre's 
life  was  his  discovery  of  the  art  of  photography, 
or,  as  it  was  named  after  him,  the  Daguerreotype. 
His  first  experiments  were  made  in  1826,  and  in 
1829  he  associated  himself  with  Niepce,  who  had 
since  the  year  1814  been  endeavouring  to  solve  the 
problem  of  fixing  the  image  formed  in  the  camera, 
obscura.  The  discovery  was  ceded  to  the  public 
in  1839,  when  Daguerre  received  a  pension  of 
6000  francs.  He  died  suddenly  at  Petit-Bry-sur- 
Marne,  near  Paris,  in  1851. 

DAHL,  JoHAN  Christian  Clausen,  a  Norwegian 
landscape  painter,  was  born  at  Bergen  in  1788. 
His  parents  wished  him  to  enter  the  Church,  but 
he  speedily  followed  his  own  inclination  for  art. 
In  1811  he  attended  the  Academy  of  Copenhagen, 
and  in  1818  went  to  Dresden.  Later  on,  he  travelled 
in  the  Tyrol  and  Germany,  and  repeatedly  visited 
his  native  country,  whose  coasts  and  fiords,  lakes 
and  towns,  he  painted  with  loving  exactitude,  but 
with  a  singular  dryness.  He  likewise  etched  four 
plates.  Dahl  died  at  Dresden  in  1857.  His  '  Storm 
at  Sea,'  in  the  Berlin  Gallery,  and  his  '  Winter 
Landscape,'  in  the  Munich  Pinakothek,  are  paintings 
worthy  of  mention. 

DAHL,  Michael,  a  Swedish  portrait  painter, 
was  born  at  Stockholm  in  1656,  and  received  some 
instruction  from  Ehrenstral,  an  esteemed  Swedish 
artist.  At  the  age  of  twenty-two  he  came  to 
England,  but  did  not  at  that  time  remain  longer 
than  a  year  ;  he  continued  his  travels  in  search  of 
improvement  through  France  to  Italy,  where  he 
studied  for  somey«ars,  and  whilst  at  Rome  painted 
the  portrait  of  the  celebrated  Queen  Christina  of 
Sweden.  In  1688  he  returned  to  England,  where 
he  found  Sir  Godfrey  Kneller  rising  to  the  head  of 
his  profession ;  but  Dahl  possessed  sufSoient  merit 
to  distinguish  himself  as  no  mean  competitor. 
Queen  Anne  and  Prince  George  of  Denmark  both 
sat  to  him.     He  died  in  London  in  1743. 

344 


DAHLEN,  Reiner,  who  was  bom  at  Cologne  in 
1836,  was  originally  brought  up  as  a  saddler,  but 
chose  to  devote  himself  to  art,  and  studied  at  the 
Academy  of  Diisseldorf.  He  visited  England, 
North  America,  and  Paris.  His  works  mostly 
represent  horses,  carriages,  hunting  parties,  and 
so  forth.  Although  there  is  a  study  of  nature 
exhibited  in  his  paintings,  his  peculiarly  original 
style  did  not  meet  with  much  approbation.  He 
died  at  Diisseldorf  in  1874. 

DAHLSTEIN,  Auqustin,  a  German  painter  who 
flourished  in  the  middle  of  the  18th  century,  was  a 
native  of  Cassel.  He  visited  Sweden  and  Russia, 
and  etched  a  series  of  50  plates  of  the  '  Cries  of 
St.  Petersburg  and  Moscow.' 

DAIGREMONT,  M.,  was  a  French  engraver, 
who  flourished  from  about  1670  to  about  1700. 
He  engraved  some  of  the  plates  for  Berain's 
'  Omemens,'  and  several  views  of  Versailles. 

DAI  LIBRI,  Francesco,  the  elder,  born  at  Ve- 
rona in  1462,  was  the  son  of  Stefano  dai  Libri,  an 
illuminator  of  books.  He  was  the  father  of  Giro- 
lamo  dai  Ijibri,  and  is  known  as  an  illuminator  of 
choir  books  for  the  churches  of  his  native  city. 

DAI  LIBRI,  Francesco,  the  younger,  the  grand- 
son of  the  above  and  son  of  Girolamo  dai  Libri, 
was  born  in  1500,  and  lived  chiefly  at  Venice  and 
at  Padua.  He  was  at  first  a  painter  of  miniatures, 
but  afterwards  a  painter  in  oil  and  an  architect. 

DAI  LIBRI,  Girolamo,  the  son  of  Francesco 
dai  Libri,  was  bom  at  Verona  in  1474.  He  was 
brought  up  by  his  father  to  his  own  profession 
of  a  miniature  painter  and  illuminator  of  booksj 
but  he  soon  abandoned  its  pursuit.  His  earlier 
style  inclines  to  that  of  Andrea  Mantegna.  His 
first  picture,  painted  when  he  was  only  sixteen,  is 
in  the  church  of  Malcesine,  on  the  Lake  of  Garda, 
and  represents  the  '  Deposition  from  the  Cross,  with 
the  Virgin  and  Saints.'  In  the  Museum  of  Verona 
is  a  painting  representing  '  The  Virgin,  St.  Joseph, 
St.  John  the  Baptist,  and  St.  Jerome,  adoring  the 
Infant  Christ ' ;  and  at  Sant'  Anastasia  in  the 
same  city,  is  a  'Madonna  and  Child  with  Saints, 
which  is  one  of  his  earliest  productions.  In  1515  • 
he  and  Francesco  Morone  painted  the  organ  shutters 
of  Santa  Maria  in  Organo,  which  are  now  at  Mal- 
cesine. In  1526  he  finished  his  masterpiece,  the 
'Virgin  and  Child  enthroned,  between  Lorenzo 
Giustiniani  and  St.  Zeno,'  at  San  Giorgio  Maggiore 
in  Verona ;  and  of  about  the  same  period  is  the 
'  Virgin  and  Child,  with  SS.  Anne  and  Joachim  and 
two  donors,'  in  the  church  of  San  Paolo  in  the 
same  city.  In  1530  were  executed  the  'Virgin 
and  Saints,'  for  the  church  of  the  Vittoria  Nuova, 
and  the  'Virgin  in  Glory,  with  SS.  Andrew  and 
Peter,'  for  Sant  Andrea ;  both  pictures  are  now 
in  the  Gallery  of  Verona.  Girolamo  died  at  Ve- 
rona in  1556.  Guilio  Clovio  and  his  son,  Francesco 
dai  Libri,  were  his  pupils.  He  never  painted  in 
fresco,  and  his  works  are  rare  out  of  his  native  city. 
Pictures  by  him  are  in  the  f  ollowng  collections : 

Berlin.         Gallery.  Virgin  and  Child,  between  SS' 

Bartholomew  and  Zeno. 

London.  Ufat.  Gallery.  Madonna  and  Child,  with  Saint 
Anne. 

Paris.  Louvre.  Virgin  and  Child. 

DAIWAILLE,  Jean  Augustin,  a  Dutch  portrait 
painter,  was  born  at  Cologne  in  1786,  and  went 
when  young  to  Amsterdam  ♦here  he  studied  under 
A.  De  Lelie,  and  was  director  of  the  Academy 
from  1820  to  1826.  After  that  time  he  resided  at 
Rotterdam,   where    be    was    very    successful   i". 


Sal  CoUe 


PAINTERS  AND  ENGEAVERS. 


Sallamauo 


paintirig  portraits,  and  where  he  died  in  1850. 
There  is  by  him  one  etching,  which  is  scarce. 

DAL  COLLE,  Raffabllo,  or  Eaffaellino,  called 
also  Eaffaellino  dal  Bobqo  San  Sepoloko,  was 
born  at  Borgo  San  Sepolcro,  about  the  year  1490. 
He  was  first  a  disciple  of  Eaphael,  but  after  the 
death  of  that  master  he  became  the  scholar  of 
Giulio  Eomano,  whom  he  assisted  in  his  principal 
works  at  Eome,  and  in  the  Palazzo  del  Te,  at 
Mantua.  Of  his  own  compositions,  the  principal  are 
two  pictures  at  Borgo  San  Sepolcro,  one  of  which, 
representing  the  '  Eesurrection,'  in  the  choir  of  the 
cathedral,  exhibits  a  grandeur  not  unworthy  of  the 
great  school  in  which  he  had  been  educated.  The 
figure  of  Christ  is  dignified  and  majestic,  and  the 
terror  of  the  guards  of  the  sepulchre  is  admirably 
expressed.  The  other  is  in  the  church  of  the  Con- 
ventuali,  and  represents  the  'Assumption  of  the 
Virgin.'  It  is  a  graceful  and  impressive  composi- 
tion ;  and  being  placed  near  one  of  the  best  pic- 
tures of  Giorgio  Vasari,  establishes  its  merit  by  its 
decided  superiority.  Eaf£ael]ino  dal  CoUe  was  one 
of  the  artists  employed  by  Eaphael  in  the  decora- 
tions of  the  Loggie  of  the  Vatican,  and  painted 
one  of  the  small  cupolas  in  the  roof  with  a  portion 
of  the  history  of  Moses.  In  Citti  di  Castello  is 
an  '  Annunciation '  by  him,  which  is  a  very  grace- 
ful composition.  An  '  Entombment,'  in  the  Servi, 
is  another  beautiful  picture.  A  picture  of  'The 
Virgin  attended  by  St.  Sebastian  and  St.  Eooh,' 
was  in  the  church  of  San  Francesco  at  Cagli,  the 
figures  and  landscape  of  which  much  resembled 
the  manner  of  Eaphael.  In  one  of  the  chapels  of 
the  Olivet  monks  at  Gubbio  there  are  pictures  by 
him,  in  one  of  which  he  has  introduced  a  figure  of 
Virtue,  who  seems  to  be  a  sister  to  Raphael's  Sibyls. 
He  assisted  Bronzino  and  Vasari  in  their  decor- 
ations and  cartoons — the  latter  upon  the  occasion 
of  the  visit  of  Charles  V.  to  Florence.  He  had 
many  scholars  who  proved  able  artists,  but  few 
equalled  him  in  grace  and  high  finish  ;  Cristofano 
Gherardi  and  Giovanni  de'  Vecchi  are  noticeable 
amongst  them. 

DALEN,  CoRNELis  van,  a  Flemish  engraver,  was 
born  at  Antwerp  about  the  year  1620.  He  was 
called  '  the  younger,'  to  distinguish  him  from  his 
father,  who  was  likewise  an  engraver,  and  whose 
works  it  is  not  easy  to  distinguish  from  those 
of  his  son.  He  was  instructed  in  engraving  by 
his  father,  and  also  by  Cornelis  Visscher,  whose 
style  he  followed  for  some  time.  His  prints  occa- 
sionally resemble  those  of  A.  Blooteling,  and  at 
other  times  those  of  Pontius  and  Bolswert.  He 
worked  entirely  with  the  graver,  which  he  handled 
in  a  bold  and  free  manner,  and  with  considerable 
taste.  He  usually  marked  his  plates  with  the 
initials  C  D.  We  have  by  him  several  portraits, 
and  a  few  historical  subjects. 

PORTRAITS. 
Catharine  de'  Medici ;  in  the  hack-ground  the  City  of 

Amsterdam. 
Charles  II.,  King  of  England ;  after  P.  Nason. 
James,  Duke  of  York ;  after  S.  iMttichuys. 
Henry,  Duke  of  Gloucester ;  after  the  same. 
■William  III. 
Mary  II.,  his  Queen. 

Algernon  Percy,  Earl  of  Northumherland. 
John  Maurice,  Prince  of  Nassau ;  after  G.  Flink. 
Pietro  Aretino,  with  a  book ;  after  Titian. 
Giovamii  Boccaccio ;  after  the  same. 
Giorgio  BarbareUi,  called  Giorgione ;  after  the  same. 
Sebastiano  del  Piombo ;  aft^!r  Tintoretto.   (The  four  last 

are  thought  by  Kramm  to  be  the  work  of  Cornelis 

van  Dalen,  the  elder.) 


Anna  Maria  Schurman,  painter ;  after  0.  Janssens, 
Old  Pair,  aged  152  years. 

SUBJECTS  AFTER  VARIOUS  MASTERS. 
The  Adoration  of  the  Shepherds. 
The  Virgin,  with  the  Infant  Jesus. 
The  Four  Fathers  of  the  Church ;  after  Rubens  ;  in  the 

style  of  Pontius. 
Nature  adorned  by  the  Graces ;  after  the  same ;  in  the 

manner  of  Bolswert. 
A  Shepherd  and  Shepherdess ;  after  Casteleyn. 
The  Virgin  suckling  the  Infant  Saviour ;  after  G.  Flink, 
Venus  and  Cupid ;  after  the  sai^e. 
The  Four  Elements,  represented  by  Children ;  after  A. 

Diepenteck. 
The  Concert;  after  Giorgione;  for  the  'Cabinet  de 

Eeynst.' 
The  Monument  of  Admiral  Camelis  Tromp. 

DALENS,  DiEK,  a  Dutch  landscape  painter,  was 
born  at  Amsterdam  in  1659.  He  was  the  son  of 
Willem  Dalens,  an  artist  of  little  celebrity,  who 
taught  him  the  first  lessons  in  the  art.  The  prin- 
cipal works  of  Dalens  are  large  landscapes,  painted 
with  a  free  and  firm  touch,  and  very  agreeably 
coloured,  which  decorate  the  saloons  of  some  of 
the  principal  houses  in  Amsterdam.  He  also  painted 
some  cabinet  pictures  of  landscapes,  with  figures, 
which  are  deemed  worthy  of  being  placed  in  the 
best  collections  in  Holland.     He  died  in  1688. 

DALENS,  Dirk,  called  '  the  younger,'  the  post- 
humous son  of  the  preceding,  was  born  at  Amster- 
dam in  1688.  He  was  instructed  by  Theodoor  van 
Pee,  and  became  a  painter  of  landscapes  with  cattle 
and  figures,  enriched  with  ruins,  in  the  manner  of 
Pynacker,  which  are  executed  with  great  ability. 
He  died  in  1753. 

DA'  LIBEL    See  Dai  Libri. 

DALIPHARD,  Edouard,  a  French  landscape 
painter,  was  born  at  Rouen  in  1833.  He  studied 
itnder  Gustave  Morin,  the  Director  of  the  Rouen 
Museum,  and  spent  a  considerable  time  in  the  Bast, 
where  he  made  a  good  collection  of  water-colour 
sketches.  His  works  appeared  at  the  Salon  from 
1864  to  1876,  and  he  also  contributed  to  the  French 
journal,  '  L'Art.'  He  died  at  Bouen  after  a  long 
and  painful  illness  in  1877.  Amongst  his  best  pro- 
ductions are : 

The  Sun  appearing  after  a  Storm.     1866. 

Souvenir  of  the  Forest  of  Bu.    1873. 

The  flooded  Farm,  Poissy.    1873. 

Melancholy.    1875. 

DALL,  Nicholas  Thomas,  was  a  native  of  Den- 
mark, who  settled  in  London  as  a  landscape  painter, 
about  the  year  1760.  He  painted  some  excellent 
scenes  for  Covent  Garden  Theatre,  and  his  engage- 
ments in  that  branch  of  art  prevented  him  from 
painting  many  pictures.  In  1768  he  obtained  the 
first  premium  given  by  the  Society  for  the  En- 
couragement of  Arts  for  the  best  landscape.  He 
was  chosen  an  Associate  of  the  Royal  Academy  in 
1771,  and  died  in  London  in  1777. 

DALL'  ACQUA,  Cbistoforo,  who  was  born  at 
Vicenza  in  1734,  engraved,  principally  for  the 
booksellers,  plates  of  various  subjects,  portraits, 
history,  genre,  landscapes,  and  architecture. 
Among  his  works  may  be  noticed  a  portrait  of 
Frederick  tl;e  Great,  King  of  Prussia,  and  an 
allegory  of  '  Merit  crowned  by  Apollo,'  after 
Andrea  Sacchi,  as  well  as  numerous  plates  after 
the  works  of  Cipriani,  Houel,  Joseph  Vernet,  and 
others.     He  died  at  Vicenza  in  1787. 

DALLAMANO,  Giuseppe,  born  at  Modena  in 
1679,  is  a  remarkable  instance  of  the  progress  that 
untutored  genius  has  sometimes  made  in  the  art 
without  the  help  of  a  master.     Dallamano  is  stated 

346 


Dall'  Aquila 


A  BIOGRAPHICAL  DICTIONARY  OF 


Dal  Sole 


by  Lanzi  to  have  been  hardly  removed  from  an 
idiot;  ignorant  even  of  the  alphabet,  and  unaided  by 
professional  instruction,  he  nevertheless  reached^  an 
excellence  in  painting  architectural  views  which 
surprised  the  most  intelligent  judges.  His  best 
works  are  in  the  royal  palace  at  Turin.  He  died 
in  1768. 

DALL'  AQUILA,  Pompeo,  is  stated  in  the  '  Abe- 
cedario  Pittorico '  of  Orlandi,  to  have  been  a  good 
historical  painter,  both  in  oil  and  in  fresco.  He 
flourished  in  the  latter  part  of  the  16th  century. 
There  is  a  fine  picture  by  him  in  the  church  of 
Santo  Spirito  in  Sassia  at  Rome,  representing  the 
'  Descent  from  the  Cross,'  which  was  engraved  by 
Orazio  de  Santis  in  1572.  Several  considerable 
works  by  him  in  fresco  are  to  be  seen  at  Aquila, 
where  he  was  born. 

DALL'  ARGENTO,  Antonio.     See  Aleotti. 

DALL'  ARZBRE,  Stefano,  who,  according  to 
Ridolfi  and  others,  was  a  native  of  Padua,  painted 
numerous  altar-pieces  for  the  churches  and  con- 
vents of  that  city.  In  the  Chiesa  degli  Eremitani, 
he  painted  some  subjects  from  the  Old  Testament, 
and  two  pictures  of  '  St.  Peter '  and  '  St.  Paul,'  and 
in  the  church  of  the  Servite  monastery  the  prin- 
cipal altar-piece  is  by  him.  He  flourished  in  the 
16th  century. 

DALLE  PACCIATE,  Bernakdino.    See  Baeba- 

TELLI. 

DALLE  GEOTTESCHE,  Bernardino.  See 
Bakbatelli. 

DALLE  MADONNE,  Lippo.    See  Scannabecchi. 

DALLEMAGNE,  Vieoinie  Polyxene  Augustine 
Philippe,  a  French  miniature  painter,  whose  maiden 
name  was  Decagny,  was  a  native  of  Beauvais.  She 
was  a  pupil  of  Madame  de  Mirbel,  and  showed 
much  talent  in  the  execution  of  portraits  in  minia^ 
ture  and  in  crayons.  She  married  Adolphe  Dalle- 
magne,  a  landscape  painter,  and  died  at  Corbeil  in 
1876. 

DALLE  MUSE,  Bernardino.    See  Baebatelli. 

DALLE  NINFE,  Cesaee,  who  flourished  from 
about  1590  to  1600,  was  a  Venetian,  whom  we  find 
mentioned  by  Zanetti  among  the  imitators  of  Tinto- 
retto. He  possessed  the  readiness  of  invention,  and 
the  facility  of  hand,  for  which  that  painter  was  re- 
markable, and  was  an  excellent  colourist,  though 
deficient  in  drawing.  There  is  no  accurate  account 
of  his  birth  or  death. 

DALLE  NOTTI,  Gbrardo.    See  Honthorst. 

DALLE  PROSPETTIVE,  Agostino.    See  Agos- 

TINO. 

DALLE  PROSPETTIVE,  Mieandolese.  See 
Paltronieei. 

DALLE  TESTE,  II  Boeqognone.  See  GlAc- 
chinetti  Gonzalez. 

DALLE VI A,  A.,  was  an  Italian  engraver,  who 
resided  at  Venice  about  the  year  1686.  Among 
other  prints,  he  engraved  a  set  of  plates  represent- 
ing triumphal  processions,  entitled,  '  Giuochi 
Festivi  e  Militari,'  and  published  at  Venice  in  1686. 
They  are  executed  in  a  coarse,  indifEerent  style. 

DALLIKER,  Johann  Rudolph,  a  Swiss  portrait 
painter,  was  born  at  Zurich  in  1694.  He  visited 
successively  Magdeburg,  Brunswick,  Cassel,  Leipsio, 
Berne,  and  Paris,  where  he  made  the  acquaintance 
of  LargiUi^re  and  Rigaud.  He  resided  at  St.  Gall, 
but  died  at  SchafEhausen  in  1769.  Most  of  the 
celebrated  persons  of  his  country  sat  to  him. 

DALLINGER,  Franz  Theodoe,  an  Austrian 
pamter  of  landscapes,  fruit,  and  animals,  was  born 
at  Linz  in  1710,  and  died  at  Prague  in  1771. 

346  ^ 


DALLINGER  von  DALLING,  Alexander  Jo- 
hann, a  son  of  Johann  Dallinger  von  Dalling,  the 
elder,  was  born  at  Vienna  in  1783.  He  studied 
under  his  father,  and  became  a  landscape  and 
animal  painter,  as  well  as  an  engraver  and  a 
restorer  of  old  pictures.  In  the  Belvedere,  at 
Vienna,  there  is  a  picture  by  him  representing  '  A 
Herdsman  driving  Cows  across  a  Brook.'  He  died 
at  Vienna  in  1844. 

DALLINGER  von  DALLING,  Johann,  an 
Austrian  painter,  was  born  at  Vienna  in  1741,  and 
distinguished  himself  as  director  of  the  Liech- 
tenstein Gallery.  He  painted  animals,  historical 
subjects,  and  large  altar-pieces,  most  of  which  are 
in  Russia  and  Poland.     He  died  in  1806. 

DALLINGER  von  DALLING,  Johann,  a  eon 
of  the  preceding,  was  bom  in  Vienna  in  1782,  and 
painted  landscapes  and  animals  in  the  old  Dutch 
style,  as  well  as  portraits  and  conversation-pieces 
Some  of  his  works  are  in  the  Belvedere  and  Liech- 
tenstein Galleries.     He  died  at  Vienna  in  1868. 

DALL  WIG,  Heinrich,  a  landscape  painter,  was 
born  at  Cassel  in  1811,  and  died  at  Munich  in  1857. 
He  had  been  settled  in  the  latter  city  since  1839, 
but  undertook  frequent  tours  in  search  of  scenery 
for  his  brush. 

DALMASIO,  Lippo  di.     See  Scannabecchl 

DALMATIA,  II  Fedeeighetto  di.    See  Ben- 

COVICH. 

DALMAU,  LoDOVico.  A 'Virgin  and  Child 'by 
this  artist  is  in  the  church  of  San  Miguel  at  Barce- 
lona ;  it  is  painted  in  the  style  of  Van  Eyck,  and 
dated  1445. 

DAL  PERON,  SiMONB.     See  Cusighe. 

DAL  POZZO,  Isabella.  In  the  '  Nuova  Guida 
di  Torino,'  this  lady  is  mentioned  as  having  painted 
a  picture  in  the  church  of  San  Francesco  at  Turin, 
representing  the  '  Virgin  and  Child,  with  St.  Blaise 
and  other  Saints,'  which  is  signed,  and  dated  1666. 
According  to  Lanzi,  few  of  her  contemporaries  in 
that  city  could  have  produced  a  more  creditable 
performance. 

DAL  SOLE,  Giovanni  Antonio  Maeia,  was  born 
at  Bologna  in  1606,  and  was  brought  up  in  the 
school  of  Francesco  Albani.  He  excelled  in  paint- 
ing landscapes,  which  he  decorated  with  groups  of 
figures,  gracefully  designed  in  the  style  of  Albani. 
He  always  worked  with  his  left  hand,  and  thus 
acquired  the  appellation  of  'II  Monchino  dai 
Paesi.'     He  died  in  1684. 

DAL  SOLE,  Giovanni  Giuseppe,  the  son  of 
Antonio  dal  Sole,  was  bom  at  Bologna  in  1654, 
and  was  instructed  in  the  first  principles  of  design 
by  his  father,  but  he  afterwards  became  a  disciple 
of  Domenico  Maria  Canuti,  and  ultimately  studied 
under  Lorenzo  Pasinelli.  Following  the  example 
of  his  last  instructor,  he  based  his  system  of  colour- 
ing upon  the  s'tudy  of  the  works  of  the  best  masters 
of  the  Venetian  School.  He  imitated  the  agree- 
able style  of  Pasinelli  with  great  success,  and  his 
compositions  are  embellished  with  landscape  and 
architecture,  which  he  introduced  with  admirable 
taste.  In  many  particulars,  as  in  the  hair  and 
plumes  of  the  angels,  and  in  the  accessories,  such 
as  veils,  bracelets,  crowns,  and  armour,  he  dis- 
plays exquisite  grace.  He  seems  to  have  been 
inclined  to  treat  lofty  themes,  and  was  more  ob- 
servant of  costume,  more  methodical  in  compo- 
sition, and  better  informed  in  architecture  and 
landscape,  than  his  master,  Pasinelli.  In  these, 
indeed,  he  is  almost  unique.  The  most  beautiful 
specimens,  perhaps,  are  to  be  seen  at  the  Casa 


Salton 


PAINTERS  AND  ENGRAVERS. 


Damini 


Zappi  in  Imola,  representing  Evening,  Night,  and 
Morning,  all  harmonized  with  the  sober  tints  be- 
longing to  the  subjects.  There  are  several  of  the 
works  of  this  eminent  artist  in  the  public  edifices 
at  Bologna.  Among  the  most  esteemed  are  '  The 
Incredulity  of  St.  Thomas,'  in  the  church  of  La 
Madonna  di  Galiera ;  '  The  Annunciation,'  in  San 
Gabrielle ;  and  some  frescoes  in  San  Biagio,  which 
are  accounted  his  finest  works.  For  the  Giusti 
family  at  Verona  he  executed  several  Scriptural 
and  mythological  subjects,  truly  beautiful.  One, 
of  '  Bacchus  and  Ariadne,'  which  occupied  but  a 
week  of  his  time,  was  pronounced  by  artists  ex- 
cellent; yet  he  cancelled  almost  the  whole,  to 
remodel  it  according  to  his  own  idea,  declaring 
that  it  was  enough  to  have  shown  his  rapidity  of 
hand  to  satisfy  others,  but  that  it  became  his  duty, 
by  additional  accuracy,  to  satisfy  himself  also. 
For  executing  his  altar-pieces,  which  are  few  and 
valuable,  as  well  as  his  pictures  for  private  col- 
lections, which  are  very  numerous,  he  demanded 
high  remuneration,  persevering  in  his  determination 
to  paint  only  with  care.  In  his  works  two  manners 
are  observable ;  the  second  partakes  of  that  of 
Guido.  A  large  portion  of  his  pictures  nearly 
approach  the  style  of  that  master;  so  that  the 
surname  of  '  The  Modem  Guido,'  conferred  on  him 
by  so  many,  has  not  been  granted  as  a  favour,  but 
as  his  desert.  Bartsch  describes  three  etchings  by 
him ;  an  allegorical  representation  of  Envy,  a 
Group  of  Angels,  after  a  design  for  a  ceiling  by 
Pasinelli,  and  another  of  Olympus,  after  the  same. 
Gori  mentions  one  of  St.  Francis  Xavier  confuting, 
or  rather  confounding,  by  his  holy  doctrine,  the 
satraps  of  Japan,  also  after  Pasinelli.  Several 
portraits  were  etched  by  him  in  1674,  which  were 
intended  for  the  '  FelsinaPittrice,'  but  are  not  found 
in  that  work.     He  died  at  Bologna  in  1719. 

DALTON,  RiCHABD,  an  engraver  and  draughts- 
man, was  bom  in  Cumberland  about  1720.  After 
passing  some  time  in  Italy  and  Greece,  he  became 
librarian  to  the  Prince  of  Wales,  then  keeper  of 
the  royal  drawings  and  medals,  and  finally,  in 
1778,  surveyor  of  the  royal  pictures.  He  made 
some  engravings  from  the  Holbein  drawings,  and 
after  antique  statues.  He  also  published  '  Manners 
and  Customs  of  the  Present  Inhabitants  of  Egypt,' 
1781.  His  name  is  to  be  found  in  connection  with 
some  of  the  art  societies  which  preceded  the  Royal 
Academy.     He  died  at  St.  James's  Palace  in  1791. 

DAM,  Anthony  van,  born  at  Middelburg, 
painted  marine  subjects  of  large  dimensions.  He 
flourished  in  the  latter  half  of  the  last  century. 

DAM,  WonTEB,  bom  at  Dort  in  1726,  was  a 
scholar  of  Aart  Schouman,  whose  manner  he  fol- 
lowed for  some  time,  but  ultimately  became  an 
imitator  and  copyist  of  Cuyp  and  Bakhuisen.  He 
died  at  Dort  in  1785  or  1786. 

DAMAMB  DEMARTRAIS,  Michel  FEANgois, 
a  French  painter  and  engraver,  was  born  in  Paris 
in  1763.  After  having  studied  in  the  school  of 
David,  he  went  to  Russia,  where  he  resided  for 
some  years.  On  his  return  to  France  he  engraved 
and  published  '  Vues  des  principales  villes  de 
Russie,  costumes  et  usages  des  habitants  de  cet 
empire,'  1813-14;  'Collection  de  Costumes  du 
royaume  de  Naples,'  1818  ;  '  Paris  et  see  alentours,' 
1819.  His  most  important  picture  was  '  The  Great 
Sanhedrim  of  the  Jews  of  France  and  Italy,'  ex- 
hibited at  the  Salon  of  1810.  He  died  in  Paris  in 
1827. 

DAMBRUN,  Jean,  a  French  line-engraver,  was 


born  in  Paris  in  1741.  He  was  one  of  the  small 
band  of  artists  to  whom  are  due  the  vignettes  which 
adorn  many  of  the  books  issued  towards  the  close 
of  the  last  century  which  have  of  late  become  of 
such  fabulous  value.  His  best  works  are  '  La 
Partie  de  Wisch,'  after  Moreau,  for  the  '  Monument 
de  Costume,'  and  '  Le  Calendrier  des  Vieillards,' 
after  Fragonard,  for  the  '  Contes '  of  La  Fontaine. ' 
He  also  engraved  with  much  delicacy  Qu^verdo's 
illustrations  to  the  remarkable  series  of  Almanacs 
which  appeared  in  Paris  just  before  the  outbreak 
of  the  French  Revolution.  There  is  no  record  of 
Dambrun  after  1808. 

DAME,  Giles  la.    See  La  Dame. 

DAMERY,  Jacob,  the  brother  of  Walter  Damery, 
was  a  good  painter  of  flowers,  of  fruit,  and 
especially  of  vases.  He  was  born  at  Li^ge  in 
1619,  but  went  to  Rome  when  young,  and  remained 
there  until  his  death,  which  occurred  in  1685.  He 
executed  some  etchings,  among  them  a  series  of 
twelve  vases,  dated  1667. 

DAMERY,  Simon,  a  Flemish  historical  painter, 
was  born  at  Liege  in  1604.  He  was  a  pupil  of 
Jean  Taulier,  who  married  his  sister,  but  while  yet 
very  young  he  ran  away  from  his  master  and  went 
to  Italy.  He  afterwards  settled  at  Milan,  where  he 
died  of  the  plague  in  1640. 

DAMERY,  Waltee,  the  brother  of  Jacob  Damery, 
was  born  at  Li^ge  in  1614.  He  learned  the  rudi- 
ments of  art  in  his  native  city,  but  in  1636  he 
came  to  England,  and  remained  here  several  years, 
during  which  he  painted  a  large  number  of  por- 
traits. He  afterwards  went  to  France  and  then  to 
Italy,  where  he  became  a  scholar  of  Pietro  da  Cor- 
tona.  Subsequently  he  returned  to  Paris,  where  he 
painted  for  the  Carmelite  church  his  masterpiece, 
'The  Ascension  of  Elijah.'  His  productions  are 
distinguished  for  their  beautiful  backgrounds  and 
also  for  the  nude  figures  of  the  children,  in  the 
depicting  of  which  he  exhibited  great  skilly  He 
died  at  Li^ge  in  1678. 

DAMIANI,  Felice,  was  a  native  of  Gubbio,  who 
flourished  from  the  year  1584  until  1606.  He  is  by 
some  supposed  to  have  been  educated  in  the 
Venetian  school,  and  his  picture  of  the  '  Circum- 
cision,' in  San  Domenico,  partakes  of  that  style : 
but  in  general  his  works  evince  more  of  the  Roman 
taste,  which  he  probably  acquired  under  Benedetto 
Nucci.  One  of  his  best  works  is  '  The  Decolla- 
tion of  St.  Paul,'  at  the  Castel  Nuovo  in  Reoanati ; 
the  expression  in  the  head  of  the  martyr  is  admir- 
able, the  drawing  correct,  and  the  colouring  brilliant 
and  harmonious.  It  is  dated  1584.  About  twelve 
years  afterwards  he  decorated  two  chapels  in  the 
church  of  La  Madonna  de'  Lumi,  at  San  Severino, 
with  pictures  representing  the  Life  of  the  Virgin 
and  the  Infancy  of  Christ.  But  his  most  admired 
production  is  the  'Baptism  of  St.  Augustine,' 
painted  in  1594  for  the  church  dedicated  to  that 
saint  at  Gubbio ;  a  grand  composition  of  many 
figures,  finely  grouped,  with  an  admirable  expres- 
sion of  piety  in  the  heads,  and  enriched  with  noble 
architecture.     He  was  still  living  in  1616. 

DAMINI,  GiOEGio,  a  brother  of  Pietro  Damini, 
was  an  excellent  painter  of  portraits,  and  of  his- 
torical subjects  of' a  small  size.  Like  his  brother,  he 
was  carried  ofE  by  the  plague  at  Venice  in  1631. 

DAMINI,  PiETBO,  was  born  at  Castelfranco  in 
1692,  and,  according  to  Ridolfi,  was  a  scholar  of 
Giovanni  Battista  Novelli,  who  had  been  educated 
in  the  school  of  Palma.  Such  was  the  extraordinary 
expectation  occasioned  by  the  early  display  of  his 

347 


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A  BIOGRAPHICAL  DICTIONARY  OF 


Banckerta 


talents,  that  some  writers  have  not  hesitated  to 
affirm  that  he  would  have  equalled  Titian  if  he  had 
not  died  young,  an  assertion,  which,  as  Lanzi  ob- 
serves, may  be  regarded  as  a  hyperbole.  There 
are  many  of  his  works  at  Castelfranco,  Vioenza, 
Crema,  and  particularly  at  Padua,  where,  in  the 
church  of  San  Clemente,  is  bis  picture  of  'Christ 
giving  the  Keys  to  St.  Peter,'  and  in  the  church 
of  II  Santo,  his  most  celebrated  work,  'The 
Crucifixion,  with  the  Virgin  Mary  and  St.  John,'  a 
picture  of  extraordinary  beauty,  and  of  the  most 
harmonious  colour.  In  the  cloister  of  the  Padri 
Serviti,  at  Vicenza,  he  painted  several  pictures  of 
the  Life  of  St.  Philip,  the  founder  of  their  order. 
The  style  of  Damini  is  vague  and  elegant,  but  he 
is  by  no  means  uniform.  He  appears  to  have 
frequently  changed  his  manner,  in  search  of  greater 
perfection ;  and  his  last  works  are  evidently  his 
best.  He  had  acquired  a  distinguished  reputation 
when  he  fell  a  victim  to  the  plague  in  Venice  in 
1631. 

DAMINI,  ViNCBNZo,  was  an  excellent  portrait 
painter  who  resided  in  London  from  1720  to  1730. 
He  is  said  to  have  been  a  native  of  Venice  and  a 
pupil  of  Pellegrini. 

DAMIS,  Ami^d^e  G-ustave  Peanqois,  a  Belgian 
painter  of  flowers  and  fruit,  was  born  at  Bruges  in 
1811.  While  still  young  he  went  to  Paris  and 
became  a  pupil  of  Redoutd.  He  was  likewise  a 
sculptor,  and  he  decorated  many  of  the  ecclesias- 
tical edifices  of  Paris.  In  1848  he  returned  to 
Bruges,  and  died  there  in  1851. 

DAMISSEN,  LnoAS.     See  De  Hoet. 

DAMOPHILOS,  a  Greek  painter  and  modeller 
in  terra-cotta,  worked  in  conjunction  with  Gorgasos 
in  the  Temple  of  Ceres  at  Rome  in  B.C.  493. 
Zeuxis  is  said  to  have  been  his  pupil. 

DANBY,  Francis,  who  was  born  near  Wexford, 
Ireland,  in  1793,  learned  the  first  principles  of  his 
art  «ider  a  landscape  painter  named  0'  Connor,  in 
Dubnn,  where  his  first  picture,  a  landscape  view 
called  '  Evening,'  was  exhibited  in  1812.  In  the 
following  year,  master  and  pupil,  accompanied  by 
George  Petrie,  set  off  together  to  seek  their  fortunes 
in  London,  but  their  funds  becoming  exhausted 
before  they  reached  the  metropolis,  they  stopped 
at  Bristol.  Here  Danby  managed  to  sell  some 
drawings,  and  with  the  proceeds  paid  O'Connor's 
expenses  to  Dublin,  but  he  himself  remained  in 
Bristol,  and  for  a  few  years  supported  himself  by 
giving  lessons  in  water-colour  painting,  now  and 
then  sending  a  picture  to  the  Royal  Academy.  In 
1825  his  '  Delivery  of  Israel  out  of  Egypt '  gained 
him  the  Associateship  of  the  Academy,  and  lie  then 
went  to  live  in  London.  In  1830,  a  quarrel  with 
that  body  drove  him  from  England,  and  for  the 
next  eleven  years  he  lived  in  Switzerland,  giving 
up  his  time  to  boat-building,  yachting,  and  the 
painting  of  unimportant  pictures  on  commission. 
Two  works  only  appeared  at  the  annual  London 
Exhibitions  during  this  long  interval,  the  '  Golden 
Age '  and  '  Rich  and  Rare  were  the  Gems  she  wore.' 
In  1841  he  returned  to  England,  took  up  his 
residence  at  Lewisham,  and  began  painting  large 
subjects  for  exhibition  at  the  British  Institution  and 
the  Royal  Academy  with  all  his  old  enthusiasm. 
He  died  in  1861  at  Exmouth,  where  be  had  resided 
since  1847.  The  following  are  some  of  his  best 
works : 

The  Upas,  or  Poison-tree  of  Java  {Brit.  Inst.  1820). 

In  the  South  Kensington  Museum. 
Disappointed  Love  {Eoyal  Academy,  1821). 
348 


Sunset  at  Sea  after  a  Storm  (H.  A.  1824). 

The  Delivery  of  Israel  out  of  Egypt  {R.A.  1825).    JVom 

in  Stafford  House. 
The  Opening  of  the  Sixth  Seal  {Brit.  Inst.  1828). 
The  Golden  Age  {R.  A.  1831). 

Rich  and  Rare  were  the  Gems  she  wore  {S.  A.  1837). 
The  Fisherman's  Home,  Sunrise.   1846.   In  the  National 

Gallery.  * 

The  Evening  Gun  (iJ.  A.  1848). 

DANBY,  James  Fkancis,  an  English  landscape 
painter,  the  son  of  Francis  Danby,  A.R.A.,  was 
bom  at  Bristol  in  1816.  His  works  appeared  at 
the  Royal  Academj',  and  at  the  Society  of  British 
Artists,  of  which  latter  he  was  a  member.  He  died 
of  apoplexy  in  London  in  1875.  He  excelled  in 
depicting  sunrise  and  sunset.  Amongst  his  best 
works  are : — 

Loch  Lomond. 

Dover,  from  the  Canterbury  Eoad.    1849. 

Dumbarton  Rock.     1854. 

Morning  on  the  Thames.    1860. 

Wreck  on  Exmouth  Bar.     1861. 

Carrickfergus  Castle.     1867. 

North  Shields :  Sunrise.    1869. 

DANCE,  Nathaniel.    See  Holland. 

DANCKERTS,  Danckebt,  the  son  of  Comelis 
Danckerts  de  Ry,  was  born  at  Antwerp  about  the 
year  1600.  He  succeeded  his  father  in  his  busi- 
ness as  a  printseller,  and  surpassed  him  in  his 
talent  as  an  engraver.  His  plates  are  sometimes 
only  etched,  but  more  frequently  finished  with  the 
graver.  We  have  by  him  a  considerable  number 
of  plates  after  Berohem,  Wouwennan,  and  other 
painters.  He  also  engraved  some  portraits  and 
other  subjecls,  from  various  masters,  among  which 


The  Portrait  of  Charles  11.,  King  of  England. 

The  Departure  of    Charles   II.  for  England  at  the 

Restoration. 
Venus  and  Cupid,  with  a  Satyr ;  after  Titian. 

VARIOUS   prints   AFTER   BERCHEM. 
Hawking,  called  Het  Tinkebaantje. 
A  Stag  ]Eunt,  called  De  Hartenjagt. 
Four,  of  Landscapes  and  Figures,  in  one  of  which  is  a 

Man  passing  a  Bridge;  after  Berchem.    These  are 

considered  his  best  prints. 
Four  smaller  plates,  of  Landscapes  and  Figures. 
Six  middle-sized  plates,  the  title  print  having  a  Shepherd 

riding  on  an  Ox  and  playing  on  the  Flute,  and  a 

Shepherdess  dancing. 
Four  large  plates  of  Landscapes ;  on  the  title  print  is 

inscribed,  Danckert  Dancke^'ts  fee.  et  exc. 
A  set  of  fine  Etchings ;  after  Wouwerman. 

DANCKERTS,  Hendrik,  a  son  of  Justus  Danck- 
erts, was  born  at  the  Hague  about  the  year  1630. 
He  was  brought  up  as  an  engraver,  and  made  copies 
of  the  works  of  'Titian  and  Palma,  but  afterwards 
was  recommended  to  study  painting,  and  went  to 
Italy  for  improvement.  On  his  return  to  Holland 
he  acquired  some  reputation  as  a  landscape  painter, 
and  was  invited  to  England  by  Charles  II.,  who 
employed  him  in  painting  views  of  the  royal  palaces, 
and  of  the  sea-ports  of  England  and  Wales.  In 
the  collection  of  James  II.  there  were  twenty-eight 
landscapes  and  views  by  this  master.  He  died  at 
Amsterdam  about  1678.  He  engraved  a  few  plates, 
as  follow : 

Charles  II. ;  after  A.  Hanneinan. 

A  large  View  of  Amsterdam  and  the  Y,  with  Shipping ; 

in  three  sheets. 
A  set  of  Views  of  Palaces  and  Sea-ports  in  England. 

DANCKERTS,  Johannes,  a  son  of  Justus  Danck- 
erts, resided  at  Amsterdam  about  the  year  1660. 


Sanckerts 


PAINTERS  AND  ENGRAVERS. 


Dauhauer 


He  painted  historical  subjects  with  some  skill,  and 
ctclied  a  few  plates,  among  which  is  one  after 
i'iiiiin,  representing  '  Venus  reclining  on  a  Couch.' 
DANUKERTS,  Justus,  was  a  Dutch  engraver 
who  worked  at  Amsterdam.  We  have  the  following 
plates  by  him : 

William  III.,  Prince  of  Orange;  afterwards  King  of 

England. 
Casimir,  King  of  Poland. 
Seven  plates  of  the  Gates  of  Amsterdam. 

DANCKERTS  DB  RY,  Coenelis,  a  Dutch  archi- 
tect and  engraver,  was  born  at  Amsterdam  in  1661. 
He  established  himself  at  Antwerp  as  a  printseller, 
where  he  engraved  several  plates  of  portraits  and 
other  subjects,  which  are  not  without  consider- 
able merit.  He  was  still  living  in  1634.  Among 
others,  we  have  the  following  by  him : 

POETKAITS. 
Gustavus  Adolphus,  King  of  Sweden. 
Jacob  Wassenaer,  Lord  of  Obsdam. 
Comelis  de  Wit,  with  a  battle  in  the  background. 
Jean  Calvin ;  oval. 
John  Casimir,  Count  of  Nassau. 

SUBJECTS    FBOM   HIS   OWN    DESIGNS. 

Four  Figures  on  Horseback,  called  the  Monarchies; 

representing  Ninus,  Cyrus,  Alexander,  and  Caesar, 

with  emblematical  ornaments. 
Seven,  of  the  Planets,  with  Emblems. 
The  Seven  Wonders  of  the  World,  with  the  same. 
Twelve,  of  the  Sibyls ;  full-length. 
Twelve,  of  Animals  and  Birds.  - 
Sixteen  Views  in  Holland. 
One  hundred  Subjects  from  the  Old  Testament ;  four 

on  each  plate. 
A  set  of  Views  of  the  Kuins  of  Rome. 
Meleager  and  Atalanta ;  an  etching ;  after  B.  Ficon. 

DANCKERTS  DE  RY,  Pieteb,  a  celebrated  por- 
trait and  genre  painter,  who  is  supposed  to  have 
been  the  son  of  Cornells  Danckerts  de  Ry,  was 
born  at  Amsterdam  in  1605.  Several  of  his  paint- 
ings have  been  engraved  by  W.  Hondius.  He 
went  to  Sweden,  and  died  at  Stockholm  in  1659. 
There  are  by  him  in  the  Brussels  Gallery  portraits 
of  Cornelis  Danckerts  de  Ry  and  his  wife. 

DANDINI,  Cesabb,  was  born  at  Florence  about 
the  year  1595.  He  was  first  a  scholar  of  Francesco 
Curradi,  but  afterwards  studied  under  Domenico 
Cresti,  called  Passignano,  and  Cristofano  Allori. 
Under  these  masters  he  acquired  a  tolerable  cor- 
rectness of  design,  and  an  agreeable  tone  of  colour- 
ing. One  of  his  best  works  is  a  picture  of  St. 
Charles,  with  other  Saints,  in  one  of  the  churches  at 
Ancona.  He  also  painted  easel  and  cabinet  pic- 
tures, which  were  admired  for  their  neatness  and 
finish.     He  died  in  1658. 

DANDINI,  GxTAviANO,  was  the  son  of  Pietro 
Dandini,  and  painted  history  in  the  style  of  his 
father.  Some  fresco  paintings  in  the  cloister  of 
San  Spirito,  a  picture  of  several  Saints  in  San 
Lorenzo,  and  his  works  in  the  church  of  the  Mag- 
dalene at  Pescia,  evince  the  respectability  of  his 
talent.  He  afterwards  entered  the  Society  of  Jesus, 
and  died  about  1750. 

DANDINI,  PlETKO,  the  nephew  of  Vincenzo 
Dandini)  was  born  about  1646.  Having  lost  his 
father  when  he  was  only  four  years  of  age,  he 
was  taken  under  the  protection  of  his  uncle,  who 
instructed  him  in  the  principles  he  had  himself 
adopted  of  the  style  of  Cortona.  He  afterwards 
travelled  through  great  part  of  Italy,  and  improved 
himself  by  studying  the  great  masters  of  the 
Venetian  and  Lombard  schools.     On  his  return  to 


Florence  he  was  patronized  by  the  Grand  Duke 
Cosmo  III.,  for  whom  he  painted  many  works  in 
oil  and  in  fresco.  It  is  to  be  lamented  that  the 
avarice  of  this  artist  led  him  into  a  slight  and  neg- 
ligent manner  of  finishing  his  works  ;  a  habit  to 
which  he  was  the  more  easily  tempted  by  the  pos- 
session of  uncommon  facility  of  execution.  Lanzi 
mentions,  as  one  of  his  most  important  works,  the 
cupola  of  Santa  Maria  Maddalena,  at  Florence.  In 
the  church  of  Santa  Maria  Maggiore  is  a  picture 
of  St.  Francis ;  and  in  the  church  of  the  Servites 
is  an  altar-piece  representing  a  saint  of  that  order 
officiating  at  the  altar.     He  died  in  1712. 

DANDINI,  Vincenzo,  the  brother  of  Cesare 
Dandini,  was  born  at  Florence  in  1607.  After  re- 
ceiving some  instruction  from  his  brother,  he  went 
to  Rome,  where  he  studied  some  time  under  Pietro 
da  Cortona,  whose  style  he  followed.  He  was  an 
eminent-  painter  of  history,  and,  according  to  Or- 
landi,  was  made  principal  of  the  Academy  at  Rome, 
on  succeeding  to  which  appointment  he  painted  a 
large  picture  which  gained  him  great  reputation. 
He  returned  to  Florence,  where  he  executed  several 
works  for  the  churches.  In  the  church  of  Ognis- 
santi  is  an  admired  picture  of  'The  Conception.' 
He  was  employed  in  the  palaces  of  the  Grand- 
Duke  ;  in  one  of  which  he  painted  a  ceiling,  repre- 
senting '  Aurora  with  the  Hours,'  much  in  the  style 
of  Pietro  da  Cortona.    He  died  at  Florence  in  1675. 

DANDRlil-BARDON,  Michel  FsANgois.      See 

ANDBi-BAEDON. 

DANDRIDGE,  Babtholomew,  a  portrait  painter, 
was  born  in  the  early  part  of  the  18th  century.  He 
obtained  a  considerable  practice  in  the  reign  of 
George  II.,  but  died  young,  soon  after  the  middle 
of  the  century.  His  portrait  of  Hook,  the  his- 
torian, is  in  the  National  Portrait  Gallery. 

DANDRILLON,  Pieeee  Chaeles,  a  French  land- 
scape painter,  was  born  in  Paris  in  1757.  He  was 
a  pupil  of  De  Machy,  and  in  1807  became  professor 
of  perspective  in  the  Bcole  des  Beaux- Arts.  *  He 
died  in  Paris  in  1812. 

DANEDI,  GiosEFFO,  or  Giuseppe,  called  Mont- 
alto,  was  the  younger  brother  of  Stef ano  Danedi, 
and  was  born  at  Treviglio  in  1618.  "When  young 
he  went  to  Bologna,  where  he  entered  the  school 
of  Guide  Reni.  On  leaving  that  master  he  settled 
at  Turin,  where  he  executed  some  works  for  the 
public  edifices.  Towards  the  latter  part  of  his  life 
he  joined  his  brother  at  Milan,  where  he  was  much 
employed.  In  the  church  of  San  Sebastiano  is  a 
fine  picture  by  this  master  of  '  The  Massacre  of  the 
Innocents,'  and  in  the  Dresden  Gallery  is  one  of 
'  St.  Anthony  of  Padua  caressing  the  Infant  Jesus.' 
He  died  in  1688. 

DANEDI,  Stefano,  called  Montalto,  was  born 
at  Treviglio,  in  the  Milanese,  in  1608,  and  was  a 
scholar  of  Cavaliere  Morazzone.  During  a  long 
residence  at  Milan,  he  painted  a  great  number  of 
pictures  for  the  churches  of  that  city,  and  in  the 
State.  One  of  his  best  works  is  '  The  Martyrdom 
of  St.  Justina,'  in  Santa  Maria  in  Pedone.  He 
died  at  Milan  1689. 

DANET,  Jean.    See  Duvet. 

DANHAUER,  — ,  (or  Donauee,)  a  German  minia- 
ture painter,  was  a  native  of  Swabia.  He  was  the 
son  of  a  watchmaker,  and  was  brought  up  to  his 
father's  trade ;  he  afterwards  went  to  Italy  and 
studied  painting  under  S.  Boinbelli,  but  this  art 
he  in  turn  abandoned  for  that  of  sculpture.  He 
resided  for  many  years  in  Russia,  and  died  at  St. 
Petersburg  in  1733. 

349 


Dauhauser 


A  BIOGRAPHICAL  DICTIONARY  OF 


Dauti 


DANHAUSER,  Joseph,  bom  at  Vienna  in  1805, 
followed  the  principles  of  Peter  KrafEt.  He  visited 
Venice,  and  after  hie  return  painted  genre  pieces, 
which  he  executed  in  a  pleasing  and  popular  man- 
ner. From  1838  to  1844  he  was  corrector  at  the 
Academy  at  Vienna,  where  he  died  in  1845.  Among 
Ills  works  the  following  are  worthy  of  mention : 

The  Rioter. 

Franz  Liszt  at  the  Piano. 

The  Little  Virtuoso. 

The  Oculist. 

The  Eeasoner  in  the  Public-house. 

DANIELE,  Battista  da  San.  See  San  Danielb. 

DANIELB,  II  Cavalieee.     See  Sydee. 

DANIELE,  Pelleqeino  da  San.  See  San 
Daniele. 

DANIELL,  Abraham,  a  miniature  painter,  was 
a  native  of  Bath.  He  possessed  considerable  ability, 
and  died  in  1803. 

DANIELL,  James,  a  mezzotint  engraver,  flour- 
ished in  England  towards  the  close  of  the  18th  and 
the  beginning  of  the  19th  century.  The  following 
works  are  by  him  : 

Nelson  at  the  Battle  of  Cape  St.  Vincent;  after  Sin- 
gleton. 

The  Death  of  Captain  Alexander  Hood ;  after  Singleton. 

The  Capture  of  Admiral  "Winter ;  after  Singleton. 

Samuel  and  Eli  ;  after  Copley. 

DANIELL,  Samuel,  a  landscape  painter,  the 
brother  of  William,  and  the  nephew  of  Thomas 
Daniell,  was  born  in  1775.  He  studied  under 
Medland,  and  first  exhibited  at  the  Royal  Academy 
in  1792.  He  passed  several  years  in  Africa,  return- 
ing to  England  in  1804.  About  a  year  after,  he 
went  to  Ceylon,  where  he  died  in  1811.  He  made 
numerous  drawings  of  tropical  scenery,  and  pub- 
lished works  on  '  African  Scenery  and  Animals,' 
1804-6,  and  '  The  Scenery,  Animals,  and  Native 
Inhabitants  of  Ceylon,'  1808.  At  the  South  Ken- 
sington Museum  is  a  water-colour  drawing  by  him  : 
'  Deer  and  Birds  in  a  Tropical  Landscape.' 

DANIELL,  Thomas, was  born  at  Kingston-upon- 
Tliames  in  1749,  and  commenced  his  artistic  career 
aa  a  painter  of  English  landscape  scenery,  with 
some  attempts  at  poetical  composition.  In  1784 
he  went  to  India  with  his  nephew,  William  Daniell ; 
they  were  absent  about  ten  years,  gathering  ma- 
terials for  their  great  work  on  '  Oriental  Scenery,' 
which  was  published  between  the  years  1795  and 
1816,  in  six  volumes,  the  whole  of  which,  with  the 
exception  of  the  volume  of  '  Excavations,'  was 
executed  by  William.  He  seldom  painted  any  but 
Indian  subjects.  In  1796  he  was  elected  an  As- 
sociate of  the  Royal  Academy,  and  in  1799  an 
Academician.  He  died  in  London  in  1840.  The 
works  of  William  Daniell  are  so  blended  with 
those  of  his  uncle  Thomas,  that  they  may  be  con- 
sidered, artistically,  as  one,  though  some  give  the 
preference  to  the  latter. 

DANIELL,  William,  a  landscape  painter,  was 
born  in  1769.  In  1784  he  went  to  India  with  his 
uncle,  Thomas  Daniell,  and  assisted  him  in  his 
drawings  and  sketches ;  he  also  engraved  the  views 
for  the  greater  part  of  their  'Oriental  Scenery.' 
He  first  exhibited  at  the  Royal  Academy  in  1795, 
and  entered  the  Academy  Schools  in  1799.  He 
was  elected  an  Associate  in  1807,  and  an  Aca- 
demician in  1822.  The  British  Institution  awarded 
him  a  prize  of  £100  in  1826  for  his  '  Battle  of 
Trafalgar.'  In  his  later  years  he  painted  several 
panoramic  views  of  India.  He  died  in  London  in 
1837.     Amongst  the  works  which  he  published  are  : 

350 


A  Picturesque  Voyage  to  India.    1810. 

Animated  Nature.    1809. 

Views  of  London.    1812. 

Views  of  'Windsor  Castle,  Eton,  and  Virginia  Water. 

A  Voyage  round  Great  Britain.    1814-25. 

Illustrations  of  the  Island  of  StaSa.    1818. 

The  Oriental  Annual.    1834-39. 

Mention  should  also  be  made  of  the  following 
pictures  by  him : 

View  of  the  Long  Walk,  Wrndsor  (Royal  Colleetion). 
Castel  Nuovo  {South  Kensington  Museum). 
Durham  Cathedral.    1805.   (South  Kensington  Museum.) 
Benares  (South  Kensington  Museum). 

DANIELSKI,  Jan  Nepomucen,  a  Polish  painter 
of  portraits  in  oil  and  in  miniature,  was  a  native  of 
Cracow.  He  was  a  pupil  of  Dominik  Estreicher, 
and  also  painted  some  frescoes.  He  died  at  Cracow 
in  1844. 

DANKERTS.     See  Danckeets. 

DANKS,  Frans,  sumamed  'the  Tortoise,'  was 
born  about  1660  at  Amsterdam,  where  he  died  in 
1703.  He  painted  historical  subjects  and  portraits, 
and  showed  considerable  talent  in  modelling  and 
sculpture. 

DANLOUX,  Henei  Pieeee,  a  French  painter, 
born  in  Paris  in  1753,  was  a  pupil  of  J.  B.  Ldpici^ 
and  of  Vien.  On  the  outbreak  of  the  French 
Revolution  he  came  to  England  and  remained  here 
for  ten  years,  gaining  a  high  reputation  for  his 
portraits,  many  of  which  were  in  chalk.  The 
Fitzwilham  Museum  at  Cambridge  has  by  him  the 
portrait  of  Louis  XVIII.  After  his  return  to 
France,  he  exhibited  at  the  Salon  of  1802  '  Le 
Supplice  d'une  Vestale,'  a  picture  which  met  with 
much  praise.  His  best  work  is  a  full-length  por- 
trait of  the  Abb6  Delille,  now  at  Versailles. 
Danloux  died  in  Paris  in  1809. 

DANNECKER  (or  Danneker).   SeeDENEOKER. 

DANNOOT,  PiETER,  was  a  Flemish  engraver, 
who  flourished  about  the  year  1690.  He  engraved 
a  plate  representing  the  '  Head  of  Christ  crowned 
with  Thorns,'  after  Rubens,  and  a  '  Portrait  of  P4re 
Mastrille.' 

DANTE,  GiROLAMO,  called  Girolamo  di  Tiziano 
(from  having  been  a  scholar  of  Titian  and  an 
assistant  to  him  in  some  of  his  less  important 
works),  flourished  at  Venice  from  1550  to  1580. 
It  is  said  that  in  copying  the  originals  of  his 
master,  he  attained  so  high  a  degree  of  excellence, 
that  such  of  his  pieces  as  were  retouched  by  Titian 
bid  defiance  often  to  the  judgment  of  the  most 
expert  connoisseurs.  He  also  produced  works  of 
his  own  design  ;  the  altar-piece  attributed  to  him 
at  San  Giovanni  Nuovo,  representing  '  SS.  Cosmo 
and  Damianus,'  reflects  credit  on  tide  school  to 
which  he  belonged. 

DANTI,  Gieolamo,  the  younger  brother  of  Vin- 
cenzio  and  Ignazio  Danti,  was  born  at  Perugia  in 
1547.  He  painted  frescoes  in  the  style  of  Vasari, 
and  gave  promise  of  becoming  a  great  painter 
when  his  career  was  prematurely  terminated  by 
his  death  at  Perugia  in  1580. 

DANTI,  Ignazio,  Bishop  of  Alatri,  whose  secu- 
lar name  was  Pellegrino,  a  Dominican  monk  and 
cosmographer,  was  born  at  Perugia  in  1536.  He 
was  a  brother  of  Vincenzio  Danti,  the  sculptor, 
and  was  instructed  by  his  father,  Giulio  Danti,  a 
goldsmith,  and  his  aunt  Teodora.  At  Florence  lie 
painted  the '  Tables  of  Rolemy,'  in  57  oil-pictures, 
and  also  produced  a  number  of  maps.  Subsequently 
he  was  employed  by  Pope  Gregory  XIII.  to  de- 
corate the  walls  of  the  Vatican  with  geographical 


Danti 


PAmTERS  AND  ENGRAVERS. 


Daret  de  Cazeneuve 


delineations  of  ancient  and  modern  Italy.  The 
Pope  having  determined  to  complete  the  continu- 
ation of  the  Gallery  of  Raphael  in  conformity  with 
the  original  plan,  and  to  paint  four  subjects  in  every 
arcade  of  the  gallery,  all  from  the  New  Testament, 
Danti  was  emplo3'ed  by  him  to  superintend  the 
work ;  the  entire  abandonment  of  a  design  to  the 
direction  of  practical  artists  being  found  by  experi- 
ence to  be  injurious  to  its  execution,  owing  to 
the  choice  of  their  inferior  assistants  beimg  liable 
to  be  governed  by  influence,  avarice,  or  jealousy. 
The  selection,  therefore,  was  reserved  to  Danti, 
who,  to  an  excellent  practical  knowledge  of  the 
art  of  design,  united  moral  qualities  that  ensured 
success ;  and  under  his  direction  the  whole  work 
was  regulated  and  conducted  in  such  a  manner 
that  the  spirit  of  Raphael  seemed  to  be  resuscitated 
in  the  precincts  of  the  Vatican.  He  was  conse- 
crated Bishop  of  Alatri  in  1683,  and  died  at  Rome 
in  1586. 

DANTI,  Tegdoea,  the  aunt  of  Vincenzio  find 
Ignazio  Danti,  is  mentioned  in  the '  Vite  de'  Pittori 
Pemgini,'  by  Lione  Pascoli,  who  states  that  she 
was  bom  at  Perugia  in  1498.  She  painted  small 
pictures,  in  imitation  of  the  style  of  Pietro  Peru- 
gino,  and  died  in  1573. 

DANTI,  Vincenzio,  an  Italian  sculptor,  architect, 
and  poet,  was  born  at  Perugia  in  1530.  In  1555 
he  cast  in  bronze  the  statue  of  Pope  Julius  III., 
which  is  still  to  be  seen  at  Perugia,  and  is  con- 
sidered to  be  his  mastei  piece.  He  afterwards 
went  to  Florence,  where  he  was  employed  by 
the  Grand-Duke  Cosmo,  and  made  many  designs 
for  the  Escorial  which  were  sent  to  Spain.  He 
also  painted  historical  subjects,  which  are  but 
seldom  mentioned,  and  died  in  1576. 

DANUS,  Miguel,  a  Spanish  historical  painter, 
who  flourished  about  1700,  was  a  native  of  Ma- 
jorca. He  studied  first  at  Valencia,  and  afterwards 
in  Italy  in  the  school  of  Carlo  Maratti.  After  an 
absence  of  several  years  he  returned  to  his  own 
country,  where  he  painted,  in  the  manner  of  his 
master,  the  pictures  in  the  cloisters  of  the  convent 
of  the  Socorro  at  Palma ;  and  others  which  are  to 
be  found  in  private  collections  in  the  island  of 
Majorca. 

DANVIN,  Victor  Marie  F^lix,  a  French 
landscape  painter,  was  born  in  Paris  in  1802. 
He  studied  successively  under  Lethiere,  Gu^rin, 
Watelet,  and  Remond,  and  died  in  Paris  in  1842. 
His  wife,  whose  maiden  name  was  Constance 
Am^lie  Lambert,  was  born  at  Lille  in  1810,  and 
also  painted  landscapes. 

DANZEL,  Jaoqdes  Claude,  a  French  engraver, 
was  bom  at  Abbeville  in  1735.  He  was  a  pupil  of 
Beauvarlet,  and  engraved  several  plates  in  a  firm, 
neat  style.  He  died  at  Abbeville  in  1809.  We 
have  by  him  the  following  prints  : 

An  old  Man,  half-length ;  after  Semirandt. 

Coresus  sacrificing  himself  for  love  of  Calllrrhoe  ;  after 

Fragonard  ;  his  chef-d'oeuvre. 
Le  Boi  boit,  Le  Gateau  des  Sols ;   two  plates ;  after 

Tilborgh. 
Venus  and  Adonis ;  after  J.  Bethon. 
Venus  and  ^neas  ;  after  A .  Boizot. 
Alexander  giving  Campaspe  to  Apelles ;  after  Layrenee. 
Socrates  pronouncing  his  Discourse  on  the  Immortality 

of  the  Soul ;  after  Sane. 
Eoman  Charity ;  after  N.  N.  Coypel. 
Vulcan  presenting  to  Venus  the  aims  of  Sneas  ;  after 

Boucher. 
Neptune  and  Amymone  ;  after  the  same. 
The  "Washerwoman ;  after  Greuze. 
The  Eape  of  Proserpine ;  after  Vien. 


DANZICA,  Salomone  di,  is  known  by  works 
which  are  finely  and  laboriously  executed,  and 
generally  represent  jocose  subjects.  His  portrait 
by  C.  Gregori  is  in  the  '  Museo  Fiorentino.'  He  is 
said  to  have  been  brought  up  in  Dantzic,  from 
whence  in  1695  he  went  to  Italy.  He  died  in 
Milan. 

DAPPER.    See  Tamm,  Franz  Werner. 

DARCIS,  J.  Louis,  was  a  French  engraver,  who 
died  in  Paris  in  1801.     His  best  works  are : 

Les  Incroyables  ;  after  Carle  Vei'net, 

Les  Merveilleuses ;  after  the  same. 

L'Anglomane  ;   after  the  same. 

La  Course  de  Chevaux ;  after  the  same. 

Mftrius  at  Minturnse  ;  after  Drouais  the  younger. 

La  Brouille  ;  after  Guerin. 

Le  Baccommodement ;  after  the  same. 

DARDANI,  Antonio,  an  Italian  historical 
painter,  was  bom  at  Bologna  in  1677,  and  was  a 
pupil  of  M.  A.  Toni  and  of  J.  Viani.  He  died  in 
1735. 

DARDEL,  Robert  Guillaume,  a  French  sculp- 
tor, and  pupil  of  Pajou,  was  born  in  Paris  in  1749) 
and  died  there  in  1821.  He  engraved  a  'Diana' 
and  an  '  Endymion.'  His  wife  engraved  after  him 
'  La  Danse '  and  '  La  Musique.' 

DARET,  Jacob,  a  Flemish  painter,  who  flour- 
ished in  the  middle  of  the  15th  century,  was  a 
native  of  Tournai.  He  was  a  pupil  of  Robert 
Campin,  and  enjoyed  so  great  a  reputation  that  he 
was  made  provost  of  the  Guild  of  St.  Luke  at 
Tournai  on  the  same  day  that  he  was  admitted 
into  that  confraternitj'.  His  brother,  Daniel 
Daret,  who  was  his  pupil,  became  in  1449  painter 
to  Philip  the  Good,  Duke  of  Burgundy. 

DARET,  Jean,  a  Flemish  painter,  was  bom  at 
Brussels  in  1613.  He  went  to  Italy,  whence  he 
returned  in  1638,  and  settled  at  Aix  in  Provence, 
where  he  painted  many  Scriptural  subjects  for  the 
churches  and  convents  of  that  city.  He  also 
painted  portraits,  and  engraved  a  set  of  plates 
representing  the  Virtues.  He  died  at  Aix  in  1668. 
There  is  an  excellent  portrait  of  a  Magistrate  by 
him  in  the  Museum  of  Marseilles.  His  sons, 
Michel  and  Jean  Baptistb,  were  painters  who 
worked  together. 

DARET  DE  CAZENEUVE,  Pierre,  a  French 
portrait  painter  and  engraver,  was  bom  in  Paris  in 
1604.  After  receiving  some  instruction  in  engrav- 
ing, he  went  to  Rome  in  search  of  improvement, 
and  there  passed  a  considerable  time.  He  was 
received  into  the  Academy  of  Painting  in  1663, 
and  died  at  the  chSteau  of  La  Luque,  near  Dax 
(Landes)  in  1678.  Mariette  says  that  this  artist 
began  and  finished  his  career  with  painting.  He 
engraved  upwards  of  four  hundred  plates,  not 
without  merit,  but  very  deficient  in  taste  and  cor- 
rectness of  drawing.  They  are  frequently  marked 
and  among  them  are  the  following  : 


D 


portraits. 


Bust  of  Alexander  the  Great. 

Pope  Alexander  VU. 

Charles  I.,  Ejng  of  Great  Britain. 

Henri  de  Bourbon,  Prince  of  Conde. 

Charlotte  Marguerite  de   Montmorency,  Princess  of 

Conde. 
Marguerite  Gaston,  Duchess  of  Orleans. 
Vladislas  IV.,  King  of  Poland. 

SUBJECTS  AFTER   VARIOUS   MASTERS. 
St.  John  sitthig  in  the  Desert  with  his  Lamb ;  after 

Guide. 
The  Virgin  suckling  the  Infant ;  after  A.  Carracci. 

351 


Dargent 


A    BIOGRAPHICAL  DICTIONARY  OP 


Daubigny 


St.  Peter  delivered  from  Prison  ;  after  Bomemchmo. 

The  Entombment  of  Christ ;  after  Barocn. 

A  Holy  Family,  with  Angel  presentmg  frmt  to  the 

Infant  Jesus  ;  after  S.  Vomt. 
The  Dead  Christ,  with  the  Marys ;  after  the  same. 
St.  Jerome ;  half-length ;  after  Ulanehard. 
Thetis  ordering  Vulcan  to  forge  arms  for  AchLUes ; 

after  the  same. 
A  Charity  with  five  Children.;  after  the  same. 
The  Visitation  of  the  Virgin  to  St.  Ehzabeth  ;  after 

Comeille. 
The  Virgin  ajid  Infant ;  after  Sarazin. 

He  also  engraved  one  hundred  small  plates  for  a 
■work  entitled,  '  La  Doctrine  des  Moeurs,"  after  the 
designs  of  Otto  Tan  Veen,  1646  ;  and  a  great  num- 
herof  portraits  for  a  publication  entitled,  'Tableaux 
historiques,  oil  sont  graves  les  illustres  Prangois  et 
Etrangers  de  I'un  et  1' autre  sexe  ;  par  Pierre  Daret, 
Louis  Boissevin,  et  B.  Moncomet,'  published  m 
1652  and  1656. 

There  was  also  a  Piebbe  Daret,  a  painter  upon 
vellum  and  in  water-colours,  who  was  living  in 
1664. 

DARGENT,  Michel,  a  Flemish  miniature  painter, 
was  horn  at  Li^ge  in  1751,  and  died  in  1824.  He 
possessed  talent  which  was  still  more  remarkable 
in  his  son,  who  was  bom  at  Liege  in  1794,  and  died 
in  the  flower  of  youth  in  1812.  His  daughter, 
Mabie  Josbphe,  who  was  born  at  Li^ge  in  1789 
and  died  in  1863,  likewise  painted  miniatures. 

D'ARGENVILLE,  Antoine  Joseph  Desallieb. 
See  Desallier  d'Argenville. 

DABIO  da  TREVIGI.     See  Tbevigi. 

DAEJOU,  Henri  Alfred,  a  French  painter  and 
draughtsman,  bom  in  Paris  in  1832,  was  the  son 
of  Victor  Darjou,  a  portrait  painter  of  some  ability. 
He  studied  under  his  father  and  under*  L^on 
Cogniet,  and  exhibited  first  at  the  Salon  of  1853, 
from  which  time  onwards  he  almost  every  year 
sent  pictures  which  were  for  the  most  part  of  genre 
subjects.  The  paintings  of  Darjou  have,  however, 
done  less  for  his  reputation  than  the  numerous 
designs  which  he  made  for  the  '  Illustration '  and 
the  '  Monde  illustr^.'     He  died  in  Paris  in  1874. 

DAELY,  Jean  Baptists,  was  a  French  portrait 
painter,  who  flourished  at  Tours  about  1530.  He 
had  a  great  reputation,  and  many  persons  came 
from  distant  parts  in  order  to  have  their  portraits 
painted  by  him. 

DAENSTADT,  Johamt  Adolf,  a  German  line- 
engraver,  who  was  born  at  Auma,  near  Dippoldis- 
walda  in  Saxony,  in  1768,  was  a  scholar  of  Schulze 
and  of  Zingg.  Amongst  his  works  are  an  engrav- 
ing of  Dresden  after  Hammer  and  Thurmayer,  and 
some  book  illustrations.  For  his  plates  of  'The 
Magi '  and  '  The  Magi  among  the  Shepherds,'  after 
Dietrich,  he  obtained  the  gold  medal  at  Milan. 
He  resided  at  Dresden,  and  died  there  in  1844. 

DASSONNEVILLE,  Jacques,  a  French  en- 
graver, was  bom  in  the  harbour  of  St.  Ouen  near 
Rouen,  in  1619.  We  have  by  this  artist  about  fifty 
etchings,  in  the  style  of  A.  van  Ostade,  which, 
although  by  no  means  equal  to  the  playful  point  of 
that  master,  are  not  without  considerable  merit. 

DASSY,  Jean  Joseph,  a  French  historical  and 
portrait  painter,  and  lithographer,  was  bom  at 
Marseilles  in  1796.  He  studied  under  Goubaud 
and  Girodet-Trioson,  and  commenced  exhibiting  at 
the  Paris  Salon  in  1819.  There  are  several  pictures 
by  him  at  Versailles,  among  which  are  '  The  Battle 
of  Saucourt'  and  'Charibert.'  He  died  at  Mar- 
seilles in  1865. 

DASVELT,   Jan,   a   Dutch  landscape  painter, 
852 


was  bom  at  Amsterdam  in  1770.  He  was  a  puf  il 
of  Hendrik  Stokvisch,  and,  akhough  at  first  only 
an  amateur,  he  soon  acquired  the  reputation  of 
being  a  good  artist.  He  excelled  especially  in  the 
manner  in  which  he  painted  the  dogs  which  he 
introduced  into  his  pictures.  He  died  at  Amster- 
dam in  1856. 

DATHAN,  Geoeg,  was  bom  at  Mannheim  in 
1703.  He  excelled  in  painting  portraits  and  his- 
torical subjects.  One  of  his  best  works,  an  'Allegory 
upon  the  marriage  of  the  Dauphin,  son  of  Louis 
XV.,  with  the  Princess  Marie  Josephine  of  Poland,' 
is  in  the  Dresden  Gallery. 

DATI,  CofciMo.     See  Daddi. 

DATI,  Katale,  was  an  Italian  engraver,  who 
flourished  at  Ravenna  in  the  early  part  of  the  16th 
century,  to  whom  Zani,  without  giving  any  proof, 
assigns  the  very  few  plates  which  bear  the  signa- 
ture NA.  DAT.  and  the  device  of  a.  rat-trap,  on 
account  of  which  the  artist  is  often  called.  The 
Master  op  the  Rat-trap.  The  prints  thus  marked 
are  small  and  executed  entirely  with  the  graver. 
From  the  resemblance  of  the  style  of  Dati  to  that 
afterwards  adopted  by  Theodor  De  Bry,  it  is  pro- 
bable that  the  latter  was  his  pupil.  Bartsch  and 
Passavant  mention  the  following  prints  by  him  : 

The  Virgin  and  Child,  with  St.  Anne ;  in  an  aich  to 
the  right  is  the  Angel  appearing  to  St.  Joseph,  and 
to  the  left  an  Angel  appearing  to  St.  Joachim. 

The  Battle  of  Eavenna.    1512. 

Two  Monstrous  Children  joined  back  to  back. 

DAUBIGNY,  Charles  Francois,  one  of  the  most 
distinguished  Prench  landscape  painters  and  etch- 
ers of  recent  years,  was  bom  in  Paris  in  1817.  He 
was  the  son  of  Edme  Francois  Daubigny,  under 
whose  tuition  he  painted  boxes,  clock-cases,  and 
other  articles  of  commerce.  At  the  age  of  eighteen, 
he  visited  Italy,  and  on  his  return  to  France  in  the 
following  year  he  entered  the  studio  of  Paul  Dela- 
roche.  He  first  exhibited  at  the  Salon  of  1838,  and 
obtained  medals  in  1848  and  1853,  besides  medals 
at  the  Paris  Universal  Exhibitions  of  1855  and 
1867.  His  etchings  are  characterized  by  their 
purity  and  effect.  Several  of  them  appeared  in 
Curmer's  '  Jardin  des  Plantes '  and  '  Beaux  Arts,' 
and  in  the  '  Artiste ; '  but  the  best  are  '  Le  Buis son ' 
and  '  Le  Coup  de  SoleU,'  after  the  pictures  of  Euis- 
dael  in  the  Louvre.  Daubigny  died  in  Paris  in 
1878.  He  excelled  in  river  scenes,  which  he  often 
painted  from  a  barge  fitted  up  as  a  floating  studio. 
Amongst  his  best  works  are : 

The  Seine  at  Bezons.    1840. 

The  Harvest.     1852. 

Sunrise.    {In  the  Lille  Mvseum.) 

The  Pool  of  Gylien.     lSo3. 

Sluice  in  the  Valley  of  Optevoz.    1855.    (/« the  Laxem- 

laurg  Gallery.) 
The  Banks  of  the  Oise.     1861. 
The  Vintage.     1863.     (In  the  Luxembourg  Gallery.) 
Windmills  at  Dordrecht.    1872. 
Moomise.    1877. 

Puller  details  respecting  this  artist  may  be  foTmd 
in  Henriet's  '  C.  Daubigny  et  son  oeuvre  grave,' 
Paris,  1875,  8vo. 

DAUBIGNY,  Edme  Fkan^'ois.  a  French  land- 
scape painter,  was  a  pupil  of  Victor  Berlin.  He 
was  bom  in  Paris  in  1789,  and  died  there  in  1843. 
His  favourite  subjects  were  views  in  Italy  and  in 
the  environs  of  Paris. 

DAUBIGNY,  Pierre,  a  French  miniature  painter, 
was  the  brother  of  Edme  Frangois  Daubigny,  and 
a  pupU  of  Aubry.     He  was  bom  in  Paris  in  1793, 


Baudet 


PAINTERS  AND  ENGRAVERS. 


Bautel 


and  died  there  in  1858.  His  wife,  A:^iLiE  Dautel, 
was  likewise  a  miniature  painter,  and  a  piipil  of 
Aubry  and  of  Granger.  She  was  born  in  1796  in 
Paris,  where  she  died  in  1861. 

DAUDET,  RoBEKT,  a  French  engraver  of  land- 
scapes in  line,  was  born  at  Lyons  in  1737.  He 
was  the  son  of  Robert  Daudet,  an  engraver  and 
printseller,  who  in  1766  sent  him  to  Bllris,  where 
he  studied  under  Baleohou,  and  afterwards  became 
the  favourite  pupil  of  J.  G.  Wille.  He  died  in 
1824.     His  best  works  are  as  follow : 

Two  Landscapes,  with  Figures  and  Cattle;  after  Berchevt. 
An  Italian  Landscape,  with  Figures  and  Cattle ;  after 

Both  and  Bercher/i, 
Going   out   to  the  Chase;   aftei'  A.  van   Ostade  and 

Hackert. 
A  Stag-Hunt ;  after  Wouwerman. 
Italian  Kuins ;  after  C.  Foelemburg. 
Kuins  of  Palmyra ;  after  Castas. 
Combat  of  Horsemen ;  after  Van.  der  Meulen. 
The  Corsican  Fishermen  ;  after  Joseph  Vernet. 
The  Young  "Washerwomen ;  after  the  same, 
Iloman  Kuins;  two  plates,  after  Dietrich. 
Evening ;  after  the  same. 
Two  Views  of  Pima,  in  Saxony. 

DAULLE,  Jean,  a  French  engraver,  was  bom 
at  Abbeville  in  1703.  He  received  his  first  lessons 
in  engraving  from  Dom  Eobart,  a  monk  of  the 
priory  of  St.  Peter  at  Abbeville,  and  afterwards 
went  to  Paris,  where  his  fellow-citizen,  Robert 
Hecquet,  taught  him  what  little  he  himself  knew. 
His  merit  did  not  remain  long  unnoticed,  and  he 
was  received  into  the  Academy  in  1742.  He  died 
in  Paris  in  1763.  After  his  death  some  of  his 
engravings  were  published  by  his  widow  as  his 
'  CEuvre. '  He  engraved  several  portraits  and  plates 
of  historical  and  other  subjects,  which  are  chiefly 
executed  with  the  graver  in  a  clear  and  firm  style, 
which  entitles  him  to  rank  with  the  ablest  artists 
of  his  time.  He  marked  his  works  J.  D.  The 
following  are  his  principal  plates : 

POETBAITS. 
Catherine,  Countess  of  Feuquieres,  daughter  of  Pierre 

Mignard ;  after  Mignard. 
Hyacinthe  Eigaud,  painter ;  after  Bigaud ;   engraved 

for  his  reception  at  the  Academy  in  1742. 
Marguerite  de  Valois,  Countess  of  Caylus;  after  the 

same. 
Charles  Edward  Stuart,  son  of  the  Pretender. 
Clementina,  Princess   of   Poland,  his    consort;   afier 

David. 
Madame  Favart,  in  the  part  of   '  Bastienne ; '   after 

Carle  van  Loo. 
Cladde  Deshayes  Gendron,  oculist ;  after  Bigaud. 
Jean  Baptists  Bousseau ;  after  Aved. 
Jean  Mariette,  engraver ;  after  Besne, 

60BJECTS  AFTER  VARIOUS  MASTERS. 

The  Magdalen ;    after  Correggio ;    for   the   Dresden 

Gallery. 
Diogenes  with  his  Lantern ;  after  Spagnoletto  ;  for  the 


Quos  Ego ;  after  Butena. 

The  Two   Sons  of  Eubens;  after  the  same;  for  the 

Dresden  Gallery. 
Neptune  appeasing  the  Tempest ;  after  the  tame. 
Oharitjr  with  Three  Children ;  after  Albam. 
The  Triumph  of  Venus ;  after  Boucher. 
Latona ;  after  J.  Joweenet. 
Four  Marine  subjects ;  after  Joseph  Vernet. 
The  Bath  of  Venus ;  after  Baoux, 
Two  subjects ;  after  G.  Metsu. 
Jupiter  and  Oalisto ;  after  N.  Foussin. 
St.  Margaret ;  after  Correggio. 
Child  playing  with  Cupid ;  after  Tan  DyeJc. 

A  detailed   account  of    this   artist's   works   is 
contained  in  Deligniere's  'Catalogue  raisonni  de 
A  A 


rCEuvre  grave  de  Jean  DaulM  d' Abbeville,'  1872, 
8vo. 

DAUMIEE,  HoNOR^,  a  French  caricaturist  and 
painter,  was  born  at  Marseilles  in  1808.  His  most 
celebrated  work  was  the  series  of  '  Robert  Maoaire,' 
published  in  the  '  Charivari.'  No  one  ever  repre- 
sented with  greater  truth  the  varied  types  of 
Parisian  character.  He  became  blind  in  1877,  and 
died  in  1879  at  Valmondois  (Seine-et-Oise)  in  a 
house  given  him  by  Corot,  the  landscape  painter. 

DAUPHIN,  Charles  Claude,  ^r  Dofin,)  called 
in  Italian  Delfino,  a  French  painter  of  historical 
subjects  and  portraits,  was  the  son  of  Olivier 
Dauphin.  He  went  to  Turin  about  the  year  1664, 
and  worked  there  for  the  Prince  of  Carignano. 
He  was  also  employed  for  the  churches,  but  his 
works  are  in  no  great  estimation,  abounding  as 
they  do  with  the  most  ridiculous  absurdities.  In 
the  church  of  San  Carlo  is  an  altar-piece  by  him, 
described  by  Lanzi  as  a  most  ludicrous  composi- 
tion.    He  died  in  1677. 

DAUPHIN,  FEANgois  Gustave,  a  French  his- 
torical painter,  was  born  at  Belfort  in  1804.  He 
was  a  pupil  of  Hersent,  and  executed  Scriptural 
subjects,  and  occasionally  portraits.  He  died  in 
Paris  in  1859. 

DAUPHIN,  Olivier,  (or  Dofin,)  called  in  Italian 
Delfino,  a  French  painter  and  engraver,  was  bom 
in  Lorraine  in  the  early  part  of  the  17th  century. 
He  was  instructed  by  Simon  Vouet,  and  worked, 
in  particular,  at  the  court  of  Modena.  He  etched 
several  plates  after  the  Carracci  and  other  masters, 
but  nothing  is  known  of  his  works  as  a  painter. 
He  died  at  Bologna  in  1693. 

DAUPHIN  DE  BEAUVAIS,  Charles  Nicolas, 
the  son  of  Nicolas  Dauphin  de  Beauvais,  was  born 
in  Paris  in  1730,  and  was  instructed  in  the  art  of 
engraving  by  his  father.  He  died  in  1783. 
Amongst  other  plates  he  engraved  the  following: 

Portrait  of  Just  Aurele  Meissonnier,  architect. 
Le  Sommeil  interrompu ;  after  F.  Boucher. 
Map  of  the  Empire  of  Alexander. 

DAUPHIN  DE  BEAUVAIS,  Jacques  Philippe, 
the  eldest  son  of  Nicolas  Dauphin  de  Beauvais, 
was  a  sculptor,  who  engraved  three  '  Livres  de 
Vases  '  and  some  views  of  Venice.  He  was  born 
in  1738,  and  died  in  Paris  in  1781. 

DAUPHIN  DE  BEAUVAIS,  Nicolas,  was  bom 
in  Paris  in  1687.  He  leamed  the  art  of  engraving 
under  Jean  Audran,  and  his  works  are  held  in 
considerable  estimation.  It  is  probable  that  he 
passed  some  time  in  England,  as  he  engraved  a 
part  of  the  frescoes  of  the  dome  of  St.  Paul's,  after 
Sir  James  Thornhill.  He  died  in  Paris  in  1753. 
We  have  alsoby  him: 

The  Descent  of  the  Holy  Ghost ;  after  J.  Andri. 

All  Saints ;  after  the  same. 

The  Eesurrection ;  after  P.  J.  Cazes. 

The  Four  Seasons ;  after  the  same ;  four  plates,  en- 
graved conjointly  with  Desplacea. 

The  Madonna  of  St.  George ;  after  Correggio ;  for  the 
Dresden  Gallery. 

St.  Jerome  ;  after  Van  Dyeh  ;  for  the  same. 

The  Burning  of  .Slneas's  Ships,  and  their  Metamorphosis 
into  Nymphs ;  after  Coypel. 

The  Companion,  a  subject  from  the  Life  of  ^neas ; 
after  the  same. 

Monument  of  'WiUiain,  Earl  Cowper. 

Cupid  stealing  Jupiter's  Thunderbolts ;  after  Le  Sueur. 

St.  Mary  Magdalen  in  the  Desert;  after  B,  Luti;  for 
the  Cbrozat  Collection. 

The  Triumph  of  Bacchus  and  Ariadne ;  after  N.  Foussin. 

DAUTEL,  AmSlie.    See  Daubignt. 

353 


Sauzats 


A  BIOGRAPHICAL  DICTIONARY  OF 


David 


DAUZATS,  Adeien,  a  French  landscape  and 
genre  painter,  was  born  at  Bordeaux  in  1804.  He 
became  a  pupil  of  Gu6,  and  afterwards  travelled  in 
France,  Spain,  Egypt,  and  Palestine,  forthe  purpose 
of  making  illustrations  for  Baron  Taylor's  'Voy- 
ages pittoresques  et  romantiques  de  I'ancienne 
Prance,'  1820-63;  '  Voyage  pittoresque  en  Es- 
pagne,  en  Portugal,  et  sur  la  o6te  d'Afri,que,  de 
Tanger  a  Tetouan,'  1826-32  ;  '  La  Syrie,  I'Bgypte, 
la  Palestine  et  la  Jud^e,'  1835-39,  and  other  books. 
He  was  a  frequent  exhibitor  at  the  Salon  of  genre 
subjects  and  interiors  of  churches,  and  was  also  a 
lithographer.     He  died  in  Paris  in  1868. 

DAVENPORT,  Samuel,  an  English  engraver, 
was  born  at  Bedford  in  1'783.  He  was  articled  to 
Charles  Warren,  and  worked  much  at  book  illustra- 
tion, after  Shenton,  Corbould,  and  others.  ■  He 
also  engraved  many  portraits,  and  was  one  of  the 
first  to  practise  engraving  on  steel.  He  died  in 
1867. 
DA  VENT,  Leonaed.  See  Thiey. 
DAVID,  Chaelbs,  a  French  engraver,  was  bom 
in  Paris  about  1600.  It  is  not  ascertained  by  whom 
he  was  instructed,  but  he  ranks  as  an  estimable 
artist  among  the  engravers  of  his  time.  The  exact 
date  of  his  death  is  not  known,  but  it  was  neither 
earlier  than  1636,  nor  later  than  1638.  His  plates 
are  executed  with  the  graver  in  a  clear,  firm  man- 
ner, and  his  drawing  is  tolerably  correct.  His 
prints  are  held  in  considerable  estimation.  He 
usually  marked  his  plates  G.  D.  or  G.  B.  F.  The 
following  are  by  him : 

Ecce  Homo,  or  Christ  shown  to  the  People  by  Pilate. 

The  Virgin  and  Infant  with  Angels;  after  J.  B.  de 
Champaigne. 

The  Virgin  with  St.  Bernard  ;  after  P.  de  Champaigne. 

"Wisdom  awaking  a  Man  sleeping ;  after  the  same, 

A  Nurse  carrying  a  Child ;  with  sis  verses. 

The  Eoman  Charity. 

Twelve  plates  of  the  Labours  of  Hercules ;  after  Frans 
Floris. 

Sixteen  plates  of  the  Cries  of  Rome ;  after  Villamena  ; 
copied  with  such  exactness  that  they  may  easily  be 
mistaken  for  the  originals. 

A  set  of  Landscapes ;  after  M.  and  F.  Bril, 

A  Man  with  a  Snail  on  his  Pinger,  with  a  Goat  wearing 
a  Crown  of  Snails  on  its  Head ;  after  Callot. 

DAVID,  Chaeles,  a  French  miniature  painter, 
was  born  at  Avignon  in  1798.  He  was  the  brother 
of  the  eminent  composer  F^lioien  David,  and  was 
also  a  musician.     He  died  at  Avignon  in  1869. 

DAVID,  Claude,  a  French  sculptor  and  engraver, 
was  a  native  of  Franche-Comt^.  He  was  in  Eng- 
land in  1720,  and  is  noticed  by  Vertue  as  having 
engraved  a  plate  from  a  model  of  a  fountain 
intended  to  have  been  erected  at  the  conduit  in 
Cheapside,  and  comprising  statues  of  Queen  Anne 
and  the  Duke  of  Marlborough  on  horseback,  with 
River  Gods. 

DAVID,  FEANgois  Anne,  a  French  line-engraver, 
was  born  in  Paris  in  1741,  and  died  in  the  same 
city  in  1824.  He  was  a  pupil  of  Le  Bas,  and  en- 
graved several  portraits  and  other  subjects  in  a 
neat,  finished  style ;  among  them  are  the  following  : 

POETEAITS. 

Louis  Stanislas   Xavier,   Monsieur,  afterwards   Louis 

XVIII. ;  after  Drouais. 
Louis  XVIII. ;  full-length,  in  his  robes ;  after  himself. 
Denis  Diderot ;  after  Z.  M.  van  Loo. 
C^sar  Gabriel  de  bhoiseul,  Due  de  Praslin  ;  after  Eoslin. 
Catharine  II.,  Empress  of  Eussia ;  after  MUe.  J)urameau. 
Gaspard  Netscher,  painter,  his  Wife  and  Son;  after 

Netscher. 
Charies  I.  of  England  with  his  Family;   after    Van 

Dyek. 
364 


SUBJECTS   AFTEE   VAEIOUS   MASTEES. 
Adam  and  Eve  in  Paradise ;  after  Santerre. 
Christ  crowned  with  thorns ;  after  Titian. 
St.  Cecilia ;  after  Baphael. 
The  Dutch  Sportsman ;  after  O.  Metsu. 
The  Green-Market  at  Amsterdam ;  after  the  same. 
The  Quack  Doctor ;  after  Karel  Du  Jardin. 
The  Bull  -^fter  Paul  Potter. 

Two  Views  of  the  Gulf  of  Venice ;  after  Joseph  Vernet. 
Two  Views  near  Dunkirk ;  after  the  same. 

DAVID,  Gheeeaedt.  Although  the  name  of  this 
painter  appears  to  have  been  known  to  Guicciardini 
Sanderus,  and  other  early  writers,  it  was  completely 
lost  in  later  times  until  Mr.  Weale  lighted  upon  it 
in  the  archives  of  Bruges,  and  discovered  that  a 
triptych  in  the  Museum  at  Rouen  was  painted  by 
this  master  in  1509,  and  presented  by  him  to  the 
Carmelites  of  Sion  at  Bruges.  This  gave  a  clue 
to  the  discovery  of  other  works  by  David,  many 
of  which  had  been  long  known  to  critics,  though 
they  could  not  be  assigned  definitely  to  any 
particular  master.  From  further  researches  it 
appeared  that  this  Gheerardt,  'the  son  of  John, 
son  of  David,'  was  a  native  of  Oudewater  in  Hol- 
land, who  settled  in  Bruges  in  1483,  and  paid  the 
dues  of  the  Bruges  Guild  of  Painters  as  a  stranger 
on  the  14th  of  January,  1484.  David  must  soon 
have  acquired  a  good  position  in  Bruges  in  spite  of 
his  being  '  a  stranger,'  for  in  1488  we  find  him 
fourth  '  vinder '  of  his  guild,  in  1495  and  1498  first 
'vinder,'  and  in  1501  'dean,' a  proof  that  he  then 
stood  at  the  top  of  his  profession  in  Bruges.  He 
married  in  1496  the  daughter  of  -a.  Bruges  gold- 
smith named  Cnoop,  and  would  seem  to  have  been 
a  man  in  good  circumstances  by  his  being  ablo  to 
make  a  gift  of  the  Rouen  altar-piece,  before-men- 
tioned, to  the  sisterhood  of  the  Carmelites  of  Sion. 
This  beautiful  altar-piece  represents  the  Virgin 
and  Child  seated  in  the  midst  of  an  adoiing  com- 
pany of  virgin  saints.  In  the  background  to  the 
right  the  painter  has  introduced  his  own  figure, 
while  his  wife  stands  similarly  placed  on  the  left. 
This  altar-piece  was  sold  by  the  Carmelites  in  1785, 
and  afterwards  passed  into  the  Rouen  Museum.  In 
1508  David  became  a  member  of  the  brotherhood 
of  the  '  Arbre  sec,'  and  died  on  the  13th  of  August, 
1523,  as  certified  by  the  register  of  his  burial  in 
Notre-Dame  at  Bruges,  where  he  was  laid  beneath 
the  tower,  his  grave-stone  bearing  his  own  and 
his  wife's  coats-of-arms. 

In  his  style  and  mode  of  execution  David  re- 
sembles Memlinc,  to  whom  his  pictures  were  form- 
erly often  attributed,  but  there  is  also  an  analogy 
in  his  early  works  to  those  of  Dierick  Bouts,  which 
would  make  it  probable  that  he  learnt  his  art  in 
the  same  early  school  in  Holland.  He  lived  in 
Bruges,  however,  for  forty  years,  received  many 
commissions  from  the  magistrates  and  citizens  of 
that  city,  and  is  reckoned  among  the  most 
esteemed  Flemish  painters,  remarkable  among 
other  qualities  for  his  careful  and  truthful  painting 
of  landscape.  Some  critics  suppose  indeed  that 
some  of  his  landscape  backgrounds  were  executed 
by  Patenier.  His  best  authenticated  works  are  as 
follow : 

1.  The  Judgment  of  Cambyscs,  and  the  Punishment  of 
Sisamnes ;  commissioned  by  the  Magistracy  of  Bruges  in 
1488.     (Noxo  in  the  Academy  at  Bruges.) 

2.  The  Baptism  of  Christ ;  a  fine  altar-piece,  containing 
portraits  of  the  donor's  family.  1508.  (In  the  Acadetiiy  at 
Bruges.) 

3.  The  Virgin  and  Child,  with  Saints.  {Altar-p.ce 
in  the  Bouen  Museum.) 


David 


PAINTERS  AND  ENGRAVERS. 


David 


4.  The  Deposition  from  the  Cross;  a  triptych  in  the 
church  of  St.  Basil  at  Bruges. 

5.  A  Oanon  aud  his  Patron  Saints.  (iVoMi  in  the  ]Va- 
tional  Gallery.)  This  painting  formerly  formed  the  right 
wing  of  an  altar-piece  in  the  church  of  St.  Donatian  at 
Bruges.  It  was  painted  in  1501-2  for  a  certain  Bernardino 
de  Salviatis,  the  illegitimate  son  of  a  rich  Florentine  mer- 
chant, who  held  the  office  of  Canon  in  the  church,  and 
is  represented  with  three  patron  saints — SS.  Donatian, 
Bernardino  of  Siena,  and  Martin  of  Tours.  The  land- 
scape background  in  this  picture  is  a  good  example  of 
his  treatment ;  indeed,  the  picture  altogether  affords 
English  students  an  excellent  opportunity  of  judging  this 
master,  for  it  is  a  characteristic  work  and  well  preserved. 

These  are  about  the  only  paintings  that  can  with 
certainty  be  attributed  to  David,  although  many 
others  are  now  assigned  to  him  by  critics. 

Bibliography :  Weale,  '  Le  BefEroi,'  vols,  i.,  ii. ; 
'  Gazette  des  Beaux-Arts,'  vols.  xx.  and  xxi. ; 
Crowe  and  Gavalcaselle,  '  Early  Flemish  Painters,' 
2nd  edition,  1872.  M.M.H. 

DAVID,  Jacques  Louis,  an  eminent  French  his- 
torical painter,  was  born  at  Paris  in  1748.  His  father 
lost  his  life  in  a  duel,  and  the  care  of  his  early  years 
devolved  on  his  mother,  who  intended  that  he 
should  follow  the  profession  of  an  architect.  By 
the  advice,  however,  of  his  uncle  Boucher,  from 
whom  he  received  his  first  instruction,  he  became 
a  pupil  of  Vien  at  the  age  of  twenty-one.  His 
master  does  not  appear  to  have  behaved  altogether 
well  to  him,  for,  owing  to  pique,  he  prevented  his 
obtaining  the  'prix  de  Rome'  in  1771.  In  the  two 
following  years  he  competed  unsuccessfully,  and 
it  was  not  till  1774  that  he  obtained  the  blue  ribbon 
of  French  art.  In  the  next  year  he  set  out  for 
Rome,  accompanying  Vien,  who  had  just  been  ap- 
pointed director  of  the  French  Academy  in  that 
city.  While  in  Italy  he  painted  but  few  pictures, 
directing  his  attention  sedulously  to  drawing  from 
the  antique.  He  returned  to  France  in  1780,  and 
his '  Belisarius '  procured  his  election  at  the  Academy, 
for  his  admission  into  which,  in  1783,  he  painted  the 
'  Death  of  Hector.'  Shortly  afterwards  he  married, 
and  again  visited  Italy,  and  also  Flanders.  It  was 
during  this  period  that  he  painted  'The  Oath  of 
the  Horatii,'  '  Brutus,'  and  other  works  of  a  similar 
character,  which  were  the  first  steps  in  the  classic 
movement  of  which  he  was  the  prophet,  and  which 
exercised  an  influence,  not  only  on  the  politics,  but 
even  on  the  furniture  and  passing  fashions  of  the 
day.  He  entered  with  ardour  into  the  conflicts  of 
the  Revolution,  Elected  in  1792  a  representative  of 
Paris  in  the  Convention,  he  sided  with  the  extreme 
party  of  Robespierre,  after  whose  fall  he  was  twice 
thrown  into  prison,  and  narrowly  escaped  with 
his  life.  On  his  release,  in  1795,  he  considered 
it  prudent  to  abandon  politics,  and  to  devote  him- 
self to  art.  He  was  one  of  the  original  members 
of  the  Institute,  in  connection  with  which  he  be- 
came acquainted  with  the  first  Napoleon,  who  ever 
proved  himself  his  warm  friend  and  patron.  He 
made  David  hia  first  painter,  and  gave  him  many 
important  commissions,  such  as  the  pictures  of  his 
'  Coronation,'  the  '  Distribution  of  the  Eagles,'  &c. 
This  friendship  efEected  a  strange  metamorphosis 
in  the  politics  of  the  painter,  for  from  an  ardent 
republican  he  became  an  equally  stanch  imperialist, 
BO  that,  on  the  restoration  of  the  Bourbons,  he 
sought  refuge  at  Brussels.  In  this  city  he  remained, 
notwithstanding  an  ofEer  from  the  King  of  Prussia 
of  the  directorship  of  Fine  Arts  at  Berlin,  imtil  his 
death  in  1825.  The  influence  of  David  on  the 
French  school  was  very  great.  He  rescued  it  from 
the  littleness  and  trivialities  to  which  it  had  been 


reduced  by  the  followers  of  the  Watteau  school  ; 
but,  on  the  other  hand,  he  established  a  despotism, 
which  in  several  respects  was  baneful  to  the  pro- 
gress of  art.  For  many  years  he  reigned  with  an 
absolute  supremacy,  and  amongst  his  pupils  and 
disciples  were  Girodet,  Gros,  Gerard,  the  elder 
Isabey,  Leopold  Robert,  Abel  de  Pujol,  and  Ingres. 
It  was  not  until  the  rise  of  the  Romantic  school, 
under  the  leadership  of  G^ricault  and  Delacroix, 
that  any  real  opposition  was  offered  to  the  all- 
prevalent  classicism.  David's  chief  excellence  is 
in  the  correctness  of  his  drawing,  which,  however, 
it  must  be  said,  frequently  becomes  hard  and 
statuesqae,  whilst  his  weakness  is  most  apparent 
in  his  treatment  of  light  and  in  his  colouring,  which 
is  monotonous  and  frequently  unpleasant.  The 
following  is  a  list  of  his  chief  works : 


Amiens.  Museum. 
Avignon.  Museum. 
Cherbourg.  Museum. 

Dublin.       Nat.  Gall. 
Lille.  Museum. 

Montpellier.  Museum. 


Nantes. 
Paris. 


Museum. 
Louvre. 


„  Comedie 

Frangaise. 

Eouen.       Museum. 

Yalence.     Museum. 

Versailles.  Museum. 


Warwick.    Castle. 


Portrait  of  the  Comtesse  Dillon. 
Death  of  Joseph  Barra. 
Philoctetes    in    the    Island    of 

Lemnos. 
Death  of  Milo. 

Belisarius  asking  alms.     1780. 
Portrait  of  Alphonse  Leroy. 

„        M.  de  Joubert  (sketch). 
Three  studios. 
Death  of  Gieonice  (sketch). 
Leonidas  at  Thermopylae.    1814. 
The  Sabine  'Women.     1799. 
The  Oath  of  the  Horatii.    1784. 
Brutus.    1789. 
Belisarius  asldug  alms,   1784.   (A 

reduction  hy  Fahre  and  Girodet, 

hit  touched  by  David,  of  the  pii  - 

ture  at  Lille?) 
Combat  of    Minerva  and  Mars. 

1711. 
The  Loves  of  Paris  and  Heleij 

1788. 
Academic  figure.    1779. 
Portrait  of  himself  When  youny 

(sketch). 
Portrait  of  M.  P&oul.     1783. 
Portrait  of  Madame  P&oul 
Portrait  of  Pope  Pius  VII.    1805. 
Portrait    of   Madame    B^camier 

(sketch). 
Portrait  of  Bailly  (sketch). 

I  Portrait  of  Mademoiselle  Joly. 

Portrait  of  Mme.  Vigee  Le  Brun. 

Ugolino. 

Bonaparte    crossing    Mount    St. 

Bernard.     1805. 
The  Coronation  of  Napoleon  I. 

and   the    Empress  Josephine. 

1808. 
The  Oath  of  the  Army  at  the 

Champ  de  Mars.     1810. 
Portrait   of  Barere    (unjinished). 

1790. 
Portrait  of  Pins  VII.     (A  replica 

of  the  Louvre  picture.) 
Portrait  of  Napoleon  I.       O.J  D. 


DAVID,  Jean  Louis,  a  French  painter  in  water- 
colours,  was  born  in  Paris  in  1791.  He  executed 
chiefly  military  subjects  and  landscapes,  and  died 
in  Paris  in  1868. 

DAVID,  J^e6me,  a  French  engraver,  brother  to 
Charles  David,  was  born  in  Paris  about  the  year 
1608,  and  died  in  Rome  about  1670.  He  engraved 
a  considerable  number  of  plates  in  the  same  style 
as  his  brother,  many  of  them  being  portraits.  The 
work  of  the  two  brothers  consists  of  about  two 
hundred  and  twenty  prints.  J^rSme  marked  his 
plates  either  with  the  letters  H.  D.  F.,  or  with  the 

cipher  Jf-^  or  n=Jp)     We  have  by  him : 

355 


David 


A  BIOGRAPHICAL  DICTIONARY  OF 


Da-we 


POBTEAITS. 
Charles  I.,  King  of  England,  on  horseback. 
Henrietta  Maria,  his  Queen,  on  horseback. 
Anne,  Queen  of  France. 
Gaston,  Duke  of  Orleans. 
Cardinal  Richelieu. 
Giovanni  Battista  Montano,  sculptor.    1621. 

SUBJECTS    AFTER   VAEIOUS  MASTERS. 
The  Heads  of  the  Philosophers,  thirty-six  plates  from 

his  own  designs, 
Adam  and  Eve  driven  from  Paradise  ;  after  himself. 
Christ  bearing  the  Cross ;  after  JErcole  Ferrata.     1630. 
Eoce  Homo  ;  after  Guercino. 
The  Virgin  of  the  Eosary ;  after  Guido.     1633. 
The   Assumption  of  the  Virgin;   after  Camillo  Pro- 

caccini. 
St.  Francis  of  Paola;  after  Eolert  Ficou. 

He  also  etched  forty-two  plates  of  churolies,  tombs, 
and  altars  at  Rome,  from  the  designs  of  Montano, 
which  were  published  by  Soria. 

DAVID,  LoDOvico  ANTONio,was  born  at  Lugano 
in  1648.  After  studying  for  some  time  at  Milan, 
under  the  Cavaliere  Cairo  and  Ercole  Procacoini,  he 
went  to  Bologna,  where  he  entered  the  school  of 
Carlo  Cignani.  He  was  a  painter  of  some  emi- 
nence, and  gave  proof  of  his  ability  in  the  churches 
and  convents  of  Milan  and  of  Venice.  In  the  church 
of  San  Silvestro,  in  the  latter  city,  is  a  picture  of 
the  Nativity,  more  resembling  the  finished  style  of 
Camillo  than  that  of  Ercole  Procaccini.  He  also 
painted  the  portraits  of  many  of  the  distinguished 
persons  of  his  time. 

DAVID,  Louis,  a  French  engraver,  was  a  native 
of  Avignon,  who  worked  there  and  at  Rome  from 
1665  to  1706.  We  have  by  him  an  upright  plate 
of  the  '  Descent  from  the  Cross/  marked  with  the 


cipher 


t, 


DAVID,  Maxime,  a  French  miniature  painter, 
was  born  at  ChSlons-sur-Marne  in  1798.  He  was 
a  pupil  of  Madame  de  Mirbel,  and  died  at  Passy  in 
1870.  Three  portraits  of  Abd-el-Kader  by  him  are 
in  the  Luxembourg. 

DAVIDSON,  Jeremiah,  a  Scottish  portrait 
painter,  was  born  in  England,  of  Scotch  parentage, 
about  1695.  He  had  a  large  practice  both  in  Edin- 
burgh and  in  London,  and  died  in  1745.  A  por- 
trait of  Richard  Cooper,  the  engraver,  by  him,  is 
in  the  National  Gallery  of  Scotland,  and  a  por- 
trait of  Admiral  Byng  is  in  Greenwich  Hospital. 
Roubiliac's  statue  of  President  Forbes  in  the 
Parliament  House,  Edinburgh,  is  after  a  portrait 
by  him. 

DAVIN,  CisARiNB  Henriette  Flore,  a  French 
painter  of  portraits  and  miniatures,  whose  maiden 
name  was  Mirvault,  was  born  in  Paris  in  1773. 
She  studied  under  Suvde,  David,  and  Augiistin, 
and  afterwards  established  a  school  of  drawing 
and  painting,  in  which  she  had  many  pupils. 
Madame  Davin  died  in  Paris  in  1844. 

DAVIS,  Edward  le.    See  Lb  Davis. 

DAVIS,  J.  P.,  a  portrait  and  subject  painter, 
first  exhibited  at  the  Royal  Academy  in  1811.  In 
1824  he  went  to  Rome,  and  painted  'The  Talbot 
Family  receiving  the  Papal  Benediction : '  whence 
his  cognomen  of  'Pope  Davis.'  He  next  year 
received  a  prize  of  £50  from  the  British  Institution. 
With  his  friend  Haydon,  he  was  a  great  opponent 
of  the  Academy,  where  he  did  not  exhibit  after 
1843.  He  died  in  1862,  and  after  his  death  was 
356 


published  his  '  Thoughts  on  Great  Painters.'  Hig 
best-known  work  is  '  The  Love-Letter,'  exhibited 
at  the  British  Institution  in  1826. 

DAVIS,  John  Scarlett,  a  subject  painter,  was 
born  at  Hereford  in  the  beginning  of  the  19lh 
century.  Hestudied  and  spent  much  time  abroad. 
He  first  exhibited  at  the  Royal  Academy  in  1825 
with  '  My  Den,'  and  his  views  of  the  interiors  of  , 
public  buildings  had  considerable  success  ;  but  he 
fell  into  dissipated  habits,  and  died  soon  after  1841. 
At  the  South  Kensington  Museum  is  a  water-colour 
drawing  by  him  of  the  '  Porte  St.  Martin,  Paris.' 

DAVIS,  Richard  Barrett,  an  animal  and  land- 
scape painter,  was  born  at  Watford  in  1782.  He 
studied  under  Evans  of  Eton,  under  Beecliey, 
and  in  the  schools  of  the  Royal  Academy,  where 
he  first  exhibited  in  1802.  He  joined  the  Society 
of  British  Artists  in  1829,  and  was  appointed 
animal  painter  to  William  IV.  in  1881.  He  died 
in  1854.     Amongst  his  works  are  : 

Mares  and  Foals  from  the  Eoyal  Stud.    1808. 

Going  to  Market.    1814. 

Horse  Fair.     1821, 

Travellers  attacked  by  "Wolves,    1831, 

Near  Virginia  "Water.    {South  Kensington  Museum.) 

DAVIS,  William,  a  landscape  painter,  was  bom 
at  Dublin  in  1812.  Having  studied  at  the  Dublin 
Academy  of  Arts,  he  afterwards  came  to  Liverpool, 
where  he  at  first  practised  as  a  portrait-painter. 
After  some  time  he  was  elected  a  member  of  the 
Liverpool  Academy,  in  which  institution  he  was 
appointed  Professor  of  Painting,  having  by  this 
date  almost  entirely  devoted  himself  to  landscape. 
He  exhibited  at  the  Eoyal  Academy  in  1851,  and 
was  from  that  time  an  occasional  contributor.  A 
picture  by  him  called  '  Harrowing'  was  also  in  the 
International  Exhibition  of  1862.  His  landscapes 
show  a  truthful  feeling  for  nature,  and  are  highly 
finished,  though  somewhat  varying  in  merit.  He 
died  in  London  in  1873. 

DA  WE,  George,  a  portrait  painter,  was  born  in 
London  in  1781.  He  was  the  son  of  Philip  Dawe, 
the  mezzotint-engraver,  by  whom  he  was  brought 
up  to  his  own  branch  of  art,  but  he  abandoned  it 
for  painting,  after  having  executed  a  few  plates  of 
great  merit.  In  1819  he  went  to  Russia,  where, 
it  is  said,  he  painted  for  the  Emperor  about  400 
portraits  of  the  chiefs  of  the  Russian  army,  who 
had,  with  the  assistance  of  the  snow,  vanquished 
Napoleon.  Before  leaving  England,  he  painted 
some  pictures  of  a  higher  grade,  cfne  of  which, 
'  A  Mother  seeking  her  Child  in  an  Eagle's  Eyrie,' 
attracted  great  attention.  He  became  an  Associate 
of  the  Royal  Academy  in  1809,  and  an  Academi- 
cian in  1814.  He  made  much  money  by  his  ex- 
pedition to  Russia,  but  did  not  live  to  enjoy  it ; 
for  he  died  six  weeks  after  his  return  to  England 
in  1829,  and  was  buried  in  St.  Paul's  Cathedral. 
His  portraits  are  reckoned  good  likenesses  of  the 
persons,  but  not  expressive  of  character. 

DAWE,  Henry,  an  engraver  and  subject  painter, 
was  born  at  Kentish  Town,  near  London,  in  1790. 
He  was  taught  by  his  father,  Philip  Dawe,  the 
engraver,  and  he  also  studied  in  the  schools  of  the 
Royal  Academy.  He  assisted  Turner  in  the  '  Liber 
Studiorum,'  and  mezzotinted  many  of  his  brother's 
portraits.  As  a  painter,  he  exhibited  at  the  Society 
of  British  Artists,  of  which  he  was  elected  a  member 
in  1830.     He  died  at  Windsor  in  1848. 

DAWE,  Philip,  an  engraver  in  mezzotint,  worked 
under  Hogarth  about  1760,  and  is  believed  to  have 
died  about  1780.     He  engraved  several  subjects 


Dawson 


PAINTEKS  AND  ENGRAVERS. 


Seane 


after  George  Henry  Morland,  and  among  other 
portraits  by  liim  we  have  those  of  Mrs.  Yates,  in 
the  character  of  Eleotra,  after  Cotes,  and  Admiral 
Sir  Charles  Hardy,  after  Hudson. 

DAWSON,  Henry,  a  landscape  painter,  was 
born  in  Hull  in  1811,  but  came  with  his  parents 
to  Nottingham  when  an  infant,  so  that  he  always 
*  »  regarded  the  latter  as  his  native  town.  His  parents 
were  poor,  and  he  began  lt£e  in  a  Nottingham  lace 
factory.  But  even  while  engaged  in  lace-making 
he  continued  to  find  time  for  art,  and  used  to  paint 
small  pictures,  which  he  sold  at  first  for  about  half- 
a-crown  each.  In  1835  he  gave  up  the  lace  trade 
and  set  up  as  an  artist,  his  earliest  patron  being 
a  hairdresser  in  Nottingham,  who  possessed  a  taste 
for  art.  In  1844  he  removed  to  Liverpool,  where 
after  a  time  he  got  into  greater  repute,  and  received 
higher  prices  for  his  works.  In  1849  he  came  with 
his  family  to  London,  and  settled  at  Croydon,  where 
some  of  his  best  pictures  were  painted.  Among 
these  may  be  reckoned  '  The  Wooden  Walls  of  Old 
England,'  exhibited  at  the  British  Institution  in 
1853, '  The  Rainbow,' '  The  Rainbow  at  Sea,' '  London 
Bridge,'  and  '  London  at  Sunrise.'  With  the  ex- 
ception of  six  lessons  from  Pyne  received  in  1838, 
Henry  Dawson  was  entirely  a  self-taught  artist,  and 
his  art  shows  much  originality  and  careful  realism. 
He  studied  nature  for  himself,  but  he  seems  in 
later  life  to  have  been  moved  by  Turner's  influence 
to  try  more  brilliant  efEects  than  he  had  before 
dared.  Many  of  his  works  indeed  are  very  Turner- 
esque  in  treatment,  though  he  can  scarcely  be  called 
an  imitator  of  Turner,  for  he  had  a  distinct  style  of 
his  own.  Henry  Dawson,  though  painting  much, 
and  selling  his  pictures  for  high  prices  in  his  later 
life,  remained,  strange  to  say,  very  little  known 
except  to  artists  and  connoisseurs  until  the  large 
and  very  interesting  collection  of  his  works  that 
was  made  for  the  Nottingham  Exhibition  in  1878 
brought  him  wider  fame.  This  exhibition  showed 
him  to  be  a  genuine  English  landscape  painter,  of 
no  great  imaginative  or  intellectual  power,  but 
who  delighted  in  nature,  and  represented  her  faith- 
fully to  the  best  of  his  ability.  He  died  in  Decem- 
ber. 1878,  at  Chiswick,  where  he  had  for  some  time 
resided.  M.M.H. 

DAX,  Paul,  was  born  in  1503,  in  the  Tyrol.    He 
led  a  very  unsteady  life,  and  after  having  gained 
reputation  as  a  painter,  he  gave  up  art,  and  entered 
the  army,   engaging   in  several  campaigns   and 
the  sieges  of  Naples,  Florence,   and  Vienna.     In 
1530  he  devoted  himself  to  glass-painting,  and  his 
works,  which  are  of  considerable  merit,  are  now  in 
the  court-house  of  Innsbruck,  and  in  tlie  town-hall 
at  Ensisheim,  Alsace.     He  also  published  several 
maps  of  his  country.     His  death  occurred  in  1561. 
DAY,  Alexander,  a  miniature  painter,  was  born 
in  1772.    He  resided  for  several  years  in  Rome, 
whence  he  brought  with  him  on  his  return  to  Eng- 
land in  1800  many  fine  works  by  the  old  masters, 
which  passed  into  the  Angerstein  and  other  collec- 
tions.   Among  these  were  Titian's  '  Rape  of  Gany- 
mede 'and  'Venus  and  Adonis,'  Raphael's  '  St.  Catha- 
rine' and  'Madonna,  Infant  Christ,  and  St.  John' 
(the Garvagh Raphael), Leonardo  da  Vinci's  'Christ 
disputing  with  the   Doctors,'  Domenichino's  'St. 
Jerome  and  the  Angel,'  Annibale  Carracci's  '  Christ 
appearing  to  Simon  Peter  after  his  Resurrection,' 
and  Gaspard  Poussin's  'Landscape  with  Abraham 
and  Isaac,'  which  are  now  in  the  National  Gallery. 
His  miniatures  of  ladies  are  particulariy  graceful. 
He  died  at  Chelsea  in  1841, 


DAY,  Thomas,  a  miniature  painter,  exhibited  at 
the  Royal  Academy  between  the  years  1772  and 
1778.  He  also  painted  water-colour  landscapes  and 
drew  craj'on  portraits. 

DA  YES,  Edward,  a  water-colour  painter,  was 
born  in  1763.  He  studied  under  W.  Pether,  and 
first  exhibited  at  the  Royal  Academy  in  1786.  His 
works  are  topographical,  drawn  in  Indian  ink,  and 
tinted,  with  figures  introduced.  He  also  painted 
miniatures,  and  engraved  in  mezzotint.  He  died 
by  his  own  hand  in  1804.  Amongst  his  works 
are: 

The  Eoyal  Procession  to  St.  Paul's  in  1789. 

The  Trial  of  'Warren  Hastings. 

Buckingham  House,  1790  {Smith  Kensington  Museum), 

Ely  Cathedral,  1792  (South  Kensington  Museum). 

Windermere  (South  Kensington  Museum). 

Keswick  Lake  (South  Kensington  Museum). 

View  of  Bath  (South  Kensington  Museum). 

His  wife,  who  exhibited  repeatedly  at  the  Eoyal 
Academy,  was  also  a  painter  of  miniatures. 

DEAN,  Hugh  Primrose,  a  landscape  painter,  was 
born  in  Ireland  towards  the  middle  of  the  18th 
century,  and  was  known  as  the  '  Irish  Claude.' 
Assisted  by  Lord  Palmerston,  he  spent  several 
years  in  Italy,  returning  in  1779.  He  was  of  un- 
principled character,  and  in  his  latter  years  his  art 
failed  him.  He  died  about  1784.  Amongst  the 
works  he  exhibited  at  the  Spring  Gardens'  Exhibi- 
tion and  at  the  Eoyal  Academy  were  : 

View  of  the  Danube.    1768. 

View  of  Naples.    1775. 

Morning.    1778. 

Evening.    1778. 

Eruption  of  Mount  Vesuvius.    1779. 

The  Banks  of  the  Tiber.    1780. 

DEAN,  John,  an  engraver  in  mezzotint,  was  a 
pupil  of  Valentine  Green.  He  scraped  several 
plates  of  portraits  and  other  subjects  in  a  very 
respectable  style,  and  died  in  London  in  1798.  The 
following  are  among  his  best  works : 

portraits. 

James,  Earl  of  Abercorn ;  after  Gainsborough. 

George,  Lord  Vernon ;  after  the  same. 

James  Caulfield,  Earl  of  Charlemont ;  after  Livesy. 

The  Son  of  Sir  "Watkin  "Williams  Wynne,  when  a  child, 
as  St.  John ;  after  Sir  Joshua  Eeynolds. 

Lady  Elizabeth  Herbert,  afterwards  Countess  of  Carnar- 
von, with  her  Son;  after  the  same. 

Lady  Gertrude  Fitzpatrick ;  after  the  same. 

Elizabeth  Hamilton,  Coimtess  of  Derby ;  after  Zomney. 

SUBJECTS   AFTER   VARIOUS  MASTERS. 
The  Four  Evangelists ;  after  Mubens  and  Jordaens. 
St.  Anthony  of  Padua ;  after  Murillo. 

DBANE,  William  Wood,  an  architectural  water- 
colour  painter,  was  born  at  Islington  in  1825.  He 
entered  the  schools  of  the  Royal  Academy  in  1844, 
where  he  gained  the  silver  medal  of  that  year. 
He  was  at  the  same  time  a  member  of  the  Insti- 
tute of  British  Architects,  from  which  association 
he  received  two  premiums.  Having  travelled  in 
Italy,  he  exhibited  at  the  Eoyal  Academy  in  1853 
a  view  of  '  St.  Peter's,  Rome,'  and  continued  for 
many  years  an  occasional  contributor  of  archi- 
tectural subjects  treated  in  a  pictorial  manner.  In 
1863  he  relinquished  the  profession  of  an  architect, 
which  he  had  pursued,  not  very  successfully,  and 
became  an  Associate  of  the  Institute  of  Painters  in 
Water-Colours,  of  which  in  1867  he  was  made  a 
member.  Here  he  exhibited  until  1870,  when  he 
resigned,  and  in  the  following  year  became  an 

357 


Dearman 


A  BIOGRAPHICAL  DICTIONARY  OF 


De  Bailliu 


Associate  of  the  old  '  Society  of  Painters  in  Water- 
Colours.'  He  died  in  1873.  His  pictures  display 
individuality  and  sympathetic  blending  of  colours. 

DEAEMAN,  Thomas,  a  landscape  and  cattle 
painter,  exhibited  at  the  Royal  Academy  between 
1842  and  1866.  He  lived  at  Shere,  near  Guildford, 
and  died  young  about  1857. 

DE  BAAN.     See  De  Baen. 

DE  BACKER,  Fkans,  was  a  painter  of  historical 
subjects  and  portraits,  who  practised  in  Italy  and 
Germany  as  a  portrait  painter  and  engraver  from 
about  1704  to  1762,  but  it  is  uncertain  whether  he 
belonged  to  the  Dutch  or  Flemish  families  of  this 
name.  There  are  a  '  Death  of  Abel,'  after  Schoon- 
jans,  and  a  portrait  of  William  V.,  Prince  of  Orange, 
after  A.  Rotterdam,  engraved  by  him.  His  own 
Portrait,  painted  by  himself  at  Rome  in  1721,  is 
in  the  Uffizi  at  Florence. 

DE  BACKER,  Jaqdbs,  a  Flemish  historical  paint- 
er, who  was  born  at  Antwerp  in  1630,  was  the  son 
of  an  artist  of  no  great  celebrity,  from  whom  he 
received  his  instruction  in  art.  His  father  dying 
when  he  was  young,  he  was  taken  into  the  employ- 
ment of  a  dealer  in  pictures,  named  Palermo  ;  on 
which  account  he  was  sometimes  called  Jacopo 
Palermo.  Whilst  in  the  employment  of  this  person, 
he  gained  a  great  facility  of  handling,  and,  from 
the  practice  of  copying  the  works  of  the  great 
masters,  became  an  excellent  colourist.  He,  how- 
ever, painted  several  historical  pictures  from  his 
own  designs,  which  are  highly  praised  by  Van 
Mander,  who  states  him  to  have  been  one  of  the 
most  promising  young  painters  of  his  time..  Three 
works,  which  he  particularly  commends,  represent 
'  Adam  and  Eve,'  a  '  Charity,'  and  the  '  Crucifixion.' 
The  altar-piece  of  the  chapel  of  the  Plantin  family, 
in  the  cathedral  at  Antwerp,  was  painted  by  this 
artist :  it  represents  the  '  Last  Judgment,'  and  is 
a  grand  composition,  correctly  drawn,  and  finely 
coloured.     He  died  at  Antwerp  in  1560. 

DE  BACKER,  Nicolaas,  who  was  bom  at 
Antwerp  in  1648,  came  to  England,  and  was  em- 
ployed by  Kneller  as  an  assistant.  He  also  painted 
perspective  views  of  English  churches.  He  died 
in  London  in  1689. 

DEBACQ,  Charles  Alexandre,  a  French  his- 
torical and  portrait  painter,  was  born  in  Paris  in 
1804.  He  became  a  pupil  of  Gros,  and  was  greatly 
appreciated  in  his  own  country.  There  are  several 
pictures  by  him  at  Versailles.  He  died  in  Paris  in 
1863. 

DE  BAEN,  Jaoobus,  the  son  and  scholar  of  Jan 
De  Baen,  was  born  at  the  Hague  in  1673.  When 
he  was  twenty  years  of  age  he  came  to  England, 
amongst  the  attendants  of  King  William.  The 
celebrity  of  his  father,  and  the  favour  of  the 
court,  procured  him  immediate  employment,  and 
he  painted  the  portraits  of  the  Duke  of  Gloucester 
and  several  of  the  nobility.  Notwithstanding  this 
flattering  encouragement,  his  desire  of  seeing  Italy 
induced  him  to  leave  England  ;  and  on  his  way 
to  Rome  he  visited  Florence,  and  was  favoured 
with  the  patronage  of  the  grand-duke.  On  his 
arrival  at  Rome  he  applied  himself  with  much 
diligence  to  the  study  of  the  works  of  the  great 
masters,  and  painted  some  portraits  and  conversa- 
tion pieces,  which  were  much  esteemed.  He  gave 
promise  of  surpassing  his  father  in  the  art,  but 
died  at  Vienna  at  the  early  age  of  twenty-seven, 
in  1700.  From  his  gigantic  build  he  was  called 
by  his  comrades  '  Gladiator.' 

DE  BAEN,  Jan,  a  Dutch  portrait  painter,  was 

368  f  f  , 


bom  at  Haarlem  in  1633.  After  receiving  some 
instruction  from  an  uncle  named  Piemans,  he  was 
sent  to  Amsterdam,  and  placed  under  the  care  of 
Jacob  Backer,  with  whom  he  remained  until  ho 
was  eighteen  years  of  age.  His  success  in  por- 
trait painting  was  so  great  that  he  paid  but  little 
attention  to  the  other  branches  of  the  art.  King 
Charles  II.,  who  had  become  acquainted  with  his  ' 
talents  during  his  residence  on  the  Continent,  in- 
vited him  to  England,  where  he  had  the  honour  of 
painting  that  monarch,  and  several  of  the  nobihty. 
He  died  at  the  Hague  in  1702.  Jan  De  Baen  was 
a  great  admirer  of  the  works  of  Van  Dyck,  whose 
style  he  imitated  in  his  pictures.  He  painted 
many  portraits  of  distinguished  persons  of  the 
time,  some  of  which  are  not  inferior  to  those  of 
Van  Dyck.  One  of  his  best  is  that  of  John  Maurice, 
Prince  of  Nassau,  in  the  Gallery  of  the  Hague. 
Louis  XIV.,  after  conquering  part  of  Holland,  was 
desirous  of  having  his  portrait  painted  by  De 
Baen,  and  sent  for  him  to  Utrecht  for  that  purpose ; 
but  the  painter  excused  himself  by  observing,  that 
while  his  country  was  in  mourning,  he  could  not 
think  it  proper  for  him  to  trace  the  features  of  her 
conqueror. 

DE  BAETS,  Engel,  a  Belgian  painter  of  por- 
traits and  architectural  subjects,  was  born  at 
Everghem  in  1794.  He  executed  a  great  number 
of  pictures,  most  of  them  views  in  Ghent  and  its 
environs,  which  are  much  esteemed.  He  died  at 
Ghent  in  1855. 

DE  BAILLIU,  Barbnd,  a  Flemish  engraver,  was 
born  at  Antwerp  about  the  year  1625.  He  spent 
some  time  in  Rome,  but  returned  to  Flanders, 
where  he  died,  although  the  place  and  the  date  are 
not  recorded.  His  plates,  which  consist  chiefly  of 
portraits,  with  some  historical  subjects,  are  entirely 
executed  with  the  graver.  He  engraved  four  of 
the  plates  for  the  collection  of  portraits  of  Car- 
dinals created  by  Innocent  XI.  (1676-1689),  en- 
titled '  EflBgies  Cardinalium  nunc  viventium,'  pub- 
lished at  Rome ;  as  well  as  the  following  prints,  on 
which  his  name  occurs  spelled  in  various  ways : 

The  Saviour  between  St.  Peter  of  Alcantara  and  St. 

Mary  Magdalen  of  Pazzi  ;  after  Zazzaro  Baldi. 
St.  Peter  of  Alcantara  visited  in  his  ceE  by  the  Virgin 

and  Child ;  after  the  same. 
St.  Mary  Magdalen  of  Pazzi,  with  the  Virgin  raising 

her  Veil ;  after  the  same. 
St.  Louis  Bertrand ;  after  G.  B.  Oaulli. 
Pope  Clement  X. 
The  Five  Saints  canonized  by  Clement  X.  in  1671 ;  after 

Ciro  Ferri. 

DE  BAILLIU,  PiETER,  a  Flemish  engraver,  was 
bora  at  Antwerp  in  1613.  After  having  learned 
the  first  principles  of  engraving  in  his  own 
country,  he  visited  Italy  for  improvement,  and 
there  engraved  some  plates.  He  returned  to  Ant- 
werp after  1637,  and  from  1640  to  1660  engraved 
several  of  the  works  of  the  most  celebrated  of  ; 
the  Flemish  masters,  particularly  Rubens  and 
Van  Dyck.  Although  by  no  means  equal  to  Vor- 
sterman,  Bolswert,  or  Pontius,  his  prints  are  held 
in  considerable  estimation.  Meyer's  '  Kiinstler- 
Lexikon '  gives  a  list  of  103  of  his  engravings,  on 
which  his  name  is  found  spelled  in  a  variety  of 
ways.     The  following  are  his  principal  works : 

PORTRAITS. 

Lodovico  Pereu:a  de   Castro,  Envoy  at  the  Peace  of 

Munster. 
Claude  de  Chabot,  Envoy  to  Miinster. 


De  Bast 


PAINTERS  AND  ENGRAVEES. 


Debon 


Johann  Leuber,  Envoy  to  Miinster. 
Pope  Urban  VIII. 

Jacob  Backer,  Dutch  painter ;  after  Backer. 
Jan  Bylert,  painter,  of  Utrecht ;  after  Sylert. 
Albert,  Prince  of  Arenberg ;  after  Van  Dych. 
Lucy,  Countess  of  Carlisle ;  after  the  same. 
Antoine  de  Bourbon,  Comte  de  Morel,  after  the  same. 
Honore  d'Urf^,  Comte  de  Chiteauneuf ;  after  the  same. 

SUBJECTS   AFTER   VARIOUS   MASTERS. 

Heliodorus  driven  from  the  Temple ;  from  a  drawing 
by  P.  van  Lint,  after  Raphael. 

A  Pieta ;  after  Annibale  Carracci. 

St.  Michael  vanquishing  the  Devil ;  after  Guido. 

The  Reconciliation  of  Jacob  and  Esau ;  after  Subena. 

Christ  praying  in  the  Garden ;  after  the  same. 

The  Dying  Magdalen ;  after  the  same. 

The  Combat  of  the  Lapithse ;  after  the  same. 

The  Holy  Family;  after  Theodoor  Eombouts. 

The  Crucifixion ;  after  Van  Dych. 

The  Virgin  in  the  Clouds ;  after  the  same. 

Kinaldo  and  Armida ;  after  the  same. 

Susanna  and  the  Elders ;  after  Marten  Pepyn. 

The  Scourging  of  Christ ;  after  Diepenbeeck. 

Christ  crowned  with  Thorns ;  after  the  same. 

The  Discovery  of  the  true  Cross  by  St.  Helena ;  after 
P.  van  Lint. 

Theodosius  carrying  the  true  Cross  before  St.  Ambrose ; 
after  the  same. 

Christ  bound  to  the  Pillar,  vrith  Angels  holding  the  In- 
struments of  the  Passion  ;  after  J.  Thomas. 

St.  Anastasius  reading ;  after  Membrandt. 

DE  BAST,  DoMiNicus,  a  Belgian  amateur  marine 
painter,  was  born  at  Ghent  in  1781,  and  died  there 
in  1842.  Although  not  an  artist  by  prof  ession,  his 
works  are  highly  appreciated  by  connoisseurs. 

DEBAY,  Augusts  Hyacinthe,  a  son  of  the 
eminent  sculptor  Jean  Baptiste  Joseph  Debay, 
though  really  a  sculptor,  began  life  as  an  histori- 
cal painter.  He  was  born  at  Nantes  in  1804,  and 
in  1817,  when  only  thirteen  years  of  age,  sent  his 
first  portraits  to  the  Salon.  After  studying  under 
Gros,  he  obtained  the '  Prix  de  Rome '  in  1823.  Soon 
■  after  this  he  gave  up  painting  for  sculpture,  which 
he  studied  under  his  father,  and  in  which  he  was 
very  successful.  His  death  occurred  in  Paris  in 
1865.  Some  of  his  historical  paintings  are  at 
Versailles. 

DE  BEER,  Aaet,  a  Flemish  painter  of  his- 
torical subjects  and  portraits,  was  a  son  of  Jan 
De  Beer.  He  was  born  at  Antwerp  in  1490,  and 
admitted  into  the  Guild  of  St.  Luke  in  1529.  Re- 
ligious subjects  and  designs  for  glass-painting 
were  his  special  pursuits.  He  died  at  Antwerp  in 
1642. 

DE  BEER,  CoRNELis,  was  a  Flemish  painter, 
who  went  to  Spain  about  1630,  and  who  painted 
easel  pictures  of  considerable  merit.  In  the  Capu- 
chin church  at  Murcia  is  preserved  his  '  Triumph 
of  the  Holy  Sacrament,'  a  composition  of  many 
figures  with  a  landscape  background.  His  daugh- 
ter, Maria  Eugenia,  practised  the  art  of  engraving 
at  Madrid,  in  the  middle  of  the  17th  century,  with 
considerable  success.  Besides  an  excellent  frontis- 
piece for  Basilic  Varen's  '  Guerra  de  Flandes,'  che 
executed  a  good  portrait  of  Prince  Baltasar  Carlos, 
and  the  plates  for  the  work  of  Don  Gregorio  de 
Tapia  y  Salcedo  on  '  Horsemanship.' 

DE  BEER,  JoosT,  was  a  native  of  Utrecht,  who 
studied  under  Frans  Floris.  He  painted  historical 
pictures  with  some  success,  and  was  patronized  by 
the  Bishop  of  Tournai.  He  entered  the  Utrecht 
Guild  in  1550,  and  died  in  1596. 

DE  BEIJER,  Jan,  who  was  bom  at  Aarau  in 
Switzerland  in  1705,  went  whilst  young  to  Amster- 
dam and  studied  under  C.  Pronk  and  J.  M.  Quink- 


hard.  He  painted  many  excellent  pictures  of  Dutch 
towns,  some  of  which  have  been  engraved  by  H. 
Spilman,  P.  van  Liender,  and  others.  He  was 
still  hving  in  1768. 

DE  BIE,  Adriaen,  a  Flemish  painter,  was  bom 
at  Lierre,  near  Antwerp,  in  1594.  He  received  his 
first  instruction  in  art  from  an  obscure  artist  named 
Wouter  Abts.  At  eighteen  years  of  age  he  went 
to  Paris,  where  he  studied  for  some  time  under 
Rudolf  Schoof,  a  Fleming,  who  was  painter  to 
Louis  XIII.  He  afterwards  visited  Rome,  where 
he  remained  eight  years.  In  1623,  he  returned 
to  Flanders,  and  was  much  employed  for  the 
churches  and  in  painting  portraits.  His  most 
esteemed  work  was  a  picture  of  St.  Eloy,  in  the 
collegiate  church  of  St.  Gomarus  at  Lierre.  He 
died  after  1661.  He  was  the  father  of  Cornelis 
De  Bie,  who  has  celebrated  the  works  of  the 
painters  of  his  country  in  Flemish  verse,  under 
the  title  of  '  Het  Gulden  Kabinet  van  de  edele  vrye 
Sohilderkonst.'  His  works  are  usually  marked  with 
one  or  other  of  the  accompanyinsr  TrvSv  ^r:r\ 
monograms.  ^^   ^ 

DE  BIE,  Jacob  and  Marcus.     See  De  Bye. 

DE  BISSCHOP,  Jan,  a  designer  and  engraver, 
who  was  born  at  the  Hague,  in  1646,  was  brought 
up  to  the  law;  and,  according  to  Houbraken, 
practised  in  the  courts  in  Holland.  His  favourite 
amusement  was  drawing,  and  his  peiformances 
excited  the  admiration  of  the  artists  of  his  time. 
He  excelled  in  copying  the  pictures  of  the  most 
esteemed  masters,  in  small  coloured  drawings,  very 
well  drawn  and  highly  finished.  As  an  engraver, 
he  is  more  deserving  of  notice,  and  he  has  left  a 
great  number  of  plates,  principally  etched,  and  har- 
monized with  the  graver,  in  a  free  and  pleasing 
manner.  There  is  great  relief  and  richness  of 
effect  in  his  prints.  His  most  important  work  was 
a  series  of  157  engravings  from  celebrated  antique 
statues^  and  sketches  by  eminent  painters,  entitled, 
'  Paradigmata  graphices  variorum  Artificum,'  pub- 
lished_  at  the  Hague  in  1671.  This  engraver 
Latinized   his  name  into   Bpiscopius,  for  which 

reason  he  marked  his  plates  with  the  cipher  '^P  _ 

He  died    at  Amsterdam,   in    1686.     Other   good 
prints  by  him  are : 

A  Bacchanalian  subject. 

Christ  and  the  Samaritan  "Woman;    after  Annibale 

Carracci. 
Joseph  distributing  Corn  to  the  Egyptians;   after  B. 

Breeribergh. 
The  Martyrdom  of  St.  Lawrence ;  after  the  same. 

DE  BLOIS,  Abraham,  a  Dutch  engraver,  who 
flourished  from  the  year  1690  to  1720.  He  worked 
chiefly  for  the  booksellers,  by  whom  he  was  much 
employed.  Among  other  portraits,  he  engraved 
that  of  Anthony  van  Leeuwenhoek,  the  celebrated 
physician,  which  was  prefixed  to  his  works  pub- 
lished in  1695,  and  which  is  executed  in  a  neat  but 
formal  style.  He  also  executed  part  of  the  plates 
for  the  '  Figures  de  la  Bible,'  from  the  designs  of 
Picartand  others,  published  at  Amsterdam  in  1720. 

DE  BLOOT,  Pieter,  a  native  of  Holland,  flour- 
ished about  1660.  He  painted  droll  scenes, 
drunken  frolics,  and  the  quarrels  of  the  peasantry, 
with  much  truth  to  nature.  His  works,  which  are 
somewhat  rare,  are  much  prized  in  Holland.  De 
Bloot  died  at  Antwerp  in  1667. 

DEBON,  FEANgois  Hippolyte,  a  French  histori- 
cal painter,  was  the  son  of  Madame  Sophie  Debon, 

359 


De  Brauwere 


A  BIOGRAPHICAL  DICTIONARY  OF 


De  Brnyn 


an  artist  upon  porcelain,  who  was  born  in  Paris  in 
1787,  and  died  there  in  1838.  He  was  bom  in 
Paris  in  1807,  and  studied  first  under  Gros  and 
afterwards  under  Abel  de  Pujol.  One  of  his  most 
important  works  was  '  The  Entrance  of  William  the 
Conqueror  into  London,'  which  was  exhibited  at  the 
Salon  of  1855,  and  afterwards  placed  in  the  Luxem- 
bourg Gallery.    His  death  occurred  in  Paris  in  1872. 

DE  BRAUWEEB,  Pasohatius,  was  an  engraver 
of  whom  little  is  known.  Brulliot  describes  the 
only  etching  by  him  known ;  it  is,  he  says,  in  the 
manner  of  Guido,  and  .represents  the  executioner 
placing  the  head  of  John  the  Baptist  in  a  dish 
held  by  the  servant  of  Herodias  ;  these  two  figures 
occupy  the  foreground, '  and  Herodias  is  behind 
them  speaking  to  the  servant.  It  bears  the  date 
1631. 

DE  BRAY,  Dirk,  a  painter  and  wood-engraver, 
was  born  at  Haarlem  in  1640,  and  speciiilly  depicted 
flowers,  birds,  and  portraits.  There  is  a  small 
woodcut  of  the  portrait  of  his  father,  Salomon  De 
Bray,  by  this  artist,  dated  1664,  which  is  very 
spiritedly  executed.  He  also  engraved  12  prints 
of  fishes,  poultry,  hogs,  &c.,  dated  1672,  and  16  of 
birds,  flowers,  and  figures,  dated  1660.  He  was 
still  living  in  1675. 

DE  BHAY,  Jacob,  a  Dutch  painter,  was  born  at 
Haarlem  about  the  year  1625.  He  was  the  son  of 
Salomon  De  Bray,  an  obscure  portrait  painter,  by 
whom  he  was  instructed.  Van  Mander  mentions 
him  as  a  reputable  historical  painter,  and  extols  a 
picture  by  him  at  Amsterdam,  representing  '  David 
playing  on  the  Harp,  with  a  number  of  Priests  and 
Levites.'  He  excelled  in  drawing  on  paper  with 
black  and  red  chalk,  and  his  works  of  thafdescrip- 
tion  were  much  esteemed  by  collectors.  ,^ 
They  are  often  signed  with  this  monogram,  (jgy^ 
Jacob  De  Bray  died  in  1680.  Writers, 
however,  differ  very  much  respecting  the  dates  in 
the  lives  of  this  artist  and  of  his  son  of  the  same 
names. 

DE  BRAY,  Jan,  an  historical  painter  and  etcher, 
was  a  brother  of  Dirk  De  Bray,  and,  like  him,  born 
at  Haarlem.  Two  pictures  by  him,  the  '  Reception 
of  the  Orphans '  and  '  Prince  Frederick  Henry  in 
the  Town  Hall,'  are  preserved  at  the  Haarlem 
Orphanage,  and  others  are  in  the  Museums  of  that 
city  and  of  Amsterdam.  Of  his  etchings,  mention 
is  made  of  '  John  the  Baptist  in  the  Wilderness. ' 
He  died  in  1697. 

DE  BRAY,  Salomon,  a  poet  and  architect  as 
■well  as  a  painter,  was  born  at  Haarlem  in  1597,  and 
died  at  the  same  place  in  1664.  He  has  left  some 
paintings  in  the  Orange  Hall  of  the  palace  called 
the  '  House  in  the  Wood,'  at  the  Hague. 

DEBRET,  Jean  Baptistb,  was  born  in  Paris  in 
1768,  and  was  instructed  by  David.  He  painted 
historical  subjects,  and  completed  his  studies  at 
Rome.  He  then  returned  to  France,  where  he  lived 
some  years,  and  afterwards  went  to  Brazil  and 
became  professor  at  the  Academy  at  Rio  de  Janeiro. 
His  works  chiefly  represent  scenes  in  the  life  of 
Napoleon.  In  1836  he  published  a  '  Voyage  pitto- 
resque  et  historique  du  Br^sil.'  He  died  in  Paris 
in  1848. 

DE  BRIE.    See  De  Bey. 

DE  BROEN,  Geeeit,  a  Dutch  engraver,  flour- 
ished about  the  year  1720.  He  was  principally 
employed  in  engraving  portraits  for  the  booksellers. 
Among  others,  we  have  the  portrait  of  Pieter  Poicet, 
after  Nicolaas  Verkolje. 

DE  BRUIN,  CoENELis,  called  at  Rome  Adonis,  a 

360 


Dutch  portrait  painter,  was  born  at  the  Hague  in 
1652,  and  was  instructed  by  Theodoor  van  der 
Schuur.  His  passion  for  travelling  led  him  when 
he  was  young  to  Italy,  where  he  passed  some 
time  at  Rome  with  Robert  Duval ;  he  afterwards 
went  to  Venice,  where  he  studied  for  some  years 
under  Johann  Karl  Loth.  He  painted  portraits 
with  success  ;  but  is  more  distinguished  by  the 
publication  of  his  travels  through  Persia,  India, 
and  other  countries,  with  plates  from  his  own 
designs.  He  'died  at  Zijde-Balen,  near  Utrecht,  in 
1726  or  1727. 

DE  BRUYN,  Abeaham,  a  Flemish  engraver,  was 
born  at  Antwerp  in  1538.  He  established  himself 
at  Cologne  about  the  year  1577,  and  died  there  very 
old.  He  is  ranked  among  the  Little  Masters,  on 
account  of  his  plates  being  usually  very  small.  He 
engraved  in  the  manner  of  Wierix,  and  worked 
entirely  with  the  graver,  in  a  neat  and  formal 
style,  but  his  drawing  is  far  from  correct.  It 
is  believed  that  he  worked  also  as  a  goldsmith. 
He  usually  marked  his  plates  with  one  of  these 

ciphers,  _/j^B*  '/^K  <"■  ,^^'  -^^ong 
his  portraits,  and  prints  of  small  friezes  of  hunting, 
hawking,  &o.,  which  are  esteemed  for  their  neatness, 
may  be  mentioned  : 

POETBAITS. 

Philip  Louis,  Elector  Palatine. 

Anne,  his  consort. 

Albert  Frederick,  Diike  of  Prussia, 

Eleonora,  his  Duchess. 

William,  Duke  of  Juliers. 

Mary,  his  Duchess. 

John  Sambncus,  physician  ;  a  woodcut. 

Charles  IX.,  King  of  France. 

Anna,  daughter  of  the  Emperor  Charles  V. 

VARIOTTS   RDBJECTS. 

Moses  and  the  Burning  Bush. 

Four  plates  of  the  Evangelists.     1578. 

Christ  and  the  Samaritan  "Woman. 

A  Philosopher. 

The  Seven  Planets.    1569. 

The  Five  Senses. 

A  set  of  one  hundred  plates,  entitled  'Imperii  ac 
Sacerdotii  Ornatus.  Diversarum  item  Gentium  pecu- 
liaris  Vestitus.'  1577-78.  (His  best  work.)  Eeissued, 
with  some  additional  plates,  and  entitled  '  Omnimn 
pene  Europse,  Asise,  Aphricse  atque  Americse  Gentium 
Habitus.'    1581. 

Seventy-six  plates  of  Horsemen.    1575. 

A  set  of  small  friezes  of  Hunting  and  Hawking.    1565. 

A  set  of  twelve  plates  of  Animals.    1583. 

A  set  of  Arabesque  Patterns. 

Pyramus  and  Thisbe  ;  after  Frans  Floris. 

The  Besurrection  of  Lazarus;  after  Crisjnn  van  den 
Broeck, 

DE  BRUYN,  NicoLAES,  was  the  son  of  Abra- 
ham De  Bruyn,  and  was  born  at  Antwerp  about 
1570.  Although  he  was  instructed  by  his  father 
in  engraving,  he  did  not  follow  his  example, 
either  in  the  style  of  his  execution,  or  in  the  size 
of  his  plates.  He  appears  to  have  studied  and  to 
have  formed  his  manner  from  the  works  of  Lucas 
van  Leyden.  His  compositions  are  abundant,  but 
he  wanted  taste  in  the  selection  of  his  forms. 
He  finished  his  plates  very  neatly  with  the  graver  ; 
but  there  is  not  much  efEeot  in  his  prints,  from  his 
ignorance  of  the  management  of  the  chiaroscuro. 
Notwithstanding  this  defect,  which  was  very  gen- 
eral at  the  time  in  which  he  lived,  his  works  possess 
considerable  merit.  He  died  at  Amsterdam  in  lC6f>. 
He  signed  his  plates   sometimes  with  his  initials 


De  Bry 


PAINTERS  AND  ENGRAVERS. 


De  Bry 


N.de  B;  and  sometimes  with  one  of  the  following 


m  M 


The  following  are  his  principal  works : 

SUBJECTS    FEOM   HIS    OWN    DESIGNS. 
Adam  and  Eve  in  Paradise.    1600. 
Adam  and  Eve  standing  mider  the  Tree  of  the  Forbidden 

Pruit.    1831. 
The  Israelites  with  the  Daughters  of  Madian. 
The  great  Festival  of  the  Jews  after  six  years'  bondage. 

1617. 
King  Balak  speaking  to  the  Prophet  Balaam. 
The  Prophet  Jeremiah,  with  a  Lion.    1608. 
The  Tision  of  Ezekiel.     1600. 
David  and  Goliath.     1609. 
David  meeting  Abigail.    1608. 
The  Queen  of  Sheba  before  Solomon.    1621. 
The  Idolatry  of  Solomon.     1606. 
Nebuchadnezzar's  Dream, 
Daniel  in  the  Lions'  Den. 
Susannah  accused  by  the  Elders. 
Susannah's  Acquittal. 
The  Stoning  of  the  Two  Elders. 
The  Nativity  of  Christ.    1621. 
The  Adoration  of  the  Magi.    1608. 
The  Repose  in  Egypt.    1621. 
The  Murder  of  the  Innocents.    1644. 
St.  John  preaching  in  the  Wilderness. 
Christ  preaching  on  the  Mount. 
The  Centurion  imploring  Christ. 
Christ's  Entrance  into  Jerusalem. 
Christ  bearing  his  Cross.    1617. 
The  Crucifixion.    1610. 
The  Resurrection.    1631. 
St.  Paul  preaching.    1621. 
St.  Hubert.    1614. 

Orpheus  playing,  surrounded  by  Animals. 
A  Family  of  Peasants. 
A  Landscape,  with  Lions,  Tigers,  and  Stags, 
A  Spanish  Assembly  in  a  Forest. 
A  set  of  six  Patterns  for  Goldsmiths. 
A  set  of  twelve  of  Quadrupeds.    1621. 
A  set  of  twelve  of  Birds. 
A  set  of  thirteen  of  Fishes. 

SUBJECTS   AFTER  VARIOUS   MASTERS. 

St.  John  preaching  in  the  'Wilderness ;  after  Lucas  van 
Zeyden. 

A  Miracle  wrought  at  the  Tomb  of  St.  James ;  after  the 
same.     1600. 

The  Golden  Age ;  after  A.  Bloemaert. 

Four  Landscapes,  with  historical  figures ;  after  G,  van 
Coninxlo. 

Three  Landscapes,  with  figures ;  after  D.  Vinckehooms. 

A  Landscape,  with  a  Stag-hunt ;  after  Jan  Bi'ueghel, 

A  Landscape,  with  Moses  defending  the  Daughters  of 
Jethro  ;  after  J.  Sol. 

Four  of  the  Seasons ;  after  M.  De  Vos. 

St.  Cecilia ;  after  Bapnael. 

A  Knight  on  Horseback,  accompanied  by  Time,  and  fol- 
lowed by  the  Devil ;  after  A.  DUrer.    1618. 

DE  BRY,  Dirk,  or  Theodoeus,  a  German  en- 
graver; was  born  at  Li^ge  in  1528.  He  resided 
chiefly  at  Frankfort,  where  he  carried  on  the  busi- 
ness of  a  print  and  bookseller.  It  is  not  known 
by  whom  he  was  instructed  in  the  art  of  engraving, 
but  from  liis  style  he  appears  to  have  paid  par- 
ticular attention  to  the  works  of  Hans  Sebald 
Beham.  About  the  year  1587  he  visited  England, 
and  at  the  suggestion  of  the  great  cosmographer 
Richard  Hakluyt,  who  procured  him  many  designs 
after  nature,  he  published  a  large  collection  of 
voyages  and  travels  in  French,  German,  and  Latin. 
He  died  at  Frankfoi-t  in  1598.  This  laborious 
aicist  worked  almost  wholly  with  the  graver,  in  a 


neat,  free  style,  well  adapted  to  the  subjects  of 
which  he  made  choice,  such  as  processions  and 
ceremonials,  containing  a  great  number  of  figures, 
which  he  drew  correctly,  and  to  which  he  gave 
great  spirit  and  expression.     He  usually  marked 

his  plates   T.  B.,  or  with  the  cipher  Ry,.      He 

engraved  the  plates  for  the  four  first  volumes  of 
Boissard's  '  Romanje  urbis  Topographia  et  An- 
tiquitates,'  1597-98 ;  the  two  last  volumes  were 
completed  by  his  sons,  Johannes  Theodorus  and 
Johannes  Israel  De  Bry.  We  have  also  the  follow- 
ing prints  by  him : 

St.  John  in  the  "Wilderness ;  an  etching ;  very  scarce. 

A  Dance  of  CavaHers  and  Ladies. 

A  Dance  of  Men  and  "Women  Feasants, 

A  Design  for  a  Saucer,  a  Head  representing  Pride  and 
Folly,  surrounded  with  grotesque  subjects ;  a  circular 
plate ;  scarce. 

Another  Design  for  a  Saucer,  a  Head  of  the  Duke  of 
Alva,  with  the  Mask  of  Folly,  with  grotesque  sub- 
jects ;  circular ;  scarce. 

Another  Design  for  a  Saucer,  the  Head  of  William  of 
Nassau,  with  grotesque  figures,  indicative  of  Pru- 
dence ;  circular ;  scarce. 

A  Medallion  of  Scanderbeg. 

The  companion ;  Donice  iScanderhegi  Uxor. 

The  Nine  Muses. 

'  The  Procession  at  the  Obsequies  of  Sir  Philip  Sidney  ; 
drawn  and  invented  by  T[homas]  L[aut],  Gent.,  and 
engraven  on  copper  by  Derick  Theodore  de  Brie, 
in  the  city  of  London,'  1587 ;  thirty-four  plates. 

The  Procession  of  the  Knights  of  the  Garter  in  1576  ; 
twelve  plates,  dated  1578. 

A  set  of  Portraits,  entitled '  Icones  Virorum  illustrium.' 
1597-99. 

The  plates  for  Hariot's '  A  briefe  and  true  report  of  the 
new  found  land  of  Virginia,'  published  at  Frankfort 
in  1590. 

The  plates  for  Las  Casas'  narrative  of  the  cruelties  of 
the  Spaniards  in  America ;  entitled  '  Narratio  Kegio- 
num  Indicarum  per  Hispanos  quosdam  devastatarum 
verissima.'    1598. 

The  plates  for  his  great  work,  entitled, '  CoUectiones 
Peregrinationum  in  Indiam  Orientalem  et  Indiam 
Occidentalem,'  in  twenty-five  parts,  folio.  1590 — 1634. 

Eighty-five  plates  of  '  Emblemata.'    1592. 

DE  BRY,  Johannes  Theodoeus,  the  elder  son 
and  pupil  of  Dirk  De  Bry,  was  born  at  Li^ge  in 
1561.  He  greatly  assisted  his  father  in  the  im- 
portant works  in  which  he  was  engaged,  as, 
for  instance,  the  '  Florilegium  novum,'  which  was 
published  at  Frankfort  in  1612,  and  with  the 
assistance  of  his  brother  Johannes  Israel,  he  com- 
pleted the  two  volumes  of  Boissard's  '  Romanse 
urbis  Topographia  et  Antiquitates,' which  were  left 
unfinished  at  his  father's  death.  He  also  published 
'  Emblemata  seoularia,'  1596,  and  added  consider- 
ably to  the  collection  of  Portraits  of  Illustrious 
Persons,  begun  by  his  father.  He  died  at  Frank- 
fort in  1623.  His  prints  are  signed  with  the  initials 
J.  T.  B.,  or  with 
one  of  these  mono- 
grams. 

We  have  also  the  following  prints  by  him  ; 

Portrait  of  Gerard  Mercator,  geographer. 

Portrait  of  Daniel  Specklin. 

Four  plates  of  the  Elements ;  J.  T.  de  Bry,  inv.  et  fee. 

The  Marriage  of  Rebekah  ;  after  Baldassare  Peruzzi. 

A  March  of  Soldiers ;  a  frieze ;  after  Titian. 

Another  March  of  Soldiers,  conducting  Prisoners,  with 

Death    riding  on  a    Horse;   a   frieze,   called   the 

Triumph  of  Death  ;  after  the  same. 
The  Little  Tillage  Fair ;  after  H.  S.  Beham. 
The  Fountain  of  Youth ;  after  the  same. 
The  Triumph  of  Bacchus  ;  after  Giulio  Romano, 

£61 


Debucourt 


A  BIOGEAPHICAL  DICTIONARY  OF 


Decamps 


The  Venetian  Ball ;  after  Theodore  Bernard;  a  circular 

plate. 
The  Golden  Age ;   from  the  print  engraved  by  IV.  Be 

Bruyn;  after  A.  Bloemaert. 

Johannes  Israel  De  Brt,  of  whom  mention  is 
made  in  the  two  preceding  articles,  is  recorded  as 
having  died  in  1611. 

DEBUCOURT,  Philibekt  Lonis.    See  Bdcouet. 

DE'  BUONI.     See  Dei  Buoni. 

DE  BUYTENWEG-,  Willem,  (or  BuYTEWEcn.) 
a  Dutch  painter  and  engraver,  was  born  at  Rotter- 
dam about  the  year  1600,  but  lived  at  Haarlem, 
and  was  instructed  by  H.  Maartensz.  He  painted 
conversation-pieces  and  landscapes  in  a  style 
which  gained  him  much  reputation.  Houbraken 
designates  him  '  Geestige  Willem'  (William  the 
Gay),  and  under  this  appellation  he  is  to  be  found 
in  the  collection  of  Catalogues  of  Pictures  by  Host 
and  Terwesten,  as  a  painter  of  conversations  and 
familiar  scenes.  He  died  in  1640.  Some  of  his 
pictures  have  been  engraved  by  G.  H.  Scheyndel 
and  E.  van  de  Velde.  His  principal  work,  as  a 
painter,  was  'The  Triumph  of  William,  Prince 
of  Orange,'  1623,  engraved  by  C.  Kittenstein.  He 
etched  some  plates  from  his  own  designs,  in  a 
pleasing  style,  among  which  are  the  following : 

Two  of  Women  going  to  Market,  one  with  Vegetables, 

the  other  with  Fowls. 
Seven  of  Dresses  of  Noblemen. 
Six  of  Dresses  of  Ladies. 
Ten  of  Landscapes,  with  Euins  and  Figures. 

DE  BYE,  Jacob,  (or  De  Bie,)  a  Flemish  en- 
graver, was  born  in  1581  at  Antwerp,  where  he 
followed  the  profession  of  a  picture-dealer  and 
antiquary.  From  the  style  of  his  plates,  it  is  not 
improbable  that  he  learned  the  art  of  engraving  in 
the  school  of  the  Collaerts.  He  worked  wholly 
with  the  graver ;  his  execution  is  neat  and  firm, 
and  his  drawing  tolerably  correct.  In  conjunction 
with  the  Collaerts,  he  engraved  some  of  the  set 
of  fifty  plates  of  the  '  Life,  Passion,  and  Resur- 
rection of  Christ,'  after  the  designs  of  Martin  De 
Vos.  Several  of  the  plates  in  the  'Life  of  the 
Virgin,'  from  the  designs  of  the  same  painter,  were 
executed  by  this  artist,  together  with  Philip  and 
Theodoor  Galle.  He  died  in  Paris  about  1650. 
The  following  are  his  principal  prints  : 

The  Medals  of  the  Roman  Emperors,  in  the  collection 

of  the  Duke  d'Arschot.     1617. 
The  Portraits  of  the  Kings  of  France,  for  Mezoray's 

History ;  fifty-eight  plates. 
The  Descendants  of  the  House  of  De  Croy ;  about  sixty 

plates. 
Portrait  of  Francis  I. ;  after  M.  De  Voa. 
Christ  healing  Peter's  Wife's  Mother ;  fine ;  for  Col- 

laert's  set. 
The  Resurrection  of  Lazarus ;  fine ;  for  the  same  set. 

DE  BYE,  Marcus,  (or  De  Bie,)  a  Dutch  painter 
and  engraver,  was  born  at  the  Hague  in  1612.,  He 
was  instructed  in  painting  by  J.  van  der  Does,  and 
produced  some  landscapes,  with  animals,  in  the  style 
of  that  master,  which  are  not  without  merit ;  but 
he  is  chiefly  deserving  of  notice  for  the  excellent 
etchings  he  has  left  us  of  animals,  after  the  designs 
of  Paulus  Potter  and  Markus  Gerard.  He  died  in 
1670,     We  have  by  him : 

The  fat  Spitzhund. 

The  Mule-driver. 

Three  sets,  of  eight  each,  of  Cows  and  Oxen ;  after  Potter. 

A  set  of  sixteen  of  Sheep ;  after  the  same. 

A  set  of  sixteen  of  Goats  ;  after  the  same. 

A  set  of  sixteen  of  Lions,  Leopards,  Wolves,  Bears,  &c. ; 

after  the  same. 
362 


A  set  of  sixteen  of  the  Natural  History  of  the  Bear ; 
after  Markus  Gerard.    1664. 

DECAGNY,  ViRGiNiB  Polyxenb  Augustine 
Philippe.    See  Dallemagne. 

DE  CAISNE,  Henki,  a  Belgifin^  historical  and 
portrait  painter,  was  born  at  Brussels  in  1799. 
As  early  as  1814  he  began  to  study  painting  under 
Fran9ois,  and  in  1818  upon  the  advice  of  David  he 
went  to  Paris  and  entered  the  studio  of  Girodet, 
whence  he  removed  to  that  of  Gros.  Several 
pictures  by  him  are  at  Versailles  ;  among  them  are 
the  'Entry  of  Charles  VII.  into  Rouen'  (1838), 
and  the  '  Institution  of  the  Order  of  St.  John  of 
Jerusalem'  (1842).  In  1839  he  completed  his 
colossal  work,  '  Les  Beiges  lUustres.'  He  died  in 
Paris  in  1852.    Among  his  best  works  are : 

POETEAITS. 

The  Queen  of  the  Belgians.    1835. 

The  Duke  of  Orleans.    1833. 

The  Princess  Clementina  of  Orleans.     1833. 

Madame  Malibian  as  Desdemona.    1831. 

Victor  Schoelcher.     1833. 

Alphonse  de  Lamartine.    1839. 

HISTORICAL   AND  OTHER  SUBJECTS. 

An  Indian  Family  in  Exile.    1824. 

Milton  dictating '  Paradise  Lost '  to  his  Daughter.    1827. 

Charles  I.  taking  leave  of  his  Children.    1827. 

Cromwell  and  his  Daughter.    1829. 

Mater  Dolorosa.    1835. 

Hagar  in  the  Desert.     1836. 

The  Guardian  Angel.     1836.     (Jllis  lest  work.) 

Charity.     1839. 

The  Adoration  of  the  Shepherds.     1841. 

DECAMPS,  Alexandre  Gabriel,  a  French  his- 
torical, landscape,  animal,  and  genre  painter,  was 
born  in  Paris  in  1803.  When  a  child,  he  was  sent 
into  a  retired  part  of  Picardy,  and  for  three  years 
ran  wild  in  the  society  of  peasants.  He  thus  acquired 
a  distaste  for  serious  study,  which  subsequently 
proved  a  great  hindrance  to  his  artistic  develop- 
ment, and  he  contracted  an  aversion  to  discipline 
and  to  the  ordinary  habits  of  polite  society.  He 
subsequently  studied  desultorily  in  the  studios  of 
Bouchot,  Abel  de  Pujol,  David,  and  Ingres,  and 
about  this  period  produced  many  small  genre 
works,  pictures  of  dogs,  horses,  cattle,  &c.  To  a 
man  of  his  disposition,  travel  had  a  great  charm, 
and  he  spent  some  years  in  the  south  of  France,  in 
Switzerland,  in  Italy,  and  in  the  Levant.  It  was 
in  the  East  tliat  he  found  the  subjects  most  suited 
to  his  genius,  and  his  oriental  pictures  were  the 
first  of  a  class  in  which  there  have  been  many 
followers.  Decamps'  constant  aim,  however,  was 
to  obtain  fame  by  historical  painting.  In  1834  he 
produced  a  '  Defeat  of  the  Cimbri  by  Marius,'  and 
in  1845  a  series  of  designs  illustrating  the  life  of 
Samson.  But  he  met  with  no  encouragement,  and 
he  complained  bitterly  of  his  disappointment. 
He  was  awarded  medals  at  the  Salon  in  1831 
and  again  in  1 834 ;  but  liis  works  were  subse- 
quently seldom  exhibited,  and  they  were  generally 
sold  without  appearing  in  public.  He  died  in 
1860,  through  a  fall  from  his  horse  while  hunting 
at  Fontainebleau.  Decamps  was  a  thorough  mem- 
ber of  the  Romantic  school.  His  rebellion  against 
systematic  training  in  his  youth  precluded  him  from 
obtaining  success  in  historic  art.  The  representa- 
tion of  wild  scenery  and  objects  was  his  forte,  and 
in  this  he  was  aided  in  a  marked  degree  by  his 
great  mastery  of  light  and  shade.  Amongst  his 
chief  works  are : 


De  Cauwer 


PAINTERS  AND  ENGRAVERS. 


Ce  Coster 


Soldier  of  the  Vizier's  Guard.    182T.    (Sir  R.  Wallace.) 

Turkish  Patrol,  Smyrna.    1831.    {Sir  B.  Wallace.) 

Turljish  Children  near  a  fountain.  1833.  {Duke 
d^Aumale.) 

Bertrand  and  Eaton.    (Duke  d'Aunmle.) 

The  Finding  of  Moses.    1837. 

Joseph  sold  by  his  Brethren.    1839. 

Turkish  Execution.    1839.    [Sir  S.  Wallace.) 

Children  with  Turtles.    1839. 

Village  Street  in  the  Papal  States.    1839. 

Joshua  commanding  the  Sun. 

The  Guardians  of  the  Sepulchre. 

The  Miraculous  Draught  of  Fishes.    (Sir  S.  Wallace.) 

Tarkish  School.  Imxo       n^  i       Tir 

7he  Shepherd's  Return.  Y^^:     (Fodor  Museum, 

aouvenirof  Turkey  in  Asia,  f^'^^^rdam.) 

The  Little  Pastry-Cooks. 

•A-venue  in  a  Park.    (Marseilles  Museum.) 

Eliezer  and  Rebecca.    1851. 

Towing-Horses.     1842.    (Louvre,  Paris.) 

The  Caravan,  a  sketch.    (Louvre,  Paris.) 

Huntsman  and  Dogs  at  fault.  (Fodor  Museum,  Amster- 
dam.) O.J.D. 

DE  CAUWER,  Emil,  was  a  painter  of  archi- 
tectural subjects,  born  at  Ghent  in  1828.  He  was 
u  pupil  of  his  father,  Josepli  De  Cauwer.  His 
pictures  are  characterized  by  truth  and  very  care- 
ful execution,  but  they  are  lacking  in  artistic  efEect. 
Amongst  them  may  be  noted  the  '  Church  of  St. 
Martin  at  Oudenarde,'  the  'Town  Hall  at  Oude- 
narde,'  and  the  '  New  Synagogue  at  Berlin.'  He 
died  at  Berlin  in  1873. 

DB  CAUWER,  Joseph,  a  Belgian  painter,  was 
born  at  Beveren-Waes  in  1779.  He  studied  at  the 
Academies  of  Antwerp  and  Ghent,  at  the  latter  of 
which  he  became  eventually  a  professor.  He 
painted  portraits  and  historical  subjects,  and  many 
of  his  pupils  rose  to  eminence.  His  '  Prometheus,' 
dated  1832,  is  in  the  gallery  at  Ghent,  his  '  Death  of 
Our  Lord,'  in  the  church  of  St.  Bavon,  and  a 
'Descent  from  the  Cross,'  in  that  of  St.  Nicolas. 
He  died  at  Ghent  in  1854. 

DECKER,  C,  was  a  German  engraver,  who, 
about  the  middle  of  the  17th  century,  went  from 
Nuremberg  to  Amsterdam,  and  there  learned  the  art 
from  Romeyn  De  Hooghe.  He  appears  to  have  been 
much  employed  by  the  booksellers,  and  his  plates 
are  often  executed  in  a  coarse,  harsh  style.  They 
are  principally  executed  from  his  own  designs ; 
and  among  his  best  are  those  engraved  for  Kircher's 
'  Turris  Babel,'  published  at  Amsterdam  in  1679. 
He  marked  his  plates  with  his  name  or  with  the 

cipher  ^. 

DECKER,  I.  De.    See  De  Decker. 

DECKER,  JoHANN  Stephan,  a  French  painter, 
was  born  at  Colniar  in  1784.  At  the  age  of  twenty 
he  went  to  Paris,  where  he  studied  under  David 
and  Krapf,  but  at  the  end  of  seven  years  he 
returned  to  his  native  city.  In  1821  he  settled  at 
Vienna,  and  was  much  employed  at  the  court  in 
teaching  drawing  and  in  the  execution  of  miniatures 
and  water-colour  paintings.  He  died  at  Vienna 
in  1844. 

DECKER,  Paul,  an  architect  and  engraver,  who 
was  born  at  Nuremberg  in  1677,  designed  and 
engraved  for  Andreas  Sohliiter  in  Berlin,  and  was 
by  him  instructed  in  architecture.  He  died_  in 
1713.  His  son,  Paul  Decker,  excelled  in  painting 
history  and  portraits,  and  was  for  three  years 
director  of  the  Academy  at  Nuremberg.  He  died 
in  1742. 

DE  CLE,  COBNELIS,  a  Flemish  historical  painter, 
who  was  a  native  of  Antwerp,  was  received  into 
the  guild  of  St.  Luke  in  that  city  in  1660-1661. 


In  1690  he  painted  for  the  'Sodality  des  Hommes 
inari^s,'  a  picture  representing  the  'Mount  of 
Olives,'  as  well  as  the  figures  of  Christ  and  Pilate. 
He  died  in  1724. 

DE  CLERCK,  Hendrik,  who  was  born  at 
Brussels  about  1570,  was  a  pupil  of  Marten  De 
Vos,  and  imitated  that  master.  He  painted  his- 
torical subjects,  of  which  there  are  several  in  the 
churches  of  the  Netherlands ;  but  his  small  pictures, 
in  which  he  may  be  compared  to  Eottenhammer 
and  Van  Balen,  are  more  esteemed.  He  died  about 
1629.    Among  his  best  works  are : 

Brussels.  Museum. 


„       St.  James. 
„       Notre-Dame. 

Vienna.  Belvedere. 


Holy  Family  (triptych). 

Christ  calling  little  Children  to 

Him. 
Crucifixion. 
Holy  Family. 
Resurrection. 
Cephalus    and     Procris    (in    a 

Forest  Landscape   by  Alsloot). 

1608. 

DE  COCK,  Feans,  a  Flemish  ecclesiastic,  was 
born  at  Antwerp  in  1643.  His  love  for  art  led  him 
to  visit  Rome,  and  after  his  return  to  Antwerp  in 
1662,  all  his  leisure  time  was  devoted  to  drawing 
and  painting.  Although  but  an  amateur,  his  por- 
traits were  very  successful.     He  died  in  1709. 

DE  COCK,  Jan  Claus,  a  Flemish  engraver, 
flourished  about  the  year  1660.  His  name  is  affixed 
to  an  etching  representing  the  '  Martyrdom  of  a 
Saint.'  It  is  executed  in  a  bold  masterly  style, 
and  appears  to  be  the  production  of  a  painter. 

DE  COCKQ,  Paul  Joseph,  a  Flemish  historical 
painter,  was  born  at  Bruges  in  1724.  He  was  a 
pupil  of  Matthias  De  Visch,  and  became  Director 
of  the  Academy  at  Bruges  in  1775.  He  died  in 
his  native  city  in  1801.  The  following  works  by 
him  are  in  the  Bruges  Academy : 

The  Holy  Trinity. 

Apollo  crowning  Poetry  and  Music. 

Landscape  with  old  Monuments ;  after  Canaletto. 

DE  COENE,  Jean  Henri,  a  Belgian  painter  of 
genre  and  historical  subjects,  was  born  at  Neder- 
brakel  in  1798.  He  was  a  pupil  of  David  and  of 
Paelinck,  and  became  professor  in  the  Brussels 
Academy.  He  died  in  that  city  in  1866.  His 
picture  of  the  '  Incredulity  of  St.  Thomas  '  gained 
him  the  prize  in  1827. 

DE  CONINCK  (or  Coningh).  See  De  Koninck. 

DE'  CONTI,  BjIrnardino.    See  Dei  Conti. 

DE  CORT,  Hendrik,  a  Flemish  landscape  painter, 
was  born  in  1742  at  Antwerp,  where  he  studied. 
He  settled  in  England,  and,  from  1790,  exhibited 
many  works  at  the  Royal  Academy.  He  died  in 
London  in  1810.  His  landscapes,  previous  to  his 
settling  in  England,  were  embellished  with  figures 
and  animals  painted  by  Ommeganck  and  P.  van 
Regemorter.  They  are  much  in  the  Italian  taste, 
with  views  of  cities  and  ancient  ruins,  pleasingly 
coloured  and  neatly  finished.  In  the  Belvedere  at 
Vienna  there  is  by  him  a  '  View  of  the  old  Castle 
of  Temsch  on  the  Scheldt  at  Antwerp '  (1774). 

DE  COSTER,  Adam,  was  a  native  of  Antwerp, 
and  is  supposed  to  have  been  a  disciple  of  Theodoor 
Rombouts.  He  painted  historical  subjects  and  por- 
traits with  considerable  skill ;  but  he  particularly 
excelled  in  depicting  gallant  assemblies  and  festi- 
vals, which  are  ingeniously  composed,  and  coloured 
with  great  force  and  vigour.  We  have  a  fine  print 
of  a  '  Concert,'  engraved  by  L.  Vorsterman,  after  a 
painting  by  this  artist, 

363 


Pe  Coster 


A  BIOGRAPHICAL  DICTIONARY  OF 


De  Croock 


DE  COSTER,  DoMlNlcus,  the  son  of  the  painter 
and  poet  Pieter  Balten,  was  born  at  Antwerp  in 
1560.  At  an  early  period  of  his  life  he  settled  at 
Augsburg,  where  he  assumed  the  name  of  De 
Coster  or  Custos,  and  formed  a  considerable  estab- 
lishment as  a  print-seller.  He  died  in  that  city  in 
1612.  He  engraved  several  plates  in  a  neat  but 
somewhat  formal  style.     Among  them  are  : 

A  set  of  the  eSBgies  of  the  German  Emperors.   1601. 
Fourteen  Plates,  entitled  '  Bf&gies  piorura  ac  doctorum 

aliquot  virorum.'    1594. 
Twenty-eight  Plates,  entitled  '  Tirolensium  principum 

comitum  genuinse  Icones.'    1599. 
Sixty-four  Portraits  of  the  Fugger  Family.     1593. 
Edward  VI. 

Marco  Bragadini ;  after  J.  von  Aachen.     1591. 
Charles  III.,  Duke  of  Lorraine.    1597. 
Dorothea,  Duchess  of  Lorraine. 
Pope  Sixtus  V. 
Bust  of  Sigismund,  Prince  of  Moldavia ;  after  J.  von 

Aachen. 
Maria  Christina  Carolina,  his  consort. 
Cosmo  de'  Medici.     1609. 
Eudolph  II.,  Emperor  of  Germany. 
Four  Plates  of  the  Prodigal  Son ;  D.  Custodis  inv.  etfec. 
Judith  with  the  Head  of  Holofernes ;   after  J.  von 

Aachen. 
Christoph  Fugger  ;  after  the  same. 
Georg  Basta ;  after  the  same. 

His  three  sons,  Raphael,  David,  and  Jakob,  were 
also  engravers  ;  but  the  first  only  obtained  any 
celebrity. 

DE  COSTER,  Pieter,  a  painter  and  engraver  of 
Antwerp,  is  usually  known  as  Balthazar,  or  Bat^ 
TEN,  or  Baltens  (the  shortened. form  of  Baltens- 
Bone,  i.  e.  the  son  of  Balten,  Balthazar).  His  father 
was  Balten  Janssone  de  Coster,  a  painter.  Pieter 
entered  the  Guild  of  St.  Luke  at  Antwerp  in  1540, 
and  became  its  Dean  in  1569.  He  died  about  1598. 
He  painted  landscapes,  village  festivals,  and  fairs, 
in  the  style  of  Pieter  Brueghel.  His  small  figures 
are  correctly  drawn  and  neatly  touched,  and  his 
landscapes  are  painted  with  great  precision.  He 
engraved  portraits,  and  also  a  sacred  piece,  '  SufEer 
Little  Children  to  come  unto  Me,'  after  Ambrosius 
Francken. 

DE  CRAEYER,  Gaspae,  a  Flemish  painter,  was 
born  at  Antwerp  in  1582.  He  was  first  instructed  in 
the  art  by  Raphael  van  Coxie  of  Brussels,  an  artist 
of  little  repute,  whom  he  soon  surpassed.  Taking 
for  his  guide  the  works  of  the  able  artists  of  his 
country,  and  indefatigable  in  bis  study  of  nature,  he 
gave  early  proof  of  his  ability  in-some  public  works, 
so  that  he  was  received  a  member  of  the  Guild  in 
1607.  His  paintings  also  attracted  the  notice  of  the 
court  of  Brussels,  and  he  was  engaged  to  paint  the 
portrait  of  the  Cardinal-Infant  Don  Ferdinand,  the 
Governor  of  the  Low-Countries,  to  be  sent  to  his 
brother,  the  King  of  Spain.  This  work  gave  so 
much  satisfaction,  that  he  was  appointed  painter 
to  the  court,  with  a  considerable  pension,  and  was 
also  employed  in  the  churches  and  public  edifices. 
If  De  Craeyer  had  only  looked  for  emolument,  this 
flattering  patronage,  and  the  applause  of  the  great, 
would  have  satisfied  his  ambition,  and  secured  his 
fortune  by  fixing  him  at  the  court.  But  intent 
solely  on  excelling  in  his  art,  and  desirous  of  that 
repose  and  tranquillity  so  essential  to  his  work,  he 
resigned  his  situation  at  Brussels,  and  sought  the 
retirement  he  longed  for,  by  removing  to  Ghent. 
This  retreat  did  not  diminish  the  reputation  he 
had  acquired,  and  he  continued  to  receive  com- 
missions from  every  part  of  the  country.  It  was 
at  this  time  that  he  painted  his  fine  picture  for  the 

364 


refectory  of  the  abbey  of  AfBeghem,  which  is  one 
of  his  most  celebrated  works.  It  represents  the 
'  Centurion  dismounting  from  his  horse  to  prostrate 
himself  before  Christ.'  It  was  this  admirable  pic- 
ture that  procured  for  him  the  flattering  homage  of 
Rubens,  who,  on  beholding  it,  exclaimed  aloud 
"  Craeyer,  nobody  will  surpass  you."  The  churches 
of  the  principal  cities  in  Flanders  and  Brabant  are 
decorated  witl»  a  surprising  number  of  the  works 
of  this  master,  who  spent  a  long  life  in  unremitting 
labour.  The  biographers  of  the  Flemish  painters 
have  not  hesitated  to  place  De  Craeyer  on  a  level 
with  Rubens  and  Van  Dyok.  Although  this  high 
compliment  may  be  rather  strained,  he  is  un- 
doubtedly entitled  to  rank  next  after  them  among 
the  ablest  artists  of  that  school. 

His  compositions  are  learned  and  judicious  •  re- 
jecting all  superfluity  and  ostentation,  he  aimed  at 
the  higher  qualities  of  correctness  and  simplicity. 
Less  daring  than  Rubens,  he  is  always  correct ;  and' 
although  he  never  soared  to  the  height  of  that 
aspiring  genius,  his  works  possess  both  grandeur 
and  dignity.  His  colouring  is  chaste  and  tender, 
resembling  in  its  carnations  the  clear  tinting  of 
Van  Dyck.  He  died  at  Ghent  in  1669.  The  fol- 
lowing are  the  principal  among  his  numerous 
works,  in  which  the  landscapes  are  painted  by  De 
Vadder  and  L.  AchtscheUinck : 


Amsterdam. 

Museum. 

The  Taking  down  from  the  Cross. 

Antwerp. 

Museum. 

Elijah  in  the  Desert. 

Berlin. 

Gallery. 

Christ  at  Emmaus. 

Brussels. 

Museum, 

The  Miraculous  Draught  of 
Fishes. 

» 

ty 

St.  PauJ  and  St.  Anthony  as 
Hermits. 

» 

t> 

The  Blessed  Virgin  as  Pro- 
tectress of  the  'Grand-Seor- 
ment  de  I'Arbalete.' 

Ghent. 

S.  Michael.  Ascension  of  St.  Catharine. 

)» 

Museum. 

Judgment  of  Solomon. 

»s 

)j 

Martyrdom  of  St.  Blaise. 

Lille. 

Museum. 

Martyrdom  of  a  Man  by  burying 

alive. 
The  Death  of  the  Virgin.    {Sis 

Madrid. 

Gallery. 

principal  work.) 

Munich. 

Gallery. 

Virgin  and  Child  with  Saints. 

Nancy. 

Museum. 

The  Plague  at  Milan. 

Paris. 

Zouvre. 

Virgin   ajid   Child   adored   by 
Saints. 

>» 

» 

St.  Augustme. 

w 

w 

Portrait  of  the  Cardinal-Infant 
Don  Ferdinaiid  of  Spam,  ou 
horseback. 

Petersburg. 

Sermitaiii 

.  Pan  and  Syrinx. 

Rotterdam. 

Museum. 

The  Descent  from  the  Cross. 

Valencienne 

!.  Gallery. 

The  Penitent  Magdalen. 

Vienna. 

Belvedere. 

The  Holy  Family. 

Some  recent  writers  ascribe  to  him  a  woodcut 
representing  St.  Sebastian.  Van  Dyck  painted  his 
portrait,  which  Paulus   Pontius   engraved.     His 

monogram  is  annexed : 


ir 


DE  CRITZ,  John,  Emmanuel,  and  Thomas,  were 
decorative  painters  in  England  in  the  first  half  of 
the  17th  century.  John,  who  had  the  greatest 
refutation  of  the  three  brothers,  was  Serjeant- 
painter  to  James  I.  and  Charles  I.,  in  which  ofiSoe 
he  was  succeeded  by  Emmanuel.  They  painted 
scenery,  ceilings,  &c.  John  bought  many  pictures 
at  the  sale  of  the  collection  of  Charles  I.  He  died 
after  1657. 

DE  CROOCK,  Hubert,  a  Flemish  typographer 
and  engraver  on  wood,  was  born  at  Bruges  in  1490. 
His  name  is  affixed  to  a  large  cut,  representing  the 


Be  Cuypere 


PAINTERS  AND  ENGEAVEES. 


Se  Geest 


Trinity,  which  is  neatly  executed,  hut  in  a  stiff, 
formal  style.  Albrecht  Durer  engraved  the  same 
subject,  but  in  so  superior  a  manner,  that  the  print 
by  De  Croock  may  be  presumed  to  be  a  copy  coeval 
with  the  original.    Besides  the  name,  it  is  marked 

with  the  monogram  ^. 

DE  CU'XpERE,  Andries.     See  Stevens. 

DE  DECKEE,  I.,  is  mentioned  fcy  Strutt  as  the 
engraver  of  a  small  copy  of  the  print  representing 
the  '  Treaty  of  Munster,'  engraved  by  Suyderhoef , 
after  Terburg,  in  which  he  attempted  to  imitate  the 
Btyle  of  the  original,  but  with  no  great  success. 

DE  DEYSTER,  Lodewyk,  a  painter  of  history 
and  an  engraver,  born  at  Bruges  in  1656,  was 
a  scholar  of  Jan  Maes,  He  distinguished  him- 
self by  his  happy  compositions,  the  expression 
of  the  heads,  and  the  vigour  of  the  chiaroscuro. 
The  'Death  of  the  Virgin,'  in  the  church  of  St. 
Jacques  at  Bruges,  is  considered  his  best  work ; 
with  it  are  his  pictures  of  the  '  Crucifixion  '  and  the 
'  Eesurrection,'  whilst  in  the  church  of  St.  Anne, 
in  the  same  city,  there  is  another  esteemed  work  by 
him  of  the  '  Martyrdom  of  St.  Sebastian.'  His  en- 
graved plates  are  rare.  In  1688  he  was  admitted  a 
member  of  the  Guild  in  his  native  city.  He  died 
at  Lisbon  in  1711.  His  daughter,  Anna  De  Dbyster, 
who  was  born  at  Bruges  in  1696,  acquired  some  re- 
putation in  painting  landscapes,  and  executed  some 
historical  works  for  the  churches  in  the  style  of  her 
father,  whose  pictures  she  copied  to  deception.  She 
died  in  1747. 

DEDREUX,  Alfred,  a  French  historical  and 
portrait  painter,  was  born  in  Paris  in  1812.  He 
was  liie  son  of  the  architect  Pierre  Anne  Dedreux, 
and  nephew  of  P.  J.  Dedreux-Dorcy.  He  studied 
under  L6on  Cogniet,  and  painted  animals  as  well 
as  portraits.     He  died  in  Paris  in  1860. 

DEDREUX-DORCY,  Pierre  Joseph,  a  French 
genre  painter,  was  born  in  Paris  in  1789.  He 
studied  for  some  time  under  Guerin.  His  paint- 
ings, one  of  which,  called  '  Bajazet  et  le  Berger,'  is 
in  the  Museum  of  Bordeaux,  are  in  the  style  of 
Greuze.  He  also  painted,  together  with  G^ricault, 
a  picture  called  '  La  Baigneuse.'  He  died  at  Belle- 
vue  in  1874.  His  surname  was  Dedreux,  but  he 
was  usually  called  Dorey. 

DEELEN,  Dirk  van,  (or  Delbn,)  a  Dutch  painter, 
was  born  at  Heusden  in  1606.  He  afterwards  settled 
at  Arnemuiden  in  Zealand,  of  which  town  he  be- 
came burgomaster.  He  possessed  not  only  an 
extraordinary  talent  in  representing  Italian  archi- 
tecture, but  was  also  thoroughly  acquainted  with 
linear  and  aerial  perspective.  He  particularly  de- 
voted himself  to  the  production  of  views  of  churches 
and  other  buildings,  and  the  figures  in  his  paintings 
are  mostly  by  Van  Herp,  Palamedes,  Stevens,  and 
Wouverman.  He  died  at  Arnemuiden  in  1671. 
The  following  are  his  most  important  works : 


Antwerp.  Museum, 

Berlin.  Gallery. 

Hague.  Museum, 

Lille.  Museum, 

Paris.  Louvre. 
Eotterdam.  Museum. 

Vienna.  Belvedere, 


An  Allegory. 

The  Court  of  a  Palace. 

The  Hall  of  the  Binnenhof 

at  the  Hague. 
The  Interior  of  a  Castle. 
Players  at  Ball. 
A  Musical  Party. 
A  building  with  columns. 

DE'FASO LI,  Lorenzo.     See  Fasolo. 

DE'  FERRARL     See  Dei  Ferrari. 

DE  FOUR,  PiETBK,  called  De  Salzea,  a  native 
of  Li%e,  who  flourished  at  the  end  of  the  16th 
and  beginning  of  the  17th  centurieSj  was  a  scholar 


of  Lambert  Lombardus.  There  were  by  him  in  the 
cathedral  at  Liege  two  excellent  altar-pieces  dated 
1578  and  1580,  and  in  the  church  of  St.  Bartholo- 
mew, a  '  St.  Michael,'  and  a  '  Descent  from  the 
Cross,'  dated  1610. 

DEFRANCE,  Leonard,  born  at  Liege  in  1735, 
was  a  scholar  of  J.  B.  Coders.  He  painted  his- 
torical pieces  of  large  and  small  dimensions,  also 
landscapes,  game,  fruit,  flowers,  and  architecture. 
He  was  the  first  professor  of  design  at  the  Academy 
of  Liege,  established  by  the  Prince  Velbruok,  and 
afterwards  filled  the  same  post  in  the  school  of  the 
central  department  of  Ourthe..  He  died  at  Li^ge 
in  1805. 

DE'  FRANCESCHI.    See  Dei  Franoeschi. 

DE  FREY,  Anna,  a  sister  of  Johannes  De  Frey, 
executed  a  large  number  of  drawings  from  paint- 
ings by  old  masters,  such  as  Jan  Steen,  Metsu, 
and  Mieris.  She  was  instructed  by  her  brother-in- 
law.  Jacobus  Johannes  Lauwers,  and  afterwards 
became  herself  a  teacher  of  drawing  at  Mannheim, 
in  which  town  she  was  married,  and  where  she  died 
in  1808.    She  also  painted  in  oil. 

DE  FREY,  Johannes,  an  engraver  and  etcher  of 
distinction,  was  born  at  Amsterdam  about  1760, 
and  was  instructed  in  the  art  by  Jacobus  Johannes 
Lauwers.  Deprived  by  nature  of  the  use  of  his  right 
hand,  he  had  the  courage  to  pursue  the  art  with  his 
left,  and  by  industrious  application  surmounted 
every  difficulty.  He  became  distinguished  in  his 
profession  as  an  able  designer,  and  for  the  bold- 
ness of  his  graver.  He  engraved  many  prints 
after  Rembrandt,  Flink,  G.  Dou,  and  other  masters 
of  that  school,  which  are  held  in  estimation.  He 
settled  in  Paris  in  1814,  and  died  there  in  1834. 
Among  his  best  plates  are : 

The  Aaatomical  Demonstration  of  Tulp ;   after  Bem- 

brandt.    1798. 
The  Magistrates ;  after  the  same.    1799. 
The  Ship-buUder  and  his  "Wife ;  after  the  same. 
The  Family  of  Tobias ;  after  the  same. 
Portrait  of  Bembrandt ;  after  the  same. 
Portrait  of  Kembrandt's  Mother ;  after  the  same. 
The  Presentation  in  the  Temple  ;  after  the  same. 
Isaac  blessing  his  son  Jacob  ;  after  G.  Flink.    1798. 
The  Family  of  G.  Dou ;  after  &.  Dou.    1798. 
The  Philosopher ;  after  Srekelenhamp.    1796. 
The  Hermit  in  a  Cavern  reading ;  after  the  same. 
Portrait  of  Admiral  Marten  Harpertz   Tromp ;   after 

Zievens.    1801. 
Portrait  of  G.  A.  Brederode ;  after  Baillie. 

DE  FROMANTIOU,  Hbndrik,  was  a  painter 
who  excelled  in  flowers,  birds,  and  objects  of  still- 
life.  He  Was  born  at  Nymegen  in  1630,  and  was 
living  in  1680.  In  the  Gallery  at  Salzthalen  is  a 
beautiful  flower-piece  by  him.  It  is  also  said  that 
he  painted  in  the  manner  of  Rembrandt ;  and  that 
Wouverman  gave  him  his  daughter  in  marriage, 
with  a  large  dowry.  This  last  circumstance,  if 
authentic,  would  be  confirmatory  of  his  artistic 
talent ;  but  the  fact  may  be  doubted,  as  Wouver- 
man never  became  rich  by  his  profession,  and 
died  of  chagrin  at  finding  his  works  so  much 
neglected. 

DE  GAST,  Michel,  a  Flemish  landscape  painter, 
was  born  at  Antwerp  in  1509,  and  became  a  mem- 
ber of  the  Guild  of  St.  Luke  in  1558.  He  appears 
to  have  passed  the  greater  part  of  his  life  in  Italy, 
and  most  of  his  pictures  represent  the  ruins  of 
ancient  Rome  and  its  environs.     He  died  in  1564 

DE  GEEST,  Wtbeand,  called  'De  Friesche 
Adelaar '  (The  Frisian  Eagle),  was  born,  probably  at 
Antwerp,  about  the  year  1691.   He  travelled  to  Italy 

365 


De  Gelder 


A  BIOGRAPHICAL  DICTIONARY  OP 


Degler 


when  young,  and  resided  there  several  years, 
chiefly  at  Rome,  where  he  made  drawings  from  the 
principal  statues  and  pictures ;  and  on  his  return 
to  Holland  painted  historical  subjects  with  con- 
siderable skill.  He  died  at  Antwerp  in  1643.  The 
plates  in  the  book  entitled  '  Cabinet  des  Statues,' 
published  at  Amsterdam  in  1702,  are  from  the 
designs  of  his  grandson,  who  bore  the  same  names. 

DB  GELDEIi,  Aeent,  or  A  art,  a  Dutch  painter, 
was  born  at  Dordrecht  in  1645.  After  studying 
for  some  time  in  his  native  town,  under  Samuel 
van  Hoogstraeten,  he  went  to  Amsterdam,  where 
he  entered  the  school  of  Rembrandt,  and  became 
one  of  the  ablest  imitators  of  the  style  of  that 
master.  Like  him  he  painted  portraits  and  his- 
torical subjects,  in  which  he  exhibits  the  same 
uncouth  choice  of  forms,  with  the  same  fascinating 
charm  of  colour ;  the  same  eccentricities  and  de- 
fects, with  his  admirable  conduct  of  light  and 
shade,  and  the  richness  and  spirit  of  his  brush. 
In  his  historical  pictures,  he  also  equally  set  at 
nought  propriety  of  costume,  and  elevation  of 
sentiment.  His  works  still  captivate  by  their 
surprising  efEects.  He  painted  from  nature  all 
the  accompanying  objects  in  his  pictures,  and 
his  painting-room,  crowded  with  armour,  old 
draperies,  flags,  and  sabres,  resembled  rather  the 
interior  of  a  broker's  shop  than  the  studio  of  an 
artist.  He  was  most  successful  in  his  portraits, 
some  of  which  are  not  unworthy  of  Rembrandt, 
and  have  been  frequently  attributed  to  that  master. 
He  died  at  Amsterdam  in  1727.  Among  his  por- 
traits is  that  of  '  Peter  the  Great  of  Russia,'  while 
his  principal  historical  works  are  '  Simeon  in  the 
Temple,'  '  Pilate  binding  Christ,'  and  '  Judah  and 
Tamar.' 

DE  GEMPT,  B.,  a  Dutch  animal  painter,  who  died 
by  his  own  hand  in  1879.  Amongst  his  works  are 
'  A  Congress  of  Dogs,'  and  '  The  Miser's  Death-bed.' 

DE  GHENDT,  Emmanuel  Jean  Nepomucenb, 
a  French  engraver,  was  born  at  St.  Nicholas  in 
Flanders  in  1738.  He  was  a  pupil  of  J.  Aliamet, 
and  has  engraved  several  plates  in  a  neat,  pleasing 
style.  He  executed  many  of  the  prints  and  vignettes 
for  the  '  Voyage  d'ltalie '  of  the  Abb^  de  Saint- 
Non.  He  died  in  Paris  in  1815.  We  have  also, 
among  others,  the  following  prints  by  him  : 

L' Amour  Asiatique  ;  after  Ch.  Eisen. 

Les  Moissonneurs  dans  les  Champs  ;  after  the  same. 

La  pleme  Moisson  ;  after  Isaac  Moucheron. 

A  View  of  the  Fountain  of  Arethusa  at  Syracuse ;  after 

Chatelet. 
The  Four  Times  of  the  Day ;  after  Baudouin. 

DE  6HEYN,  Jakob,  (or  De  Ghein,)  '  the  elder,' 
a  Flemish  designer  and  engraver,  was  bom  at 
Antwerp  in  1565.  He  was  instructed  in  drawing 
by  his  father,  who  was  a  glass-painter,  and  learned 
engraving  under  Hendrik  Goltzius.  He  imitated 
the  style  of  that  master,  and  his  plates  evince  a 
great  command  of  the  graver.  They  are  executed 
in  a  bold,  free  style,  and  his  drawing  is  correct,  and 
not  without  taste.  He  died  at  Antwerp,  or  else- 
where, about  1625.  He  engraved  a  great  number  of 
plates,  both  from  his  own  designs  and  after  other 
masters,  and  his  prints  are  highly  esteemed.  He 
generally  used  the  cipher  x^  The  following  are 
■  his  principal  works  :  J-S«"' 

PORTRAITS. 
Tyoho  Brahe,  the  Astronomer. 
Abraham  Gokevius,  antiquary,  of  Amsterdam. 
Hugo  Grotius. 

Philip  de  Marnix,  the  disciple  of  Calvin. 
366 


Cosmo  de'  Medici. 

Sigismondo  Malatesta ;  circular. 

Ivan  IT.  VasUevich,  Czar  of  Muscovy ;  circular. 

SUBJECTS   AFTER  HIS    OWN   DESIGNS. 
Vanity ;  represented  as  a  Woman  at  her  toilet. 
The  Penitent  Magdalen ;  a  small  oval. 
Mars  and  Venus ;  two  small  medallions. 
A  Gipsy  telling  a  Girl  her  fortune.  ^ 

The  Statue  of  thfe  Laocoon.  • 

A  Lion,  in  a  landscape  ;  very  scarce. 
A  set  of  ten  plates,  called  the  Masks ;  very  scarce. 
The  Twelve  Koman  Emperors ;  circular ;  fine. 

SUBJECTS  AFTER   VARIOUS   AUTHORS. 

The  Life  and  Passion  of  Christ ;  fourteen  plates ;  en- 
graved by  J.  De  Gheyn  and  Z.  Dolerido,  after  C.  van 
Mander. 

The  Twelve  Tribes  of  Israel ;  twelve  plates ;  after  the 
same. 

The  Four  Evangelists ;  after  Hendrik  Goltzius. 

The  Confusion  of  Tongues  at  the  building  of  the  Tower 
of  Babel ;  aftei'  C.  van  Mander. 

The  Adoration  of  the  Trinity ;  after  the  same. 

The  Judgment  of  Midas ;  after  the  same. 

The  ProSgal  Son  ;  in  two  sheets  ;  after  the  same. 

The  Crucifixion  ;  after  Crispin  van  den  Broeck. 

The  Assembly  of  the  Gods  ;  after  the  same.    1589. 

The  Empire  of  Neptune  ;  after  W.  Telrho.    1587. 

Twelve  plates  of  Soldiers  of  the  Guard  of  Budolph 
II. ;  c^^ter  H.  Goltzius. 

The  Annunciation ;  after  A.  Bloemaert. 

A  Kepose  in  Egypt ;  after  the  same. 

Christ  preaching  to  the  Jews ;  after  the  sajne. 

The  Miracle  of  the  Loaves ;  after  the  same. 

Daniel  in  the  Lions'  Den  ;  after  T.  Bernard. 

Diana  and  Actaeon ;  after  the  sam£. 

Polyphemus,  with  Acis  and  Gralatea;  after  C.  van 
Haarlem. 

A  small  Landscape ;  an  etching ;  after  J.  Brueghel^ . 

DE  GHEYN,  Jakob,  (or  De  Ghein,)  'the 
younger,'  son  of  the  elder  Jakob  De  Gheyn,  was 
born  at  Antwerp  about  the  year  1595.  He  is  sup- 
posed to  have  studied  in  Italy,  under  A.  Tempesta, 
from  the  resemblance  in  their  style.  In  conjunc- 
tion with  Cornells  Boel,  he  executed  eight  plates 
for  'Les  Exploits  de  Charles-Quint  pendant  la 
Guerre  d'ltalie,'  from  designs  by  Tempesta. 

DE  GHEYN,  Willem,  (or  De  Ghein,)  a  Flemish 
engraver,  probably  related  to  Jakob  De  Gheyn, 
was  bom  at  Antwerp,  and  worked  in  the  middle  of 
the  17th  century  in  Holland  and  in  Paris.  Jointly 
with  Jeremiah  Falck,  he  engraved  the  Four  Seasons, 
represented  by  French  ladies,  attired  in  the  cos- 
tume of  the  time  of  Louis  XII.  We  have  also  by 
him  the  following  plates  : 

The  Visitation ;  after  Guido  Eeni. 
Louis  XIV.,  when  a  boy,  on  horseback. 
Bernard,  Duke  of  Weimar,  on  horseback. 

DEGL'  AVANZI.     See  Degli  Avanzi. 

DE  GLEN,  Jan,  was  a,  printer  and  wood-en- 
graver, who  was  born  in  the  middle  of  the  16th 
century.  He  cut  the  blocks  for  the  portraits  of  the 
Popes  in  the  '  Vitae  Romanorum  Pontificum  '  of 
his  brother  J.  B.  De  Glen,  which  was  printed  in 
1597  ;  and  also  prepared,- from  his  own  designs,  the 
cuts  to  a  work  published  at  Liege  in  1601,  entitled 
'  Des  Habits,  Moeurs,  C^r^monies  et  Fajons  de 
faire  anciennes  etmodernes,'  and  to '  Les  Merveilles 
de  la  Ville  de  Rome '  (Li%e,  1631),  and  '  Europa, 
sive  Primariarum  Europse  Provinciarum  Ritibus, 
Caeremoniis  et  Vestibus.'    He  was  still  living  in  1631. 

DEGLER,  Franz,  an  Austrian  historical  and 
portrait  painter,  was  born  at  Klausen  in  tne  Tyrol 
in  1705.  Among  his  works  may  be  mentioned  the 
portraits   of  the  Emperor  Charles  VIL  and  his 


Degler 


PAINTERS  AND  ENGRAVERS. 


De  Haas 


Empress,  and  of  other  high  personages  who  were 
at  Frankf  ort-on-the-Main  at  the  time  of  their  coro- 
nation, and  the  ten  pictures  of  the  Passion  painted 
for  the  Capuchin  church  in  that  city,  where  he 
died  in  1736. 

DEGLER,  JoHANN,  an  Austrian  painter,  wag 
born  at  Lazfons  in  the  Tyrol  about  the  year  1800. 
He  was  a  pupil  of  Denifle,  and  had  already  given 
evidence  of  the  possession  of  great  talent  when  he 
died  at  Brixen  in  1829.  In  the  Ferdinandeum  at 
Innsbruck  there  are  by  him  two  pictures,  and  a 
chalk  drawing  of  the  '  Raising  of  Lazarus.' 

DEGLI  AFFLITTI,  Nunzio.    See  FEKRAjnoLi. 

DP:GLI  AMBROSI,  Marco,  commonly  called 
Melozzo  da  Forli,  was  bom  at  Porli  in  1438.  He 
is  said  to  have  been  first  instructed  byAnsovino  of 
Forli,  who  assisted  Mantegna  in  several  works,  but 
he  afterwards  adopted  much  of  the  style  of  Piero 
della  Francesca  and  Giovanni  Santi  of  Urbino. 
Such  was  his  desire  of  learning  the  best  principles 
of  the  art,  that,  though  of  a  noble  and  affluent 
family,  he  submitted  to  the  menial  duties  of  a 
domestic  servant  and  colour-grinder  to  some  of 
the  principal  painters  of  his  time.  To  this  vener- 
able artist  is  attributed  the  first  invention  of  fore- 
shortening, wliich  was  afterwards  carried  to  such 
perfection  by  Correggio.  In  the  study  of  per- 
spective, considerable  progress  had  been  made  by 
Piero  della  Francesca,  since  its  alleged  invention 
by  Paolo  Uocello,  the  Florentine  ;  but  the  merit  of 
first  painting  figures  in  perspective,  on  vaults  and 
ceilings,  by  which  the  illusion  is  rendered  com- 
pletely efEective,  was  reserved  for  Melozzo.  He 
was  patronized  by  the  Count  Girolamo  Riario,  with 
whom  he  visited  Rome  in  1472,  and  painted  the 
tribime  of  SS.  Apostoli  with  the  '  Ascension '  in 
fresco,  the  perspective  of  which  was  of  surprising 
effect.  In  1711,  when  the  chapel  was  taken  down 
and  rebuilt,  the  greater  part  of  this  painting  dis- 
appeared, but  the  figure  of  Christ  is  still  preserved 
in  the  Quirinal.  Melozzo  was  a  member  of  the 
Academy  of  St.  Luke  at  Rome.  He  died  at  Forli 
in  1494.     Other  paintings  by  him  are  : 

London.  Nat.  Gall.  Two  Allegorical  Figures:  Ehetoric, 

and  Music, 
Paris,       Zaavre.       Fourteen  Portraits,  painted  for  the 
Duke  of  Urbino.    (Ascribed  also  to 
Justus  van  Ghent.) 
Eome.      Barherini    Fourteen  Portraits  belonging  to  the 
Palace.         same  series  as  those  in  the  Louvre. 
„  Vatican.      Sixtus  IV.  giving  the  custody  of  the 

Vatican  labraiy  to  Platina. 

DEGLI  ANTON  J,  Antonello.    See  Antonio. 

DEGLI  AVANZI,  Jaoopo,  a  Bolognese  painter 
of  the  later  years  of  the  14th  century,  is  chiefly 
known  by  a  '  Crucifixion,'  in  the  Colonna  Gallery 
at  Rome.  There  are  three  pictures  in  the  Bologna 
Gallery  also  by  this  master.  He  painted,  in  con- 
junction with  artists  of  no  great  importance,  fres- 
coes in  the  church  of  the  Madonna  di  Mezzarata, 
near  Bologna,  which  Malvasia  says  were  praised 
by  Michelangelo  and  the  Carracci ;  they  have, 
however,  been  whitewashed  and  afterwards  Re- 
stored, and  only  fragments  of  them  remain. 
Vasari  says  they  were  completed  in  1404. 

DEGLI  AVANZI,  Simone.    See  Bologna. 

DEGLI  INNOCENTI,  Battista.    See  Naldini. 

DEGLI  STEPANI,  Tommaso.  Dominioi,  in  his 
'Lives  of  the  Neapolitan  Painters,'  attempts  to 
prove  that  the  art  was  practised  at  Naples  by  this 
master  before  the  time  of  Cimabue,  and  that  it 
had,  at  that  early  period,  reached  a  more  improved 


state  at  Naples  than  it  had  at  Florence.  Whatever 
may  be  allowed  for  the  partiality  with  which  the 
Italian  writers  speak  of  their  particular  country- 
men, Dominici  appears  to  have  established  the 
authenticity  of  his  statement.  This  venerable 
artist  was  born  at  Naples  in  1231.  He  grounded 
himself  upon  the  remains  of  Grecian  art  which 
had  been  preserved  in  the  temples  and  public 
edifices  at  Naples,  and  had  painted  several  pictures 
for  the  churches  of  San  Francesco  and  Santa  Maria 
delle  Grazie  previous  to  the  year  1260,  at  which 
time  he  was  employed  by  the  Archbishop  of  Naples 
to  ornament  tlie  chapel  of  his  palace.  Several 
other  works  by  him  are  particularly  described  by 
Dominici.  He  died  in  1310.  He  had  a  brother, 
PiETKO  DEGLI  SxEFANi,  who  also  was  a  painter,  but 
was  more  celebrated  as  a  sculptor. 

DE  GRAEF,  Timotheus,  was  a  Dutch  landscape 
painter,  who  flourished  at  the  close  of  the  17th 
century.  The  dates  of  his  birth  and  death  are  not 
recorded ;  but  Jacob  Appel,  of  Amsterdam,  was 
his  pupil.  The  Sale  Catalogues  of  Hoet  and 
Terwesten  mention  many  of  his  pictures,  par- 
ticularly landscapes  and  views  in  the  vicinity  of 
Amsterdam. 

DE  GREBBER,  Feans  Pietersz,  was  born  at 
Haarlem  in  1579 ;  he  was  a  scholar  of  Roland 
Savery,  and  obtained  honourable  mention  as  an 
artist.  He  also  made  copies  of  his  master's  works, 
and  those  of  Velvet  Brueghel.     He  died  in  1649. 

DE  GREBBER,  Pietee  Feansz,  a  Dutch  painter, 
was  born  at  Haarlem  in  1600.  He  was  the  son  of 
Frans  Pietersz  De  Grebber,  who  instructed  him  in 
the  elements  of  design  ;  but  he  afterwards  became 
a  scholar  of  Hendrik  Goltzius.  He  died  after 
1665.  He  chiefly  painted  easel  pictures,  of  which 
there  are  many  in  the  collections  in  Holland.  The 
Museum  at  Haarlem  has,  amongst  others,  'The 
Emperor  Barbarossa '  and  '  The  Patriarch  of  Haar- 
lem,' which  are  quite  in  Rubens's  style ;  also 
'  Jacob's  Sons  bringing  to  him  Joseph's  Coat.'  The 
Dresden  Gallery  also  contains  examples  of  his  art. 
He  has  also  left  several  engravings,  and  an  etching 
in  Rembrandt's  style  of  '  Christ  and  the  Woman  of 
Samaria.'  He  had  a  sister,  Maria  De  Geebbek, 
who  excelled  in  painting  perspective  and  archi- 
tectural views. 

DE  GROOS,  Gerhaed  and  Geoeq,  probably  two 
brothers,  were  working  together  as  engravers  at 
Prague  about  the  year  1647.  They  produced  » 
large  number  of  portraits  and  pictures  of  Saints. 

DE  GROOT,  Jan,  a  painter  and  engraver  in 
mezzotint,  was  born  at  Flushing  in  1650.  He 
was  first  instructed  by  Adriaan  Verdoel,  and  after 
1666  by  Adriaan  van  Ostade.  The  date  of  his 
death  is  not  recorded.  Some  of  his  plates  are 
marked  J.  G.fec.  or  /.  Q.  inc.  The  best  of  those 
in  mezzotint  are : 

Portrait  of  Desiderius  Erasmus ;  after  Solbein. 
Portrait  of  Abraham  van  der  Byk ;  after  Van  der  Eylc. 
Boy  singing,  with  a  cup  of  wine ;  after  Van  Dyck. 

DE  HAAN,  David,  was  born  at  Rotterdam  in 
1602.  He  studied  in  Italy,  and  became  a  good 
historical  painter,  excelling  especially  in  battle- 
pieces.  He  also  painted  game  with  great  truth- 
fulness to  nature.     He  died  at  Rome  in  1659. 

DE  HAAS,  William  Frederick,  who  was  born 
at  Rotterdam  in  1830,  studied  in  the  Academy  of 
his  native  city,  and  at  the  Hague  under  Johannes 
Bosboom.  He  went  in  1 854  to  New  York,  where  he 
became  known  as  a  painter  of  coast  scenery     He 

367 


De  Haen 


A  BIOGRAPHICAL  DICTIONARY  OF 


Se  Heusch 


died  at  Fayal  in  1880.     The  following  are  some  of 
his  best  works : 

Sunrise  on  the  Susquehanna.     1867. 

Fishing  Boats  off  Mount  Desert.    1874. 

Midsummer  Noon,  Bideford  Beach,  Coast  of  Maine. 

1875. 
Narragansett  Pier.    1877. 

DE  HAEN,  Abkaham,  a  Dutch  painter,  bom  at 
Amsterdam  in  1710,  was  a  disciple  of  Comelis 
Pronk.  He  painted  portraits  and  architectural 
subjects,  and  a  picture  of  'Game'  by  him  is  in 
the  Gallery  at  Christiania.     He  died  in  1760. 

DE  HANGEST,  Egbbet  Maeinus  Feedeeik,  (or 
D'Hangest,)  an  amateur  painter,  was  born  at 
Utrecht  in  1746.  While  studying  the  law  he  took 
lessons  in  painting  of  Verstegh.  After  finishing 
his  legal  studies,  he  set  out  on  his  travels  as  an 
artist,  painting  landscapes  in  the  manner  of  Zaft- 
leven ;  views  on  the  Rhine,  and  rocky  scenery ; 
landscapes,  with  lakes  and  rivers  ;  and  sunsets  and 
moonlights,  in  which  he  was  very  successful.  His 
pencilling  is  vigorous  and  free,  and  his  pictures 
would  not  discredit  a  professional  artist.  He  died 
in  1810. 

DE  HEBM,  CoENELis,  the  son  and  scholar  of 
Jan  Davidsz  De  Heem,  was  born  at  Utrecht  in 
1630.  Like  his  father  he  painted  still-life,  but 
his  productions  are  inferior.  He  died  at  the 
Hague  after  1692. 

DE  HEEM,  David,  who  was  born  at  Utrecht  in 
1570,  was  an  excellent  painter  of  fruit,  flowers, 
plate,  crystal  vessels,  and  other  objects  of  still-hfe. 
There  is  a  'Group  of  Flowers'  by  him  in  the 
Museum  at  Brussels.     He  died  at  Utrecht  in  1632. 

DE  HEEM,  David  Davidsz,  a  son  and  pupil  of 
David  De  Heeni,  was  a  fruit  painter  of  Utrecht  in 
the  17th  century.  A  picture  by  him,  dated  1668,  is 
in  the  gallery  of  that  city,  and  one  dated  1649  is 
at  Amsterdam. 

DE  HEEM,  Jan,  a  supposed  nephew  of  David 
De  Heem,  is  stated  to  have  been  born  at  Amsterdam 
in  1603.  He  studied  under  his  uncle  and  followed 
his  manner  exactly.  There  is  a  picture  of  still-life 
ascribed  to  him  in  the  Museum  at  Amsterdam. 
His  death  is  set  down  in  1650.  There  is,  however, 
some  confusion  between  this  artist  and  Jan  Davidsz 
De  Heem,  to  whom  the  catalogues  of  Berlin, 
Brunswick,  Munich,  and  Vienna  assign  the  pictures 
marked  J.  De  Heem. 

DE  HEEM,  Jan  Davidsz,  was  born  at  Utrecht 
after  1600.  He  was  the  son  of  David  De  Heem, 
the  flower  painter,  by  whom  he  was  instructed. 
His  pictures  bear  date  from  1640  to  1669,  and  repre- 
sent fruit,  flowers,  vases  and  ornaments  of  gold  and 
silver,  musical  instruments,  and  similar  objects  of 
still-life.  He  was  a  perfect  master  of  chiaroscuro. 
He  particularly  excelled  in  imitating  the  transparent 
clearness  of  glass  and  crystal,  which  he  was  fond 
of  introducing  into  his  pictures.  His  paintings 
were  so  superior  to  those  of  every  artist  that  had 
preceded  him,  in  similar  subjects,  that  they  were 
anxiously  sought  after  by  the  most  distinguished 
persons  of  his  time,  and  were  purchased  at  large 
prices.  They  are  still  held  in  high  estimation. 
Being  obliged  to  leave  Utrecht  during  the  troubles 
which  took  place  in  Holland  in  1671,  he  took 
refuge  at  Antwerp,  where  he  died  in  1674. 

DE  HEEEE,  Lucas,  u.  Flemish  historical  and 
portrait  painter,  who  was  born  at  Ghent  in  1534, 
was  the  son  of  Jan  De  Heere,  a  sculptor  and 
architect,  and  of  Anna  De  Smytere,  an  excellent 
painter  of  miniatures.  He  studied  for  some  time 
368 


under  his  parents,  and  afterwards  under  Frans 
Floris  at  Antwerp.  On  leaving  the  studio  of  the 
latter  he  went  to  France,  and  was  employed  at 
Fontainebleau  by  the  Queen-Mother,  Catharine 
de'  Medici,  in  making  designs  for  tapestiies  for 
the  royal  residences.  The  time  of  his  first  visit 
to  England  is  uncertain,  but  he  must  have  been 
here  in  1554,  when  he  painted  the  fine  portrait  of 
Queen  Mary  which  is  in  the  collection  of  the 
Society  of  Antiquaries.  On  his  return  to  Ghent 
he  painted,  among  other  portraits,  that  of  a  wealthy 
young  Protestant  lady,  named  Bleonota  Carboniers, 
the  daughter  of  the  burgomaster  of  Vere,  in  Zealand. 
Her  beauty  and  learning  captivated  the  painter, 
but  it  was  only  after  great  perseverance  that  he 
won  her  as  his  wife.  To  her  he  addressed  many 
amorous  verses,  for  Lucas  De  Heere  was  a  poet  as 
well  as  a  painter,  and  these  he  published  in  1666, 
under  the  title,  '  Den  Hof  en  de  Boomgaerd  der 
Poesien.'  His  marriage  led  to  a  change  in  his 
religion,  and  when  the  Duke  of  Alva  arrived  in  the 
Netherlands  in  1567,  and  Ghent  was  occupied  by 
a  Spanish  garrison,  the  adherents  of  the  new 
faith  had  to  flee  from  their  homes.  De  Heere  fled 
to  England,  and  appears  to  have  remained  here 
until  1577,  when  the  edict  known  as  the  Pacifica- 
tion of  Ghent  enabled  him  to  return  to  his  native 
city.  During  this  second  visit  he  painted,  in 
1569,  the  remarkable  allegorical  portrait  of  Queen 
Elizabeth,  with  Juno,  Venus,  and  Pallas  apparently 
fleeing  before  her,  which  is  now  at  Hampton 
Court.  Other  fine  examples  of  his  art  which  exist 
in  England  are  the  portraits  of  Lord  Darnley  and 
his  brother,  Charles  Stuart,  dated  1563,  also  at 
Hampton  Court,  and  the  small  full-length  portrait 
of  Queen  Elizabeth,  in  the  possession  of  the  Duke 
of  Portland,  one  of  his  most  charming  works. 
His  abilities  as  an  historical  painter  are  best  repre- 
sented by  a  'Crucifixion,'  painted  by  him  in  1665 
for  the  church  of  the  village  of  Saint-Paul,  in  the 
Pays  de  Waes.  This  altar-piece  fully  justifies  the 
renown  which  his  portraits  have  gained  for  him  in 
England.  Besides  his  paintings  in  oil,  he  com- 
pleted, in  1576,  a  large  collection  of  water-colour 
drawings  of  costumes,  which  he  entitled  '  Thiifve 
de  tons  les  Peuples  et  Nations  de  la  Terre.'  Tliis 
valuable  work  is  now  among  the  archives  of  Ghent. 
He  also  translated  into  Flemish  verse  the  Psalms 
of  David,  and  wrote,  or  at  least  began  to  write,  the 
lives  of  the  Flemish  painters,  in  rhyme.  Lucas 
De  Heere  died  in  1584  in  Paris,  where  he  had 
taken  refuge  after  the  assassination  of  William 
the  Taciturn.  E.E.G, 

DE  HEUR,  CoENELis  Joseph,  (or  D'Heur,)  a 
Flemish  painter  of  historical  subjects  and  interiors, 
was  bom  at  Antwerp  in  1707.  He  studied  success- 
ively under  Gaspard  van  Opstal  the  younger,  J.  J. 
Hermans  the  elder,  and  Peeter  Snyers.  In  1730, 
he  went  to  Paris,  and  on  his  return  to  Antwerp 
became  one  of  the  directors  of  the  Academy.  He 
died  in  1762  at  Antwerp,  where  there  are  in  the 
Museum  several  works  by  him  in  grisaille. 

DE  HEUSCH,  Abeaham,  was  born  at  Utrecht 
in  1650,  and  was  probably  related  to  Jakob  and 
Willem  De  Heusch.  He  excelled  in  painting  plants, 
insects,  and  reptiles ;  which  he  designed  and  exe- 
cuted with  surprising  patience  and  labour.  His 
pictures  of  that  description  are  not  inferior,  in 
the  delicate  polish  of  tlieir  finishing,  to  the  highly- 
wrought  productions  of  Gerard  Don  or  Mieris. 
There  are  a  few  etchings  of  landscapes  by  Abraham 
De  Ileuschj  fiom  his  own  designs. 


De  Heusch. 


PAINTERS  AND  ENGRAVERS. 


De  Hoocli 


DE  HEUSCH,  Jakob,  called  Affdeuck,  the 
nephew  of  Willem  De  Heusch,  was  born  at  Utrecht 
in  1657.  He  was  instructed  in  art  by  his  uncle, 
and  acquired  his  surname  from  his  faithful  imita- 
tion of  his  uncle's  style.  Having  made  consider- 
able progress,  he  was  recommended  to  visit  Italy, 
where  he  passed  several  years.  He  met  with  very 
flattering  encouragement  at  Rome,  his  pictures 
being  much  admired.  He  particularly  attached 
himself  to  the  study  of  the  works  of  Salvator 
Rosa,  whose  picturesque  style  he  imitated  with 
considerable  success.  His  pictures  represent  the 
most  select  views  in  the  environs  of  Rome,  en- 
riched with  groups  of  charming  figures,  correctly 
drawn  and  vigorously  touched.  We  have  a  few 
etchings  by  him  of  landscapes,  from  his  own 
designs,  executed  in  a  neat  but  slight  style.  He 
died  at  Amsterdam  in  1701. 

DE  HEUSCH,  Willem,  was  bom  at  Utrecht 
in  1638.  In  1656,  or  1659,  he  was  in  Italy  as  a 
pupil  of  Jan  Both,  whose  style  ne  copied.  He 
died  at  Utrecht  in  1712.  One  of  his  landscapes 
in  the  Louvre  is  very  finely  executed,  but  a  better 
specimen  of  his  art  is  in  the  Belvedere  at  Vienna, 
a  'Landscape  at  Sunset.'  Landscapes  from  his 
brush  are  in  the  galleries  of  Stockholm,  Copen- 
hagen, Frankfort,  Brunswick,  Amsterdam,  Rotter- 
dam, and  the  Hague.  He  also  engraved  several 
Landscapes,  which  have  become  very  rare. 

DEHNE,  J.  C,  was  a  German  engraver,  who 
flourished  in  the  first  half  of  the  18th  century. 
He  engraved  several  portraits  for  the  work  entitled 
'  Icones  Bibliopolarum  et  Typographorum,'  pub- 
lished at  Nuremberg  in  1726-42.  We  have  also  by 
him  a  great  number  of  plates,  representing,  in  the 
most  ludicrous  manner,  the  gods  and  heroes  of 
antiquity. 

DEHODENCQ,  Edmb  Alexis  Alfked,  a  French 
genre  painter,  was  born  in  Paris  in  1822.  He 
was  a  pupil  of  L6on  Cogniet,  and  first  attracted 
notice  by  his  picture  of  '  St.  Cecilia '  at  the  Salon 
of  1844.  He  travelled  much  in  Spain  and  Northern 
Africa,  and  from  these  countries  derived  many  of 
his  subjects,  which  are  painted  with  great  truthful- 
ness and  richness  of  colour.  He  died  in  1882. 
Among  his  best  works  are : 

Virginia  found  dead  on  the  sea-shore.     1849. 

A  Spanish  Bull-Fight.    1850.     {Luxembourg  Gallery.) 

The  Arrest  of  Charlotte  Corday.    1868. 

Othello.    1873. 

A  Moorish  Story-Teller.    1877. 

DE  HOEY,  Jan,  (or  De  Hoot,)  a  Dutch  painter, 
was  bom  at  Leyden  in  1545.  Van  Mander  says 
that  he  was  a  grandson  of  Lucas  van  Leyden  and 
brother  of  Lucas  Damissen,  under  whom  he  studied 
painting.  He  travelled  in  Italy  and  France,  and 
made  himself  so  acceptable  at  the  court  of  Henry 
IV.  that  he  was  appointed  keeper  of  the  royal 
collections.  He  died  at  Fontainebleau  in  1615. 
Lucas  Db  Hoey,  or  Damissen,  his  brother,  who  was 
bom  at  Leyden  in  1533,  resided  at  Utrecht,  and 
died  there  in  1604.  Claude  Db  Hoey,  or  Dou^, 
the  son  of  Jan,  who  was  also  a  painter,  died  in  1660. 
He  had  the  care  of  the  pictures  at  Fontainebleau 
from  the  time  of  his  father's  death  until  1635, 
when  he  resigned  in  favour  of  his  nephew,  Jean 
Dubois. 

DE  HOND,  (or  De  Hondt).    See  Hond. 

DE  HONDECOETER,  Melchioe,  (or  D'Hon- 
decoetee,  as  he  invariably  signed  his  name,)  a 
member  of  a  noble  family  of  Brabant,  was  born  at 
Utrecht  in  1686.    He  first  studied  under  his  father, 

B  B 


Gysbert  D'Hondecoeter,  and  then  with  his  uncle, 
Jan  Baptista  Weenix,  and  became  famous  for  his 
pictures  of  birds  of  rare  plumage,  live  fowl,  game, 
and  similar  subjects.  In  this  branch  of  art  he 
stands  unrivalled.  He  also  painted  a  few  marine 
pieces,  and  engraved  a  few  prints. 

From  1659  to  1668  he  is  mentioned  in  the  '  Pic- 
tura'  Society  of  the  Hague.  He  then  removed 
(in  what  year  is  not  known)  to  Amsterdam,  where 
he  received  the  rights  of  citizenship  in  1688,  and 
where  he  died  in  1696.  His  works  are  frequently 
met  with  in  public  galleries ;  the  following  are 
some  of  the  principal : 
Amsterdam.  Museum.      Dead  Birds. 

„  „  Animals  and  Plants. 

„  „  The  Philosophical  Magpie. 

„  „  The  Menagerie. 

„  „  The  Floating  Feather. 

Berlin.  Gallery.      Foreign  Water-fowl  in  a  Park. 

Brunswick.      Gallery.      Animals  of  the  Ark. 
Brussels.        Museum.      Peacock  and  Poultry  in  a  Park. 
1672. 

„  „  Cock  crowing. 

Oassel.  Gallery.      Cocks  fighting. 

„  „  Poultry. 

Dresden.         Gallery.      Hen  and  Chicken,  smd  Bird  of 
Prey. 

„  „  A  white  Hen  and  Chicken. 

„  „  A  Concert  of  Birds. 

„  „  Wild  Fowl. 

Florence.      Pitti  Pal.      Poultry. 
Frankfort.         Stddel.      Poultry. 

Hague.  Museum.      The  Crow  stripped  of  his  bor- 

rowed feathers. 

„  „  The  Menagerie  of  William  III. 

at  the  Chateau  of  Loo. 

„  „  Ceese  and  Ducks. 

„  „  Fowl  and  Ducks. 

Liverpool.  Iiistitution,     Poultry. 
London.        JYat.  Gall.     Domestic  Poultry. 

„  „  Geese  and  Ducks. 

Munich.  Gallery.      A  Park  with  Poultry. 

Paris.  Louvre.      Birds  in  a  Park. 

Petersburg.  Hermitage.    Fight   between  a  Cock  and   a 
Turkey. 

„  „  Trophies  of  the  Chase. 

"Venice.         Acadeiny.      Poultry. 
Vienna.       Belvedere.      A  Cock  and  two  Hens. 

„        Liechtenstein  \  p.,,,t„ 
Collection.  J  ^°^"'^- 

DE  HONT,  H.,  (or  De  Hondt,)  is  said  to  have 
been  a  scholar  of  David  Teniers.  His  pictures 
represent  similar  scenes  to  those  of  that  master, 
and  sometimes  approach  very  closely  to  his  manner. 

DE  HOOCH,  PiBTEK,  was  born  at  Rotterdam, 
probably  in  1632.  His  style  was  formed  from  a 
study  of  the  works  of  Karel  Fabritius  and  of 
Rembrandt.  He  worked  at  Delft  and  at  Haarlem, 
where  he  died,  it  is  said,  in  1681.  He  painted 
interiors  and  portraits ;  and  his  works  are  dis- 
tinguished for  their  brilliant  effects  of  light,  and 
admirable  colour.  His  name  has  been  written  in 
a  variety  of  ways — De  Hooche,  Hoogh,  Hooghe, 
and  Hooge.  Out  of  Holland,  De  Hooch's  paintings 
are  extremely  scarce  ;  and  even  in  that  country 
they  are  among  the  rarest  art-treasures  in  the 
public  and  private  galleries.  The  following  are 
the  principal : 

Amsterdam.    Museum.     Portrait  of  Himself  at  the  age 
of  19. 
„  „  The  Buttery-hatch. 

„  Six  Coll.     The  Linen-Press. 

Berlin.  Gallery.    A  Dutch  Interior. 

Copenhagen.     Gallery.    Persons  Playing  and  Dancing. 

„  „  A  Family  Concert. 

„  „  An  Interior. 

369 


Se  Hooglie 


A  BIOGRAPHICAL   DICTIONARY  OF 


Dei  Ferrari 


Frankfort.  Stadel.     A  Lady  at  her  'Writing-table. 

Hague.  Steengracht  1  ^  jj^^j^^j  p^^ty. 

London.    Nat.  Gallery.    The    Courtyard    of    a    Dutch 
House.    1665. 
An    Interior;    two    gentlemen 
conversing  with  a  lady. 
„  „  Courtyard  of  a  Dutch  House, 

paved  with  bricks.     1658. 
,  Apsley  House.  A  Lady  at  her  Toilet. 

„         AsUuHon  Coll.  A  Woman  and  a  Child  walking 

in  a  street  of  Utrecht. 
„     BuckiTigham  Pal.   A  Courtyard. 

„  Three  Gentleman  and  a  Lady 

Haying  Cards.    1658. 

Coll.      jA"I°tenor. 
Munich.  Gallery.    Dutch     Interior;     a     Woman 

Reading. 
Paris.  Louvre.    Dutch    Interior;   two    Women 

and  a  Child,  with  a  meal  pre- 
pared on  the  table. 
„  „  Dutch  Interior ;  Card  Players. 

Petersburg.  Hermitage.    A  Lady  seated  at  a  door. 

„  „  Dutch  Interior;    a  Lady  play- 

ing  the    lute    and    singing, 
whilst  a  cavalier  accompanies 
her  in  the  song. 
„  „  The  Lace-maker. 

Vieima.       Czernin  Coll.  A  Painter  in  his  Studio. 

DE  H006HB,  Eomeyn,  a  Dutcli  designer  and 
engraver,  born  at  the  Hague  about  the  year  1646, 
was  a  nephew  of  Pieter  De  Hooch.  Several  of  his 
compositions  show  him  to  have  been  a  man  of 
great  genius  and  readiness  of  invention.  Few 
artists  have  handled  the  point  with  more  spirit  and 
facility  than  Romeyn  De  Hooghe,  and  his  small 
figures  and  distances  are  executed  with  great  deli- 
cacy and  neatness.  His  foregrounds  and  principal 
figures  are  less  happy,  and  there  is  a  want  of 
harmony  in  the  efEect,  and  in  the  management  of 
the  chiaroscuro.  He  founded  a  school  of  design  at 
Haarlem,  where  he  died  in  1708.  The  number  of 
his  prints  is  very  considerable,  but  the  following 
are  the  principal : 

The  Portrait  of  Michael  Adriaensz  De  Enyter,  Admiral- 
General  of  Holland  ;  very  fine. 
An  Allegorical  Subject,  in  honour  of  Leopold  II. 
Another,  in  honour  of  WUUam,  Prince  of  Orange. 
The  Marriage  of  William,  Prince  of  Orange,  with  the 

Princess  Mary  of  England. 
The  Entry  of  the  Prince  of  Orange  into  London. 
The  Coronation  of  William  and  Mary. 
The  Army  of  William  III.  in  order  of  battle,  on  the 

banks  of  the  Boyne ;  with  medallions  of  Bang  William 

and  Queen  Mary. 
The  Siege  of  Vienna  by  the  Turks.    1683. 
The  Triumphal  Entry  of  John  III.,  King  of  Poland,  into 

Warsaw,  after  raising  the  siege  of  Vienna. 
Constantinople  taken  by  the  Turks. 
A  set  of  plates  representing  the  Excesses  committed  by 

the  French  in  Holland.     1672,  1673. 
The  Deluge  of  Coerverden. 
The  Massacre  of  the  two  De  Witts.    1672. 
The  Defeat  of  the  French  at  Hochstadt  in  1704 ;  with 

medalhons  of  the  Duke  of  Marlborough  and  Prince 

Eugene. 
The  Taking  of  Narva  by  Charles  XII. 
The  Battle  of  St.  Denys,  near  Mons  ;  in  two  sheets. 
The  Jewish  Synagogue  at  Amsterdam. 
The  Entry  of  Louis  XIV.  into  Dunkirk ;  two  sheets ; 

after  Van  der  Meulen. 
Charles  II.  of  Spain,  descending  from  his  carriage  to  pay 

homage  to  the  Host. 
Six  Emblematical  Subjects,  relative  to  the  abuses  of  the 

clergy  of  the  Eomish  Church.    1679. 
The  Fair  at  Arnheim. 
Twelve  Figures  habited  in  the  mode  of  the  end  of  the 

17th  century, 
370 


DE  HULST,  Frans,  a  Dutch  landscape  painter, 
was  admitted  in  1631  into  the  Guild  of  St.  Luke 
at  Haarlem,  where  he  died  in  1661.  There  is  by 
him  in  the  Berlin  Gallery  a  view  of  a  town  in 
Holland.  He  painted  in  the  style  of  Ruisdael  and 
Van  Goyen,  but  his  works  are  seldom  met  with. 

DEI,  Matted  di  Giovanni,  was  one  of  the  most 
celebrated  of  the  goldsmiths  and  workers  in  niello 
who  flourished  at  Florence  in  the  middle  of  the 
16th  century.  He  executed  in  1456  for  the  church 
of  San  Giovanni  a  pax  which  represented  the 
'  Crucifixion  of  Our  Lord.'  He  also  engraved  for 
a  pax  for  the  confraternity  of  St.  Paul  a  silver 
plate,  representing  the  '  Conversion  of  St.  Paul,' 
which  is  preserved  in  the  Florence  Gallery.  It  has 
never  been  filled  in  with  enamel,  and  modem 
impressions  have  been  taken  from  it. 

DEI  BUONI,  BtJONO,  was  born  at  Naples,  and, 
according  to  Dominioi,  flourished  about  the  year 
1430.  He  was  a  disciple  of  an  old  Neapolitan 
painter  called  Colantonio  del  Fiore,  whom  he  as- 
sisted in  several  of  his  works,  and  after  whose  death 
he  became  one  of  the  most  reputable  artists  of  his 
time.  There  are  many  of  his  works  in  the  churches 
at  Naples ;  one  of  the  most  esteemed  is  a  painting 
in  the  church  of  the  Eestituta  representing  '  St. 
Francis  receiving  the  Stigmata.'  He  died  about 
the  year  1465. 

DEI  BUONI,  SiLVESTBO,  the  son  of  Buono  de' 
Buoni,  was  born  at  Naples  about  the  year  1420. 
After  studying  for  some  time  under  his  father,  he 
had  the  advantage  of  being  instructed  by  Antonio 
Solario.  Under  that  master  he  became  an  eminent 
■painter  of  historical  subjects,  and  was  employed 
in  some  considerable  works  for  the  churches  and 
public  edifices  of  Naples.  He  died  about  1480. 
The  following  are  his  best  works : 

Naples.  S.  Caterina.  Christ    appearing    after    his 

Eesnrrection. 
„        S.  Bestituta.  Virgin   and    Child,   with   SS. 

Kestituta  and  Michael. 
„        S.  Pietro  Martire.  Death  of  the  Virgin. 
„  „  Virgin  and  Child  between  two 

Saints. 
„        Monte  Oliveto.      Ascension. 

DEI  CONTI,  Bebnardino,  an  Italian  painter,  is 
said  to  have  been  born  at  Pavia  in  the  latter  part 
of  the  16th  century.  He  died  in  1525.  He  was  a 
follower  of  Zenale,  but  little  is  known  of  his  life 
or  works.  The  following  paintings,  however,  are 
preserved : 

Bergamo.      Lochis-Carrara     Madonna  and  Child  (signed). 

Gallery.  1501. 

Berlin.  Gallery.  Profile  of  a  Prelate.    1499. 

DEI  CROCIFISSI,  SiMONE.    See  Bologna. 

DEI  FASOLI,  Lorenzo.    See  Fasolo. 

DEI  FERRARI,  Giovanni  Andrea,  was  born  at 
Genoa  in  1698.  He  was  first  a  scholar  of  Bernardo 
Castello,  but  he  afterwards  studied  under  Bernardo 
Strozzi.  His  principal  historical  works  are  his 
picture  of  '  Theodosius,'  in  the  style  of  Castello,  in 
the  Jesuit  church  at  Genoa ;  '  The  Nativity,'  in  the 
cathedral  of  the  same  city ;  and  in  a  church  at 
Voltri,  the  '  Birth  of  the  Virgin,'  his  most  esteemed 
production,  a  composition  of  many  figures;  the 
two  last  pictures  are  in  the  style  of  Strozzi.  He 
died  at  Genoa  in  1669. 

DEI  FERRARI,  Gregorio,  a  Genoese  painter, 
was  born  at  Porto  Maurizio  in  1644.  He  was  a 
disciple  of  Domenico  Fiasella,  called  II  Sarzana, 
whose  manner  was  not  conformable  to  the  genius 
of  his  scholar,  which  aimed  at  a  style  more  grand 


Dei  Ferrari 


PAINTERS  AND  ENGRAVERS. 


Dei  O-iannuzzi 


and  free.  He  went  to  Parma,  where  he  studied 
with  attention  the  works  of  Correggio,  and  made  a 
faithful  copy  of  the  great  cupola.  He  was  also 
much  employed  at  Turin  and  Marseilles.  He  died 
at  Genoa  in  1726.  Of  his  works  the  most  esteemed 
are  his  '  St.  Michael,'  in  the  Madonna  delle  Vigne 
at  Genoa,  and  his  '  Apollo  and  the  Muses '  and 
'Plato  and  Aristotle'  in  the  University.  The 
Palazzo  Balbi,  also  in  the  same  city,  contains  some 
pictures  by  him. 

DEI  FERRARI,  Lorenzo,  the  son  of  Gregorio 
de'  Ferrari,  was  born  at  Genoa  in  1680.  He  was 
instructed  by  his  father,  and,  like  him,  be  imitated 
the  grace  and  suavity  of  Correggio.  He  assisted 
his  father  in  some  of  his  works,  but  surpassed 
him  in  foreshortening  and  correctness  of  drawing. 
He  excelled  in  painting  in  fresco,  but  he  also 
painted  many  pictures  in  oil  for  churches.  In  his 
works  in  the  Doria  Palace,  he  has  emulated  the 
vigour  of  the  Carloni,  and  is  little  inferior  to  them. 
In  the  Carega  Palace  is  a  gallery  of  subjects  from 
the  .^neid,  which  were  his  last  works.  He  died 
at  Genoa  in  1744 

DEI  FERRARI,  Orazio,  was  bom  at  Voltri  in 
1606,  and  was  a  scholar  of  Andrea  Ansaldo,  under 
whom  he  became  an  able  painter  of  historical 
subjects  in  oil  and  fresco.  His  merit  recommended 
him  to  the  patronage  of  the  Prince  of  Monaco, 
who  employed  bim  for  some  years.  His  'Last 
Supper,'  in  the  Oratory  of  the  church  of  San  Siro 
at  Genoa,  is  alone  sufficient  to  establish  his 
reputation.  This  artist  was  high  in  the  public 
esteem  when  Genoa  was  visited  in  1657  by  the 
plague,  which  carried  ofE  a  great  number  of  the 
inhabitants,  with  this  painter  and  all  his  family. 

DEI  FIORI.  Gasparo.     See  Lopez. 

DEI  FIORI,  Mario.     See  Nuzzi. 

DEI  FRANCESCHI,  Domenico,  who  flourished 
at  Venice  in  the  latter  half  of  the  16th  century, 
was  a  type-cutter  and  printseller.  The  following 
two  excellent  prints  are  by  him  : 

Tho  Procession  of  Corpus  Christ!  at  Venice.    1565. 
The  Parade  of  the  Emperor  Solyman  I.  at  Constanti- 
nople.   1565.    A  very  rare  plate. 

DEI  FRANCESCHI,  Pietro  di  Benedetto, 
called  Piero  della  Francesoa,  and  also  Piero 
Borghese,  was  born  at  Borgo  San  Sepolcro  in 
Umbria  about  the  year  1416.  It  is  not  known 
by  whom  he  was  instructed  in  the  art  of  paint- 
ing, but  in  1438  he  made  the  acquaintance  of 
Domenico  Veneziano,  and  was  employed  by  him  on 
the  frescoes  of  Sant'  Egidio  at  Florence,  which 
were  executed  between  the  years  1439  and  1450. 
He  was  a  complete  master  of  linear  perspective 
and  thoroughly  understood  all  its  laws,  as  also  the 
trae  art  of  projecting  shadows,  and  thus  giving  an 
additional  charm  to  his  pictures.  The  majority 
of  his  pictures  were  painted  in  oil,  then  a  com- 
paratively new  medium  for  colours,  and  he  carried 
out  many  improvements  in  the  usage  of  this  vehicle. 
Between  the  years  1447  and  1452  it  is  thought  that 
both  Domenico  and  Piero  were  at  Loretto,  where 
the  ceiling  of  the  sacristy  was  commenced  by 
them  ;  and  it  was  probably  at  about  this  period  that 
Piero  left  Domenico  and  went  to  Rome,  where,  in 
conjunction  with  Bramantino,  he  painted  two  fres- 
coes in  the  Vatican  by  order  of  Pope  Nicholas  V. 
These  frescoes  were  afterwards  removed  by  com- 
mand of  Julius  II.  in  order  to  make  room  for 
Raphael's  frescoes  of  the  '  Deliverance  of  St.  Peter 
from  Prison,'  and  the '  Mass  of  Bolsena.'   After  1451 


Piero  entered  the  service  of  Sigismondo  Pandolfo 
Malatesta,  Duke  of  Rimini,  and  adorned  for  him 
the  chapel  of  the  Relic  in  the  church  of  San 
Francesco  with  a  picture  representing  '  Malatesta 
kneeling  before  the  enthroned  St.  Sigismund  of 
Burgundy.'  Soon  afterwards  he  commenced  the 
cycle  of  frescoes  illustrating  the  Legend  of  the 
Cross  in  the  church  of  San  Francesco  at  Arezzo. 
This  immense  series  commences  with  the  Death  and 
Burial  of  Adam,  and  follows  the  legend  up  to  the 
Finding  of  the  Cross  by  St.  Helena.  They  are 
wonderful  alike  by  the  reality  of  their  efEects  of 
light  and  shade,  and  their  harmony  of  colour. 
They  were  finished  about  1454,  when  he  painted 
for  the  Compagnia  della  Miserioordia  the  altar- 
piece  of  the 'Virgin  of  Mercy,'  with  Saints  and 
scenes  from  the  Passion,  now  in  the  Hospital  at 
Borgo  San  Sepolcro.  Whilst  in  his  native  city 
he  executed  many  commissions  for  altar-pieces 
and  banners,  some  of  which  still  remain  in  its 
gallery  and  churches.  From  there  he  went  to 
Urbino,  where  in  1469  he  entered  the  service  of 
the  Duke  Federigo,  and  also  made  the  acquaint- 
ance of  Giovanni  Santi,  the  father  of  Raphael.  He 
painted  for  the  duke  a  'Flagellation,'  which  is 
preserved  in  the  sacristy  of  the  cathedral,  and  an 
'  Apotheosis  '  containing  the  portraits  of  Federigo 
da  Montfefeltro,  and  Batista  Sforza,  his  wife.  Tlie 
last-mentioned  picture  is  now  in  the  Gallery  of  the 
Uffizi  at  Florence.  An  'Assumption  of  the  Virgin,' 
which  was  probably  painted  by  Piero  at  this 
period,  can  be  seen  in  the  church  of  Santa  Chiara 
at  Urbino.  He  is  also  known  to  have  gone  to 
Ferrara,  where  he  was  employed  by  Dlike  Borso  in 
the  decorations  of  his  palace  called  "  Schifanoja," 
which  means  "  Be  gone,  dull  care."  The  frescoes 
executed  there  by  Piero  have  been  destroyed,  but 
the  remains  of  others  have  been  recovered,  which 
clearly  indicate  the  great  influence  possessed  by 
this  artist  over  other  painters  of  his  time.  The 
statement  that  he  became  blind  in  1458  is  clearly 
incorrect,  for  he  was  still  working  in  1478,  and  it  is 
probable  that  age  alone  at  last  incapacitated  him 
from  further  work.  Piero  della  Francesca  died  at 
Borgo  San  Sepolcro  in  1492.  Luoa  Signorelli, 
Bartolommeo  della  Gatta,  and  Perugino  were 
among  his  pupils.  He  wrote  a  ti:eatise  on  Per- 
spective, of  which  there  are. copies  in  the  Vatican 
Library  and  in  the  Ambrosian  Library  at  Milan. 
Amongst  his  paintings  may  be  mentioned  :' 

Arezzo.  S.  Francesco.    The  Legend  of  the  Holy  Cross,  with 

the  Vision  of  Constantine. 
London.  JViit.  Gall.     Portrait,  supposed  to   be  that  of 
Isotta  da  Bimini.   (Douitful.) 
„  „  The  Baptism  of  Christ. 

„  „  Portrait,  said  to   be  that  of   the 

Contessa  Falma. 
„  „  The  Nativity. 

Perugia.  Academy.       Virgin  and  Child  enthroned,  Vfith 

Saints. 
Bimini.  8.  Francesco.  St.  Sigismund. 
Urbino.  Cathedral.       The  Flagellation. 
Venice.  Academy.       St.  Jerome  in  the  Desert. 

DEI  GIANNUZZI,  Giniio,  often  called  Giuno 
PiPPI,  but  more  commonly  GlULlO  RoMANO,  was 
bom  at  Rome  in  1492.  He  was  apprenticed  to 
Raphael  when  quite  young,  and  assisted  him  in 
the  Vatican ;  and  he  is  generally  considered 
Raphael's  best  pupil.  He  copied  several  of  his 
master's  Madonnas,  and  executed  some  few  from 
his  designs.  While  in  -Rome  he  painted  mythical 
frescoes  in  the  Villa  Lanti,  the  Villa  Madama.  the 

371 


Dei  Ingannati 


A  BIOGRAPHICAL  DICTIONARY  OF 


Dei  Bossi 


Farnese  Palace,  and  the  church  of  Santa  Trinity 
de'  Monti.  By  his  will,  Raphael  bequeathed  his 
implements  and  works  of  art  to  his  joint-executors, 
Giulio  Romano  and  Gianfrancesco  Penni,  and 
entrusted  to  them  the  completion  of  his  unfinished 
frescoes  in  the  Sala  di  Costantino  in  the  Vatican. 
In  1524  Giulio  went  to  Mantua  and  entered  the 
service  of  Duke  Federigo  Gonzaga.  He  was  there 
architect  for  the  Palazzo  del  T6,  and,  assisted  by 
numerous  pupils  (of  whom  the  chief  were  Bene- 
detto Pagni,  Rinaldo  Mantuano,  and  Primaticcio), 
decorated  the  interior  with  frescoes  representing 
the  '  Defeat  of  the  Giants,'  his  greatest  work,  and 
with  scenes  from  the  '  History  of  Cupid  and  Psyche.' 
He  also  painted  at  Mantua,  in  the  Ducal  Palace, 
frescoes  representing  'Diana  hunting,'  and  the 
'  History  of  the  Trojan  War,'  as  well  as  frescoes  in 
the  cathedral  and  other  churches.  Those  in  the 
cathedral,  however,  he  was  not  able  to  complete, 
for  having  accepted  the  post  of  architect  to  St. 
Peter's  at  Rome,  in  succession  to  San  Gallo,  he  was 
about  to  set  out  for  that  city  when  he  died  at 
Mantua  in  1546.  Of  his  easel  pictures  the  following 
are  the  most  famous  : 


Dresden. 
Florence. 


Genoa. 


Gallery. 
Uffizi. 


Pitti  Falace, 


San  Stefano, 


London.      JVat.  Gallery. 
Naples.  Museum. 


Paris. 


Louvre. 


La  Madonna  del  Catino. 
His  own  Portrait. 
Madonna  and  Child. 
Portrait  of  Cardinal  Acoolti. 
Dance  of  Apollo   and  the 

Muses. 
The  Virgin  with  the  Lizard. 
Martyrdom  of  St.  Stephen 

{one  of  Ms  hest  works). 
The  Infancy  of  Jupiter. 
La  Madonna  della  Gatta  (a 
variation     of     MajphaeVs 
'  Perla '). 
The  Nativity. 
„  „  The  Holy  Family. 

„  „  Triumph  of  Titus  and  Ves- 

pasian. 
,,  „  Venus  and  Vulcan. 

„  „  Portrait  of  a  Man. 

Bome.  8.  Peter's  {Sacristy).    Madonna. 
„       S.  Prassede  {Sacristy).  The  Flagellation. 
„       S.  Maria  ddV  Anima.  Madonna  and  Saints. 
„  Morghese  Pal.         Madonna  and  Child. 

„  Colonna  Pal.  Madonna  and  Child. 

Vienna.  Belvedere.  Allegory. 

„  „  St.MargaretandtheDragon. 

His  son  and  pupil,  Eaffaello  Pippi  de'  Giannuzzi, 
died  in  1562,  at  the  age  of  thirty. 

DEI  INGANNATI,  Pieeo.     See  BissoLO. 

DEI  MEDICI,  Maeia.     See  Maey. 

DEI  MICHIELI,  Andeea,  known  as  Andeea 
ViOENTiNO,  or  simply  Vioentino,  was  born  at  Venice 
in  1539,  and  was  a  scholar  of  the  elder  Palma.  He 
painted  historical  subjects  in  the  style  of  his  in- 
structor, and  was  employed  in  several  works, 
representing  subjects  from  the  history  of  the 
Republic,  in  the  Sala  del  Gran  Consiglio,  in  the 
Palace  of  St.  Mark.  He  also  painted  easel  pictures 
for  private  collections,  of  which  there  is  one  in 
the  Florence  Gallery,  representing  the  'Anointing 
of  Solomon,  King  of  Israel.'     He  died  in  1614. 

DEI  MOi'TI,  Jacopo,  was  a  Milanese  painter  in 
oil,  in  fresco,  and  on  glass,  who,  between  1485 
and  1490,  painted  several  windows  in  the  Certosa 
at  Pavia,  and  in  the  succeeding  years  decorated 
with  frescoes  several  of  its  chapels.  He  died  at 
Milan  in  1505. 

Cristofoeo  db'  Motti  also  practised  as  a  painter 
in  fresco  and  on  glass  at  Genoa,  Milan,  and  Pavia, 
between  the  years  1468  and  1514. 

DEI  PABSI,  GiEOLAMO.    See  Muziano. 

372 


DEI  PICCINELLI,  Baffaello  and  Andrea, 
known  as  the  Beescianini  of  Siena,  were  the  sons 
of  a  dancing-master  at  Siena,  where  they  flourished 
from  1507  to  1525.  They  were  the  pupils  of  a 
Sienese  painter,  named  Giovan  Battista  Giusi,  and 
they  together  painted  an  altar-piece,  representing 
the  '  Virgin  and  Child,  with  Saints,'  which  is  in  the 
Siena  Academy,  and  in  1524  the  'Baptism  of 
Christ,'  for  the  baptistery  of  the  cathedral  of  the 
same  city.  In  1525  they  went  to  Florence,  and  in 
the  same  year  Andrea,  and  probably  RafEaello  also, 
was  registered  in  the  Painters'  Guild.  A  '  Holy 
Family '  by  Andrea,  who  was  the  better  artist  of 
the  two,  is  in  the  UflSzi  Gallery  at  Florence,  and 
another  '  Holy  Family,'  ascribed  to  him,  is  in  the 
Berlin  Gallery.  The  beautiful  altar-piece,  a  '  Holy 
Family,'  of  the  church  of  Torre  di  Bibiano,  long 
attributed  to  Baldassare  Peruzzi,  is  also  supposed 
to  be  by  him.  The  brothers  appear  to  have  worked 
under  the  influence  of  Fra  Bartolommeo.  RafEaello 
died  at  Florence  in  1545. 

DEI  RITRATTI,  Francesco.    See  Negei. 

DEI  ROSSI,  Beenaedino,  who  worked  at  Pavia, 
was  one  of  the  artists  called  to  Milan  in  1490  to 
decorate  the  Porta  Giovia  Palace  of  Lodovico 
Sforza.  In  the  church  of  Santa  Maria  della  Pusterla, 
Pavia,  is  a  picture  of  the  '  Virgin,  with  Saints  and 
Donors,'  signed  and  dated  by  him  in  1491.  Between 
the  years  1498  and  1508  he  decorated  the  Certosa 
of  Pavia  with  wall  paintings,  of  which  the  frescoes 
of  the  '  Eternal,'  the  '  Prophets,'  and  the  '  Virgin 
Annunciate'  still  remain.  In  1511  he  executed 
some  frescoes  for  the  church  at  Vigano,  belonging 
to  the  Carthusians  of  Pavia,  which  have  now  dis- 
appeared. No  certain  dates  can  be  given  of  his 
birth  or  death. 

DEI  ROSSI,  Feancesco,  called  II  Cecchino  del 
Salviati,  or  II  Salviati,  (which  appellation  he 
acquired  from  the  favour  and  protection  he 
experienced  from  the  cardinal  of  that  name,)  and 
also  Feanzchen,  was  the  son  of  Michelangelo 
de'  Rossi,  a  weaver  of  velvets,  and  was  born  at 
Florence  in  1510.  He  was  a  fellow-student  with 
Giorgio  Vasari,  first  under  Andrea  del  Sarto,  and 
afterwards  under  Baccio  Bandinelli.  The  two 
young  friends  pursued  their  studies  at  Rome  with 
the  same  intimacy,  and  in  the  church  of  Santa  Maria 
della  Pace  Salviati  painted  the  '  Annunciation '  and 
'  Christ  speaking  to  St.  Philip,'  by  which  he  gained 
considerable  reputation.  He  also  embellished  the 
chapel  of  his  patron.  Cardinal  Salviati,  with  a 
series  of  frescoes,  representing  the  'Life  of  St. 
John  the  Baptist.'  He  was  employed  by  Pier 
Luigi  Farnese  to  make  designs  for  Flemish  tapes- 
tries for  his  palace,  in  which  he  represented  the 
'History  of  Alexander.'  In  conjunction  with  Vasari 
he  ornamented  the  apartments  of  the  Cancellaria 
with  several  paintings  in  fresco.  From  Rome  he 
went  to  Venice,  where  he  painted  several  pictures 
for  the  public  edifices  and  private  collections,  par- 
ticularly the  '  History  of  Psyche,'  in  a  saloon  of 
the  Palazzo  Grimaldi,  which  Vasari,  with  marked 
partiality  for  his  fellow-countryman  and  co-dis- 
.  ciple,  calls  the  finest  painting  in  all  Venice.  He 
afterwards  visited  Florence,  and  was  employed  by 
the  Grand-Duke  Cosmo  to  ornament  one  of  the 
saloons  of  the  Palazzo  Vecchio,  where  he  repre- 
sented the  'Triumph  and  Exploits  of  Furius 
Camillus,'  composed  and  painted  with  great  genius 
and  spirit,  and  with  an  accuracy  in  the  delineation  of 
the  ayms,  habiliments,  and  costume  of  ancient  Rome, 
which  is  worthy  of  the  most  learned  antiquary. 


Dei  Bossi 


PAINTERS  AND  BNGEAVEES. 


Dei  Kotari 


The  restless  and  unsettled  disposition  of  Salviati 
did  not  permit  him  to  reside  long  in  one  place,  and 
he  readily  complied  with  the  invitation  of  the 
Cardinal  de  Lorraine  to  accompany  him  to  France, 
where  Francis  I.  had  engaged  some  of  the  ablest 
artists  of  Italy  in  the  decoration  of  the  palace  of 
Fontainebleau.  He  was  received  with  distinction, 
and  was  treated  with  great  kindness  by  Prima- 
ticoio,  the  superintendent  of  the  works ;  but  the 
jealousy  and  turbulence  of  his  nature  returned 
these  good  ofBces  with  ingratitude  and  malevo- 
lence. During  his  stay  in  France  he  painted 
for  the  church  of  the  Celestines  at  Paris  a  fine 
picture,  representing  the  '  Taking  down  from  the 
Cross.'  The  '  Incredulity  of  St.  Thomas,'  by  him, 
is  now  in  the  Louvre.  Dissatisfied  with  his  situa- 
tion in  France,  he  returned  to  Eome,  where  he  fell 
into  new  difficulties  and  disputes  with  Daniele  da 
Volterra  and  Pietro  Ligorio.  The  continual  agita- 
tion of  his  mind  brought  on  a  fever,  of  which  he 
died,  at  Florence,  in  1563. 

DEI  ROSSI,  GiovAMBATTiSTA,  called  Jr.  Rosso, 
and  in  France  MaIteb  Eoux,  was  bom  at  Florence 
in  1494.  Although  he  was  not  a  disciple  of 
Andrea  del  Sarto,  he  was  at  first  an  admirer  of  his 
manner,  and  afterwards  improved  his  powers  by 
studying  the  works  of  Michelangelo  and  Parmi- 
giano.  Endowed  with  a  ready  and  inventive 
genius,  he  scorned  to  be  the  servile  imitator  even 
of  Buonarroti,  and  at  an  -early  age  he  ventured  to 
compete  with  the  ablest  of  his  contemporaries  in 
the  cloister  of  the  Annunziata,  where  he  painted 
a  large  fresco  of  the  '  Assumption  of  the  Virgin,' 
in  which  he  displayed  both  originality  and 
taste.  After  painting  several  other  pictures  for 
the  churches  at  Florence,  particularly  the '  Marriage 
of  the  Virgin,'  in  San  Lorenzo,  he  went  to  Eome, 
where  his  talents  were  already  known.  There, 
among  other  works,  he  painted  an  altar-piece  for 
Santa  Maria  della  Pace ;  and  had  acquired  con- 
siderable celebrity  when  Eome  was  taken  and 
plundered  in  1527.  Eosso  was  taken  prisoner 
by  the  Germans,  and  very  badly  treated,  but  he 
at  length  escaped,  and  took  refuge  at  Volterra, 
where  he  painted  for  the  cathedral  a  fine  picture 
of  the  'Deposition  from  the  Cross.'  He  after- 
wards went  to  Venice,  but  not  meeting  with  the 
success  he  expected  in  Italy,  he  resolved,  about 
1630,  on  visiting  the  court  of  Francis  I.  of  France, 
who  was  a't  that  time  the  great  enoourager  of  art. 
He  was  very  favourably  received  by  that  monarch, 
who  immediately  engaged  him  in  his  service,  and 
appointed  him  superintendent  of  the  great  works 
upon  which  he  was  then  engaged  at  the  palace  of 
Fontainebleau.  As  Eosso  was  not  less  eminent 
as  an  architect  than  as  a  painter,  he  undertook  the 
building  of  the  great  gallery  in  that  palace,  which 
was  executed  from  his  design,  and  which  he  decor- 
ated with  several  paintings  and  with  ornaments  in 
stucco,  some  of  which  were  afterwards  destroyed 
by  his  rival  and  competitor,  Primaticcio,  to  make 
way  for  his  own  works.  Thirteen  frescoes,  allusive 
to  the  life  of  Francis  I.,  still  remain,  but  have  been 
restored  by  MM.  Couder  and  Alaux. 

The  style  of  Eosso,  though  singular,  is  grand. 
He  displayed  a  dignity  of  character,  a  lively  ex- 
pression in  his  heads,  a  tasteful  arrangement  of 
his  draperies,  an  efEective  management  of  his 
light  and  shadow,  and  a  daring  execution  ;  though 
these  excellences  were  accompanied  by  a  wildness 
and  extravagance,  too  frequently  attached  to  a 
fertile  and  exuberant  imagination.     This  able  artist 


was  well  versed  in  literature,  and  had  a  taste  for 
poetry  and  music.  His  conversation  was  agree- 
able, and  his  manners  polished.  The  possession  of 
such  accomplishments  secured  him  the  regard  and 
good  graces  of  Francis  I.  He  was  in  the  full 
possession  of  royal  favour,  and  of  the  public 
estimation,  when  he  sacrificed  these  advantages 
to  a  mean  and  unfounded  suspicion.  He  had  con- 
tracted a  friendship  with  Francesco  Pellegrini,  a 
Florentine  painter,  who  was  in  the  habit  of  visiting 
him  frequently,  when, his  house  was  robbed  of  a 
considerable  sum.  He  rashly  suspected  Pellegrini 
to  be  the  robber,  and  brought  a  formal  accusation 
against  him.  Pellegrini  was  in  consequence  of  the 
charge  put  to  the  torture,  and,  after  sufEering  the 
most  horrible  torments,  was  declared  innocent.  The 
remorse  of  having  so  unjustly  exposed  an  innocent 
person  to  so  dreadful  a  trial,  preyed  upon  his 
mind,  and  he  put  an  end  to  his  existence  by  poison, 
at  Fontainebleau,  in  1541.  The  principal  works  of 
Eosso  which  exist  are  as  follow  : 
Berlin  Gallery.        The  Four  Seasons. 

Citt^diCastello.  Cathedral.  The  Transfiguration, 
Florence.  SS.  Annunziata.  The  Assumption  of  the  Virgin 
{fresco). 
„  S.  Lorenzo.      The  Marriage  of  the  Virgin. 

„         Pitti  Palace.     The  Virgin  enthroned,  with  St. 
Sebastian,  St.  Mary  Magda- 
len, and  other  Saints. 
„  Uffizi.  Moses  driving  away  the  Madi- 

anite  Shepherds. 

„  „  The  Virgin    enthroned,  with 

the  Infant   Jesus,  and   SS. 

Jerome  and  Francis. 

Fontainebleau.    Palace.     Francis  I.  crowned  by  Victory. 

„  „  A  Sacrifice  and  Thanksgiving 

for  the  King. 
„  „  Jupiter  and  Europa. 

„  „  Neptune  and  Amphitrite. 

„  „  Alexander  catting  the  Grordian 

Knot. 
„  „  Francis  I.  in  Boman  costume, 

holding  a  grenade. 
„  „  The  Burning  of  Troy. 

„  „  A  Hurricane,  in  aUusion  to  the 

Battle  of  Pavia. 
.,  „  The  THumph  of  Venus. 

„  „  Chiron  and  Achilles. 

„  „  .^sculapius  at  Bome. 

„  „  Cupid  and  Psyche. 

„  „  The  Battle  of  the  Lapithae  and 

the  Centaurs. 
Paris.  Lowure.        A  Pietjl. 

„  „  The  Challenge  of  the  Pierides. 

„  „  Mars  and  Venus  (pen-and-ink 

dravying). 
„  „  Design  for  a  Coffer  {pen-and-ink 


Petersburg.   Hermitage.    The  Virgin  and  Child,  with  St. 
John  the  Baptist. 
„  „  The  Madonna  in  glory. 

DEI  EOTAEI,  Conte  Pieteo,  who  was  of  a  noble 
family  of  Verona,  was  born  in  1707.  For  some 
time  he  merely  practised  painting  as  an  amuse- 
ment, but  his  progress  was  so  flattering,  that  he 
at  length  resolved  to  adopt  it  as  a  profession, 
and  he  became  a  scholar  of  Antonio  Balestra, 
under  whom  he  studied  until  he  was  eighteen 
years  of  age.  He  afterwards  visited  Venice, 
where  he  passed  two  years  in  studying  the  works 
of  the  best  masters  of  that  distinguished  school 
of  colouring.  In  1727  he  went  to  Eome,  where 
he  entered  the  school  of  Francesco  Trevisani,  and 
spent  four  years  in  studying  the  great  works  of 
art  in  that  city.  By  the  advantages  of  travel, 
and  an  assiduous  application  to  his  pursuit,  he 
became  a  correct  and  graceful  designer,  and  joined 

373 


Dei  Salviati 


A   BIOGRAPHICAL    DICTIONARY  OF 


De  Jode 


to  the  expressive  airs  of  his  heads  an  elegance  of 
contour,  and  a  tasteful  disposition  of  his  draperies, 
in  which  he  was  not  surpassed  by  any  artist 
of  his  time.  His  principal  works  in  Italy  are  his 
picture  of  the  •  Annunciation,'  at  Guastalla ;  and 
the  '  Birth  of  the  Virgin,'  in  the  church  of  San 
Giovanni,  at  Padua.  He  afterwards  visited  the 
courts  of  Vienna  and  Dresden,  where  he  inet  with 
the  most  ilattering  encouragement ;  and  in  1756 
was  invited  to  St.  Petersburg  by  the  Empress  of 
Russia,  who  appointed  him  her  principal  painter, 
in  which  capacity  he  died,  in  1762.  We  have 
several  slight  but  spirited  etchings  by  this  artist, 
some  of  which  are  from  his  own  compositions,  and 
others  after  the  works  of  Balestra.  Among  them 
are  the  following  • 

The  Portrait  of  Filippo  Baldinucci.    1726. 

St.  Francis  kneeling  before  a  Crucifix;  from  his  own 


The  Education  of  the  Virgin ;  the  scgng. 
Abraham  and  the  Angels ;  after  A.  Balestra. 
David  with  the  Head  of  Goliath  ;  after  the  same. 
St.  Jerome  ;  half-length ;  after  the  same. 
Venus  and  -^neas  ;  after  the  same. 

DEI  SALVIATI,  Iv  Ceoohino.  See  Dei  Rossi, 
Francesco. 

DEI  SERAFINI,  Sebafino,  who  was  living  in 
Modena  in  the  14th  century,  is  known  by  a  '  Coro- 
nation of  the  Virgin '  and  other  subjects  in  the 
cathedral  of  that  city.  It  bears  the  inscription 
"  Seraphinus  de  Seraphinis  pinxit  1385  die  Jovis 
x.x. I.I.I.  Marcii."  Although  there  is  but  little 
recorded  of  this  artist,  we  may  conclude  that  he  was 
probably  of  some  importance  in  his  time,  from 
the  following  inscription  in  a  chapel,  not  named, 
painted  by  him  • 

Mille  trecento  con  septanta  sei 
Erano  corso  gli  anni  del  Signore 
E'l  quarto  entrava  quando  a  so  honore 
Questa  Oapella  al  nobel  fin  minei. 
Et  io,  che  tutta  in  si  la  storiei 
Fui  Serafin  da  Mutina  Pittore. 

DEI  SERVI,  Constantino,  was  an  architect  and 
painterwho  was  living  at  Florence  at  the  beginning 
of  the  17th  century.  After  studying  awhile  under 
Santi  di  Tito,  he  went  to  Germany,  where  he  painted 
in  the  manner  of  Pourbus.  His  Florentine  mosaics 
earned  him  much  renown,  and  he  also  worked  as 
an  architect  and  engineer  for  the  Shah  of  Persia, 
the  Prince  of  Wales,  and  the  Emperor  Rudolph  II. 
He  died  in  1622. 

DEI  VECCHI,  Giovanni,  was  born  at  Borgo  San 
Sepolcro  about  the  year  1536.  He  went  to  Rome 
wlien  he  was  young,  where  he  first  became  a  dis- 
ciple of  Raiiaellino  dal  Colle,  but  he  afterwards 
studied  under  Taddeo  Zuccheri,  who  was  at  that 
time  employed  by  Cardinal  Alessandro  Famese  in 
the  embellishment  of  his  palace  of  Caprarola,  where, 
in  conjunction  with  his  instructor,  he  executed 
several  considerable  works.  There  are  many  of 
his  pictures  in  the  churches  at  Rome,  of  which  a 
particular  description  is  given  by  Baglione.  In 
San  Lorenzo  in  Damaso  is  one  of  his  most  esteemed 
productions,  representing  the  'Martyrdom  of  St. 
Lawrence ' ;  in  the  cupola  of  the  Chiesa  del  Gesii 
is  a  fresco  of  the  '  Pour  Doctors  of  the  Church ' ; 
and  in  Santa  Maria  in  Araceli  are  several  pictures 
from  the  life  of  St.  Jerome.  He  died  at  Rome 
in  1614. 

DEI  ZAGANELLI,  Francesco,  called  Fran- 
cesco DA  Cotignola,  was  born  in  the  latter  part  of 
the   15th  century  at  Cotignola,  in  the  Duchy  of 


Ferrara.      He  afterwards  lived   at   Ravenna,  and 
learned   his  art  under  Rondinello.      At  the  Brera, 
Milan,  is  a  '  Virgin  and  Child,  between  SS.  Francis 
and  Nicholas,  and  a  kneeling  patron,'  signed  by 
him  in  1505  ;  another  similar  subject,  in  which  his 
brother  Bernardino  is  said  to  have  assisted  him, 
is  in  the  same  gallery.     In  1509  he  painted  the 
'  Infant  Christ,'  now  in  the  Dublin  National  Gallery. 
The   Costabili   Collection,  in  Ferrara,  possesses  a 
'  St.  Sebastian,'   painted   in   1513  _;    and  of  about 
that  time  is  the  altar-pi«ce  now  in  the  gallery  of 
Forli,  representing  the  'Eternal  in  Glory,  adored 
by  the  Saints  on  earth.'     His  celebrated  picture 
of  the  '  Resurrection,'  at  Classe,  and  his  esteemed 
work  of  the  '  Baptism  of  Christ,'  at  Faenza,  are 
productions  that  do  honour  to   his  country.     He 
also  painted,  in  1518,  an  admirable  picture  of  the 
'  Madonna  surrounded  by  Saints,'  at  the  Osservanti 
at  Parma,  in  which  he  was  assisted  by  his  brother 
Bernardino,   who  was   an   artist   of  considerable 
ability.     Others  of  his  most  important  works  are 
the  '  Virgin  and  Child,  with  SS.  John  the  Baptist, 
John  the  Evangelist,  and  Bernardino';  and  the  two 
portraits  of  the  Pallavicini  family,  painted  in  1518, 
in  the  church  of  the  Nunziata,  outside  the  Porta 
Nuova   of   Parma.     Signer   Federico    Mylius,   of 
Genoa,  possesses  a  bust  of  the  Saviour  executed 
by  Francesco  and  his  brother  Bernardino.     Of  the 
latter's  own  work  only  a  single  example  is  known, 
viz.,  a  '  St.  Sebastian,'  belonging  to  Signer  Frizzoni, 
of  Bellaggio.     Many  otKer  paintings  by  Francesco 
are  to  be  met  with  in  the  galleries  and  churches  of 
Ravenna.     The  date  of  his  death  is  uncertain,  but 
after  1518  all  traces  of  him  are  lost. 

DE  JAGER,  Gerard,  a  native  of  Dordrecht, 
flourished  about  1646.  He  painted  marine  sub- 
jects, and  particularly  excelled  in  the  representation 
of  still  water.     He  was  still  living  in  1663. 

DE  JODE,  Arnold,  the  son  of  Pieter  De  Jode, 
the  younger,  was  born  at  Antwerp  in  1638.  He 
was  instructed  in  engraving  by  his  father,  but  he 
never  rose  above  mediocrity.  He  worked  in  the 
Netherlands  and  in  Spain,  and  was  in  England  in 

1666,  the  year  of  the  great  fire  in  London,  and  in 

1667.  His  best  prints  are  portraits,  though  they 
are  but  indifferent.  Among  other  plates,  the  fol- 
lowing are  by  him : 

PORTRAITS. 

Cardinal  Pallavicini ;  after  Titian. 
Catharine  Howard,  Duchess  of  Lennox ;  after  Van  Bycls. 
Sir  Peter  Leiy  ;  after  Lely. 

Alexander  Browne ;  prefixed  to  his '  Ars  Pictoria'  ;  after 
Huysmans. 

VARIOUS   SUBJECTS. 

The  Education  of  Cupid ;  after  Correggio.    1667. 

The  Magdalen  ;  oval ;  after  Van  Dyck. 

The  Infant  Christ  embracing  St.  John ;  after  the  same  ; 

inscribed  Arnoldus  de  Jode,  sculp.  Londini,  tempore 

incendii  maximi. 
A  Landscape  ;  after  L.  De  Vadder.     1658. 
Some  other  Landscapes ;  after  Jacques  Fouquieres. 

DE  JODE,  Geekit,  a  Flemish  engraver  and 
printseller,  appears  to  have  been  bom  at  Antwerp 
m  1521.  He  was  the  head  of  a  family  greatly  dis- 
tinguished in  the  art  of  engraving.  He  executed 
several  plates  of  historical  and  geographical  sub- 
jects, in  which  his  style  appears  to  have  been  an 
imitation  of  that  of  Cornells  Cort.  He  died  at 
Antwerp  in  1591.  The  following  are  some  of  his 
principal  prints : 

A  set  of  twenty-nine  Portraits  of  the  Popes.    1585. 


Se  Jode 


PAINTERS  AND  ENGRAVERS. 


Dejuinne 


A  Roman  Triumph,  in  twelve  sheets ;  after  M.  Heeinc- 

kerk. 
The  Crucifixion  ;  a  large  print,  in  three  sheets  ;  after 

Michelangelo  Buonarroti^  but  without  the  name  of 

the  painter. 
St.  Jerome  in  meditation ;  after  Titian.    1565. 

DE  JODE,  PiETEB, '  the  elder,'  the  son  of  Gerrit  De 
Jode,  was  born  at  Antwerp  in  1570.  After  being 
taught  the  rudiments  of  design  by  his  father,  he  was 
instructed  in  engraving  by  Hendrik  Goltzius.  He 
afterwards  went  to  Italy  for  improvement,  par- 
ticularly in  drawing,  and  engraved  several  plates 
from  the  works  of  the  great  masters.  About  the 
year  1601  he  returned  to  Antwerp,  where  he  dis- 
tinguished himself  by  producing  various  prints 
after  the  principal  Flemish  painters.  He  and  his 
son  were  in  1631  in  Paris,  where  they  worked  for 
some  time.  His  drawing  is  very  correct ;  and 
though  his  command  of  the  graver  is  less  daring 
and  bold  than  that  of  his  instructor,  he  is  less 
mannered  and  extravagant.  He  died  at  Antwerp 
in  1634.  He  engraved  about  a  hundred  plates,  of 
which  the  following  are  the  principal : 

POETEAITS. 

Erycius  Puteanus,  (Hendrik  van  der  Putte,)  a  Dutch 

savant. 
Giovanni  Boccaccio ;  after  Titian. 
Ferdinand,  Count  Palatine  of  the  Khine ;  oval ;  after 

Bvibens. 
Philip  III.,  King  of  Spain  ;  oval ;  after  the  same. 
Francisco  de  Mello,  Count  d'Azumar. 
Ambrogio  Spiuola. 

VABIOUS  SUBJECTS. 

The  Five  Senses ;  apparently  from  his  own  designs. 
The  Life  and  Miracles  of  St.  Catharine  of  Siena ;  twelve 

plates ;  after  Francesco  Vanni.     1606. 
The  Life  of  Christ ;  thirty-six  plates. 
Costumes  of  the  People  of  Europe ;  after  S.  Francken. 
The  Virgin  and  Child ;  after  Titian. 
The  Marriage  of  St.  Catharine ;  after  the  same. 
The  Holy  Family  ;  after  the  same. 
The  Adoration  of  the  Shepherds ;  after  A.  van  Oort. 
Christ  and  Nicodemus  ;  cfter  the  same. 
The  Beheading  of  St.  Jolin  the  Baptist ;  after  Eubens. 
Christ  giving  the  Keys  to  St.  Peter  ;  after  the  same. 
The  Virgin  fainting  at  the  sight  of  Christ  crowned 

with  thorns  ;  after  F.  Vanni. 
The  Coronation  of  St.  Catharine ;  after  the  same. 
The  Last  Judgment ;   after  Jean  Cousin ;  on  twelve 

plates ;  one  of  the  largest  prints  known. 

DE  JODE,  PiETEB,  'the  younger,'  the  son  of 
the  elder  artist  of  the  same  names,  was  born  at 
Antwerp  in  1606,  and  was  instructed  by  his  father, 
whom  he  surpassed  in  the  taste  and  facility  with 
which  he  handled  the  graver.  He  engraved  up- 
wards of  three  hundred  plates,  but  they  are  very 
unequal.  His  best  works  are  his  portraits,  several 
of  which  he  engraved  after  Van  Dyck.  The  date 
of  his  death  is  unknown.  The  following  are  his 
most  esteemed  prints : 

POETEAITS   AFTEE   VAN  DYCK. 
Charles  I. 

Henrietta  Maria,  his  Queen. 
Thomas  Wentworth,  Earl  of  Strafford, 
Prince  Rupert. 

Catharine,  Countess  of  Newburgh. 
Pieter  De  Jode,  the  younger. 
Jacob  Jordaens,  painter,  of  Antwerp. 
Cornells  van  Poelenburg,  painter,  of  Utrecht. 
Jan  SneDinck,  painter,  of  Antwerp. 
Daniel  Mytens,  painter. 
Adam  De  Coster,  painter,  of  Mechlin. 
Andreas  Colyns  de  Nole,  sculptor,  of  Antwerp. 
Hendrik  Liberti,  organist. 
Albert,  Duke  of  Friedland,  Count  of  Wallenstein. 


Genevieve  d'TJrfe,  Duchess' de  Croy. 
Jeanne  de  Blois. 

Jean  de  Tserclaes,  Count  de  Tilly. 
Diodorus  van  Tulden,  professor  at  Louvain. 
Anthony  Trieste,  Bishop  of  Ghent. 

POETEAITS  AFTEE  OTHEE  MASTEES. 

Karl  Heinrich,  Baron  von  Mettemioh;    after  A.  van 

Sulle. 
August  Adolph,  Baron  von  Trautdorf ;  after  the  same. 
Thomas  Ricciardi ;  after  jSimon  Vouet. 
Ernest,  Count  d'Iserabourg ;  aper  J.  Willehorts  Bosch- 

aert. 
Petrus  de  Franoavilla,  sculptor  and  architect ;   after 

Bunel, 

SUBJECTS   AFTER    VARIOUS    MASTEES. 

St.  Augustine,  crowned  by  Religion ;  P.  de  Jode,  fee. 
St.  Francis  kneeling  before  a  Crucifix ;  after  Baroccio. 
The  Holy  Family ;  after  Titian. 

The  Visitation  of  the  Virgin  to  St.  Elizabeth  ;  after 
.  Rubens. 
The  Three  Graces ;  after  the  same. 
Venus  rising  from  the  Sea  ;  after  the  same. 
.  Cybele  and  Neptune ;  after  the  stime. 
St.  Francis  and  St.  Clara  adoring  the  Infant  Jesus ;  after 

Gerard  Segers. 
Christ  with  Nicodemus  ;  after  the  same. 
The  Nativity ;  after  J.  Jordaens. 
The  Miracle  of  St.  Martin  of  Tours ;  after  the  same. 
Folly  and  Ignorance  ;  after  the  same. 
St.  Augustine  supported  by  Angels  ;  after  Van  Dyck. 
St.  Augustine  adoring  the  Mystery  of  the  Holy  Trinity ; 

after  the  same.    (Sis  test  work.) 
Rinaldo  and  Armida ;  after  the  same. 
The  Holy  Family,  with  St.  Anne ;  after  A.  van  Diepen- 

heek. 
An  Allegory  of  Peace ;  after  the  same. 
St.  John  the  Baptist  m  the  Desert ;  after  P.  van  Mol. 

DE  JONG,  LuDOLP,  (Db  Jongh,  or  De  Jonge,) 
was  bom  at  Overschie,  a  village  near  Rotterdam, 
in  1616.  He  was  the  son  of  a  shoemaker,  who 
intended  bringing  him  up  to  the  same  business, 
but  from  his  aversion  to  the  work  and  strong 
disposition  for  art,  he  was  placed  under  Comelis 
Sachtleven,  with  whom  he  passed  two  years.  He 
afterwards  studied  successively  under  Anthony 
Palamedes  of  Delft,  and  Jan  Bijlert  of  Utrecht. 
He  subsequently  went  to  France,  and  passed 
seven  years  at  Paris,  where  he  met  with  encour- 
agement as  a  portrait  painter,  in  which  branch 
of  art  he  chiefly  excelled.  He  also  painted  easel 
pictures  of  hunting-parties  and  battles,  which  are 
ingeniously  composed  and  touched  with  spirit  and 
vigour.  On  his  return  to  Holland  he  settled  at 
Rotterdam,  where  he  was  much  employed.  His 
most  considerable  work  is  a  large  picture  in  the 
'  Salle  des  Princes  '  in  that  city,  containing  the  por- 
traits of  the  ofScers  of  the  Company  of  Burghers. 
He  died  at  Hillegersberg  in  1697. 

DE  JONGHE,  Jean  Baptistb,  a  Belgian  land- 
scape painter,  was  born  at  Courtrai  in  1785.  He 
studied  under  Ommeganck,  and  travelled  in  Hol- 
land, France,  and  England.  He  finally  settled  at 
Brussels,  where  he  had  many  pupils  and  followers. 
He  exhibited  his  works  at  Paris,  Lyons,  Brussels, 
Amsterdam,  the  Hague,  Vienna,  &c.,  and  obtained 
various  medals.  He  died  at  Antwerp  in  1844. 
Amongst  his  best  productions  are : 

Environs  of  Toumai  (Brussels  Museum). 
Stream  with  Cattle  (Ghent  Academy). 
View  near  Courtrai  (Ghent  Academy). 
Interior  of  a  Farm  (^Haarlem  Museum). 
Travellers  Resting  (Haarlem  Museum). 
Flock  of  Sheep ;  sandy  road  (Toumai  Museum). 

DBJUINNE,  FRAN901S  Louis,  was  born  in  Paris 
in  1786,  and  learned  the  art  of  painting  under 

375 


De  Kempeneer 


A  BIOGRAPHICAL  DICTIONARY  OF 


Dekker 


Girodet.  He  visited  Rome,  where  he  studied  the 
■works  of  Titian,  Paolo  Veronese,  and  other  great 
masters.  He  died  in  Paris  in  1844.  His  paintings 
were  mostly  historical  ;  among  them  are  the 
'  Ascension  of  the  Virgin '  and  '  St.  Genevieve  '  for 
Notre-D,ime  de  Lorette,  and  '  The  Four  Seasons ' 
for  the  Trianon  Palace. 

DE  KEMPENEER,  Pietee,  better  known  by 
his  Spanish  name  of  Pedro  Campana,  which  has 
been  translated  into  French  as  Champaigne,  and 
iijto  Flemish  as  Van  de  Veldb,  was  a  painter  bom 
at  Brussels  in  1503,  although  from  the  character  of 
his  works  and  his  subsequent  life  he  should  be 
classed  with  the  Spanish  school.  He  visited  Italy 
early  in  life,  and  there  studied  the  masterpieces  of 
Raphael  and  Michelangelo.  On  his  journey  to 
Rome  in  1530  he  painted  the  triumphal  arch  which 
was  erected  at  Bologna  for  the  coronation  of 
Charles  V.  He  afterwards  went  to  Spain,  and 
subsequently  to  1548  painted  numerous  devotional 
pictures  for  the  churches  of  Seville.  His  master- 
piece is  the  '  Descent  from  the  Cross,'  which  he 
painted  about  1548  for  the  church  of  Santa  Cruz, 
and  which,  when  that  church  fell  into  ruins,  was 
removed  to  the  cathedral  of  Seville.  This  work 
was  designed  from  the  engraving  of  Marc  Antonio 
after  Raphael,  and  is  one  that  in  colouring,  in 
the  expression  of  the  countenances,  and  in  unity 
and  simplicity  of  composition,  compares  favour- 
ably with  the  productions  of  Albrecht  Durer.  Such 
was  at  one  time  its  life-like  awful  character  that 
Murillo  used  to  stand  watching,  as  he  said,  until 
those  holy  men  should  have  finished  taking  down 
the  Saviour.  A  'Purification  of  the  Virgin'  and  a 
'  Resurrection '  by  him,  also  in  the  cathedral,  by 
the  beauty  of  their  design  and  the  luminous  cha- 
racter of  their  colouring  are  suggestive  of  the 
highest  period  of  Italian  art.  The  parish  churches 
of  Triana  and  of  Santa  Maria  at  Carmona  possess 
paintings  by  this  master.  De  Kempeneer  returned 
to  Brussels  not  later  than  1563,  and  died  in  that 
city  in  1680.  Besides  the  above-named  works  he 
has  left  the  following : 

Seville.  S.  Isidore.        St.  Paul  the  Hermit. 
„  St.  Anthony,  Abbot. 

„         S.  Pedro.         Christ  bound  to  the  Pillar. 
„  „  St.  Sebastian. 

„  „  St.  Jerome  enthroned. 

{These   three  pictures    have    been 
repainted.) 
„        8.  Catalina.      St.  Jerome  enthroned,  with  Saints. 
„        S,  Juan  de  la  \  Cniciflxion,  with  the  "Virgin  and 
Talma.       J      St.  John.     (An  early  work.) 

DE  KEYSER,  Thomas,  (until  recently,  named  in 
error  Theodoor,)  was  born  at  Amsterdam  about 
the  year  1595.  In  the  Gallery  at  the  Hague 
is  a  fine  picture  by  this  Dutch  painter,  represent- 
ing the  Pour  Burgomasters  of  Amsterdam  deliber- 
ating on  the  honours  to  be  paid  to  Marie  de 
M^dicis,  on  her  entrance  into  that  city  in  1638. 
The  heads  are  admirably  painted,  and  with  a  rich- 
ness of  colouring  nearly  approaching  to  Rembrandt. 
The  portraits  of  Rombout  Hoogerbeets,  his  wife, 
and  family,  and  two  other  pictures,  now  in  the 
Museum  at  Amsterdam,  were  also  painted  by  him. 
There  is  also  a  picture  by  him  in  the  National 
Gallery,  representing  'A  Merchant  and  his  Clerk.' 
He  died  at  Amsterdam  in  1679.  Some  of  ""T-J 
his  works  are  signed  with  the  accompanying  tX 
monogram :  ISI 

DE  KEYSER,  Willem,  (or  De  Ketsab,)  was 
born  at  Antwerp  about  the  year  1647.  He  was 
376 


brought  up  as  a  jeweller,  in  which  profession  he 
became  very  eminent,  but  having  been  well  edu- 
cated, and  taught  to  draw,  he  had  a  strong  inclina- 
tion for  painting,  and  employed  all  his  leisure  hours 
in  practising  in  miniature,  enamel,  and  oil-colours. 
Having  painted  some  altar-pieces  at  Antwerp,  his 
business  called  him  to  Dunkirk,  where  he  painted  a 
picture,  for  the  chapel  of  the  English  nuns,  who 
were  so  pleased  with  it,  that  they  persuaded  De 
Keyser  to  go  to  England,  and  gave  him  letters  of 
recommendation  to  Lord  Melfort,  then  in  favour 
with  James  II.  The  enthusiastic  painter  could  not 
resist  the  proposal ;  he  embarked  on  board  an 
English  vessel,  and,  unknown  to  his  wife  or 
family,  sailed  for  England.  His  reception  was 
equal  to  his  wishes.  He  was  introduced  to  the 
king,  who  promised  to  countenance  him,  and 
several  persons  of  rank,  who  had  known  him  at 
Antwerp,  encouraged  him  in  his  new  vocation. 
Transported  with  this  prospect  he  sent  for  his 
wife,  ordering  her  to  dismiss  his  workmen,  and 
convert  his  effects  into  money.  Within  half  a 
year  the  bubble  burst ;  the  Revolution  happened, 
De  Keyser's  friends  could  no  longer  be  his  pro- 
tectors, his  business  decreased,  and  the  pursuit  nf 
the  philosopher's  stone,  to  which  he  had  recourse 
in  his  despair,  completed  his  ruin.  He  died  at 
the  age  of  forty-five,  about  the  year  1692.  He 
left  a  daughter,  whom  he  had  taken  great  pains 
to  instruct,  and  with  success.  She  painted  small 
portraits  in  oil,  and  copied  well. 

DEKKER  (or  Decker).  There  are  several 
artists  of  this  name,  either  German  or  Dutch, 
enumerated  by  different  writers,  with  admirable 
confusion  in  apportioning  their  respective  works. 
Some  call  Cornelis  Gerrits,  the  landscape  painter, 
Coenraet,  others  Karel,  or  Hendrik,  each  saying 
that  his  pictures  resemble  those  of  Uuisdael ;  Gus- 
tos, like  Frans,  is  said  to  have  painted  grotesque 
subjects  ;  Adriaen,  to  have  been  a  scholar  of  Ever- 
dingen ;  Jan,  a  painter  of  interiors,  conversations, 
and  landscapes  in  the  manner  of  Murant;  Hans 
was  a  sculptor ;  the  others  occur  in  the  following 
articles.  The  Dekker  whose  works  are  best 
known  in  England  is  Frans,  who  painted  views, 
similar  to  Ruisdael's,  on  a  small  scale,  and  also 
weavers'  workshops.  Brulliot,  following  Hei- 
necken,  says  that  Karel  was  an  engraver,  who 
flourished  about  the  commencement  of  the  18th 
century. 

DEKKER,  Cornelis  Gerrits  (often  incorrectly 
called  Coenraet  Decker),  who  was  born  in  the 
earlier  half  of  the  17th  century,  is  supposed  to 
have  studied  under  Solomon  Ruisdael.  He  died  in 
poverty  at  Haarlem  in  1678.  A  good  example  of 
his  style  is  a  '  Wooded  Landscape,'  in  the  Rotter- 
dam Museum.  There  are  likewise  two  Landscapes 
by  him  in  the  Louvre.  He  was  of  the  same  period 
and  of  the  same  school  of  landscape  art  as  Ruis- 
dael, to  whom  his  works  were  for  a  long  time 
attributed.  Adriaan  van  Ostade  and  Adriaan  van 
de  Velde  painted  figures  of  men  and  animals  in  his 
pictures. 

_  DEKKER,  Frans,  is  a  painter  of  whom  hut 
little  is  known,  although  his  pictures  possess  great 
merit,  and  are  to  be  met  with  in  almost  every  col- 
lection. He  is  stated  to  have  been  born  at  Haarlem 
in  1684,  and  to  have  died  at  the  same  place  in  1751, 
having  been  a  pupil  of  Romeyn  De  Hooghe  and  of 
Bartholomeus  Engels.  He  painted  landscapes  in  a 
very  pleasing  and  natural  style,  resembling  the 
charming  produclions  of  Ruisdael,  but  without  the 


Se  Eoninck 


PAINTEES  AND  ENGRAVERS. 


Delacroix 


servility  of  an  imitator.  He  also  excelled  in  cari- 
cature. 

DE  KONINCK,  David,  (De  Koning,  De  Koningh, 
or  De  Coninck,)  called  Eammelaab,  was  born  at 
Antwerp  in  1636.  After  studying  for  some  time 
in  his  native  country  under  Jan  Fyt,  he  travelled 
in  Germany,  France,  and  subsequently  in  Italy. 
He  settled  at  Rome,  and  eventually  died  there  in 
1687.  His  works,  which  are  not  numerous,  repre- 
sent chiefly  landscapes  ornamented  with  animals 
of  all  descriptions,  and  in  every  respect  are  nearly 
as  good  as  those  of  his  master,  Jan  Pyt.  At 
Ghent  there  is  a '  Garden  with  domestic  animals '  by 
De  Koninok ;  and  in  the  Museum  of  Amsterdam 
there  are  a  '  Stag-hunt '  and  a  '  Bear-hunt.' 

DEKONINCK,Philip,(DeKoninq,De  Koningh, 
or  Db  Coninck,)  was  born  at  Amsterdam  in  1619, 
and  was  one  of  the  ablest  scholars  of  Rembrandt. 
He  painted  historical  subjects  and  portraits,  but 
was  particularly  eminent  in  the  latter,  in  which  he 
was  one  of  the  most  distinguished  artists  of  his 
time.  His  colouring,  though  rich  and  harmonious, 
is  clearer  than  that  of  Rembrandt,  and  partakes  of 
the  chaste  and  tender  tinting  of  Van  Dyck.  There 
is  an  uncommon  appearance  of  truth  and  nature  in 
his  heads,  with  a  more  tasteful  arrangement  of  the 
attitudes  and  habiliments  than  is  usual  in  the 
portraiture  of  the  artists  of  his  country.  There  is  a 
fine  portrait  of  De  Koninck,  by  himself,  in  the  UfBzi 
at  Florence.  He  died  at  Amsterdam  in  1689.  In 
the  Museum  of  that  city  there  is  a  '  Landscape 
with  Animals '  by  him  ;  another  landscape  is  in  the 
Museum  at  the  Hague,  a  replica  of  which  is  in  the 
National  Gallery ;  another  is  in  the  Rotterdam 
Museum ;  and  another,  which  is  assigned  to 
Rembrandt,  is  in  the  UfBzi  at  Florence.  A  '  View 
in  the  Environs  of  Scheveningen'  is  in  the  Brussels 
Gallery. 

DE  KONINGH,  Leendeet,  a  Dutch  marine  and 
landscape  painter,  was  bom  at  Dordrecht  in  1777. 
He  was  instructed  by  A.  Vermeulen  and  M.  Versteeg, 
and  in  1801  came  to  England,  but  was  soon  com- 
pelled to  leave  this  country  on  account  of  the 
war.  He  then  went  to  Paris,  and  studied  under 
David.  Thence  he  returned  home  by  way  of 
Germany,  and  afterwards  paid  a  second  visit  to 
England,  where  he  remained  till  after  the  fall  of 
Napoleon.     He  died  at  Dordrecht  in  1849. 

DE  LA  BAER,  Johannes,  (or  De  La  Baeee,)  a 
Flemish  painter  upon  glass,  who  has  been  often 
confounded  with  Jan  Barra,  a  Dutch  engraver,  was 
a  native  of  Bois-le-Duc,  and  was  received  as  a 
master  into  the  Guild  of  St.  Luke  at  Antwerp  in 
1625.  He  was  an  artist  of  real  merit,  and  belonged 
entirely  to  the  school  of  Rubens.  The  windows  of 
the  chapel  of  the  Virgin  in  the  church  of  St. 
Gudule  at  Brussels,  which  were  for  a  long  time 
attributed  to  Rubens,  are  known  now  to  have  been 
executed  from  his  designs.  He  also  engraved  a 
plate  of  the  fa9ade  of  the  Jesuit  church  at  Antwerp. 

DE  LA  BERGE,  Chaeles  Augusts,  a  French 
landscape  painter,  was  bom  in  Paris  in  1805.  In 
1824  he  entered  the  studio  of  Berlin,  the  landscape 
painter,  and  in  1827  that  of  Picot,  the  historical 
painter.  He  first  exhibited  at  the  Salon  of  1831, 
and  in  the  years  1837-39  painted  entirely  from 
nature,  and  at  the  time  of  day  which  it  represents, 
a  '  Landscape  at  sunset,'  which  is  in  the  Louvre. 
He  died  in  Paris  in  1842. 

DE  LA  BOISSIERE,  Simon,  was  a  French  engi- 
neer, who  also  distinguished  himself  as  an  engraver. 
He  was  born  in   Paris  about  1637,  and  executed 


several  plates  from  his   own  designs,  and   after 
S^bastien  Le  Clerc.     There  are  by  him  : 

The  Death  of  a  Prince,  surrounded  by  his  Court. 
Several    plates    of    Medals   for    Molinet's    '  Hlstoria 

Pontificum,'  1679. 
A  View  of  the  Palais  Royal ;  in  two  sheets. 
Several   plates   for    Desgodets'   'Traits   des   Edifices 

Antiques  de  Borne,'  Fans,  1682. 

DE  LA  CALLBJA,  Andeeas,  a  Spanish  painter, 
was  born  at  Rioja  in  1705.  He  was  a  pupil  of 
G.  A.  Ezquerra,  and  was  so  successful  in  his  early 
efforts  that  he  was  soon  appointed  by  King  Philip  V. 
to  a  post  of  bonour.  Philip  VI.  in  1752  made  him 
first  Director  of  the  newly-founded  Academy  at 
Madrid,  and  he  established  a  school  of  some  repute. 
But  we  are  told  that  the  principal  occupation  of 
his  latter  years  was  that  of  restoring  the  ancient 
pictures  belonging  to  the  king  1  It  would  be  un- 
just to  visit  on  him  all  the  iniquities  that  have 
been  perpetrated  on  pictures  in  Spain  by  the  pro- 
cess of  restoring ;  for  to  such  an  extent  has  it  been 
carried,  that  very  few  of  them,  really  worth  pre- 
serving, have  escaped.  His  best  works  are  in  the 
churches  of  Santa  Cruz  and  of  San  Felipe  el  Real 
at  Madrid.     He  died  in  that  city  in  1785. 

DELACAZETTE,  Sophie  Clj^mence,  a  French 
miniature  painter,  was  born  at  Lyons  in  1774.  She 
was  a  pupil  of  Regnault  and  of  Augustin,  and 
exhibited  annually  at  the  Salon  from  1806  to  1838. 
In  1808  she  sent  a  portrait  of  Mile.  Barilli,  which 
has  been  engraved  by  Masquelier.  She  died  in 
Paris  in  1854. 

DE  LA  CHAPELLE,  Geoege,  a  painter  bom  at 
Caen,  visited  the  Levant  in  the  early  part  of  the  17th 
century.  His  work  is  known  to  us  by  a  series  of 
engravings  executed  probably  by  Nicolas  Cochin. 

DE  LA  CORTE,  Gabeibl,  the  son  of  Juan  de  La 
Corte,  was  born  at  Madrid  in  1648.  Without  the  aid 
of  a  master  he  practised  flower-painting  by  copying 
the  works  of  Mario  and  Arellano.  He  arrived  at 
such  a  degree  of  excellence  that  Antonio  de  Cas- 
trejon  and  Matias  de  Torres  employed  him  to  paint 
garlands  of  flowers  to  surround  their  mythological 
subjects.     He  died  at  Madrid  in  1694. 

DE  LA  CORTE,  Juan,  a  Spanish  painter,  was  born 
at  Madrid  in  1597.  He  was  instructed  by  Velaz- 
quez, and  painted  portraits  and  history,  but  chiefly 
excelled  in  battle-pieces  and  perspective  views.  He 
also  painted  small  pictures  of  subjects  from  sacred 
history.  He  was  painter  to  Philip  HI.,  and  was 
continued  in  that  situation  by  his  successor,  Philip 
IV.  There  are  several  of  his  pictures  in  the  palace 
of  Buen  Retire.     He  died  at  Madrid  in  1660. 

DE  LA  CEOCE,  Johann  Nepomitk,  an  Austrian 
painter,  was  born  at  Pressano,  in  the  Tyrol,  in  1736. 
He  studied  under  Lorenzoni,  and  after  travelling 
in  Italy,  Germany,  Hungary,  and  France,  he  settled 
at  Burghausen.  The  portraits  which  he  painted 
are  estimated  by  Lipowski  at  the  immense  number 
of  5000,  and  his  historical  pictures  at  200.  There 
are  many  altar-pieces  by  him  in  the  churches  of 
Bavaria.  He  died  in  1819.  His  son,  Clemens  db 
La  Ceoce,  who  was  also  a  painter,  was  born  at 
Burghausen  in  1783,  and  died  in  1823. 

DELACROIX,  AuGUSTB,  a  French  marine  painter, 
was  bom  at  Boulogne  in  1809,  and  died  there  in 
1868.  He  produced  some  elegant  sea-pieces  taken 
on  the  French  and  North  African  coasts,  and  also 
painted  some  African  genre  pictures. 

DELACROIX,  Febdinand  Victor  Edgene,  a 
French  historical  painter,  was  born  at  Charenton 
St.  Maurice,  near  Paris,  in  1798.     His  father  held 

377 


Delacroix 


A  BIOGRAPHICAL  DICTIONAEY  OF 


Be  La  Fosse 


high  office  under  the  Eepubhc  and  First  Empire, 
being  successively  deputy  in  the  Convention, 
minister  under  the  Directory,  and  prefect  of  Mar- 
seilles, and  subsequently  of  Bordeaux.  Young 
Delacroix  received  his  first  instruction  in  the 
Lyc^e  Imperial ;  but  on  the  death  of  his  father, 
he  had  to  make  his  own  way  in  life,  almost 
unaided.  In  1817  he  entered  the  studio  of  Guirm, 
where  amongst  his  fellow-pupils  were  G^ricault, 
Ary  SohefEer,  Henriquel-Dupont,  and  Cogniet.  His 
first  exhibited  work,  '  Dante,  and  Virgil,'  appeared 
in  1822,  and  achieved  a  great  success.  Through 
it  he  spent  some  time  in  the  studio  of  Baron  Gros, 
and  might  have  obtained  great  academic  honours 
but  for  his  divergence  from  the  prevalent  classicism. 
This  breach  widened,  and  Delacroix,  Gericault, 
and  others,  became  the  recognized  leaders  of  the 
Eomantio  School.  The  conflict  between  the  rival 
schools  was  very  bitter,  and  it  was  not  till  after  the 
Revolution  of  1830  that  Delacroix  and  the  Roman- 
ticists began  to  receive  a  share  of  the  state  patron- 
age which  exercises  so  great  an  influence  on  art  in 
France.  In  1831  he  visited  Spain,  Morocco,  and 
Algiers,  and  several  important  works  were  the 
result  of  this  journey.  In  1832,  through  the 
influence  of  Thiers,  although  not  without^  great 
opposition,  he  received  his  first  public  commission. 
Between  that  year  and  1865  he  executed  decorative 
works  for  the  Chamber  of  Deputies,  the  Library 
of  the  Luxembourg,  the  Galerie  d'ApoUon  in  the 
Louvre,  the  Salon  de  la  Paix  in  the  Hotel  de  Ville, 
and  the  Church  of  St.  Sulpice.  He  was  elected  at 
the  Academy  in  1857.  He  last  exhibited  at  the 
Salon  in  1859,  and  died  in  Paris  in  1863.  Person- 
ally, Delacroix  was  a  nervous  man,  objecting  to 
visitors  in  his  studio,  although  he  was  not  deficient 
in  those  traits  which  render  a  man  agreeable  in 
society.  His  vrorks  show  the  attraction  which  the 
darker  side  of  human  nature  had  for  him,  and  it  was 
in  the  depiction  of  scenes  of  passion  and  of  blood 
that  he  achieved  his  greatest  successes,  to  which 
his  excellence  as  a  colourist  no  little  contributed. 
Besides  the  decorative  works  already  mentioned, 
the  following  are  amongst  his  chief  productions  : 


Arras.  Museum, 

Bordeaux.  Museum. 


Chantilly. 


Duke      X 
d^Aztmale.  j 


Grenoble.  Museum. 
Lillc.  Museum. 

London.  Sir  R.  Wallace. 

»  it 

Lyons.        Museum. 

Melun.        Museum. 
Montpellier.  Museum, 


Nancy.  Museum. 
Nantes.  Museum. 
Paris.  Louvre. 


378 


Martyrdom  of  St.  Stephen.  1853. 
Greece  expiring  on  the  ruins  of 

Missolonghi.     1827. 
Lion  Hunting.    1854.    {Destroyed 

lyfire  in  1870.) 

The  Two  Foscari.    1855. 

A  Moorish  Guard. 

St.  George. 

Medea.     1838. 

Death  of  Marino  Faliero.     1827. 

Faust  and  Mephistopheles. 

The    Last    Words    of     Marcus 

Aurelius.    1845. 
Head  of  Actseon. 
A  Mulatto  Woman. 
Charge  of  Arab  Cavalry.     1832. 
Algerian  Women  at  home. 
Daniel  in  the  Lions'  Den.    1853. 
Michelangelo  in  his  studio.    1853. 
Portrait  of  Himself.    1829. 
Portrait  of  M.  Bruyas.     1853. 
Battle  of  Nancy.     1834. 
The  Halt.    1837. 
Dante  and  Virgil.     1822. 
The  Massacre  of  Scio.    1824. 
The  28th  of  July,  1830.     1830. 
Algerian  Women.     1834. 
Portrait  of  Himself.    1837. 
Jewish   Wedding    in    Morocco. 

1841. 


Paris. 


St.  Paul. 


Bouen.       Museum. 
Toulouse.  Museum. 


Tours.         Museum,. 
Versailles.  Museum. 


Christ  in  the  Garden  of  Geth- 

semane.    1827. 
The  Justice  of  Trajan.    1840. 
Muley-abd-el-Eahmann,  S  ultan  of 
Morocco,  leaving  bis  palace  at 
Mequinez.     1845. 
Arab  Musicians.    1848. 
Battle  of  Taillebourg.    1837. 
Taking  of  Constantinople  by  the 
Crusaders.    1841. 
„  „  Portrait  of  Marshal  de  Tourville. 

1835. 

O.J.D. 
Delacroix  also  executed  a  considerable  number 
of  etchings,  engravings,  and  lithographs,  a  list  of 
which  is  to  be  found  in  Moreau's  '  E.  Delacroix 
et  son  oeuvre,'  Paris,  1873,  8vo.  He  likewise  wrote 
some  articles  on  painters  and  sculptors  in  the 
'  Revue  des  Deux-Mondes. '  His  '  Lettres '  were 
published  by  M.  Burty  in  1878,  and  again,  with 
additions,  in  1880. 
DE  LA  CRUZ,  Juan  Pantoja.    See  Pantoja 

DE  LA  CbDZ. 

DE  LA  CRUZ,  Manuel,  a  Spanish  painter,  was 
born  at  Madrid  in  1750,  and  died  in  the  same  city 
in  1792.  He  distinguished  himself  by  his  pictures 
in  the  cathedral  of  Carthagena  and  in  the  monastery 
of  San  Francisco  el  Grande  at  Madrid.  In  the 
Gallery  of  the  latter  city  there  is  a  painting  by 
him  of  'The  Annual  Fair  at  Madrid.'  He  also 
etched  a  few  plates  of  Heads  of  strongly-marked 
character. 

DE  LA  CRUZ,  Miguel,  a  Spanish  painter  of 
promise  who  died  young,  was  employed  in  1633 
by  Charles  I.  of  England  to  make  copies  of  the 
remarkable  pictures  in  the  Alcazar  of  Madrid. 

DE  LA  FAGB,  Nicolas,  a  French  painter  and 
etcher  of  the  first  half  of  the  17th  century,  was  a 
native  of  Aries  in  Provence.  Robert-Dumesnil 
mentions  nine  plates  by  him,  among  which  are : 

The  Virgin  and  Child;  after  Annibale  Carracei. 

Anne  of  Austria,  Queen  of  France.    1648. 

Louisa  Mary  Gonzaga,  Queen  of  Poland. 

Fraufois  de  Vend6me,  Duke  of  Beaufort.    1649. 

DE  LA  FAGE,  Raymond,  a  French  draughts- 
man, was  born  at  L'Isle  en  Albigeois  in  1656.  He 
studied  under  Jean  Pierre  Rivalz  at  Toulouse,  but 
soon  left  his  master  and  went  to  Rome,  where  he 
resided  three  years.  He  afterwards  went  to  Paris, 
where  his  wonderfully  facile  pen-and-ink  sketches 
found  many  admirers.  Crozat  possessed  no  less 
than  three  hundred  of  them,  and  the  Louvre  has 
now  about  seventy.  He  died  at  Lyons  in  1684. 
Robert-Dumesnil  mentions  twenty-five  etchings 
by  him. 

DE  LA  FERTB,  M.,  was  a  French  amateur, 
who,  according  to  Basan,  etched  several  small 
plates  of  landscapes,  from  the  designs  of  Boucher 
and  other  masters. 

DE  LA  FLEUR,  Nicolas  Guillaume,  who  was 
born  in  Lorraine  about  1608,  was  a  painter  of 
flowers  in  miniature  and  an  etcher.  He  was  work- 
ing at  Rome  in  1638,  and  in  Paris  in  1644.  He  died 
in  Rome  in  1 670.  His  etchings,  which  are  very  rare, 
are  executed  with  the  point,  and  are  very  effective 
and  tasteful.     The  principal  of  them  are : 

Thirteen  plates  of  Flowers ;  copied  In/  Danckerts.   1638. 

Twelve  plates  of  Flowers.    16^. 

DE  LA  FOSSE,  Charles,  an  eminent  French 
painter,  was  born  in  Paris  in  1636.  He  was 
educated  under  Fran9ois  Chauveau  and  afterwards 
under  Charles  Le  Brun.  At  the  age  of  twenty-two 
he  went  to  Italy,  where  he  made  such  satisfactory 


Oe  La  Fosse 


PAINTERS  AND  ENGRAVEfiS. 


Be  La  Hire 


progress  that  Colbert  obtained  for  him  the  pension 
of  the  King,  in  order  that  he  might  be  able  to 
continue  his  studies.  He  passed  two  years  at 
Rome,  and  then  went  for  three  years  to  Venice  to 
study  the  works  of  the  great  colourists.  He  appears 
to  have  been  less  sensible  to  the  sublime  beauties 
of  the  Roman  School,  than  to  the  seductive  colour- 
ing of  the  Venetian,  and  he  returned  to  Paris  one 
of  the  most  accomplished  coloiirists  of  the  French 
School.  He  was  immediately  taken  into  the  service 
of  Louis  XIV.,  and  was  first  employed  in  painting 
four  pictures  for  the  apartments  in  the  Tuileries. 
His  next  work  was  the  marriage  chapel  in  St. 
Eustache,  where  he  painted  in  fresco  '  Adam  and 
Eve '  and  the  '  Marriage  of  the  Virgin. '  He  painted 
for  Versailles  the  'Sacrifice  of  Iphigenia'  and 
'  Moses  saved  from  the  Waters ' ;  in  the  chapel 
of  the  palace  the  'Resurrection';  and  at  the 
Trianon, '  Apollo  and  Thetis.'  At  Marly,  he  painted 
a  picture  of  '  Bacchus  and  Ariadne.'  These  works 
brought  him  into  great  repute  ;  and  he  was  received 
into  the  Academy  in  1673,  on  which  occasion  he 
painted  the  '  Rape  of  Proserpine,'  which  is  now  in 
the  Louvre.  La  Fosse  visited  England  in  1689, 
and  again  in  1690,  when  he  remained  upwards  of 
two  years,  during  which  time  he  was  employed  in 
decorating  the  mansion  of  the  Duke  of  Montagu, 
afterwards  the  British  Museum,  in  which  he  painted 
two  ceilings,  representing  the  '  Apotheosis  of  Isis  ' 
and  an  '  Assembly  of  the  Gods.'  His  principal 
work  at  Paris  is  the  fresco  in  the  dome  of  the 
Invalides,  which  is  fifty-six  feet  in  diameter,  and 
represents  '  St.  Louis  placing  his  crown  and  sword 
in  the  hands  of  Christ,  who  is  accompanied  by  the 
Virgin,  and  by  Angels  who  bear  the  instruments 
of  the  Passion'  :  in  the  angles  are  the  Four 
Evangelists.  This  immense  work  was  finished  in 
1705,  and  did  great  honour  to  the  artist.  In  the 
choir  of  Notre-Dame  he  painted  the  '  Nativity'  and 
the '  Adoration  of  the  Magi.'  Although  the  genius 
of  La  Posse  was  equal  to  great  and  copious  com- 
positions, his  drawing  was  neither  elegant  nor 
correct ;  and  though  he  is  considered  to  be  one 
of  the  best  colourists  among  his  countrymen,  he 
is  very  far  distant  from  Titian  or  Paolo  Veronese. 
He  died  in  Paris  in  1716.  Besides  the  '  Rape  of 
Proserpine,'  the  Louvre  has  by  him  '  Moses  saved 
from  the  Waters,'  the  '  Annunciation  of  the  Virgin,' 
the  'Marriage  of  the  Virgin,'  the  'Triumph  of 
Bacchus,'  and  the  '  Sacrifice  of  Iphigenia.' 

DE  LA  FOSSE,  Jean  Baptiste  Joseph,  a  French 
engraver,  was  born  in  Paris  in  1721.  He  was  a  pupil 
of  Etienne  Fessard,  and  engraved  a  large  number 
of  book-plates  and  vignettes  after  Eisen  and 
Gravelot.  He  died  in  Paris  about  1775.  We  have 
also  several  portraits  by  him  after  the  drawings  of 
CarmonteUe,  among  which  are  the  following : 

The  Duke  of  Orleans  on  horseback. 

The  same,  with  his  Son,  the  Duke  of  Chartres. 

M.  Bamean. 

The  Abbe  de  Chanvelin. 

The  njjfortunate  Oalas  Family. 

DE  LA  FOSSE,  Jean  Charles,  a  French  architect 
and  draughtsman,  was  one  of  the  best  designers  of 
ornaments,  decorations,  and  furniture  of  the  reign 
of  Louis  XVI.  In  1768  was  published  his  '  loon- 
ologie  Historique,'  in  which  many  of  the  plates 
were  engraved  by  himself. 

DE  LA  FUENTE,  Juan  Leandeo,  was  a  Spanish 
painter,  who  flourished  at  Granada  from  1630  to 
1640.  Although  not  mentioned  by  Palomino  or  by 
Pons,  he  was  an  artist  of  distinguished  merit.     He 


followed  the  manner  of  Bassano  both  in  subject 
and  treatment,  and  his  colouring  is  quite  of  the 
Venetian  School.  His  pictures  are  to  be  found  at 
Granada,  Seville,  and  Madrid. 

DE  LA  FUENTE  DEL  SAZ,  Julian,  was  a 
Ilieronymite  monk,  who  painted  miniatures  at  the 
Escorial.  He  is  known  to  have  been  living  from 
1627  to  1598. 

DE  LA  GOURDAINE,  Jean  Piejbee  Nobblin. 
See  Nobblin  db  La  Goubdainb. 

DE  LA  GUERTIERB,  Fbanqois,  a  French  his- 
torical painter,  was  bom  in  1624.  He  etched 
seventeen  plates  of  the  Grotesques  by  Raphael  in 
the  Vatican. 

DEL  AGUILA,  Fbanoisco,  was  a  Spanish  fresco 
painter,  who  resided  at  Murcia  in  the  latter  part 
of  the  16th  century.  In  1570  he  .painted  and 
gilded  the  beautiful  tomb  of  Alfonso  the  Wise, 
in  the  cathedral  of  that  city. 

DEL  AGUILAj  Miguel,  a  Spanish  historical 
painter,  was  a  native  of  Seville,  where  he  died  in 
1736.  His  pictures  are  valued  for  their  near 
approach  to  the  style  of  Murillo. 

DE  LA  HAYE,  Charles,  a  French  engraver, 
was  born  at  Fontainebleau  in  1641.  He  went 
to  Italy,  where  he  engraved,  with  C.  Bloemaert, 
Spierre,  Blondeau,  and  others,  the  paintings  by 
Pietro  da  Cortona  in  the  Palazzo  Pitti  at  Florence. 
His  style  of  engraving  resembles  that  of  Cornelia 
Bloemaert ;  and  though  his  plates  want  harmony, 
they  possess  considerable  merit.  The  following  are 
among  the  best : 

The  Virgin  and  Child,  with  St.  Catharine  and  other 

Saints ;  after  Giro  Ferri. 
St.  Philip  Neri  kneeling  before  the  Virgin;  after  the 

same. 
Ooriolanus  refusing  to  see  the  Eoman  Ambassadors ; 

after  the  same. 
The  Grecian  Philosophers  in  the  Gardens  of  Academus ; 

after  ^omanelli. 

DE  LA  HAYE,  Claude,  was  a  French  portrait 
painter,  who  flourished  at  Lyons  in  1664,  and  was 
patronized  by  Charles  IX.  Catharine  de'  Medici 
visited  his  studio,  and  sat  to  him  for  her  portrait. 

DE  LA  HAYE,  Retnieb,  a  Dutch  painter,  was 
a  native  of  the  Hague,  and  there  entered  the  Guild 
named  '  Pictura  '  in  1662.  In  1669  he  removed  to 
Utrecht,  and  was  admitted  into  the  Guild  of  St. 
Luke.  He  painted  scenes  of  private  life,  in  the 
manner  of  Terborch  and  of  Metsu ;  but  his  style 
is  not  so  large  or  so  light,  his  colouring  is  less 
vigorous,  and  his  chiaroscuro  defective. 

DE  LA  HBLE,  Isaae,  a  Flemish  historical 
painter,  was  born  at  Antwerp  about  1536.  He  was 
the  younger  son  of  Ysbrant  de  La  Hele,  a  sculptor, 
and  left  his  native  city  early  in  life,  but  whether 
he  went  to  Italy  and  studied  under  Michelangelo 
is  uncertain.  From  1562  to  1568  he  was  employed 
upon  work  for  the  cathedral  of  Toledo,  and  painted 
a  capital  picture  of  '  St.  Nicasius,'  which  Pons 
mistook  for  the  work  of  Berruguete,  a  certain  proof 
of  its  merits.  He  returned  to  Antwerp  probably 
in  1571,  and  was  still  living  there  in  1673.  Abba- 
ham  DB  La  Hi!LB,  his  elder  brother,  was  likewise 
a  painter.  He  was  born  in  1534  at  Antwerp,  where 
he  was  still  living  in  1564,  but  in  1572  we 'lose 
sight  of  him  in  Augsburg.- 

DE  LA  HIRE,  Laurent,  (or  De  La  Hyee,)  a 
French  historical  and  portrait  painter,  was  born  in 
Paris  in  1606.  He  was  the  son  of  Etienne  de  La 
Hire,  an  historical  painter,  who  had  acquired  some 
reputation  in  Poland.  He  studied  under  him,  and 
from  the  pictures  at  Fontainebleau,  aiming  especi- 

379 


A  BIOGRAPHICAL  DICTIONARY  OF 


Se  La  Hire 

ally  at  the  style  of  Primatiocio.  On  his  return  to 
Paris  he  spent  some  time  in  the  school  of  Lallemand, 
then  in  great  reputation.  His  colouring  was  some- 
what cloudy,  but  otherwise  his  execution  was  good, 
although  he  inclined  to  mannerism.  One  of  his 
earliest  and  best  pictures,  '  The  Martyrdom  of  St. 
Bartholomew,'  is  in  the  church  of  St.  Jacques. 
In  the  Louvre  are  ten  of  his  works,  including  '  St. 
Peter  healing  the  Sick,'  a  'mai'  painted  for  the 
cathedral  of  Notre-Dame  in  1636,  and  in  the  Belve- 
dere is  an  'Ascension  of  the  Virgin.'  In  1637  he 
painted  another  '  mai '  for  the  cathedral  of  Notre- 
Dame,  the  'Conversion  of  St.  Paul.'  He  painted 
also  a  large  number  of  portraits,  but  in  the  later 
years  of  his  life  he  confined  himself  to  landscapes 
and  small  easel  pictures.  La  Hire  was  one  of 
the  twelve  artists  who  in  1648  founded  the  Royal 
Academy  of  Painting  and  Sculpture.  He  died  in 
Paris  in  1656.  He  engraved  forty-six  religious 
and  mythological  subjects  and  landscapes,  many 
of  which  were  from  pictures  by  himself  which 
perished  during  the  troubles  of  1793  and  1794. 
Among  them  are  the  following : 

The  Holy  Family,  witli  St.  John  kissing  the  foot  of  the 

Infant  Jesus. 
The  Holy  Family  reposing,  surrounded  by  Angels. 
The  Holy  Family,  with  the  Palm-branch. 
The  Eepose  in  Egypt. 
The   Crucifixion,  with  the  Virgin,  Magdalen,  and  St. 

John.     1639. 
The  Conversion  of  St.  Paul. 
The  Judgment  of  Paris. 
Venus  and  Adonis. 

DE  LA  HIRE,  Philippe,  the  son  of  Laurent  de 
La  Hire,  was  born  in  Paris  in  1640.  He  at  first 
devoted  himself  to  landscape  painting,  and  painted 
several  pictures  in  the  style  of  Watteau,  but 
afterwards  studied  astronomy,  and  attained  some 
eminence  in  that  branch  of  science.  He  died  in 
1719. 

DE  LA  HUERTA,  Gaspae,  was  born  at  Cam- 
pillo  de  Altobuey  in  Cuenca  in  1645.  At  an  early 
age,  seeking  instruction  in  Valencia,  he  fell  into  the 
hands  of .  Jesualda  Sanchez,  the  bustling  widow  of 
Pedro  Infant,  a  third-rate  painter,  who  continued  on 
her  own  account  her  husband's  school  for  the  manu- 
facture of  religious  pictures.  La  Huerta,  never- 
theless, attained  some  skill  as  a  draughtsman  and 
colourist,  and  married  the  widow's  well-dowered 
daughter.  Working  for  moderate  prices  he  found 
abundant  employment  in  the  neighbouring  churches 
and  convents.  For  the  Franciscans  he  painted  the 
'  Jubilee  of  the  Porciuncula,'  and  for  the  Domini- 
cans the  picture  which  long  served  as  a  veil  to  the 
wondrous  image  of  '  Our  Lady  of  the  Forsaken.' 
He  died  at  Valencia  in  1714.  The  Museum  of 
Valencia  possesses  a  pleasing  picture  of  '  Christ  and 
the  Virgin  enthroned,'  the  latter  with  the  bright 
complexion  peculiar  to  Valencian  beauty. 

DE  LA  HUERTA,  Manuel,  a  Spanish  monk, 
who  flourished  at  the  beginning  of  the  18th  century, 
produced  some  excellent  miniature  paintings  in  the 
monastery  of  La  Merced  Calzada  at  Valladolid. 

DE  LA  HYRE.     See  Db  La  Hire. 

DE  LA  IGLESIA,  Fbanoisco  Ignacio  Ruiz. 
See  Ruiz  db  La  Iglesia. 

DE  LA  JOUB,  Jacques,  a  French  architectural 
painter,  was  horn  in  1687.  He  became  a  member 
of  the  Academy  in  1721,  and  is  noticed  for  a 
'  Perspective '  which  he  executed  in  1732  at  the 
Library  of  St.  Genevieve.  He  also  designed  the 
title-page  to  the  works  of  Wouwerman.     Etchings 

380 


De  La  Peig^e 


have  been  made  after  him  by  Cochin,  Tardieu,  and 
others.     He  died  in  Paris  in  1761. 

DB  LA  LIVE  DB  JDLLY,  Angb  Laurent, 
Marquis  de  R^moville,  a  French  amateur  en- 
graver, etched  several  subjects  after  Boucher  and 
Greuze  ;  a  set  of  caricatures,  after  Saly ;  and  some 
portraits.  He  was  bom  in  Paris  in  1725,  and  died 
in  the  same  city  in  1779.  He  formed  a  fine  col- 
lection of  works  of  art  of  the  French  School,  but 
this  was  dispersed  in  1770,  in  consequence  of  its 
owner  having  lost  his  reason. 

DELAMAIN,  Paul,  a  French  painter  of  Algerian 
subjects,  was  born  in  Paris  in  1821.  He  was  a 
pupil  of  Leblano  and  of  Drolling,  but,  fascinated 
with  a  desire  to  visit  the  East,  he  left  the  studio  of 
the  latter  to  enlist  in  the  cavalry  for  service  in 
Algeria.  In  after  years,  when  he  could  escape  for 
a  time  from  Paris,  he  went  for  a  year  or  two  to  his 
favourite  haunts,  and  lived  on  horseback  and  under 
canvas.  Algeria  has  inspired  many  painters,  but 
not  one  of  them  has  represented  the  sentiment  of 
Arab  life  more  faithfully  than  Delamain.  He  died 
at  Ornans  in  1882. 
DE  LA  MAISON,  Nicolas.  See  Dblla  Casa. 
DE  LA  MARE-RICHART,  Florent  I.,  a  French 
portrait  painter  and  engraver,  was  bom  at  Bayeux 
in  1638,  became  an  academician  in  1677,  and  died 
at  Versailles  in  1718.  His  prints  have  a  resem- 
blance to  those  of  Lutma  and  Morin.  Eobert- 
Dumesnil  has  described  twenty-one  prints  by  him, 
including  '  St.  Jerome,'  after  L.  de  La  Hire ;  and 
two,  an  'Ecce  Homo,'  and  the  Virgin,  after  his 
own  designs.  The  rest  are  fancy  heads  in  the 
style  of  Livens,  the  scholar  of  Rembrandt. 

DE  LA  MONCB,  Raimond  Ferdinand,  an  archi- 
tect and  designer,  was  bom  at  Munich  in  1678,  and 
died  at  Lyons  in  1753.  He  is  chiefly  known  by  his 
architectural  works,  but  he  also  designed  the  plates 
for  the  beautiful  French  edition  of  Pope's '  Essay 
on  Man.' 

DELAMOTTE,  William,  a  landscape  painter 
in  water-colours,  was  born  in  1780.  He  studied 
for  a  time  in  the  schools  of  the  Academy,  and 
under  West.  His  works  appeared  at  the  Academy 
from  1796  to  1848,  and  also  at  the  Water- 
Colour  Society  from  1806  to  1808.  In  1803  he 
became  drawing-master  at  the  military  school  at 
Great  Marlow.  He  died  in  1863  at  Oxford,  where 
he  spent  the  greater  part  of  his  life.  His  works 
are  chiefly  outlined  with  the  pen  and  tinted.  At 
the  South  Kensington  Museum  there  are  by  him : 

Bruges.    1819. 

On  the  Scheldt,  Antwerp  in  the  distance.    1819. 

lAige,  the  Bridge  of  Arches. 

Christ  Church,  Oxford,  from  Hinksey  Meadows. 

Canterbury.     1844. 

DE  LANE,  Solomon,  a  Scotch  landscape  painter, 
was  born  at  Edinburgh  in  1727.  He  was  self- 
taught,  and  travelled  much  in  France,  Italy,  and 
Germany.  Several  of  his  pictures  appeared  at  the 
Royal  Academy  between  1771  and  1784,  after 
which  date  there  is  no  further  trace  of  hiuk 

DELANY,  Maey.    See  Granville. 

DB  LA  PBIGNE,  Htacinthe,  (H.  Pegna,  or 
Peigna,)  a  painter  of  battles  and  an  etcher,  was 
born  at  Brussels  about  the  year  1700.  He  was  at 
first  engaged  in  the  French  service  as  an  engineers 
artist  and  military  painter,  but  subsequently  he 
served  the  Sardinian,  and  lastly  the  Austnan 
Government.  He  was  living  at  Rome  when  m 
advanced  years,  and  died  later  than  1766.  Tm 
Imperial  Gallery  at  Vienna  possesses  two  '  Views 


De  La  Peua 


PAINTEES  AND  ENGRAVERS. 


Delaroche 


of  the  Pont-Neuf  at  Paris'  by  him.  He  also 
engraved  an  '  Attack  of  the  French  upon  Col 
d'Assiette  in  Piedmont ; '  and  pictures  of  his  have 
been  engraved  by  C.  Fran5oia  and  A.  Tischler. 

DE  LA  PESA,  Juan  Fernandez.  See  Fer- 
nandez DE  La  Pena. 

DE  LA  PESTA,  Narcissb  Virgile  Diaz.  See 
Diaz  db  La  Pena. 

DE  LA  POINTE,  F.,  was  a  native  of  France, 
■who  flourished  about  the  year  1678.  He  engraved 
a  plan  of  the  environs  of  Paris,  in  nine  sheets,  as 
well  as  some  views  of  the  palace  of  Versailles,  the 
latter  in  conjunction  with  Israel  Silvestre. 

DE  LA  PORTE,  Henri  Horace  Holland.  See 
Holland  de  La  Porte. 

DE  LA  QUEWELLERIE,  Guillaume,  a  native 
of  France,  was  probably  a  goldsmith.  He  engraved 
a  set  of  very  small  plates,  representing  ornamental 
crosses,  and  other  designs  for  jewellery.  They 
are  neatly  executed  with  dark  backgrounds,  and 
dated  1680. 

DELARAM,  Francis,  an  English  engraver,  was 
born  in  1690,  and  died  in  1627.  He  was  contem- 
porary with  Elstracke  and  the  Van  de  Passes,  and 
engraved  several  plates  in  the  neat  but  formal 
style  which  was  prevalent  at  that  time.  His 
portraits  are  his  best  works,  and  among  them  are 
the  following : 

King  Henry  Till. 

Queen  Mary. 

Queen  Elizabeth. 

James  I.,  on  horseback,  with  a  view  of  London. 

Charles  I.,  when  Prince  of  "Wales,  with  Eichmond 
Palace  in  the  background. 

Henry,  Prince  of  Wales. 

Frances,  Duchess  of  Bichmond  and  Lennox. 

Henry  Percy,  Earl  of  Northumberland. 

James  Montagu,  Bishop  of  Winchester. 

John  Williams,  Bishop  of  Lincoln  (afterwards  Arch- 
bishop of  York),  with  Angels  playing  on  Musical 
Instruments. 

Sir  Henry  Montagu,  Chief  Justice  of  the  King's  Bench. 

Sir  Horatio  Vera,  with  an  armed  Soldier  on  each  side. 

Eobert  Abbot,  Bishop  of  Salisbury. 

Sir  William  Segar,  Garter  King  at  Arms. 

Sir  Thomas  Gresham,  holding  a  Globe. 

George  Withers,  poet.    1622. 

DEL  ARCO,  Alonso,  bom  at  Madrid  in  1625, 
was  a  disciple  of  Antonio  Pereda.  He  was  deaf 
and  dumb  from  his  birth,  and  was  called  'El 
Sordillo  de  Pereda.'  He  was  an  eminent  painter, 
both  of  history  and  portraits.  Several  of  his 
pictures  are  mentioned  by  Palomino,  particularly 
the  '  Miraculous  Conception,'  and  the  '  Assumption 
of  the  Virgin,'  in  the  cloister  of  the  Trinitarios 
Descalzos  at  Madrid,  and  in  the  church  of  San 
Salvador  is  a  fine  picture  of  Santa  Teresa.  Cean 
Bermudez  enumerates  a  great  number  of  his  works 
in  the  churches  at  Madrid,  and  in  other  public 
buildings  throughout  Spain.  He  died  at  Madrid 
in  1700. 

DE  LA  RIVIERE,  Charles  Philippe  Augustb. 
See  Larivierb. 

DELAROCHE,  Hippoltte,  (or,  as  he  usually 
called  himself,  Paul,)  an  eminent  French  painter, 
was  born  in  Paris,  on  the  17th  of  July,  1797. 
He  devoted  himself  first  to  landscape  painting 
under  Watelet,  but  afterwards  took  to  history, 
and  entered  the  studio  of  Gros,  under  whom  for 
four  years  he  applied  himself  to  the  human  figure, 
and  soon  became  distinguished  by  the  rapid  pro- 
gress which  he  made.  He  soon  began  to  evince 
the  possession  of  original  views,  declaring  his 
dissent  from  the  hitherto  prevalent  "  classicism  " 


of  the  French  School,  which  was  then  yielding 
to  the  Renaissance,  but  taking  up  a  position 
between  the  classic  and  the  romantic,  and 
labouring  to  create  a  style  in  harmony  with  the 
temper  and  habits  of  his  time.  It  was  in  1819 
that  Delaroche  exhibited  his  first  picture,  '  Naph- 
thali  in  the  Desert,'  which  he  painted  at  the  age 
of  twenty-two,  but  it  attracted  no  attention ; 
another,  exhibited  in  1822,  the  subject  of  which 
was  '  Jehoash  rescued  by  Jehoshabeath,'  was  more 
fortunate,  and  sufficiently  indicated  those  powers 
which  Delaroche  subsequently  developed  and  so 
judiciously  tempered.  In  1824  he  produced  three 
pictures,  which  won  for  him  a  gold  medal.  The 
first  represented  '  St.  Vincent  de  Paul  preaching  in 
the  presence  of  the  Court  of  Louis  XIII. ' ;  the 
second,  '  Joan  of  Arc  examined  in  Prison  by  the 
Cardinal  of  Winchester ' ;  the  third,  '  Saint  Se- 
bastian.' The  first  and  second  of  these  works 
have  been  engraved,  the  second  being  almost  as 
well  known  in  England  as  in  France.  In  1827 
'  The  Capture  of  the  Trocadero '  appeared,  in 
a  work  which  had  been  commissioned  by  the 
Government,  and  for  which  he  received  the  cross  of 
the  Legion  of  Honour.  During  some  years  after 
this  period,  Delaroche  painted  only  what  our 
neighbours  call  "  moyenSge  "  subjects,  although 
the  term  is  scarcely  suitable,  as  comprehending 
even  those  that  come  within  a  century  or  two  of  our 
own  time.  In  1830  he  produced  '  The  Princes  in 
the  Tower,'  which  has  been  so  often  engraved  and 
lithographed,  and  which  induced  M.  Delavigne  to 
compose  his  tragedy  on  the  same  subject.  Another 
highly  successful  picture  was  'Richelieu  on  the 
Rhone,  with  Cinq-Mars  and  De  Thou ; '  as  also 
was  that  representing  '  Cardinal  Mazarin  presiding, 
while  dying,  at  a  game  of  lansquenet.'  In  1831 
he  exhibited  the  most  impressive,  perhaps,  of  all 
his  works,  'Cromwell  contemplating  the  remains 
of  Charles  I.,'  a  subject  well  known  by  the  en- 
graving. In  1832  he  became  a  member  of 
the  Institute.  In  1833,  under  the  ministry  of 
M.  Thiers,  Delaroche  was  commissioned  to  de-- 
corate  the  church  of  the  Madeleine,  for  which  a 
vote  of  public  money  had  been  passed,  but  on 
hearing  that  the  Administration  had  confided  part 
of  the  work  to  another  artist  he,  thinking  that  it 
should  be  by  one  hand  only,  returned  the  money 
advanced  and  resigned  the  task.  In  the  same  year 
he  was  appointed  a  professor  at  the  Ecole  des 
Beaux-Arts.  In  1834,  Delaroche  proceeded  to 
Italy,  and  at  Rome,  in  1835,  he  married  Anne  Elisa- 
beth Louise,  the  only  daughter  of  Horace  Vernet, 
who  was  then  director  of  the  French  Academy 
in  that  city.  This  lady  died  in  1843.  Delaroche 
was  amply  compensated  for  his  disappointment 
with  respect  to  the  Madeleine,  by  having  confided  to 
him  the  adornment  of  the  Amphitheatre  of  the  Ecole 
des  Beaux-Arts,  a  task  to  which  he  devoted  four 
years  of  assiduous  labour,  and  completed  in  1841. 
In  this  work  he  displayed  great  originality  of  con- 
ception, and  obtained  a  great  and  imposing  result  by 
very  simple  means.  Dramatic  in  his  general  tend- 
encies, with  a  mind  forming  images  the  most 
vividly  true  of  the  stirring  incidents  of  the  past, 
and  embodying  them  by  his  art  with  an  utter 
independence  of  preconceived  systems  of  painting, 
though  with  a  practical  perfection  arising  from 
earnest  study  of  previous  works,  we  are  not  sur- 
prised that,  where  others  would  have  rushed  into 
allegory,  he  seized  upon  the  real.  How  has  h^ 
accomplished  his  mission  ?     By   summoning,   at 

381 


Delaroche 


A  BIOGRAPHICAL  DICTIONARY  OF 


Delaroohd 


his  potent  will,  the  chiefs  of  the  arts  in  past 
ages,  to  witness  the  triumphs  of  the  labourers 
in  this.  How  engrossingly  the  artist's  heart 
was  in  this  work  may  he  judged  by  some  cir- 
cumstances related  of  it.  Delaroche,  it  is  said, 
received  the  order  from  the  Minister  of  the 
Interior  to  paint  a  woik  consisting  of  twenty-four 
figures,  for  which  he  was  to  receive  the  sum  of 
£3000.  He  supplied  the  sketch,  in  conformity 
with  this  agreement:  it  was  approved,  and  it 
was  arranged  that  he  should  finish  the  picture  in  a 
year.  Subsequently  he  so  completely  altered,  or 
rather  enlarged,  his  plan,  that  he  introduced  into 
the  work  no  fewer  than  seventy-five  figures  :  and 
in  executing  it  he  occupied  no  less  than  four 
years  of  his  life.  It  would  have  been  only  just 
and  reasonable  that  his  pecuniary  recompense 
should  have  been  augmented  in  proportion  ;  but 
upon  a  proposal  to  that  effect  being  intimated 
to  the  painter,  it  was  immediately  declined. 
"  No,"  said  he,  "  of  my  own  will  I  did  what 
I  have  done ;  and  I  will  receive  nothing  beyond 
the  stipulated  sum."  He  added,  "and  I  shall  be 
amply  paid  for  my  labour,  inasmuch  as  I  have 
learned  more  from  the  execution  of  this  work, 
than  by  all  my  studies  that  preceded  it."  This 
was,  indeed,  true  patriotism — the  example  of  a 
great  mind.  This  work  may  be  divided  into  three 
portions.  In  the  centre,  elevated  on  a  throne,  are 
the  three  great  artists  of  antiquity — Apelles,' 
Ictinus,  and  Pheidias.  Beneath  and  around  them 
are  the  Genius  of  the  Arts,  and  allegoric  figures  of 
Gothic  Art  (said  to  be  a  portrait  of  the  painter's 
wife),  Greek  Art,  Roman  Art,  and  the  Renaissante. 
Upon  their  right  are  grouped  the  sculptors  and 
the  colourists, — Claude  Lorrain,  Ruisdael,  Potter, 
Titian,  Velazquez,  Rubens,  and  Rembrandt,  and 
further  on,  Paolo  Veronese,  Correggio,  Murillo,  and 
Antonello  da  Messina.  Upon  their  left  are  the 
architects  and  the  greatest  masters  of  Italian  and 
German  Art, — Michelangelo,  Raphael,  Leonardo, 
Holbein,  and  Uilrer,  with  Poussin  at  the  extreme, 
edge.  All  branches  of  art  find  representatives  in 
this  mighty  work.  It  is  a  mass  of  picturesque 
groups  and  yet  a  uniform  whole.  It  may  not  be 
uninteresting  to  give  a  complete  list  of  all  the 
figures  which  go  to  make  up  this  work  :  they  are 
named  in  order-,  beginning  at  the  spectator's  left. 


Correggio 

Jean  Gouion 

Paolo  Yeronese 

Cellini 

», 

Antonello  da  Messina 

Germain  Pilon 

1823 

Murillo 

Puget 

1824 

Van  Byck 

Giovanni  da  Bologna 

1825. 

Titian 

.  Allegoric  figures  of  Gothic 

1826 

Terboroh 

Art,  Greek  Art,  Roman 

Ji 

Rembrandt 

Art,  and  the  Renaissance 

Van  der  Heist 

Ictinus 

Knbens 

Apelles 

» 

Velazquez 

Pheidias 

1827 

Van  Dyck 

Delorme 

Michelangelo  da  Caravaggio 

Peruzzi 

»» 

Giovanni  Bellini 

Brwin  von  Steinbach 

Giorgione 

Sansovino 

1829 

Ruisdael 

Robert  de  Luzarches 

Potter 

Palladio 

1830 

Claude  Lorrain 

BrunellescU 

Gaspard  Poussin 

Inigo  Jones 

»> 

Vischer 

Arnolfo  di  Cambio 

1831 

Pierre  Bontems 

Pierre  Lescot 

Luca  della  Eobbia 

'Braraante 

1834 

Benedetto  da  Majano 

Mansart 

Giovanni  Pisano 

Vignola 

Baccio  Bandinelli 

Fra  Angelico 

1835 

Donatello 

Marc  Antonio 

Ghiberti 

Edelinck 

" 

Palissy 

Holbein 

382 

Le  Sueur 

Sebastiano  del  Piombo 

Orcagna 

Albreolt  Diirer 

Leonardo  da  Vinci 

Domenicbino 

Fra  Bartolommeo 

Mantegna- 

Giulio  Romano 


Raphael 
Perugino 
Michelangelo 
Masaccio 
Nicolas  Poussin 
Andrea  del  Sarto 
Cimabue 
Giotto 


The  '  Hemicycle '  has  been  finely  engraved  by 
Henriquel-Dupont.  During  its  painting,  Delaroche 
made  a  rapid  journey  to  Rome,  which  he  visited 
again  for  the  last  time  in  1843,  when  he  passed 
a  twelvemonth  there.  After  the  Revolution  of 
1848,  he  declined,  from  generous  scruples,  to 
accept  commissions  on  liberal  terms  for  certain 
proposed  works  at  Versailles,  the  Louvre,  the 
Invalides,  the  Palais  de  Justice,  and  other  pubho 
edifices,  refusing  alone  to  enjoy  the  emoluments  of 
his  profession,  whilst  his  comrades  in  art  were  neg- 
lected and  starving.  On  the  16th  of  December, 
1855,  a  disaster  occurred,  which  nearly  obliterated 
for  ever  the  greatest  work  of  this  noble  painter. 
On  the  day  appointed  for  the  distribution  of  the 
medals  in  the  Ecole  des  Beaux-Arts,  the  stage 
erected  for  the  ceremony  took  fire,  and  the  famous 
'  Hemicycle '  was,  it  seemed  at  first,  hopelessly 
destroyed.  Delaroche  contemplated  restoring  it 
himself,  but  he  was  prevented  by  his  death,  which 
occurred  in  Paris  on  the  4th  of  November,  1856.  It 
was  afterwards  restored  by  Robert- Fleury.  Besides 
historical  subjects  Delaroche  executed  many  por- 
traits of  great  merit.  During  his  life-time  two  only 
(the  Duke  of  Angoul^me  and  Mdlle.  Sontag)  had 
been  publicly  shown.  When,  after  his  death,  his 
collected  works  were  exhibited,  none  excited  more 
praise  than  his  portraits.  The  most  famous  are 
those  of  M.  de  Rtousat,  the  Duke  of  Noailles,  Prince 
Adam  Czartoryski,  M.  de  Salvandy,  and  M.  Thiers. 
As  the  head  of  a  school  Delaroche  exercised  an 
important  influence  on  art — not  only  in  his  own 
country,  but  likewise  abroad.  He  numbered  amoEg 
his  pupils  several  Englishmen,  including  Mr. 
Edward  Armitage,  R.A.,  and  other  foreigners. 

Delaroche  did  not  exhibit  at  the  Salon  after 
1837.  The  following  is  a  list  of  his  principal 
works  arranged  in  the  chronological  order  of  their 
execution : 

1822.  Jehoash  saved  by  Jehoshabeath.    (Louwe,  lut  not 

exhibited.) 
Filippo  Lippi. 

St.  Vincent  de  Paul  preaching  before  Louis  XIII. 
Joan  of  Arc. 

Children  surprised  by  a  Storm. 
The  Death  of  Agostino  Carracci. 
The  Massacre  of  St.  Bartholomew :  Young  Caumont 

de  La  Force  saved  by  Du  Verdelet.    (Konigsierg 

Museum.) 
Flora  Macdonald. 
The  Death  of  president  Duranti.    (Tainted  for  the 

Conseil  d^Etat^ 
The  Death  of  Queen  Elizabeth.    (Louwe.) 
The  Capture  of  the  Trocadero. 
Cardinal  Richelieu  on  the  Rhone,  with  Cinq-Mais 

and  De  Thou.     (&>  Richard  Wallace.) 
Cardinal  Mazarin  on  bis  death-bed.   (Sir  Richard 

Wallace.) 
The  Children  of  Edward  IV.    (Ltmvre.) 
Cromwell  opening  the  coffin  of  Charles  I.   (Nisnm 

Museum.) 
The  Execution  of  Lady  Jane  Grey.    (Mr.  B.  W. 

Eaton,  M.P.) 
Galileo. 
The  Assassination  of  the  Duke  of  Guise.    (Dulc' 

d^Aumale.) 
The  Earl  of  Strafford  on  his  way  to  execution. 

(Duke  of  Sutherland.) 


De  La  Kose 


PAINTERS  AND  ENGEAVEES. 


De  Las  Boelas 


1836.  Charles  I.  insulted  by  the  soldiers  of  Cromwell. 

(Brldgewater  Gallery.) 

1837.  Napoleon  in  his  Study.    ( Countess  of  Sandwich.) 

1838.  Portrait  of  Peter  the  .Great. 

1838-41.  The  Hemioycle.  (Ecole  des  Beaux-Arts,  Paris.) 

1839.  The  Conquerors  of  the  BastiUe  iu  frout  of  the  Hotel 

de  Ville.    (Destroyed  byjire  at  the  Hdtel  de  Ville, 

Paris,  in,  1871.) 
1S42.  La  Vierge  4  la  vigne.    {Destroyed   ly  fire  at  Mr. 

Thomas  JBarincfs  in  1853.) 
„      The  Childhood  of  Pico  della  Mirandola.    {Nantes 

Museum.) 
„     Pilgrims  at  Some. 

1843.  A  Mother's  Joys.    (Luxembourg  Museum.) 
„      Herodias. 

1844.  Portrait  of  Pope  Gregory  XVI.    (Versailles.) 
„      The  Little  Beggar. 

1845.  Napoleon  at  Fontainebleau.   (Leipsic  Museum.) 
„      The  Swing.    (IVantes  Museum.) 

1847.  Charlemagne  crossing  the  Alps.    ( Versailles.) 

1848.  Bonaparte  crossing  the  Alps. 

1851.  Marie  Antoinette  after  her  Condemnation. 

1852.  Napoleon  at  St.  Helena.    (The  Queen.) 

„      The  Last  Prayer  of  the  Children  of  Edward  IV. 
„      Mater  Dolorosa.    (Liege  Museum.) 

1853.  Moses  exposed  on  the  Nile. 
„      The  Entombment  of  Christ. 

1854.  The  Last  Communion  of  Mary  Stuart. 

1855.  Beatrice  Cenci  going  to  Execution. 

„      Christ  in  the  Garden  of  Gethsemane. 
.,      A  Martyr  in  the  time  of  Diocletian. 

1856.  The  Girondists. 

„      The  Eeturn  from  Golgotha. 
„      The  Virgin  in  Contemplation. 

1857.  The  Virgin  with  the  Holy  TVomeu. 

The  'CEuvre  de  Paul  Dolaroche,'  published  in 
folio  in  1868,  with  a  biographical  notice  by  the 
Vicomte  Henri  Delaborde,  consists  of  a  series  of 
eighty-six  photographs  from  his  chief  paintings 
and  drawings,  with  a  descriptive  account  of  them 
by  Jules  Goddi.  An  exhibition  of  his  works  was 
held  in  the  Palais  des  Beaux-Arts  in  1868. 

DE  LA  ROSE,  Jean  Baptiste,  a  native  probably 
of  Aix  in  Provence,  was  a  marine  painter  who  in 
his  day  enjoyed  a  considerable  reputation.  He  was 
master-painter  at  Che  port  of  Toulon  from  about 
the  j'ear  1665  until  his  death,  which  appears  to 
have  taken  place  in  1687.  He  was  succeeded  as 
master-painter  by  his  son,  Pascal  db  La  Rose, 
who  died  at  Toulon  in  1746,  at  about  eighty  years 
of  age,  after  having  resigned  his  office  in  1731  to 
his  son,  Jean  Baptiste  db  La  Rose,  who  died  before 
him  at  Toulon  in  1740. 

DE  LA  E0USSII;RE,  FsANgois,  was  a  French 
engraver,  who  flourished  about  the  middle  of  the 
17th  century.  A  portrait  of  Michel  de  Castelnau, 
Ambassador  from  France  to  England  in  the  reign 
of  Elizabeth,  is  attributed  to  him  by  Le  Long. 

DE  LA  EUE,  Philibeet  BenoIt,  a  French 
painter  and  etcher,  who  was  born  in  Paris  in  1718, 
was  a  pupil  of  Charles  Parrocel.  His  subjects  were 
battles,  landscapes,  genre  pictures,  and  portraits  of 
the  chief  persons  of  his  day.  He  also  etched  a 
large  number  of  plates,  principally  of  military 
scenes.  His  brother,  Louis  F^lix  de  La  Rue,  who 
was  born  in  Paris  in  1720,  and  died  in  the  same 
city  in  1765,  was  a  sculptor,  who  also  designed 
and  etched  six  plates  of  Bacchanalian  subjects. 
The  two  brothers  are  often  confounded.  Both 
signed  their  works  D.  L. 

DE  LA  RUELLE,  Claude,  was  a  painter  and 
designer,  who  lived  at  Nancy  about  1611,  and  was 
court-painter  to  the  Dukes  of  Lorraine.  He  is  best 
known  by  his  drawings,  with  groups  of  figures,  for 
the  engravings  illustrative  of  the  funeral  ceremonies 
of  Charles  III.  and  the  accession  of  Henry  II. 


DE  LAS  CUEVAS,  Euqenio,  the  son  and  scholar 
of  Pedro  de  Las  Cuevas,  and  the  half-brother  of 
Francisco  Carailo,  was  born  at  Madrid  in  1613. 
He  was  chiefly  employed  in  painting  small  por- 
traits, by  which  he  gained  great  reputation  at  the 
Court  of  Spain,  and  was  appointed  by  Philip  IV. 
to  instruct  his  son  Don  John  of  Austria  in  drawing. 
He  died  at  Madrid  in  1667.  He  was  not  only 
a  painter,  but  also  a  poet  and  a  musician. 

DE  LAS  CUEVAS,  Pedro,  a  Spanish  painter,  was 
born  at  Madrid  in  1568.  According  to  Palomino, 
he  painted  several  pictures  for  private  collections, 
for  which  he  was  more  employed  than  for  public 
edifices.  He  gained,  however,  more  celebrity  by 
his  academy  than  by  his  own  works.  Some 
of  the  most  distinguished  painters  of  the  time, 
such  as  Josef  Leonardo,  Antonio  Pereda,  Antonio 
Anias,  and  Juan  Careno,  were  educated  in  his 
school,  called  the  School  of  Madrid,  which  was 
distinguished  for  its  extraordinary  and  masterly 
colouring.     He  died  at  Madrid  in  1635. 

DE  LAS  MARINAS,  Henrique,  a  Spanish 
marine  painter,  whose  family  name  is  unknown, 
was  bom  at  Cadiz  in  1620.  He  was  celebrated  for 
his  representations  of  scenes  of  embarkation  in  the 
bay  of  his  native  city,  which  he  executed  with  so 
much  truth  and  beauty  that  he  pleased  both  artists 
and  seamen.  He  is  praised  for  the  transparency 
of  his  water  and  his  aerial  gradations.  He  realized 
a  large  fortime,  and  indulged  himself  in  travelling; 
but  having  arrived  at  Rome  he  never  quitted  it, 
dying  there  in  1680.  His  pictures  are  still  sought 
after  by  amateurs,  but  it  is  uncertain  under  what 
name  they  are  sold  in  Italy. 

DE  LAS  ROELAS,  Juan,  called  El  Clerigo 
RcELAs  and  El  Licenciado  Juan,  and  by  Palomino 
Doctor  Pablo,  was  descended  from  a  noble  family, 
of  Flemish  origin.  He  was  born  at  Seville  be- 
tween the  years  1658  and  1660,  and  was  brought 
up  to  the  profession  of  physic,  in  which  he  had 
already  taken  a  degree,  when  an  inclination  for 
the  art  of  painting,  which  he  had  manifested  in 
the  early  part  of  his  life,  induced  him  to  devote 
himself  to  its  study,  and  he  travelled  to  Italy  for 
the  purpose  of  improvement.  He  went  to  Venice, 
where  he  studied  for  some  years.  Palomino  says 
that  he  was  a  scholar  of  Titian,  but  as  Titian 
died  in  1576,  when  Roelas  was  only  sixteen  years 
of  age,  it  is  more  probable  that  he  received  his 
instruction  from  a  disciple  of  that  great  master. 
On  his  return  to  Seville,  he  was  much  em- 
ployed in  the  churches  of  that  city,  where  there 
are  many  pictures  by  hina,  which  have  been  com- 
pared to  the  works  of  Palraa  and  Tintoretto.  To 
rich  and  harmonious  colouring,  which  he  had 
acquired  in  the  Venetian  School,  he  added  correct 
drawing  and  perfect  acquaintance  with  the  anatomy 
of  the  human  figure.  One  of  his  most  admired 
works  is  the  '  Martyrdom  of  St.  Andrew,'  in  the 
College  of  St.  Thomas.  He  went  as  a  canon  to 
Olivares  in  1624,  but  whether  he  ever  practised  as 
a  physician  is  not  stated.  His  pictures  are  very 
numerous  in  Seville.  His  masterpiece  is  the 
'  Death  of  St.  Isidore,'  in  the  church  of  San  Isidore ; 
'  another  fine  picture  by  him  is  the  '  St.  James,' 
in  the  chapel  of  that  saint  in  the  cathedral,  in 
which  the  saint  is  represented  riding  over  the 
Moors.  Cean  Bermudez  says  it  is  full  of  fire, 
majesty,  and  decorum.  Ford,  however,  says 
that  it  is  surpassed  by  the  picture  of  the  '  Con- 
ception,' in  the  Academy,  and  by  three  in  the 
chapel  of  the  University  at  Seville.     Roelas  has 

383 


Delatouche 


A  BIOGRAPHICAL  DICTIONARY  OP 


Selause 


been  compared  with  Tintoretto  and  Carracoi,  and  is 
certainly  the  best  of  the  Andalusian  painters.  It 
is  a  subject  of  regret  that  none  of  his  fine  works 
have  been  engraved,  as  he  excelled  in  design  and 
composition,  and  displayed  a  grandeur  of  form  and 
character  which  belong  only  to  the  greatest  masters. 
He  died  at  Olivares  in  1625. 

DBLATOUCHE,  Jacques  Ignace,  a  French 
painter  of  miniatures  and  portraits,  was  bom  at 
Chaions-sur-Marne  about  the  commencement  of 
the  18th  century.  The  beautifully  executed  canons 
for  the  altar  of  the  church  of  Notre-Dame  at 
Chalons  are  almost  the  only  examples  of  his  work 
which  have  not  disappeared.  The  Chevalier  Dela- 
touche,  who  was  also  a  poet,  died  at  ChSlons  in 
1781. 

DE  LA  TOUR,  Elisabeth  M.  {nee  Simons),  was 
born  at  Brussels  in  1780.      She  painted  portraits 
and  scenes  from  popular  life,  and  in  1817  received 
the  prize  of  the  Antwerp  Society  for  the  Encourage- 
ment of  the  Fine  Arts.  She  was  still  living  in  1830. 
DE  LA  TOUR,  Maurice  Quentin,  the  best  of 
French  artists  in  crayons,  was  born  at  St.  Quentin  in 
1704.     He  became  a  pupil  of  Spoede,  but  he  soon 
abandoned  painting  in  oil  for  drawing  in  crayons. 
Early  in  his  career  he  visited  London,  and  upon 
his    return   to    Paris    he    set   up   as   an  English 
portrait    painter.     The   first  works   "  en  pastel " 
which  he  sent  to  the  Salon  were  the  portraits  of 
Madame  Boucher  and  of  himself,  in  1737.     These 
created  a  great  sensation,  and  the  reputation  of 
the  artist  increased  with  each    succeeding  Salon. 
Joseph  Vernet  alone  shared  with  him  the  favour 
of  the  public.     Diderot  styled  him  a  magician,  and 
MM.  de  Goncourt  call  his  work  a  magic  mirror, 
in  which  is  seen  all  the  talent  and  all  the  glory,  all 
the  wit  and  all  the  grace,  of  the  reign  of  Louis 
XV.     But  his  genius  shines  more  brilliantly  in  the 
Museum  of  his  native  town  than  in  the  Louvre. 
He  acquired  by  the  exercise  of  his  profession  a 
large  fortune,  which  he  employed  chiefly  in  the 
advancement  of  art.     La  Tour  became  an  acade- 
mician in  1746,  when  he  presented  a  portrait  of 
Restout,   and    subsequently    one    of   Dumont    le 
Remain.    That  of  Restout  he  afterwards  retouched 
and  ruined.      Some   of  his   best  works   shared  a 
like  fate  when  age  had  dimmed  his  sight  and  en- 
feebled his  hand.     He  exhibited  for  the  last  time  at 
the  Salon  of  1773.     Towards  the  close  of  his  life 
his  reason  left  him,  and  he  returned  in  1784  to  St. 
Quentin,  where  he  died  in  1788.    La  Tour  executed 
several  portraits  of  Louis  XV.  and  of  his  Queen, 
Marie  Leszczynska,  of  the  Dauphin  at  different 
ages,  and,  at  a  later  period,  of  the  Dauphiness. 
His  likenesses  were  considered  to  be  so  true  that 
when   Carle  van   Loo   painted   in   1747  the  fine 
portrait  of  Marie  Leszczynska,  which  is  now  in 
the  Louvre,  he  consented  to  spare  the  Queen  the 
trouble  of  sitting  by  painting   the  head  from  a 
drawing  by  La  Tour.     Some  of  his  works  were 
of  large  dimensions,  but  his  masterpiece  was  the 
magnificent  drawing  of   Madame  de  Pompadour, 
which  adorned  the  Salon  of  1765,  and  is  now  the 
chief  ornament  of  the  collection  of  crayon  drawings 
in  the  Louvre.     He  received  for  it  the  large  sum 
of  24,000  francs. 

The  Museum  of  St.  Quentin  possesses  eighty-five 
of  La  Tour's  works,  among  which  are  some  of 
the  highest  quality.  There  are  fifteen  of  his  draw- 
ings in  the  Louvre,  and  others  in  the  Dresden 
Gallery,  and  in  the  Museums  of  Dijon  and  Valen- 
ciennes. An  excellent  monograph  on  him  is  con- 
384  ^ 


tained  in  MM.  de  Gonoourt's  'Art  du  xviiime 
si^cle.  A  statue  by  Langlet  has  been  erected  in 
his  honour  at  St.  Quentin.  E.E  0. 

DE  LA  TRAVERSE,  Chaeles  FsANgois,  a  French 
painter,  born  in  Paris,  was  a  scholar  of  Boucher. 
He  was  sent  to  Rome  with  a  pension  from  the 
Crown  to  pursue  his  studies  for  six  years,  and 
afterwards  went  to  Naples  to  explore  the  excava- 
tions at  Herculaneum.  From  thence  he  went  with 
the  Marquis  of  Osuna  to  Madrid,  and  resided  there 
for  many  j'ears.  He  was  not  employed  on  any  public 
work,  but  painted  many  small  pictures  for  indi- 
viduals. These  consisted  of  landscapes  and  flower- 
pieces,  which  he  painted  more  in  accordance  with 
the  style  of  the  Flemish  than  of  the  Spanish  School, 
especially  in  colour.  He  painted  an  allegory  in 
honour  of  the  birth  of  an  Infanta  of  Spain,  which 
was  engraved  by  Carmona,  but  it  did  not  procure 
him  any  royal  favour.  He  returned  to  Paris,  where 
he  died  in  1778. 

DELATRE,  Jean  Mabie,  a  French  engraver,  was 
born  at  Abbeville  in  1746.  He  came  to  England 
in  1770,  and  worked  under  Bartolozzi.  He  en- 
graved in  the  chalk  style  after  Angelica  Kauffmann, 
Wheatley,  Stothard,  and  Hamilton.  He  also  fur- 
nished illustrations  for  Bell's  'British  Poets,' and 
there  is  a  good  plate  by  him  after  Guercino's  '  St. 
CecUia.'  He  went  to  law  with  Copley  in  1801,  and 
gained  a  verdict  for  600  guineas.  He  died  in 
reduced  circumstances  at  Fulham  in  1845,  within  a 
few  months  of  completing  his  hundredth  year. 

DELAUNAY,  Nicolas,  a  French  engraver,  was 
bom  in  Paris  in  1739.  He  was  a  scholar  and 
skilful  imitator  of  Lempereur,  and  engraved  after 
Rubens,  Weenix,  Raoux,  and  Jordaens.  He  also 
engraved  the  designs  of  Cochin  and  Moreau  for 
the  works  of  Rousseau,  Moli^re,  and  Ariosto.  He 
died  in  Paris  in  1792.     His  best  works  are : 

The  March  of  Silenns ;  after  Rubens. 
The  Pleasure  Party ;  after  Weenix. 
The  Good  Mother ;  after  Fragonard. 

DELAUNAY,  Robeet,  a  French  line-engraver, 
was  born  in  Paris  in  1754,  and  died  there  in  1814. 
He  was  the  brother  of  Nicolas  Delaunay,  by  whom 
he  was  instructed.     Among  his  best  works  are : 

Le  Mariage  conolu ;  after  A.  Borel. 

Le  Mariage  rompu ;  after  Auhry. 

Le  Malheur  impr^vu  ;  after  Greute. 

Les  VendeuTB  d'ceuf s ;  after  Van  dcr  fFerft. 

DELAUNE,  l^TiENNB,  (Delaulne,  or  Db  Laune,) 
a  French  engraver,  was  born  in  Paris,  or  more 
probably  at  Orleans,  in  1518.  He  commenced  bis 
career  as  an  engraver  of  medals,  and  is  said  to 
have  been  helped  by  Benvenuto  Cellini,  who  ^va8 
at  that  time  living  in  Paris.  He  afterwards  en- 
graved many  prints  after  Raphael,  and  the  Italian 
masters  of  Fontainebleau,  and  still  more  after  the 
designs  of  his  son  Jean,  with  whom  he  passed  the 
greater  part  of  his  life  at  Strassburg.  His  style  was 
formed  upon  that  of  the  Little  Masters  of  Germany. 
He  died  at  Strassburg  in  1595.  itienne  Delaune 
was  one  of  the  most  famous  designers  of  gold- 
smith's work  of  his  time.  There  are  six  of  liia 
designs  in  the  Louvre ;  two  of  them  are  for  circular 
dishes  representing  the  Histories  of  Moees  and  of 
Samson.  His  prints,  which  are  generally  small, 
are  very  numerous ;  they  are  executed  entirely 
with  the  graver,  with  great  dexterity  of  handling, 
and  are  very  highly  finished.  He  copied  some  of 
the  prints  of  Marc  Antonio  with  success.  He  usually 
marked  his  prints  with  the  initial  of  his  Christian 


De  La  Valine 


PAINTERS  AND  ENGRAVERS. 


Del  Castillo 


name,  S.,  or  S.  F.,  or  S.  fecit,  but  sometimes 
Stephanus,  fecit.  His  works  are  described  in 
Robert-Dumesnil's  '  Peintre-Graveur,' vol.  ix.  The 
following  are  the  principal : 

A  set  of  thirty  Subjects  from  the  Old  Testament. 

A  set  of  eighteen  Mythological  Subjects;  oval,  very 

small. 
The  Twelve  Months  of  the  Year ;  circular. 
Jupiter,  Neptune,  Mercury,  and  Ceres ;  four  circular 

plates. 
Four  Subjects  from  Ancient  History  ;  oval. 
The  Four  Monarchies  ;  oval. 
Four  plates  of  Rural  Occupations ;  oval. 
The  Three  Graces. 

David  and  Goliath ;  after  Marc  Antonio. 
The  Murder  of  the  Innocents  ;  after  the  same. 
The  Martyrdom  of  St.  Felicitas ;  after  the  same. 
The  Rape  of  Helen  ;  after  the  same. 
The  Brazen  Serpent ;  after  Jean  Cousin.    This  is  one  of 

his  largest  prints. 

DE  LA  VALLl^E,  :6tienne,  a  French  historical 
painter,  was  born  at  Rouen  in  1740,  and  became  at 
Paris  a  pupil  of  Desoamps  and  of  Pierre.  He  went 
to  Rome,  wliere  he  assumed  the  name  of  Lavall^ie- 
PoussiN,  and  produced  landscapes  in  Poussin's  style. 
He  became  a  member  of  the  Academy  in  1789, 
and  died  in  Paris  in  1793.  Some  of  his  works  are 
in  the  Museum  of  Alen50n.  Guyot  engraved  after 
him  some  plates  of  Arabesques  for  the  decoration 
of  rooms. 

DE  LA  VILLA-AMIL,  Gbeonimo  Pehez.  See 
Perez  de  la  Villa-Amil. 

DEL  BARBIERB,  Alessandro.     See  Fbi. 

DEL  BARBIERE,  Dombnico,  called  Domenico 
FlORENTiNO,  a  painter,  sculptor,  and  engraver,  was 
born  at  Florence,  about  the  year  1506.  French 
documents  mention  him  by  the  surname  of  Ricoveri. 
He  was  a  disciple  of  Rosso,  whom  he  followed  to 
France,  when  tiiat  master  was  invited  by  Francis 
I.  to  decorate  the  palaces  of  Fontainebleau  and 
Meudon,  in  which  works  Domenico  gave  him  much 
assistance.  Vasari  says  that  he  was  the  best  of  all 
the  pupils  of  Rosso.  He  was  also  employed  after 
the  death  of  Primaticoio  to  execute  some  frescoes 
after  the  designs  of  that  master.  Subsequently  to 
1562  he  retired  to  Troyes,  where  he  painted  works 
for  the  churches,  and  there  he  was  buried  in  St. 
Pantaleon.  Domenico  del  Barbiere  has  also  left  us 
some  excellent  engravings.  He  has  sometimes 
been  confounded  with  the  French  engraver  Domin- 
ique Barriere,  who  lived  about  a  century  later ;  but 
the  style  of  the  latter  is  so  difEerent  from  that  of 
Barbiere,  that  the  mistake  will  easily  be  discovered. 
He  sometimes  signed  his  plates  with  his  name, 
Domenico  del  Barbiere;  sometimes  with  Domen- 
ico Fiorentino  ;  and  sometimes  marked  them  with 
the  initials  D.  F.  We  have  the  following  prints 
by  him: 

'  Gloria,'  standing  on  a  Globe,  and  holding  two  Trumpets; 

after  Rosso. 
The  Holy  Family. 

The  Penitent  Magdalen ;  after  Titian. 
Cleopatra. 

The  Martyrdom  of  St.  Stephen. 
Amphiaraus  with  his  horses  and  chariot  swallowed  up 

in  the  earth ;  afler  JRosso. 
Venus,  Mars,  and  Cupid ;  after  the  same. 
An-  ornamental    Cartouche,  in  which   is  represented 

Soldiers  leaving  a  camp ;  an  etching ;  after  the  same. 
Two  Anatomical  Figures,  and  two  Skeletons ;  after  the 

same. 
A  Banquet ;  after  Primaticeia. 
A  Group  of  Saints;    from  the  'Last  Judgment'  of 

Miehelangelo, 
A  Group  of  Angels  ;  from  the  same. 
0  0 


DEL  BARCO,  Alonso,  a  Spanish  landscape 
painter,  was  born  at  Madrid  in  1645.  He  was  a 
scholar  of  Antolinez,  and,  according  to  Palomino, 
painted  landscapes  with  great  success.  Many  of 
his  works  were  in  the  palaces  and  private  collections 
at  Madrid,  in  which  city  he  died  in  1685. 

DEL  BARCO,  Garcia,  a  Spanish  painter  of 
Avila,  was  employed  in  1476,  with  Juan  Rodriguez, 
by  the  Duke  of  Alva,  to  execute  '  Obra  Morisca,'  or 
Modrish  stucco-work,  in  his  palace  of  Barco  de 
Avila. 

DEL  BARRANCO,  Bernardo  Martinez.  See 
Martinez  del  Barranco. 

DEL  BASTARD,  Giuseppe,  was  a  native  of 
Rome,  who,  according  to  Baglione,  flourished  dur- 
ing the  pontificate  of  Urban  VIII.  (1623—1644). 
He  painted  for  the  church  of  Santa  Maria  Maggiore 
an  '  Assumption  of  the  Virgin,'  and  for  San  Giro- 
lamo,  a  '  Descent  from  the  Gross,'  and  the  '  Death 
of  St.  Jerome.' 

DEL  BRESCIANINO,  Eaefaello  and  Andrea. 
See  Dei  Piocinelli. 

DEL  BBIZIO,  Mbnichino.     See  Ambroqi. 

DEL  CAIRO,  II  Cavaliebe.    See  Cairo. 

DEL  CASTAGNO,  Andrea.    See  Castagno. 

DEL  CASTILLO,  Agustin,  a  Spanish  painter 
in  oil  and  fresco,  was  bom  at  Seville  in  1565.  He 
was  instructed  there  by  Luis  Fernandez,  but  after- 
wards took  up  his  residence  at  Cordova,  where  he 
died  in  1626.  In  the  cathedral  at  Cadiz  is  his 
'  Adoration  of  the  Kings,'  which  is  said  to  be  his 
finest  work. 

DEL  CASTILLO,  Fernando,  the  younger  brother 
of  Josef  del  Castillo,  was  born  at  Madrid  in  1740, 
and  studied  sculpture  with  Felipe  de  Castro.  He 
afterwards  studied  painting  in  the  school  of  Cor- 
rado  Giacuinto,  and  gained  a  prize  in  the  Academy 
in  1757.  Subsequently  he  was  appointed  painter 
to  the  royal  porcelain  manufactory  at  Buenretiro. 
He  died  at  Madrid  in  1777. 

DEL  CASTILLO,  Josef,  a  Spanish  painter  and 
engraver,  was  bom  at  Madrid  in  1737.  His 
early  promise  of  excellence  in  the  art  of  paint- 
ing, under  Josef  Romeo,  induced  the  Minister  of 
State,  Josef  Carvajal,  to  send  him  to  Rome,  at 
his  own  expense,  to  study  the  great  masters  there 
under  Corrado  Giacuinto,  with  whom  he  returned 
to  Madrid  in  1753.  He  visited  Rome  a  second 
time  in  1758,  and  became  a  disciple  of  Preciado. 
On  his  return  to  his  native  city  in  1764,  the  king 
ordered  his  principal  painter,  Mengs,  to  give  work 
to  the  young  artist.  Mengs  did  so,  by  employing 
him  on  designs  for  the  royal  tapestries,  and  in 
painting  devotional  pictures  for  the  cells  of  the 
Royal  Convent  of  Salesas,  as  well  as  two  portraits 
of  Charles  III.  Castillo  made  drawings  for  the 
edition  of  '  Don  Quixote,'  published  by  the  Madrid 
Academy  ;  he  etched  the  '  Supper  at  Emmaus,' 
after  Cerezo,  the  'Flight  into  Egypt,'  and  other 
works,  after  Luca  Giordano,  and  made  for  the  en- 
gravers small  copies  of  the  frescoes  in  the  Retire. 
His  productions  are  to  be  met  with  in  Madrid,  at 
the  Escorial,  and  in  various  churches,  convents,  and 
hospitals.     He  died  at  Madrid  in  1793. 

DEL  CASTILLO,  JnAN,  the  brother  of  Agustin 
del  Castillo,  was  born  at  Seville  in  1584.  He 
had  the  advantage  of  being  educated  under  Luis 
de  Vargas,  by  whose  instructions,  joined  to  his 
own  natural  ability,  he  rose  to  be  a  distinguished 
historical  painter.  His  principal  works  are  at 
Seville  and  Granada.  He  enjoys  the  reputation 
of  having  been  the  instructor  of  Murillo,  Aloneo 

385 


Del  Castillo  y  Saavedra 


A  BIOGRAPHICAL  DICTIONARY  OF 


De  Leeuw 


Cano,  and  Pedro  de  Moya.     He  died  at  Cadiz  in 
1640. 

DEL  CASTILLO  Y  SAAVEDRA,  Antonio,  a 
Spanish  portrait  painter,  was  born  at  Cordova  in 
1603.  He  waa  the  son  of  Agustin  del  Castillo, 
from  whom  he  received  his  first  instruction  in 
art.  At  his  father's  death  he  became  the  pupil  of 
Francisco  Zurbaran,  who  was  at  that  time  in  high 
repute.  The  cathedral  of  Cordova  possesses  many 
paintings  by  him,  which  bear  ample  teatinfony 
to  his  merit ;  and  had  his  colouring  been  equal  to 
his  composition  and  design,  few  artists  of  his  own 
country  would  have  surpassed  him,  as  may  be  judged 
from  his  paintings  of  the  'Assumption  of  the 
Virgin,'  and  'SS.  Peter  and  Paul.'  The  convent 
of  St.  Francis  at  Cordova  possesses  a  painting 
taken  from  the  life  of  that  saint,  which  Castillo 
painted  in  competition  with  Juan  de  Alfaro,  under 
whose  name  in  this  work  will  be  found  the  story 
of  the  incident  which  led  to  its  execution.  In  1666 
he  revisited  Seville  at  the  time  when  Murillo  was 
at  the  zenith  of  his  fame.  On  seeing  the  pictures 
of  that  great  master  Castillo  was  so  struck  with 
their  excellence  and  his  own  inferiority,  that  he 
cried  "  Ya  murib  Castillo!"  and  from  that  time 
sank  into  a  state  of  despondency  that  hastened  his 
death,  which  took  place  at  Cordova  in  1667. 

DEL  CERAJUOLO,  Antonio,  a  painter  of 
Florence,  who  flourished  in  the  early  part  of  the 
16th  century,  was  a  pupil  of  Lorenzo  di  Credi,  and 
subsequently  an  assistant  of  Eidolf  o  Ghirlandajo. 
He  executed  church  pictures,  amongst  which  was 
a  '  Crucifixion,  with  St.  Mary  Magdalen  and  St. 
Francis,'  now  in  the  Pitti  Palace ;  but  he  was 
especially  celebrated  for  his  portraits. 

DELCLOCHE,  Paul  Joseph,  a  Flemish  painter 
of  interiors  and  battle-pieces,  was  bom  at  Namur 
in  1716.  He  was  the  son  of  Pierre  Delcloche,  an 
almost  unknown  painter,  from  whom  he  received 
his  first  lessons  in  art.  Whilst  still  very  young  he 
went  to  Paris,  but  returned  in  1747  to  Liege,  where 
he  painted  some  pictures  for  the  Salle  des  Btats 
and  the  churches.  His  small  pictures  are  full  of 
life  and  spirit,  but  his  larger  works  are  much  less 
successful.     He  died  about  1762. 

DEL  CONTE,  Jacopo,  a  Florentine  painter,  was 
bom  in  1510.  He  was  brought  up  in  the  school 
of  Andrea  del  Sarto.  Few  of  his  works  are  to  be 
met  with  in  Florence,  as  he  went  to  Rome  when 
he  was  young,  and  resided  there  until  his  death. 
He  was  a  respectable  painter  of  history;  but  is 
more  distinguished  for  his  excellence  in  portraits, 
of  which  he  painted  a  greater  number,  and  of  more 
distinguished  personages,  than  any  artist  of  his 
time.  He  visited  Rome  during  the  time  of  Paul 
III.,  and  he  painted  his  portrait,  and  that  of  each 
succeeding  pontifE  until  Clement  VIII.,  in  whose 
pontificate  he  died.  His  principal  historical 
works  at  Rome  are,  '  St.  John  preaching,'  and  the 
'Deposition  from  the  Cross,'  in  San  Giovanni 
DecoUato,  the  church  of  the  Florentines ;  the 
'Dead  Christ,' with  several  figures,  in  the  Madonna 
del  Popolo;  and  at  the  Cappuccini  on  Monte 
Cavallo,  a'Pieti,'  and  'St.  Francis  receiving  the 
Stigmata.'  He  also  painted  a  portrait  of  Michel- 
angelo.    He  died  at  Rome  in  1598. 

DELCOUR,  Jan  Gillis,  a  Flemish  painter  of 
religious  subjects,  was  born  at  Hamoir,  near  Liege, 
in  1632.  He  was  a  scholar  of  Geraert  DoufEet, 
but  went  to  Rome  and  there  studied  for  a  long 
time  under  Andrea  Sacchi  and  Cario  Maratti.  He 
made  excellent  copies  of  some  of  Raphael's  most 
ooo 


celebrated  works,  which  still  exist  at  Li^e,  where 
there  are  also  some  original  pictures  by  him  in  the 
churches.     He  died  at  Lidge  in  1694. 
DEL  CROClFiSSAJO,  Girolamo.    See  Macchi- 

BTTI. 

DE  LEECJW,  Jan,  a  Dutch  engraver,  was  born 
at  the  Hague  in  1660.  In  conjunction  with  Jan 
Lamsveld,  he  engraved  the  portraits  for  Le  Vas- 
sor's  '  Histoiredu  Eegne  de  Louis  XIII.,' published 
at  Amsterdam  in  1701.  We  have  also  by  him  the 
following  portraits : 

Carolus  Niellius,  D.  Theol. 
Jacob  "Wilhelm  Imhof ,  Senator  of  Nuremberg. 
Joseph  Justus  Scaliger. 
John,  Duke  of  Marlborough. 

Abraham  Cowley;  for  the  edition  of  his  works  published 
in  1700. 

DE  LEEUW,  Thomas,  (or  De  Lsn,)  a  native 
of  Flanders,  was  in  France  from  1560  to  1612. 
He  was  a  pupil  of  Jean  Rabel,  and  afterwards  of 
Antoine  Caron,  whose  daughter  he  married.  He 
engraved  at  first  after  Comelis  Cort,  Sadeler,  and 
Wierix,  in  a  dry  manner,  but  devoted  himself 
afterwards  to  portraiture,  in  which  he  became 
one  of  the  most  distinguished  artists  of  his  time. 
He  is  supposed  to  have  died  about  1620.  M. 
Duplessis  has  described  the  works  of  this  engraver 
in  vols.  X.  and  xi.  of  Robert-Dumesnil's '  Peintre- 
Graveur.'  They  amount  in  number  to  512,  of  which 
213  are  portraits,  and  are  generally  signed  with 
his  name.    Among  others  are  the  following : 

POETEAITS. 

Henry  III.,  King  of  Prance  and  Poland. 

Louise  de  Lorraine,  his  Queen. 

Henri  de  Bourbon,  Prince  of  Conde,  at  the  age  of  nine 

years. 
Cesar,  Duke  of  Vendome,  aged  four  years. 
Bust  of  Henry  IV. ;  after  Bund. 
Henry  IV. ;  after  Quesnel. 
Marie  de  M^dicis  ;  after  the  same. 
Mary,  Queen  of  Scotland  and  France. 
Charles  de  Bourbon,  Count  of  Soissons. 
Francois  de  Bourbon,  Prince  of  Conti. 
Charles  de  Lorraine,  Duke  of  Mayenne. 
Henri  de  Savoie,  Duke  of  Nemours. 
Henri  de  Montmorency,  Constable  of  France. 
Anne,  Duke  de  Joyeuse,  Admiral  of  France. 
Charles  de  Gontaut,  Duke  of  Biron,  Marshal  of  France. 


The  Bcoe  Homo,  with  Angels  bearing  the  Instruments 

of  the  Passion. 
Eighteen  plates  of  the  Life  of  the  Virgin. 
The  Twelve  Sibyls ;  fi'om  his  own  designs. 
Justice  rewarding  the  Labours  of  the  Husbandman; 

after  F.  Zuccheri. 
The  Coronation  of  Louis  XIII. ;  after  Q^snel. 

DE  LEEUW,  WiLLEM,  a  Flemish  engraver,  was 
born  at  Antwerp  in  1610.  He  was  a  disciple  of  Pieter 
Soutman,  but  instead  of  following  the  neat,  finished 
style  of  that  artist,  his  etching  is  bold  and_  free. 
There  is  a  coarseness  and  want  of  harmony  in  his 
prints,  except  in  those  after  Nieulant,  where  he 
handled  the  point  with  the  greatest  fineness; 
otherwise  his  manner  is  well  adapted  to  someof 
the  subjects  he  engraved,  particularly  his  hunting 
pieces  after  Rubens.  He  died  about  1665.  The 
following  are  his  most  esteemed  prints,  which  are 
sometimes  signed  with  his  name,  and  sometimes 

marked  with  the  cipher  "V^^  • 

Lot  and  his  Daughters;  after  Eulens. 
Daniel  in  the  Lions'  Den ;  after  the  same. 


Delegorg^e-Cordier 


PAINTERS  AND  ENGRAVERS. 


Delff 


The  Virgin,  supported  by  Angels;  called  'Mater 
Dolorosa ' ;  after  the  same. 

The  Martyrdom  of  St.  Catharine;  after  the  same;  fine 
and  scarce. 

Four  large  plates  of  Hunting  scenes;  after  the  same. 
The  same  subjects,  viz.  the  Lion-hunt,  the  Boar-hunt, 
Hunting  the  Wolf,  and  the  Crocodile  and  Hippo- 
potamus, have  been  engraved  by  P.  Soutman. 

Tobit  and  his  "Wife ;  after  Rembrandt. 

David  playing  on  the  Harp  before  Saul;  after  the  same. 

Eembrandt's  Wife ;  after  the  same. 

A  Female  with  a  Veil ;  inscribed  '  Marianne ' ;  half- 
length  ;  after  the  same. 

St.  Francis  in  Meditation ;  after  J.  Lierens. 

A  set  of  four  large  Landscapes;  after  Adriaen  Nieulant. 
These  prints  are  in  a  more  finished  style  than  is  usual 
with  De  Leeuw,  and  are  scarce. 

DELEGOEGUE-COEDIEE,  John,  a  French  line- 
engraver,  viras  born  at  Abbeville  in  1781.  He 
engraved  the  '  Toilet  of  Venus '  after  Albano, 
•jBneas  and  Anchiees,'  after  Domenichino,  and 
portraits  of  Napoleon  and  Josephine  after  Lebel, 
and  Madame  de  S^vign^  after  Nanteuil. 

DELEIDI,  LuiGl,  an  Italian  painter,  who  was 
born  in  the  Bergamese  in  1774,  painted  landscapes 
and  ornaments  which  are  particularly  happy  in 
their  grouping  and  colouring.  He  died  at  Bergamo 
in  1863. 

DE  LELIE,  Adeiaan,  was  born  at  Tilburg  in 
1755,  and  was  a  scholar  of  Peeters,  a  painter  of 
tapestries  and  ornaments,  and  afterwards  of  Quer- 
tenmont  at  Antwerp.  He  made  copies  of  many 
of  the  portraits  by  Rubens  and  Van  Dyck  at 
Diisseldorf,  and  also  of  historical  pictures  by 
Italian  and  Dutch  masters.  By  the  advice  of  Pro- 
fessor Camper,  he  established  himself  at  Amster- 
dam, where  he  painted  a  great  number  of  portraits 
and  cabinet  pictures ;  among  the  latter  is  one  of 
the  celebrated  amateur  Jan  Gildemeester  showing 
his  collection  to  a  party  of  ladies  and  gentlemen, 
in  which  the  principal  pictures  are  readily  recog- 
nised. One  of  his  best  works  is  that  representing 
the  'Drawing  Academy'  of  the  Felix  Meritis 
Society  at  Amsterdam.  His  pictures  are  highly 
esteemed  in  Holland  and  Germany,  where  they 
are  to  be  met  with  in  the  best  collections.  He 
died  at  Amsterdam  in  1820. 

DE  LELIE,  Jan  Adeiaan  Antonib,  who  was 
born  at  Amsterdam  in  1788,  was  instructed  in  art 
by  his  father,  Adriaan  De  Lelie,  and  by  Haan.  He 
excelled  in  painting  fruit-pieces  and  genre  pictures; 
and  also  practised  picture  restoring.  He  died  at 
Amsterdam  in  1846. 

DELEN.     See  Deelen. 

DE  LE  PASTURE,  Rogiee.  See  Van  deb 
Weyden. 

DELESTEE,  Jean  Baptiste,  a  French  artist  and 
writer  upon  art,  was  born  at  Lyons  in  1800.  He  was 
a  pupil  of  Gros,  and  studied  also  water-colour  paint- 
ing and  sculpture,  but  after  a  time  he  forsook  the 
practice  of  art,  and  devoted  himself  to  its  history 
and  criticism.  He  was  a  radical  in  politics,  and 
took  an  active  part  in  the  revolution  of  1848.  He 
died  in  Paris  in  1871.  A  '  Scene  during  the  erup- 
tion of  Vesuvius,'  by  him,  is  in  the  Museum  of 
Nantes.  His  principal  writings  were  '  !6tudes  pro- 
gressives des  tfites  du  C^nacle  peint  a  Milan  par 
Leonard  de  Vinci,'  1827,  and  'Gros  et  ses  ouv- 
rnges,'  1867. 

DE  LETH,  Hendeik,  was  a  Dutch  engraver, 
who  lived  at  Amsterdam,  where  he  published  in 
1729  a  series  of  views  of  Kennemerland,  which 
are  very  poorly  executed. 

DE  LEU.    See  De  Leeuw. 
cc  2 


DELF,  Coppin,  a  French  historical  painter,  who 
flourished  in  the  15th  century,  and  became  painter 
in  ordinary  to  King  Een6  and  King  Louis  XI.  He 
executed  the  mural  paintings  in  the  churches  of 
St.  Martin  at  Tours,  St.  Maurice  at  Angers,  and 
St.  Peter  at  Saumur,  between  1456  and  1482. 

DELFF,  Jacob  Willemszoon,  'the  elder,'  a  por- 
trait painter  of  Delft,  is  known  by  a  picture  of  an 
'  Archery-feast '  in  the  Hotel  de  Ville  at  Delft, 
dated  1592  ;  and  by  a  '  Reconciliation  of  Esau  and 
Jacob,'  in  the  Belvedere  at  Vienna,  bearing  the 
date  1584.  He  also  painted  '  The  Sportsman's 
Dinner,'  and  a  portrait  group  of  his  family.  Delff 
died  at  Delft  in  1611.  His  works  display  good 
conception  and  execution,  but  are  somewhat  heavy 
in  colouring. 

Jacob  Delff  had  three  sons,  Cornelis,  Rochus,  and 
Willem.  CoENELis  Delff,  born  in  1671,  was  a 
pupil  of  Cornelis  van  Haarlem,  and  distinguished 
himself  by  very  fine  pictures  of  still  life.  He  died 
in  1645.  EooHus  Delff  was  a  portrait  painter, 
and  a  pupil  of  his  father.  Willem  Delff  is 
noticed  below. 

DELFF,  Jacob  Willemszoon,  '  the  younger,'  the 
son  of  Willem  Jacobszoon  Delff,  and  grandson  of 
the  elder  artist  of  the  same  names,  was  born  in 
1619  at  Delft,  where  he  afterwards  resided.  He 
was  highly  esteemed  and  much  patronized  by 
many  celebrated  personages  of  his  country.  He 
also  held,  with  great  credit  to  himself,  several 
important  civic  posts,  and  at  his  death,  which 
occurred  at  Delft  in  1661,  a  marble  monument  was 
erected  to  his  memory.  He  followed  the  style  of 
Rembrandt.  A  Man's  Portrait,  by  him,  is  in  the 
Rotterdam  Museum ;  a  Female  Portrait  is  in  the 
Stadel  Institute  at  Frankfort ;  and  the  figure  of  a 
Boy  is  in  the  Liechtenstein  Gallery  at  Vienna. 

DELFF,  Willem  Jacobszoon,  was  a  Dutch  por- 
trait painter,  but  was  more  celebrated  as  an  en- 
graver. He  was  born  at  Delft  in  1680,  and  received 
his  instruction  in  design  from  his  father,  Jacob 
Willemszoon  Delff.  He  practised  for  some  time 
in  the  style  of  his  father,  but  having  attempted  to 
engrave  some  plates  after  the  portraits  of  Miereveld, 
whose  daughter  he  married  in  1618,  his  success  was 
such  as  to  induce  him  to  abandon  painting,  and 
devote  himself  entirely  to  the  graver,  which  he 
handled  with  uncommon  freedom  and  precision. 
The  plates  he  executed  in  the  earlier  part  of  his 
life  are  more  neatly  finished  than  those  he  after- 
wards produced,  but  the  latter  are  engraved  in  a 
bold  open  style,  producing  a  fine  effect,  and  the 
heads  are  finely  drawn.  His  plates  are  some- 
limes  signed  with  his  name,  but  at  other  times 

are  marked  with  the  cipher 


(L"-m). 


Delff  died  at  Delft  in  1638.  A  full  account  of  his 
works  will  be  found  in  Franken's  'ffiuvre  de 
Willem  Jacobszoon  Delff,' published  at  Amsterdam 
in  1872.    The  following  are  his  principal  portraits : 

Charles  I.  of  England ;  after  D.  Mytens. 
Henrietta  Maria,  his  Queen  ;  after  the  same. 
Michiel  Miereveld,  painter ;  after  Van  Dyck. 

POETEAITS  AFTEE  MIEEEVELD. 

George  Villiers,  Duke  of  Buckingham. 

Jacob  Cats,  poet  and  philosopher. 

Hugo  Grotius,  Syndic  of  Rotterdam  ;  fine. 

Three  fine  Heads  of  William,  Maurice,  and  Henry, 

Princes  of  Orange. 
Gustavus  Adolphus,  King  of  Sweden. 
Frederick,  King  of  Bohemia,  Elector  Palatine.    1632. 
Elizabeth,  Queen  of  Bohemia.    1630. 

387 


Delfino 


A  BIOGRAPHICAL  DICTIONARY  OF 


Dell'  Abbate 


■Wolfgang  'William,  Duke  of  Bavaria. 

Caspar,  Oount  de  Coligni.    1631. 

Louise,  Countess  de  Coligni.    1627. 

Florent,  Count  of  Culenborch.    1627. 

Catharine,  Countess  of  Culenborch.     1636. 

Philip  William,  Prince  of  Orange.     1628. 

Marco  Antonio  de  Dominis,  Archbishop  of  Spalatro. 

Sir  Dudley  Carleton,  Ambassador  at  the  Hague. 

Jan  Olden  Barnevelt.     1617. 

Abraham  van  der  Meer. 

Hans  De  Eies. 

Jacobus  Triglandus,  Professor  at  Leyden.     1636. 

Felix  De  Sambix,  writing-master  of  Antwerp. 

DELFINO,  Caklo  Claudio.    See  Dauphin. 

DEL  FIOBE,  CoLANTONio.  See  Tomasi,  Nicoola. 

DEL  FIORB,  Jacobello  or  Jacombllo,  flour- 
ished betvpeen  1386  and  1439.  He  was  the  son  of 
Francesco  del  Fiore,  the  president  of  the  Venetian 
Guild  of  Painters.  His  early  paintings  have  disap- 
peared from  the  churches  of  Pesaro.  Jacobello 
was  elected  president  of  his  Guild  in  1415,  and 
held  that  position  until  1436.  In  1415  he  painted 
the  '  Winged  Lion  of  St.  Mark,'  now  in  the  Ducal 
Palace  ;  and  in  1421  he  was  commiesioned  to  paint 
for  the  Tribunal  of  the  "  Proprio  "  the  subject  of 
'  Justice,  between  SS.  Michael  and  Gabriel.  The 
'  Coronation  of  the  Virgin,'  ordered  in  1438  for  the 
cathedral  of  Ceneda,  is  still  there,  and  in  the  church 
of  the  Hospital  of  San  Lorenzo,  at  Sarravalle,  are 
frescoes  representing  scenes  from  the  lives  of  SS. 
Lawrence  and  Stephen,  though  now  much  injured 
by  time.  The  Venice  Academy  possesses  a 
'  Virgin,'  signed  by  Jacobello  in  1436,  and  many 
other  paintings  by  him  exist  in  the  private  and 
public  galleries  of  Venice. 

DELFOS,  Abraham,  a  Dutch  engraver,  was  born 
at  Leyden  in  1731.  He  engraved  after  Berchem, 
Teniers,  and  Brouwer,  but  his  works  are  very 
scarce.     We  have  by  him : 

A  Landscape,  with  Figures  and  Animals ;  after  Berchem. 

A  Sea-port,  with  Shipping ;  after  the  same. 

Several  Views  in  Flanders,  with  Boors ;  after  D.  Teniers. 

DEL  FEATE,  Ceoohino,  was  a  disciple  of  Fra 
Bartolommeo,  but  no  painting  can  with  certainty 
be  attributed  to  him. 

DELGADO,  JnAN,  a  Spanish  painter,  was  estab- 
lished at  Madrid  about  the  commencement  of  the 
18th  century.  He  painted  a  picture  of  '  St.  Francis 
Xavier,'  in  the  Hermitage  of  Our  Lady,  near  the 
bridge  of  Segovia,  which  was  well  coloured,  but 
somewhat  mannered. 

DELGADO,  Pedro,  a  Spanish  painter,  was  bom 
at  Orgaz,  where  he  painted  in  1529  for  the  Hermit- 
age of  the  Conception  two  large  pictures,  the  one 
representing  the  'Virgin  surrounded  by  Saints,' 
and  the  other  the  '  Descent  from  the  Cross  ' :  they 
are  both  in  the  style  of  the  15th  century. 

DEL  GARBO,  Eapfaellino.     See  Capponi. 

DEL  GESSI,  Eroolino.    See  Ruggieei. 

DEL  GOBBO,  Andrea.    See  Solaeio. 

DEL  GRANO,  Giorgio.    See  Gandini. 

DEL  GUASTA,Benvenuto,  called  Benvenuto  da 
Siena,  who  was  born  at  Siena  in  1436,  painted  much 
in  that  city.  His  earliest  known  work  is  an  '  Annun- 
ciation '  signed  '  Opus  Benvenuti  Joannis  de  Senis.' 
It  was  painted  in  1466,  and  is  in  the  church  of  St. 
Girolamo  at  Volterra.  Frescoes  by  Benvenuto  are 
in  the  Baptistery  of  Siena,  and  there  are  in  the 
Gallery  of  that  city  three  paintings  by  him.  The 
National  Gallery  has  a  '  Madonna  and  Child  en- 
throned,' with  side  panels.  The  date  of  his  death 
is  not  recorded,  but  he  was  still  living  in  1517,  for 
in  that  year  he  painted  the  baldacchino  of  the 

388 


cathedral  of  Siena,  on  the  occasion  of  a  visit  of 
Pope  Leo  X.  to  that  city. 

DEL  GUASTA,GiKOLAMO,the  son  of  Benvenuto 
del  Guasta,  was  bom  in  1470.  He  painted  in  1508 
a  '  Virgin  of  the  Snow,'  which  is  now  in  the 
Oratory  of  St.  Catharine  in  San  Domenico  at  Siena, 
and  in  the  Academy  of  that  city  are  two  or  three 
other  pictures  by  him.  But  little  else  remains  of 
this  artist,  who  died  in  1524. 

DEL  HELE,  Isaak.     See  De  La  Hele. 

DE  LIEMAKER,NiC0LAES,(or  De  Liemaeckere,) 
sumamed  RoosE,  and  sometimes  called  Nicolaes 
EoosE,  a  Flemish  historical  painter,  was  bom  at 
Ghent  in  1601.  He  was  the  son  of  Jacob  De 
Liemaker,  a  painter  upon  glass,  and  is  said  by 
Descamps  to  have  been  a  pupil  of  Markus  Geeraerts 
the  younger,  but  as  the  latter  joined  his  father  in 
London  in  1580,  it  is  most  likely  that  he  studied 
under  Otto  van  Veen  at  Antwerp.  He  attained  « 
high  rank  in  his  profession,  and  in  1625  returned 
to  Ghent,  where  he  died  in  1646.  The  Museum  of 
Ghent  and  the  churches  of  that  city  and  of  other 
towns  of  Flanders  possess  a  great  number  of  his 
works.  His  best  picture  is  the  '  Consecration  of 
St.  Nicholas,  Bishop  of  Myra,'  which  is  above  the 
high  altar  of  the  church  of  St.  Nicholas  at  Ghent. 

DELIGNON,  Jean  Louis,  a  French  engraver, 
was  bom  in  1755.  He  executed  a  considerable 
number  of  book-plates  after  Moreau  and  others,  as 
well  as  some  plates  for  the  '  Galerie  du  Palais- 
Royal.'  His  best  work,  'Le  Seigneur  chez  son 
Fermier,'  is  to  be  found  in  the  'Monument  du 
Costume.'     He  died  in  1804. 

DELIN,  Joannes  Josephus,  a  Flemish  historical 
and  portrait  painter,  was  bom  at  Antwerp  in 
1774.  He  first  visited  the  Academies  of  Brussels 
and  Antwerp,  and  afterwards  continued  his  studies 
under  Vincent  in  Paris.  In  the  old  church  of  the 
Jesuits  at  Antwerp  there  is  a  picture  by  him 
representing  the  '  Purification  of  the  Virgin,'  and 
in  the  church  of  St.  Charles  Borromeo, '  Simeon  in 
the  Temple.'     He  died  in  Paris  in  1811. 

DELL'  ABBATE  FAMILY. 

Giovanni  (?— 1659). 


NIccoImisiZ— 1671).       Pietro"paolo  {t—unl). 

, L ^ , 

Giullo  Camillo  {fl.  about  1660).        Oristoforo  Camillo 

(S.  about  ISS8).  (fl.  about  lifO), 

Ercole  (1S63?— 1613). 

Pletro  Paolo  (1692—1630). 

DELL'  ABBATE,  Ercole,  the  eldest  son  of 
Giulio  Camillo  dell'  Abbate,  and  grandson  of 
Niccolo,  was  born  at  Modena  about  the  year  1563. 
He  possessed  an  extraordinary  genius  for  the  arts, 
which  he  disgraced  by  the  depravity  and  intem- 
perance of  his  conduct.  Like  most  artists  of  that 
character,  his  works  were  the  productions  of  negli- 
gence and  haste.  He  painted,  in  concurrence  with 
Bartolommeo  Schedone,  some  pictures  representing 
scenes  in  the  Life  of  Hercules,  in  the  Council-hall 
at  Modena.  He  died  at  Modena  in  1618.  The 
Modena  Gallery  has  three  works  by  this  artist— an 
'Annunciation,'  a  'Presentation  in  the  Temple,' 
and  a '  Birth  of  St.  John  the  Baptist.'  A  '  Marriage 
of  the  Virgin,'  in  the  same  gallery,  is  by  some 
attributed  to  Ercole  dell'  Abbate,  and  by  others  to 
his  son,Pietro  Paolo,  the  younger. 

DELL'  ABBATE,  Niccol6,  was  called  by  the 
Italians  Messer  Niccol6  or  Niccolino.  He  was 
born  at  Modena  in  1512,  and  is  said  to  have  studied 


Dell'  Abbate 


PAINTERS  AND  ENGRAVERS. 


Delia  Bella 


under  his  father,  Giovanni  dell'  Abbate,  who  was 
a  modeller  in  stucco,  as  well  as  a  painter,  and  in 
the  school  of  Antonio  Begarelli,  an  able  sculptor, 
but  these  statements  are  destitute  of  any  proof ;  it 
is,  however,  supposed  by  many  that  he  had  the 
advantage  of  Jjeing  instructed  byCorreggio,  which 
supposition  is  supported  by  his  superior  knowledge 
of  foreshortening,  and  the  boldness  of  his  relief. 
Certain   it   is  that   the   works   of   Correggio   and 
Parmigiano  produced  a  great  effect  on  his  style. 
One  of  the  first  performances  which  brought  him 
into  notice  was  his  picture  of  the  '  Martyrdom  of 
St.  Peter  and  St.  Paul,'  painted  in  1547  for  San 
Pietro    at    Modena,    of    which    celebrated    work 
Vasari  takes  no  further  notice  than  to  remark, 
that  one   of    the   executioners  is  taken    from  a 
picture  of  Correggio  at  Parma  (the  '  Martj'rdom  of 
SS.  Plaoidus  and   Plavia,'  now  in  the  Gallery  of 
that  city).     Dell'  Abbate's  'Martyrdom'  is  now  in 
the  Dresden  Gallery,  and  has  been  engraved  by 
Folkema.     He  afterwards  painted  twelve  pictures 
from  the  twelve  books  of  the  ^neid,  formerly  in 
the  castle  of  Scandiano,  nine  of  which  are  now  in 
the  Modena  Gallery,  three  having  perished  by  fire 
in  1815,  and  they  are  alone  sufficient  to  establish 
his  reputation.     Lanzi,  who  was  well  acquainted 
with  their  merit,  says  "that  in  the  correctness  of 
the  figures,  the  beauty  of    the  landscapes,   the 
architecture,  and  the  animals,  they  merit  every 
praise  that  can   be  bestowed   on  a  distinguished 
follower  of  the  style  of  Raphael."     Whilst  in  the 
prime  of  life,  Dell'  Abbate  went  to  Bologna,  where 
he  painted  in.  a  portico  of  the  Leoni  Palace,  now 
the  Marchesino,  in  fresco,  an  'Adoration  of  the 
Shepherds,'   and  in  the  Poggi   Palace,   now  the 
Institute,  a  frieze,  representing  an  '  Assembly  of 
young  Men  and  Women,'  which  was  perhaps  more 
suited  to  his  genius.     This  was  composed  and 
drawn  with  admirable  taste  and  elegance,  and  has 
been  engraved  by  Crivellari.     These  works  were 
the  admiration,  and  became  the  models,  of  the 
Carracci ;  and  Agostino  wrote  a  sonnet  in  honour 
of  the  painter,  in  which,  in  the  flowery  language  of 
poetry,  he  attributes  to  him  "the  symmetry  of 
Raphael,  the  sublimity  of  Michelangelo,  the  truth 
of  Titian,  the  greatness  of  Correggio,  and  the  grace 
of  Parmigiano."     Such  was  the  excellence  of  his 
work  in  fresco-painting,  that  he  is  said  never  to 
have    had    occasion    to    retouch    it    when    dry ; 
this  gave  an  uncommon  splendour  and  purity  to 
his  colouring.     In  1562  Primaticcio  prevailed  on 
Deir  Abbate  to  accompany  him  to  the  court  of 
France,  as  the  most  efficient  coadjutor  he  could  find 
to  assist  in  the  important  works  he  was  about  to 
undertake.     Dell'  Abbate,  in  fact,  painted  most  of 
the  frescoes  from  the  designs  of  Primaticcio  in  the 
magnificent  gallery  at  Fontainebleau,  of  which 
more  particular  notice  will  be  found  in  the  account 
of  that  master.     After  the  death  of  Primaticcio,  he 
continued  to  be  employed  by  the  court  of  France, 
and  died  in  Paris  in  1571.     Of  his  numerous  fresco 
paintings,  but  few,  comparatively,  are  extant.     His 
oil  pictures  also  are  extremely  rare.     The  '  Rape  of 
Proserpine,'  formerly  in  the  Orleans  Gallery,  but 
now  in  the  collection  of  the  Duke  of  Sutherland,  is 
a  favourable  specimen  of  his  skill  in  landscape 
painting.    A  '  Holy  Family '  is  in  the  possession  of 
Lord  Scarsdale  at  Kedleston  Hall. 

Niccolo  deir  Abbate  had  three  sons,  Giulio 
Camillo,  Cristoforo,  and  Camillo,  all  of  whom 
followed  him  to  France,  and  assisted  him  in  his 
work  at  Fontainebleau.  The  first-mentioned  worked 


about  1560-61;  the  second  from  1568  to  1570; 
and  Camillo,  who  was  the  principal  assistant  of 
his  father,  about  1570. 

DELL'  ABBATE,  Pieteo  Paolo,  '  the  elder,'  the 
brother  of  Niccol6,  was  a  native  of  Modena,  where 
he  lived  all  his  life  and  died  about  1575.  He  excelled 
in  painting  battle  pieces,  and  was  considered  un- 
equalled, in  his  time,  for  the  spirit  and  animation 
with  which  he  designed  horses,  and  the  attacks  of 
combatants.  Some  of  the  works  of  this  painter 
are  in  the  Gallery  at  Modena. 

DELL'  ABBATE,  Pibtko  Paolo,  '  the  younger,' 
the  son  of  Ercole,  was  born  at  Modena  in  1592, 
and  died  there  in  1630.  He  painted  for  the  churches 
at  Modena  several  pictures,  which  are  spoken  of 
with  commendation.  The  Modena  Gallery  has  a 
'  Christ  in  the  Temple '  by  him. 

DELLA  BELLA,  Stefano,  an  Italian  engraver, 
called  in  France  Etiennb  de  La  Belle,  was  bom 
at  Florence  in  1610.  He  was  the  son  of  a  gold- 
smith, and  is  said  to  have  been  intended  for  his 
father's  profession,  but  having  shown  a  genius  for 
drawing,  he  was  placed  under  Cesare  Dandini  to 
learn  painting.  Subsequently,  a  decided  inclination 
for  the  art  of  engraving  induced  his  father  to 
permit  him  to  become  a  pupil  of  Canta  Gallina, 
who  was  also  the  master  of  Callot.  He  at  first 
imitated  the  manner  of  Callot,  but  soon  abandoned 
it,  and  adopted  a  style  of  his  own.  No  artist  has 
handled  the  point  with  more  facility  and  finesse 
than  Delia  Bella.  His  execution  is  admirable,  and 
his  touch  spirited  and  picturesque.  He  designed  his 
subjects  with  infinite  taste,  and  his  plates  produce 
a  clear  and  brilliant  effect.  It  is  not  surprising 
that  some  of  his  prints  are  but  slightly  etched, 
when  we  consider  that  the  number  of  them 
exceeded  one  thousand  four  hundred.  He  visited 
Paris  in  1640,  where  he  engraved  some  plates  for 
Henriet,  the  uncle  of  Israel  Silvestre.  Cardinal 
Richelieu  employed  him  to  make  drawings  of  the 
siege  and  taking  of  the  towns  of  Arras  and  La 
Rochelle,  which  he  afterwards  engraved.  On  his 
return  to  Florence,  about  1650,  he  was  appointed 
by  the  Grand-Duke  instructor  in  drawing  to  his 
son  Cosmo.  He  died  at  Florence  in  1664.  The 
following  is  a  list  of  his  principal  works : 

VAEIOtrS   SUBJECTS. 

Portrait  of  Stefano  della  Bella,  in  a  Persian  costume  ; 

after  his  own  design. 
gigismondo  Boldoui,  of  Milan. 
Mont-Joie  St.  Denis,  King  at  Arms ;  very  scarce. 
Horatius  Gonzales ;  ovai ;  very  scarce. 
Ferdinand  II.,  Emperor  of  Germany. 
Bernardo  Bicci,  Buffoon  to  Ferdinand  II.,  on  horseback. 

1637. 
St.  Anthony,  Archbishop  of  Florence.    {^His  first  plate.) 
St.  Anthony  of  Padua,  mounted  on  a  monster  with  two 

heads. 
Jacob  and  Bachel  leaving  Laban. 
Jacob's  Journey  to  Egypt. 
Battle  of  the  Amalekites. 
St.  John  the  Baptist,  with  a  lamb. 
St.  John  the  Baptist  getting  water  with  his  cup. 
The  Virgin,  with  the  Infant  Jesus  on  her  knee. 
The  Virgin,  with  the  Infant  Jesus  standing  on  her  knee. 
The  Virgin  suckling  the  Infant  Jesus. 
The  Virgin  suckling  the  Infant  Jesus,  with  St.  Elizabeth 

and  St.  John. 
The  Virgin  sitting,  with  the  Infant  standing  on  her 

knee ;  oval. 
The  Virgin  suckling  the  Infant ;  after  Carracci. 
A  small  plate  of  the  Flight  into  Egypt,  St.  Joseph  lead- 
ing the  Ass. 
A  round  plate  of  the  Flight  into  Egypt,  with  the  heads 

of  Angels. 

389 


Bella  Casa 


A  BIOGBAPHICAL  DICTIONARY  OF 


Delia  Karca 


The  Eepose  in  Egypt ;  a  round  plate. 

The  Eepose  in  Egypt,  with  St.  Joseph  reading,  leaning 

against  a  tree. 
The  Holy  Family,  with  St.  John  and  St.  Elizabeth,  with 

a  flowerpot. 
The   Infant   Jesus  explaining  the   Scriptures  to   the 

Virgin  and  St.  Joseph ;  very  rare. 
EfiBgie  del  glorioso  Martyre  Sto.  Benedetto  ;  very  scarce. 
The  finding  of  the  miraculous  Image  of  our  Lady,  near 

Florence.     1633. 
The  Triumph  of  the  Church. 

St.  Prospero  descending  from  Heaven  ;  very  scarce. 
The  Tyrant  Phalaris  ordering  Perillus  to  be  put  into  the 

Brazen  Bull ;  after  Folidoro  da  Caravat/gio.     1634. 
A  basso-relievo,  antique ;  after  the  same. 
Lucretia ;  after  Parmigiano. 

Three  Children  carrying  a  plateau  ;  after  Guido  Beni. 
A  basso-reUevo,  antique,  a  woman  stopping  a  bull. 
Olovis  on  horseback,  carrying  ofl:  Clotilda  ;  scarce. 
A  Seaman,  of  whom  a  beggar  is  asking  charity. 
A  Seaman,  with  his  hand  on  the  head  of  his  dog,  and 

other  figures. 
A  Child  teaching  a  dog  to  sit  up. 
Four  Turks,  half-length  figures. 
Three  Turks,  with  a  boy  and  a  negro. 
A  Pole,  with  his  battle-axe. 
A  Soldier,  with  his  musket,  and  holding  a  fowl,  and  a 

"Woman  on  horseback,  with  a  child. 
A  Florentine  Sportsman,  with  his  gun,  and  a  Girl 

spinning. 
A  Lady  holding  a  dog. 
Mount  Parnassus ;  very  fine. 
An  Eagle  devouring  a  fowl,  with  its  wings  extended, 

and  below  two  horses,  and  a  number  of  spectators. 
The  Eock  of  the  Philosophers  ;  fine  and  scarce. 
The  Fair,  representing  a  Festival  on  the  Amo ;  oval. 

This  plate  was  long  attributed  to  Callot. 
Perspective  View  of  the  Catafalque  of  the  Emperor  Fer- 
dinand II.,  with  the  Arms  of  the  Medici. 
A  Thesis,on  the  Canonization  of  Francesco  Solano.  1639. 
Plan  of  the  Siege  of  La  EocheUe. 
Plan  of  the  Siege  of  Arras. 
The  Eeposoir,  or  FSte  Dieu. 
View  of  the  Pont-Neuf  at  Paris.     (His  chef-d'oeuvre.) 

The  first  impressions  of  this  plate  are  without  the 

weathercock  on  the  tower  of  St.  Germain  I'Auxerrois. 
View  of  the  Castle  of  Sant'  Angelo. 

SETS   OF   PRINTS. 

Two  Landscapes ;  in  one,  a  peasant  carrying  a  basket  at 
the  end  of  a  stick ;  in  the  other,  a  peasant  carrying 
a  package  on  his  head. 

Two  Landscapes ;  one  with  a  man  leading  dogs ;  the 
other  with  a  man  leading  a  horse  laden  with  sheep. 

Six  Views  of  the  Port  of  Leghorn.     1655. 

The  Four  Seasons  ;  allegorical  figures  in  ovals. 

The  Four  Elements  ;  Landscapes  and  Marines. 

Eight  Marine  Subjects,  in  the  style  of  Oallot. 

Six  Plates  of  Vases. 

Six  Landscapes ;  circular.     1656. 

Four  charming  Landscapes,  with  Figures. 

Four  Views  of  Eoman  Euins. 

Three  Battle-pieces  ;  large  plates.     1622,  1627, 1641. 

Eleven  Plates  of  Moors,  Hungarians,  Asiatics,  and 
Africans. 

Sixteen  small  square  plates :  Soldiers,  Hunters,  Fisher- 
men, Peasants,  Children,  &c.  (attributed,  by  some, 
to  Callot). 

Eighteen ;  entitled  Eaccolta  di  varii  Capricci.    1646. 

Twenty-four  Views  of  Edifices;  pubhshed  by  Israel 
Silvestre. 

Twenty-two  sketches,  &c.,  by  Stefano  della  Bella. 

The  Five  Deaths  ;  ovals.     [His  last  works.) 

The  Sixth  Death,  plate  begun  by  Bella  Bella,  and 
finished  after  his  death  by  G.  B.  Galestntcci,  his 
scholar. 

DELLA  CASA,  Niccol6,  (or  Nicolas  de  La 
Maison,)  was  an  engraver  who  flourished  towards 
the  end  of  the  16th  century.  From  an  in- 
eoription  on  one  of  his  plates,  he  appears  to  have 
been  a  native  of  Lorraine.  He  worked  entirely 
with  the  graver,  his  productions  being  after  the 

390  * 


style  of  the  school  of  Marc  Antonio,  but  they  are 
not  of  a  high  class.     We  have  by  him  : 

Portrait  of  the  Emperor  Charles  V. ;  oval,  with  a  border 
copied  from  Enea  Vico ;  inscribed  N.  D.  la  Casa 
Zotaringus,  fecit. 

Portrait  of  Baccio  Bandinelli.  ^ 

Portrait  of  Henry  II.  of  France.     1547. 

Portrait  of  Cosmo  de'  Medici. 

A  plate  in  eleven  pieces  of  the  *  Last  Judgment '  by 
Michelangelo.  1543.  This  plate  is  supposed  to  be 
copied  from  a  work  of  Beatrizet,  an  artist  of  Lorraine, 
who  was  engraving  at  Eome  at  that  time. 

DELLA  CASA,  Piek  Antonio.    See  Bernabei. 

DELLA  CHIESB,  Giovanni,  who  was  living  at 
Lodi  in  the  15th  century,  was  one  of  the  artists 
called  by  Lodovioo  Sforza  in  1490  to  decorate 
his  palace  of  the  Porta  Giovia  at  Milan.  No 
dates  are  known  of  his  birth  or  death.  He  and 
his  brother  Matteo  are  the  authors  of  the  '  Corona- 
tion of  the  Virgin,'  the  organ  screen,  and  other 
paintings  in  the  church  of  the  Incoronata,  Lodi. 
The  church  of  San  Lorenzo,  in  the  same  town,  also 
possesses  some  fragments  of  frescoes  by  Giovanni 
representing  the  '  Nativity,'  &c. 

DELLA  COENA,  Antonio,  who  lived  in  the 
15th  and  16th  centuries,  was  one  of  the  artists 
called  by  Lodovico  Sforza  to  decorate  the  Porta 
Giovia  Pal  ace  at  Milan  in  1490.  No  dates  are  known 
of  his  birth  or  death.  The  Bignami  Collection, 
near  Cassal  Maggiore,  contains  a  picture  represent- 
ing a  murder  taken  from  the  Legend  of  St.  Julian, 
signed  by  Antonio  in  1478. 

DELL'  ACQUA,  Bernardino,  commonly  known 
as  Del  Aqua,  a  painter  of  Venice,  went  ia  1587 
with  Pellegrino  Tibaldi  to  Spain,  and  executed 
under  his  direction  frescoes  in  the  Convent  of  the 
Escorial.  Carducho  mentions  Dell'  Acqua  as  an 
excellent  designer  and  a  clever  fresco  painter. 

DELLA  CEOCE,  Teodoro.     See  Verkrtjts. 

DELLA  FEANCESCA,  Piero.  See  Dei 
Franoesohi. 

DELLA  FEATTA,  Flori,  who  flourished  about 
1540,  and  died  young,  is  said  to  have  painted  the 
'  Last  Supper '  in  San  Bernardino  at  Fratta,  which 
is  executed  in  the  style  of  the  best  masters. 

DELLA  GATTA,  Bartolommeo,  was  probably 
born  at  Florence  in  1408,  and  died  in  1481.  He 
was  a  friar  of  the  Camaldolese  Convent  of  the 
Angeli,  at  Florence,  and  aftei-wards  became  abbot 
at  Arezzo,  where  he  covered  the  walls  of  the  monas- 
tery with  frescoes,  and  also  invented  an  organ  of 
pasteboard,  which  yielded  soft  and  perfect  tones. 
He  assisted  Signorelli  and  Perugino  in  their  paint- 
ings in  the  Sistine  Chapel  between  1479  and  1486. 
His  miniatures  on  vellum  are  considered  valuable, 
but  his  paintings  show  want  of  skill  as  a  colourist, 
although  clever  in  details  and  in  landscape.  The 
following  paintings  by  him  still  exist: 


Arezzo. 


Cortona. 


Town  Hall.  Two  panels  represent- 
ing scenes  from  the 
Life  of  St.  Koch. 

Castiglione  Fiorentino.      ^»«-l^  J^fg.  p^fer.St 
^  ^  ■  j      Julian,  and  Michael. 
S.  Domcnico.  The  Assumption  of  the 
Virgin. 

DELL'  ALTISSIMO,  Cristofano.    See  Papi. 

DELLA  MARCA,  Giovanni  Battista,  called 
als'o  Lombabdelli  and  II  Montano,  was  bom  at 
Montenuovo  in  1532.  He  was  first  a  scholar  of 
Marco  da  Faenza,  and,  according  to  Baglione, 
visited  Eome  in  the  Pontificate  of  Gregory  XlH.i 


Deir  Amatrice 


PAINTEES  AND  ENGEAVEES. 


Del  IVTazo  ]\Iartinez 


and  there  devoted  himself  to  an  imitation  of  the 
works  of  Raffaellino  da  Eeggio,  whom  he  assisted 
in  some  fresco  paintings  in  the  Vatican.  In  the 
church  of  San  Pietro  Montorio  he  painted  a  series 
of  pictures  of  the  '  Life  of  St.  Francis ' ;  and  in 
Santa  Maria  de'  Monti,  the  '  Eesurrection.'  There 
are  several  of  his  works  in  the  churches  at  Mon- 
tenuovo.     He  died  in  1687. 

DELL'  AMATRICE,  Cola.   See  Filotesio. 

DELLA  PORTA,  Bartolommeo.    See   Baeto- 

LOMMEO. 

DELL'  AECA,  Leonabdo,  was  an  Italian  en- 
graver, who  flourished  about  the  year  1600.  He 
engraved  some  plates  of  ornaments  and  grotesque 
figures. 

DELL'  ASTA,  Andeba,  was  born  at  Bagnuoli, 
near  Naples,  in  1673,  and  was  brought  up  in 
the  school  of  Francesco  Solimena.  After  passing 
several  years  under  that  master  he  went  to  Rome, 
where  he  studied  for  some  time,  and  introduced  into 
the  style  of  his  country  somewhat  of  an  imitation 
of  the  works  of  Raphael.  Amongst  his  best 
pictures,  executed  on  his  return  to  Naples,  were 
the  '  Nativity,'  and  the  '  Adoration  of  the  Magi,' 
in  the  church  of  Sant'  Agostino  de'  Scalzi.  He 
died  at  Naples  in  1721. 

DELLA  STRADA,  Giovanni.  See  Van  deb 
Steaet. 

DELLA  VECCHIA,  Pieteo,  was  bom  at  Venice 
in  1605,  and  was  brought  up  in  the  school  of  Ales- 
sandro  Varotari,  called  II  Padovanino.  He  did  not, 
however,  adopt  the  style  of  that  master,  but  applied 
himself  to  an  imitation  of  the  works  of  Giorgione 
and  Pordenone,  in  which  he  was  so  successful, 
that  some  of  his  pictures  have  been  mistaken  for 
the  productions  of  those  masters.  His  powers  were 
better  adapted  to  familiar  and  fancy  subjects  than 
to  the  dignity  of  history,  and  his  best  pictures  re- 
present armed  soldiers,  banditti,  and  corps-de-garde, 
which  he  painted  with  great  vigour  and  efEect.  His 
talent  in  imitating  the  works  of  the  old  masters  in- 
duced the  doge  and  senate  of  Venice  to  employ 
him  to  copy  in  oil  the  historical  works  in  mosaic 
which  are  in  the  church  of  St.  Mark,  which  he  did 
with  great  ability.  He  also  painted  for  the  same 
church  two  altar-pieces  of  his  own  composition, 
representing  the  '  Crucifixion,'  and  '  Our  Saviour 
driving  the  Money-Changers  out  of  the  Temple.' 
His  colouring  was  warm  and  tender,  and  he  was 
well  versed  in  the  principles  of  chiaroscuro.  He 
died  in  1678. 

DELLA  VIA,  Alessandeo,  was  an  Italian  en- 
graver, who  resided  at  Venice  about  the  year  1730. 
He  engraved  several  portraits,  which  are  very  in- 
differently executed,  and  a  plate,  representing  the 
'  Virgin  and  Infant  Christ,  with  St.  Sebastian  and 
other  Saints,'  after  Paolo  Veronese. 

DELLA  VITE,  Giovanni.     See  Miel. 

DELLA  VITE,  Timoteo,  called  by  Vasari 
Timoteo  da  Uebino,  was  the  son  of  Bartolommeo 
della  Vite  and  Calliope,  the  daughter  of  the  painter 
Antonio  Alberti  of  Ferrara,  in  which  city  he  was 
born  in  1469,  and  was  brought  up  as  a  gold- 
smith. From  1490  to  1495  he  was  in  Francia's 
workshop,  where  he  also  learned  to  paint,  and  then 
returned  as  master  to  Urbino,  where  he  practised 
his  art  for  fifteen  years.  In  1504,  at  the  instance 
of  Giampietro  Arrivabene,  Bishop  of  Urbino,  he 
painted  the  altar-piece  for  the  chapel  of  St.  Martin 
in  the  cathedral  of  that  city.  It  represents  Bishop 
Arrivabene  and  Guidobaldo  II.,  Duke  of  Urbino, 
kneeling  at  an  altar,  and  above  them  St.  Thomas  a 


Becket  and  St.  Martin.  For  the  cathedral  he  also 
painted,  about  the  year  1508,  a '  Magdalen,'  which 
is  now  in  the  Pinacoteca  of  Bologna ;  and  for  the 
church  of  Sant'  Agata  the  'Virgin  Annunciate, 
between  SS.  John  the  Baptist  and  Sebastian,'  now 
in  the  Brera,  Milan.  In  1518  he  painted  the  '  Noli 
me  tangere,'  for  the  Brotherhood  of  Sant'  Angelo 
Minore,  at  Cagli.  About  1519  he  went  to  Rome, 
where  he  became  the  assistant  of  Raphael,  and  is 
thought  by  Passavant  to  have  executed  the  frescoes 
of  the  prophets  Daniel,  Jonah,  and  Hosea,  above 
the  Sybils,  in  the  church  of  Santa  Maria  della 
Pace,  and  is  said  by  Vasari  to  have  assisted  even 
with  the  Sybils.  In  the  Academy  of  St.  Luke  at 
Rome  is  a  panel  representing  '  St.  Luke  painting 
the  Virgin  and  Child  in  the  presence  of  a  Youth,' 
that  has  been  assigned  by  Messrs.  Crowe  and  Caval- 
caselle  to  Timoteo.  The  Berlin  Gallery  possesses 
a  '  Madonna  and  Child,  with  Saints,'  and  a  '  St. 
Jerome'  by  him.  He  died  at  Urbino  in  1523, 
leaving  a  son,  Pieteo  della  Vite,  who  was  a 
painter  of  some  note. 

DELLE  BATTAGLIE,  II  Beescianino.  See 
Monti,  Pkancesoo. 

DELLE  BATTAGLIE,  L'Oracolo.  See  Falcone. 

DELLE  BATTAGLIE,  Michelangelo.  See 
Ceeqdozzi. 

DELLE  GIRANDOLE,  Beenaedo.  See  Buon- 
talenti. 

DELLE  GEECCHE,  Domenico.      See  Theoto- 

COPULI. 

DELLE  LAME,  Biagio.     See  Pupini. 

DELLE  MADONNE,  Caeluccio.     See  Maeatti. 

DELLE  MADONNE,  Vitale.     See  Cavalli. 

DELLEEA,  Giovanni,  an  Italian  historical 
painter,  was  bom  at  Treviglio  in  1766.  He  was 
the  son  of  a  brazier,  but  his  predilection  for  art 
induced  him  to  go  to  Bergamo  and  become  a  pupil 
of  Francesco  Dagi\!i,  called  Gapella.  In  1785  he 
went  to  Rome,  and  there  became  intimate  with 
Angelica  Kauffmann,  with  whom  he  painted  several 
pictures.  He  also  copied  for  the  Empress  Catharine 
seven  of  the  best  pictures  in  the  galleries  of  Rome. 
He  died  at  Florence  in  1798.  His  best  work  is  the 
'  Fainting  of  Queen  Esther,'  in  the  church  of 
Alzano  Maggiore,  near  Bergamo. 

DELLE  VITI,  Giovanni.    See  Miel. 

DELLI,  Dello,  (an  abbreviation  of  Daniello,) 
the  eon  of  Niccolo  Delli,  a  doublet-maker,  was  born 
at  Florence  about  1404.  In  1424  his  father  was 
condemned  to  death  for  high  treason,  and  fled  with 
his  sons  to  Siena,  from  whence,  about  1427,  they 
went  to  Venice,  where  they  remained  for  some 
time.  Dello's  name  was  registered  at  the  Painters' 
Guild  of  Florence  in  1433,  in  which  year  he  went 
to  Spain,  where  he  acquired  so  great  a  reputation 
by  the  practice  of  sculpture  and  painting  that 
he  attained  to  great  wealth  and  honour.  In 
1446  he  returned  to  Florence,  and  obtained  the 
recognition  of  his  title  of  Cavaliere,  and  in  the 
following  year  painted  some  of  the  stories  from 
Genesis  in  the  cloister  of  Santa  Maria  Novella. 
About  1448  he  went  back  to  Spain,  and  is  known 
to  h^ve  been  still  living  between  the  years  1464 
and  1466.  He  was  a  personal  friend  of  Paolo 
Uccello,  who  painted  his  portrait  as  Shem  in  the 
fresco  of  the  '  Inebriety  of  Noah,'  in  the  cloister  of 
Santa  Maria  Novella. 

DELL'  ORTOLANO,  Giovanni.  See  Benyendto. 

DEL  MAGRO,  Guglielmo.    See  Giealdi. 

DEL  MAZO  MARTINEZ,  Juan  Bautista,  a 
Spanish  painter,  was  born  at  Madrid  about  1610. 

391 


Del  Monte 


A  BIOGRAPHICAL  DICTIONARY  OF 


DelPo 


He  was  educated  in  the  school  of  Velazquez,  whose 
daughter  he  afterwards  married,  and  whom  he 
succeeded  as  court  painter  to  Philip  IV.  He  is 
said  by  Palomino  to  have  excelled  equally  in 
history,  portraits,  and  landscapes  ;  he  also  painted 
sea  pieces  and  views  of  towns,  but  hunting  pieces 
and  landscapes  were  his  best  works.  He  possessed 
extraordinary  talent  in  copying  the  works  of  his 
master,  as  well  as  those  of  Raphael,  Titian,  Tinto- 
retto, and  Paolo  Veronese:  and  was  much  employed 
by  Philip  IV.  in  copying  the  celebrated  Venetian 
pictures  in  the  royal  collection,  which  task  he  so 
skilfully  executed  that  his  copies  could  with  diffi- 
culty be  distinguished  from  the  originals._  He  died 
at  Madrid  in  1687.  There  are  two  portraits,  a  view 
of  Saragossa,  and  several  landscapes  by  him  in  the 
Madrid  Gallery. 

DEL  MONTE,  Deodato.    See  Van  dee  Mont. 

DEL  MORO,  Angolo.    See  Anqolo. 

DEL  MORO,  Giovanni  Battista.    See  Moeo. 

DEL  NERO,  Durante.    See  Albeeti. 

DE  LOOSE,  Joannes  Josephus,  a  Belgian  painter 
and  writer  on  art,  who  was  born  at  Zele  in  1770, 
was  a  scholar  at  the  Ghent  Academy,  where  in 
1794  he  obtained  the  first  prize  for  drawing  from 
the  model.  He  afterwards  studied  under  Herreyns 
at  Mechlin,  and  painted  Scriptural  scenes  for  the 
churches  of  Ghent  and  other  places.  He  has  also 
left  a  number  of  portraits.  In  1812  the  Literary 
Society  at  Ghent  awarded  him  a  prize  for  his 
writings,  and  in  1820  he  received  a  medal  from 
the  Royal  Society  of  the  Fine  Arts  in  the  same 
city  for  his  '  Treatise  on  the  present  Position  of 
Painting.'     He  died  at  St.  Nicolas  in  1849. 

DELORME,  Antqinb,  a  French  designer  and 
etcher  of  free  subjects,  was  born  in  Paris  in  1653, 
and  died  miserably  in  prison  in  1723. 

DE  LORME,  Anton,  who  was  bom  at  Rotterdam 
in  the  17th  century,  and  was  still  living  in  1660, 
was  an  architectural  painter,  who  specially  devoted 
himself  to  the  interiors  of  churches  and  other  public 
edifices,  in  some  of  which  Terborch  painted  the 
figures.  His  works  are  very  rare,  and  excel  for  the 
perspective  and  the  illumination.  A  '  Church  In- 
terior by  candlelight'  (1645)  is  in  Warwick  Castle, 
and  other  'Church  Interiors'  are  in  the  Berlin, 
Munich,  and  Stuttgart  Galleries,  and  in  the  New 
York  Museum. 

DELORME,  Pierre  Claude  Feanqois,  who  was 
born  in  Paris  in  1783,  studied  in  the  school  of 
Girodet,  and  afterwards  at  Rome.  He  distin- 
guished himself  as  a  painter  of  history,  and 
finished  the  paintings  in  the  chapel  of  the  Virgin 
in  St  Gervais,  as  well  as  those  in  Notre-Dame  de 
Lorette,  in  Paris.  He  painted  in  the  style  of 
Girodet.      He  died  in  Paris  in  1859. 

DELORME  DU  RONCERAY,  Margueeite 
Louise  AmiSlie,  a  French  amateur  engraver,  was 
born  in  Paris  in  1730.  We  have  some  neat  and 
spirited  etchings  by  her,  after  Bouchardon  and 
other  French  painters  ;  among  them  the  following: 

Venus  rising  from  the  Sea;  after  Bmichardon ;  finished 

■with  the  graver  by  St.  Auhn. 
The  Fountain  of  Grenelle,  at  Paris ;  six  plates  j  after 

the  same.     These  were  afterwards  finished  with  the 

graver  by  TilUard  and  St.  AuUn. 
Head  of  St.  Paul ;  larger  than  life ;  after  the  cartoon 

by  Pierre,  for  the  church  of  St.  Eoch  at  Paris. 
View  of  the  Tower  of  Palmeraux  ;  after  Cochin. 
A  Sultau  and  Sultana ;  after  B.  Picart. 

DEL  PACCHIA,  Girolamo,  who  was  born  at 
Siena  in  1477,  was  the  son  of  a  Croatian  cannon- 
392 


founder,  Giovanni  '  delle  Bombarde.'  After  study- 
ing in  his  native  city  and  in  Florence,  he  went  about 
1500  to  Rome,  and  a  few  years  afterwards  painted 
an  altar-piece,  which  has  since  perished,  for  the 
Pontignano  Monastery.  He  returned  to  Siena 
about  1508,  and  executed  a  'Coronation  of  the 
Virgin,'  in  the  style  of  Raphael,  for  Santo  Spirito, 
and  a  '  Virgin  and  Child,  between  SS.  Paul  and 
Bernard  '  in  San  Cristoforo.  In  1518  he  executed 
an  '  Annunciation '  in  Santo  Spirito,  as  well  as 
frescoes  in  the  manner  of  Bigi  for  the  Brother- 
hood of  San  Bernardino,  and  three  scenes  from  the 
'  Life  of  St.  Catharine '  in  the  Oratorio  dell'  Oca.  He 
worked  much  in  conjunction  with  Pacchiarotti,  with 
whom  he  produced  the  '  Ascension '  at  the  Academy 
of  Siena  ;  but  he  was  induced  by  him  to  enter  the 
dangerous  club  of  the  Bardotti,  which  in  1535  was 
dispersed,  upon  which  the  two  artists  betook  them- 
selves to  France,  and  painted  for  Charles  VIII.  in 
the  castle  of  Gaillon.  The  date  of  Del  Pacchia's 
death  is  not  known.  Among  his  existing  paintings 
are  the  following : 

London.  Nat.  Gallery.      Virgin    and   ChUd  (assigiied  to 
Pacchiarotti), 
„        Duke  of  West-  \  Holy  Family  {assigned  to  Fra 
minster.      J      Bartolommeo). 
Munich.       Gallery.  St.  Bernard. 

„  „  Virgin   and   Child   (assigned   to 

Pacchiarotti). 
Siena.      Academy.  Holy  Family,  with  St.  Anthony 

of  Padua. 

DEL  PELLICCIAIO,  Giacomo,  (or  Giacomo  di 
MiNO,)  a  Sienese  who  lived  in  the  14th  century, 
was  the  contemporary  of  Lippo  Vanni  and  Luca 
Thom^,  being  in  1373  appointed  to  value  one  of  the 
latter's  pictures.  His  name  appears  in  the  Sienese 
records  from  1362  to  1389.  In  1367  he  aided  Bartolo 
di  Maestro  Fredi  at  Siena  cathedral.  He  is  known 
to  have  painted  book-covers  for  the  Biccherna,  and 
was  several  times  a  member  of  the  Grand  Council  of 
Siena.  The  dates  of  his  birth  and  death  are  alike 
uncertain.   There  exist  the  following  works  by  him : 

Siena.      Academy.        Coronation  of  St.  Catharine.   1362. 
„     Chiesa  dei  Servi.  Virgin  and  Child,  known  as  the 
'  Madonna  del  Verde.'    1363. 

DEL  PIOMBO,  Sbbastiano.    See  Luciani. 

DEL  PO,  Giacomo,  the  son  of  Pietro  del  Po, 
was  born  in  1654,  according  to  some  accounts  at 
Palermo,  but  according  to  others  at  Rome  or 
at  Naples,  and  was  first  instructed  in  art  by  his 
father,  but  afterwards  by  Nicolas  Poussin.  He  was 
chiefly  occupied  in  decorating  the  mansions  of  the 
Neapolitan  nobility  with  emblematical  and  alle- 
gorical subjects,  for  which  his  inventive  genius 
and  extraordinary  facility  particularly  qualified 
him.  As  is  usual  with  the  majority  of  mechanists, 
despatch  and  confidence  led  him  into  the  negligence 
and  incorrectness  of  a  mannerist.  Rome  possesses 
only  two  of  his  pictures,  one  in  the  church  of  Sant 
Angelo  in  Pescheria,  aijd  the  other  in  Santa  Marta; 
but  his  talents  are  seen  to  greater  advantage  in  his 
frescoes  in  the  gallery  of  the  Marquis  of  Genzano, 
and  particularly  in  the  palace  of  the  Prince  of 
Avellino  at  Naples.     He  died  at  Naples  in  1726. 

DEL  PO,  Pietro,  was  born  at  Palermo  in  1610, 
and  studied  under  Doraenichino  at  Naples,  during 
that  celebrated  painter's  residence  in  that  city. 
He  painted  some  pictures  for  the  churches  at 
Palermo,  and  afterwards  visited  Rome,  where, 
among  other  works,  he  painted  a  picture  of  St. 
Leo,  for  La  Madonna  di  Costantinopoli.  He 
I  was,  however,  more  successful  in  easel  pictures 


DelFo 


PAINTERS  AND  ENGRAVERS. 


Del  Siccio 


than  in  those  of  larger  dimensions,  and  he  was 
more  distinguished  as  an  engraver  than  as  a  painter. 
He  died  at  Naples  in  1692,  There  are  several 
etchings  by  this  artist,  some  of  which  are  finished 
with  the  graver.  They  are  not  so  correctly  designed 
as  might  have  been  expected  from  the  school  in 
which  he  was  educated.  Among  others  are  the 
following : 

St.  John  in  the  'Wlldemess ;  after  Anmbale  Carracci. 
The  "Woman  of  Canaan  before  Christ ;  after  the  same. 
The  Dead  Christ  on  the  Lap  of  the  Virgin ;  after  the 

same. 
The  Tirgin  seated  on  a  Throne  with  the  Infant,  and  » 

choir  of  Angels ;  after  Domenichino. 
The  four  Cardinal  Virtues,  with  their  attributes ;  after 

the  same. 
St.  Jerome  kneeling,  with  an  Angel ;  afier  the  same. 
The  Annunciation ;  after  N.  Poussin. 
The  Flight  into  Egypt ;  after  the  same. 

DEL  PO,  Teresa,  was  the  daughter  of  Pietro 
del  Po.  She  is  said  to  have  painted  in  oil  and  in 
miniature,  and  has  etched  a  few  plates  in  the  style 
of  her  father ;  among  which  is  '  Susannah  and  the 
Elders,'  after  Carracci.  Bartsch  says  she  engraved 
in  the  manner  of  her  father  so  closely,  that  it  is 
diflScult  to  distinguish  their  works.  He  describes 
sixteen  prints  by  her,  and  enumerates  six  more 
mentioned  by  Fiissli.  The  date  of  her  birth  is  not 
known  ;  but  she  was  a  member  of  the  Academy  of 
St.  Luke  at  Rome,  and  died  at  Naples  in  1716. 

DEL  POGGrlO,  Giovanni.  See  Giovanni  di 
Paolo. 

DEL  POLLAJUOLO,  Antonio,  an  Italian  gold- 
smith and  painter,  bom  at  Florence  in  1429,  was 
the  son  of  Jacopo  d'Antonio  de'  Benci,  a  poulterer, 
for  which  reason  Antonio  and  his  brother  Piero 
and  their  descendants  took  the  name  of  '  Del 
Pollajuolo.'  He  was  apprenticed  to  Bartoluccio 
Ghiberti,  a  goldsmith,  whom  he  left  in  1459  and 
opened  a  shop  of  his  own  as  goldsmith,  sculptor, 
and  engraver.  He  was  considered  one  of  the  most 
eminent  goldsmiths  of  his  time,  and  excelled  in  all 
the  branches  of  that  art.  Soon  after  1489  he  went  to 
Rome,  where  he  cast  and  carved  the  Funeral  Monu- 
ments of  the  Popes  Sixtus  IV.  and  Innocent  VIIl., 
and  executed  several  commissions  for  the  Cardinals 
Benevento  and  Ascanio.  He  next  turned  his  at- 
tention to  painting,  and,  in  conjunction  with  his 
younger  brother  Piero,  produced  many  paintings 
celebrated  for  their  design,  knowledge  of  anatomy, 
and  power  of  colour.  He  also  executed  in  niello 
several  paxes  for  the  church  of  San  Giovanni  at 
Florence.  One  only  of  these  now  remains:  it 
represents  the  '  Deposition  from  tlie  Cross,'  and  .is 
in  the  Florence  Gallery.  Antonio  died  at  Rome  in 
1498. 

Vasari  states  that  Antonio  was  the  better  artist 
of  the  two  Pollajuoli ;  but,  judging  from  their 
early  education,  Piero  had  gained  the  greater  ex- 
perience in  painting,  before  they  entered  into 
partnership. 

The  following  are  their  best  works:  Messrs. 
Crowe  and  Cavaloaselle  are  of  opinion  that  the  two 
'Hercules'  pictures  in  the  Uffizi  are  by  Antonio, 
and  the  others  by  Piero  :  other  authorities  difEer. 

Berlin.  Museum.        The  Annunciation. 

„  „  St.  Sebastian. 

Florence.  Uffizi.  Hercules  and  Antseus. 

„  „  Hercules  and  the  Hydra. 

„  „  Prudence  (one  of  the  '  Virtues ' 

painted  for  the  Mercataneia, 
Florence;  the  others  are  not 
exhibited). 

/ 


Florence.  Uffizi.  St.JameswithSS.  Eustace  and 

Vincent   [formerly    in    San 
Miniato  at  Monte,  Florence). 
„  Pitti  Pal.       St.  Sebastian. 

„  Torrigiani  Gall.  Bust  portrait  of  a  Man. 

liOndon.  Nat,  Gall.  The  Martyrdom  of  St.  Sebas- 
tian (a  master-piece,  1475, 
form^ly  in  San  Sebastiano 
de'  Sevvi,  Florence). 
The  other  examples  in  this 
gallery  are  doubtful. 
S.  Gemignano.  Church.         Coronation    of    the    Virgin, 

1483. 
Tiiria.  Gallery.        The  Archangel  and  Tobit. 

Vasari  states  that  this  artist  executed  several 
engravings,  but  Bartsch  mentions  only  three,  and 
these  are  now  very  rare.     They  are  as  follow  : 

The  Gladiators. 

Hercules  strangling  Antaeus. 

Hercules  fighting  the  Giants. 

DEL  POLLAJUOLO,  Piero,  who  was  bom  at 
Florence  in  1443,  was  a  younger  brother  of  Antonio 
del  Pollajuolo.  He  studied  painting  for  a  short 
time  under  Andrea  del  Castagno,  and  then  entered 
the  workshop  of  his  brother,  in  conjunction  with 
whom  he  worked  much.  It  is  very  difficult  to 
assign  to  each  his  share  in  these  jointly-executed 
productions,  but  it  is  thought  that  those  in  which 
traces  of  the  sculptor's  art  are  plainly  discernible 
are  by  the  hand  of  Antonio,  and  that  those  of 
greater  pictorial  excellence  owe  their  origin  to 
Piero.  Piero  was  dead  when  his  elder  brother 
made  his  will  in  1496, 

DEL  PORTO,  Giovanni  Battista,  was  an  en- 
graver who  flourished  about  the  year  1503,  and  was 
commonly  known  by  the  name  of  '  The  Master  of 
the  Bird,'  from  his  practice  of  marking  his  prints 
with  a  bird  after  the  initials  J.  B.  Amongst  them 
there  are : 

St.  Sebastian  on  the  Tree. 
Leda  with  the  Swan. 
The  Bape  of  Buropii. 

He  also  executed  the  designs  for  the  following 
woodcuts : 

St.  Jerome  with  the  lions. 
Diana  and  Actseon. 
The  Three  Graces. 
The  Bape  of  Ganymede. 

DEL  POZZO,  Matted,  was  a  pupil  of  Squarci- 
one,  who  lived  in  the  middle  of  the  15th  century. 
He  worked  during  the  years  1469  to  1471  at  the 
decorations  of  the  Cappella  Gattamelata  in  the  Santo 
of  Padua,  where  he  painted  a  '  St,  Francis,'  He 
died  in  1472. 

DEL  PRADO,  Blas,  (or  Db  Prado,)  was  a 
Spanish  painter,  who  was  born  in  the  vicinity  of 
Toledo,  about  1540,  and  was  a  scholar  of  Alonso 
Berruguete.  There  are  some  of  his  works  in  the 
chapel  of  St.  Bias  at  Toledo,  but  they  are  much 
injured  by  time  and  the  dampness  of  the  situation. 
At  Madrid  there  are  also  some  pictures  by  this 
artist,  particularly  an  altar-piece  in  the  church  of 
San  Pedro,  representing  the  'Descent  from  the 
Cross,'  which  is  evidently  the  work  of  a  great 
master.  In  the  early  part  of  his  life  Prado  was 
invited  to  visit  the  court  of  the  Emperor  of 
Morocco,  to  paint  a  portrait  of  his  daughter,  and 
returned  to  Spain  amply  rewarded  for  his  labour. 
Whilst  at  Fez  he  painted  the  portraits  of  the 
Princesses  of  the  Harem.  He  died  at  Madrid 
about  1600. 

DEL  RICCIO,  DoMENico,  called  Brusasorci, 
was  born  at  Verona  in  1494,  and  was  a  disciple 

393 


Del  Riccio 


A  BIOGRAPHICAL  DICTIONAEY  OF 


Del  Verroechio 


of  Giulio  Eomano.  His  greatest  improvement, 
however,  was  derived  from  an  attentive  study 
of  the  works  of  Giorgione  and  Titian,  at  Venice. 
His  picture  of  '  St.  Eoch,'  in  the  church  of  the 
Augustinians  at  Verona,  is  entirely  in  the  style 
of  the  latter,  as  well  as  some  pictures  of  fabulous 
subjects  in  private  collections.  His  genius  did 
not  confine  itself  to  the  style  of  any  individual 
master ;  and  his  works  at  Mantua  partake  of  the 
depth  of  colouring  of  Giorgione,  and  of  the 
graceful  design  of  Parmigiano.  His  picture  of 
'Phaeton,'  in  the  ducal  palace,  though  somewhat 
damaged  by  time,  still  charms  by  the  ingenuity  of 
the  composition,  the  harmony  of  the  colour,  and  the 
admirable  fore-shortening.  Brusasorci's  greatest 
merit  was  in  fresco  painting;  and  in  the  many 
admirable  works  with  which  he  embellished  the 
public  edifices  and  palaces,  he  united  the  erudition 
of  the  poet  to  the  skill  of  the  painter.  His  best 
historical  work  was  the  '  Cavalcade  of  Clement 
VIII.  and  Charles  V.  on  their  entry  into  Bologna,' 
in  the  saloon  of  the  Casa  Eidolfi,  a  grand  com- 
position, which  is  spoken  of  by  Lanzi  in  terms  of 
the  highest  praise.  He  died  in  1567.  '  Brusasorci,' 
which  signifies  a  '  burner  of  rats,'  was  a  nickname 
given  to  his  father  because  of  his  inflicting  that 
cruel  punishment  on  all  the  rats  caught  in  his 
house. 

DEL  EICCIO,  Felice,  called  Beusasoeoi  'the 
younger,'  the  son  of  Domenico  del  Eiocio,  was  bom 
at  Verona  about  the  year  1540,  and  was  first  in- 
structed by  his  father,  after  whose  death  he  con- 
tinued his  studies  at  Florence,  under  Jaoopo  Ligozzi. 
He  painted  for  the  private  collections  at  Verona 
several  pictures  of  Holy  Families  and  Madonnas, 
with  angels,  which  were  admired  for  their  grace  and 
beauty  of  expression.  His  picture  of  the  '  Forge 
of  Vulcan,  with  the  Cyclops,'  in  the  collection  of 
Count  Gazzola,  is  designed  in  the  best  style  of  the 
Florentine  school,  and  vigorously  coloured.  There 
are  also  some  altar-pieces  by  him  in  the  churches  at 
Verona,  of  which  the  most  admired  is  his  picture 
of '  St.  Helena,'  in  the  church  dedicated  to  that  saint. 
He  died  in  1605. 

DEL  EINCON,  Antonio,  was  born  at  Guada- 
laxara  in  1446,  and  may  be  considered  as  the  father 
of  the  Spanish  School.  He  studied  at  Eome,  and 
on  his  return  to  Spain  was  taken  into  the  service 
of  Ferdinand  the  Catholic,  who  appointed  him  his 
painter,  bestowed  on  him  the  order  of  Santiago, 
and  made  him  groom  of  his  chamber.  Among  the 
few  of  his  works  that  remain  are  the  altar-piece 
in  the  church  of  Eobledo  de  Chabela,  a  town  in  the 
archbishopric  of  Toledo,  and  two  portraits  of 
Ferdinand  and  Isabella,  in  the  church  of  San 
Juan  de  los  Eeyes,  at  Toledo.  Several  of  his  works 
perished  in  the  fire  that  destroyed  the  palace  of 
the  Pardo  in  1608.     He  died  in  1500. 

DEL  EINCON,  Feknando,  was  the  son  and 
scholar  of  Antonio  del  Eincon.  He  assisted  Juan 
de  Borgona  in  various  works  in  Toledo  Cathedral, 
about  1511-14,  and  his  name  appears  in  the  archives 
of  the  College  of  St.  Ildefonso  at  Alcala  in  1518, 
when  he  received  500  maravedis  for  polishing  the 
medallion  of  Cardinal  Cisneros. 

DEL  SANTISIMO  SACEAMENTO,  Juan.  See 
Guzman. 

DEL  SAETO,  Andbba.    See  Andeea  d'Agnolo. 

DEL  SAZ,  Julian  db  La  Fdbntb.  See  De  La 
Fuente  del  Saz. 

DELSENBACH,  Johann  Adam,  a  German  en- 
graver, was  born   at  Nuremberg  in   1687.      He 

oy4 


worked  for  some  years  in  Vienna,  but  died  in  his 
native  city  in  1765.  He  engraved  a  series  of  forty- 
nine  views  in  Nuremberg,  between  the  years  1713 
and  1716,  and  several  portraits  for  Eoth-Scholtz's 
'  Icones  Bibliopolarum  et  Typographorum,'  pub- 
lished at  Nuremberg  in  1726-42.  He  also  engraved 
some  plates  for  Scheuchzer's  Bible,  as  well  as 
twenty-eight  views  in  Vienna. 

DEL  SEEO,  Guccio.     See  Aghinetti. 

DEL  SIGNORACCIO,  Paolo,  called  Fba  Pao- 
LiNO  DA  Pistoja,  and  II  Pistojese,  was  born  at 
Pistoja  in  1490,  and  died  there  from  the  effects  of 
a  sunstroke  in  1547.  He  received  his  first  instruc- 
tions from  his  father,  Bernardino  d'Antonio  Detti, 
called  Signoraccio,  an  inferior  artist,  by  whom 
some  works  still  remain  at  Pistoja.  Fra  Paolino 
entered  the  Dominican  Order  at  an  early  age,  and 
studied  under  Fra  Bartolommeo,  after  whose  death 
he  finished  many  of  his  pictures.  A  '  Virgin  and 
Child  enthroned,  with  Saints,'  by  him,  dated  1628, 
is  in  San  Paolo  at  Pistoja ;  a  '  Crucifixion,'  dated 
1516,  is  in  Santo  Spirito  in  Siena ;  and  in  the 
Belvedere  in  Vienna  is  a  'Virgin  and  Child  en- 
throned, surrounded  by  six  Saints,'  dated  1510. 

DEL  SIGNOE  GUIDO,  Pietko.  See  Gallinabi. 

DEL  VAGA,  Peeing.    See  Buonaccoesi. 

DELVATJX,  Edouaed,  a  Flemish  landscape 
painter,  was  born  at  Brussels  in  1806.  He  studied 
under  Van  Assche,  and  afterwards  became  director 
of  the  Academy  at  Spa,  where  he  died  in  1862. 
He  loved  to  represent  wooded  scenery,  and  de- 
lighted particularly  in  enormous  trees.  Amongst 
his  works  are : 

View  on  the  Senne  near  Fozest. 

Hilly  Country ;  Windy  Weather  (Brussels  Mvsernn). 

View  near  the  Sambre  (Haarlem  Museum). 

DELVAUX,  Feedinand  Maeib,  a  Belgian  his- 
torical and  genre  painter,  was  born  at  Brussels  in 
1782.  He  studied  under  Andries  Lens,  and  twice 
visited  Italy.  On  his  way  back  to  his  native 
country  he  was  seized  with  fever,  and  died  at 
Bologna  in  1815.     Amongst  his  best  works  are : 

Brussels.    Franciscan  1  Martyrdom  of  St.  Stephen. 
Convent. } 
„  Museum.        Interior  of  the  Cloisters  of  the 

Chartreuse,  Borne. 
„  „  Interior  of  a  Nunnery  at  Kome. 

Ghent.        Academy.      Saul  and  David. 

DELVAUX,  Rbmi  Henri  Joseph,  a  French  en- 
graver, was  born  in  Paris  in  1748,  according  to  some 
authorities,  or  at  Lille  in  1750,  according  to  others. 
He  engraved  several  plates  for  the  'Cabinet 
Choiseul '  and  the  '  Galerie  du  Palais-Royal,'  but 
the  chief  occupation  of  his  life  was  to  reproduce 
the  designs  of  Moreau,  whose  illustrations  to  '  Les 
Amours  de  Psych6  et  de  Cupidon '  are  Delvaux's 
most  important  work.  He  also  engraved  'The 
Miraculous  Draught  of  Fishes,'  after  Rubens ;  '  The 
Hunter,'  after  Metsu,  and  several  portraits.  He 
died  in  Paris  in  1823.  Maeie  Augoste  Delvaux, 
his  daughter,  born  in  1786,  learned  the  art  of 
engraving  from  him. 

DEL  VERROCCHIO,  Andeea,  was  the  son  of 
Domenico  di  Michele  de'  Cioni,  and  was  born  at 
Florence  in  1482.  He  is  said  to  have  been  a  pupil 
of  Donatello,  and  like  his  contemporaries  the 
Pollajuoli  kept  a  goldsmith's  shop.  Vasari  says  of 
him,  "  He  was  a  goldsmith,  a  master  of  perspective, 
a  sculptor  and  carver,  a  painter,  and  a  musician. 
He  is  chiefly  celebrated  for  his  works  in  bronze, 
and   notably  for  the  '  David '  now  in  the  Uffi^i 


Del  Viso 


PAINTERS  AND  ENGRAVERS. 


De  SComper 


Gallery  at  Florence;  for  the  'St.  Thomas  examining 
the  Wounds  of  Christ '  in  Or  San  Michele  in  the 
same  city ;  and  for  the  model  for  the  equestrian 
statue  of  Colleoni,  at  Venice.  He  has  left  but  one 
authentic  example  of  his  powers  as  a  painter — ■ 
namely,  the  '  Baptism  of  Christ,'  now  in  the 
Florence  Academy,  in  respect  to  which  Vasari 
states  that  he  received  the  aid  of  his  pupil,  Leonardo^ 
da  Vinci.  Verrocchio  has  also  the  credit  of  having 
taught  Pietro  Perugino.  He  died  at  Venice  in 
1488. 

DEL  VISO,  Cristobal,  a  painter,  and  a  monk 
of  the  order  of  St.  Francis,  died  at  the  end  of  the 
17th  century  at  Madrid,  where  he  resided  in  quality 
of  commissary-general  of  the  Indies.  All  the  Saints 
of  his  order  which  are  to  be  seen  in  the  chapter- 
house of  the  convent  of  San  Francisco  at  Cordova, 
are  by  him,  and  show  his  talent. 

DEL  ZUCCA,  Jacopo,  (or  Jacopo  Zucchi,)  was 
bom  at  Florence  about  the  year  1541.  He  was  a 
disciple  of  Giorgio  Vasari,  and  assisted  that  master 
in  several  of  his  works.  According  to  Baglione, 
he  visited  Rome  when  young,  in  the  pontificate  of 
Gregory  XIII.,  where  he  was  favoured  with  the 
patronage  of  Cardinal  Ferdinando  de'  Medici,  who 
employed  him  in  some  considerable  fresco  works 
for  his  palace.  There  are  also  several  altar-pieces 
by  hhn  in  the  public  edifices  at  Rome,  of  which 
the  most  worthy  of  notice  are  the  '  Nativity  of  St. 
John,'  in  the  church  of  San  Giovanni  Decollate, 
and  the  '  Descent  of  the  Holy  Ghost,'  in  San  Spirito 
in  Borgo.     He  died  about  1604. 

DE  MAN,  CoBNELis,  a  Dutch  painter,  was  bom 
at  Delft  in  1621.  He  was  instructed  in  the  rudi- 
ments of  the  art  by  an  obscure  painter,  but,  having 
a  strong  inclination  for  travel,  he  went  to  Paris 
whilst  he  was  very  young,  and  there  met  with 
sufScient  encouragement  to  supply  him  with  the 
means  of  extending  his  journey  to  Italy,  which 
was  the  ultimate  object  of  his  desire.  He  tra- 
velled through  Lyons  to  Lombardy,  and  stayed  two 
years  at  Florence  and  three  in  Rome.  He  after- 
wards went  to  Venice,  where  the  works  of  Titian, 
particularly  his  portraits,  were  the  chief  objects  of 
his  attention.  After  an  absence  of  nine  years,  he 
returned  to  Holland,  and  established  himself  in  his 
native  city,  where  he  distinguished  himself  as  a 
painter  of  historical  subjects  and  portraits,  in  the 
latter  of  which  he  particularly  excelled.  One  of 
the  most  admired  paintings  at  Delft  is  a  large 
picture  by  him,  containing  the  portraits  of  the 
most  eminent  medical  men  of  his  time,  painted  for 
the  hall  of  the  surgeons,  which  has  more  of  the 
attributes  of  the  Venetian  than  of  the  Dutch  school. 
De  Man  died  at  Delft  in  1706.  There  is  by  him  in 
the  Rotterdam  Museum  a  '  Village  Interior ' ;  in 
the  Darmstadt  Gallery  an  '  Interior  of  a  Gothic 
Church ';  and  in  the  Cassel  Gallery  another  '  Church 
Interior.'  There  exist  also  four  portraits  etched 
by  him. 

DE  MAN,  J.,  was  a  Dutch  painter  who  flourished 
in  the  17th  century.  The  Hague  Gallery  has  a 
'  Peasant  Wedding '  signed  with  his  name. 

DE  MARE,  PiETEE,  a  Dutch  engraver,  was  born 
at  Leyden  in  1757,  and  died  in  the  same  town  in 
1796.  He  was  a  pupil  of  Abraham  Delfos.  Be- 
sides the  'Great  Fire  of  Rotterdam,'  after  Haas- 
broek,  the  'Last  Judgment,'  after  Lucas  van 
Leyden,  and  some  Heads  after  Teniers,  he  executed 
a  large  number  of  plates  after  the  works  of  Berchem, 
Frans  van  Mieris,  and  Cornelis  de  Visscher. 

DE'  MEDICI,  Maria.    See  Mary. 


DEMER,  Jacob.     See  Domer. 

DE  MEULEMEESTER,  Joseph  Karbl,  a  Belgian 
engraver,  was  bom  at  Bruges  in  1771.  He  was  a  pupil 
of  Bervic  in  Paris,  and  afterwards  studied  in  the 
French  school  of  engraving  at  Rome.  After  twenty- 
two  years'  absence  he  returned  to  Belgium  in  1820, 
and  settled  at  Antwerp,  where  he  died  in  1836. 
His  most  important  work  was  the  series  of  draw- 
ings which  he  made  from  the  fifty-two  compositions 
which  form  the '  Bible  of  Raphael '  in  the  Loggie  of 
the  Vatican.  These  copies  of  the  frescoes  occupied 
his  whole  time  for  twelve  years,  and  after  his 
return  home  he  undertook  their  reproduction,  both 
by  means  of  engraving  and  of  water-colour,  on  a 
scale  of  one-ninth  of  the  originals.  Thirty-six 
were  completed  in  water-colours,  but  twelve  plates 
only  were  engraved  at  the  time  of  his  death.  All, 
however,  existed  in  outline,  and  these  were  finished, 
and  the  entire  work  published  with  text  by  the 
Baron  de  Reiffenberg,  between  the  years  1844  and 
1863.  He  also  engraved  the  '  Virgin  and  Child,' 
after  Andrea  Solario,  '  Cupid  triumphant,'  after 
Domenichino,  and  the  portraits  of  Rubens  and 
Michelangelo. 

DE  MEYER,  H.,  was  a  Dutch  landscape  painter, 
who  flourished  about  the  middle  of  the  17th  century. 
There  are  by  him  in  the  Amsterdam  Museum,  the 
'  Surrender  of  the  town  of  Hulst,'  and  the '  Departure 
of  Charles  II.  of  England  from  Scheveningen.' 

DE'  MICHIELI.    See  Dei  Michieli. 

DE  MOMPER,  Fbans,  a  Flemish  landscape 
painter,  who  was  a  native  of  Antwerp,  is  inscribed 
in  the  '  Liggere '  of  the  Guild  of  St.  Luke  in  that 
city  in  1629-30.  He  died  at  Antwerp  in  1660-61. 
There  are  by  him  in  the  Augsburg  Gallery,  'St. 
Philip  baptizing  the  Eunuch,'  and  a  '  Rocky  Scene,' 
in  which  the  figures  are  by  F.  Francken  and  the 
animals  by  J.  Brueghel. 

DE  MOMPEE,  JoDOons,  called  at  Rome  Eer- 
VRUGHT,  a  painter  and  etcher,  was  born  at  Antwerp 
about  1559.  He  was  the  son  of  Bartholomeus  De 
Momper,  a  dealer  in  pictures,  who  is  believed  also 
to  have  painted  landscapes,  and  to  have  instructed 
his  son  in  the  radiments  of  the  art.  He  entered 
the  Guild  of  St.  Luke  in  1581,  and  became  its  dean 
in  1611.  He  painted  mountainous  landscapes  in  a 
bold,  free  style,  and  appears  to  have  taken  his 
views  from  the  romantic  scenery  of  Switzerland, 
rather  than  the  confined  prospects  in  his  own 
country.  Contrary  to  the  usual  style  of  the  Flem- 
ish artists,  his  works  have  nothing  of  the  precise 
finishing  which  was  so  much  admired  in  the  pictures 
of  Brueghel  and  Savery.  His  pictures  are  fre- 
quently decorated  with  figures  by  the  elder  Teniers, 
Jan  Brueghel,  F.  Francken,  and  H.  van  Balen. 
Van  Dyck  painted  his  portrait  among  the  cele- 
brated artists  of  his  country,  and  etched  a  plate 
of  it  himself.  De  Momper  etched  a  few  plates 
of  landscapes  from  his  own  designs,  which  are 
scarce.  He  died  at  Antwerp  in  1634  or  1635.  J. 
Visscher,  E.  van  Panderen,  and  Th.  Galle  have 
engraved  landscapes  after  him.  His  works  are 
to  be  seen  in  the  galleries  of  Amsterdam,  Bordeaux, 
Brunswick,  Copenhagen,  Darmstadt,  Dresden, 
Madrid,  and  Venice,  and  as  follow : 

Antwerp.     Gallery.        The    Archduke    Maximilista    of 


Berlin. 


Gallery. 

The    Aichdake    Haximiliau 

Austria  hunting. 

Cathedral. 

The  Repose  In  Egypt. 

Museum. 

Eocky  Landscape. 

Forest  of  Oaks. 

'^ 

Hermits. 

») 

A  Flemish  Village. 

395 

De  ItLoni 


A  BIOGRAPHICAL  DICTIONARY  OP 


Se  ITeve 


Bruges.        Academy.      Horsemen  attacked  by  Brigands. 
Brunswick.  Gallery.         The  Four  Sessons. 
Cassel.         Gallery.         The  Tower  of  Babel. 
Dresden.      Gallery.        Eocky  Landscape  with  Travellers 
on  horseback. 
„  „  The  Bridge  over  the  Precipice. 

Petersburg.  Hermitage.    Landscape. 
Vienna.        Belvedere.     Rocky     Landscape,     with     St. 
Gothard. 

DE  MONI,  LoDOWYCK,  who  was  bom  at  Breda  in 
1698,  was  a  scholar  of  Van  Kessel,  of  J.  B.  Biset, 
and  of  Philip  van  Dyk  at  the  Hague.  He  studied 
the  works  of  Gerard  Dou,  and  imitated  the  manner 
of  Mieris.  He  accompanied  Philip  van  Dyk  to 
Cassel,  and  afterwards  settled  at  Leyden,  where  he 
died  in  1771.  His  paintings  consist  of  portraits 
and  genre  pieces  of  a  simple  and  pleasing  character, 
though  cold  in  colouring.     There  are  by  him  : 

Amsterdam.  Museum.  A  Woman  watering  Flowers. 

Hague.  Gallery.  The  Lacemaker.     1742. 

Lille.  Museum,.  Scene  galante. 

Paris.  Louvre.  A  Family  Scene. 

Petersburg.  Hermitage.  A  Fish-Woman. 

„  The  Bon  Vivant.    1723. 

Eofcterdam.  Museum.  A  Fish-Seller. 

Vienna.  Belvedere.  A  Girl  at  a  Window. 

DB  MOOR,  Karel,  the  elder,  a  Dutch  painter 
and  etcher,  was  born  at  Leyden  in  1656.  He  was 
intended  by  his  parents  for  one  of  the  learned 
professions,  but  a  decided  inclination  for  art  in- 
duced his  father  to  place  him  under  the  care  of 
Gerard  Dou.  His  progress  was  considerable,  but 
being  desirous  of  distinguishing  himself  on  a  larger 
scale  than  was  practised  by  that  master,  he  was 
sent  to  Amsterdam,  where  he  became  a  scholar  of 
Abraham  van  den  Tempel.  The  death  of  that 
painter,  when  De  Moor  was  only  sixteen  years  of 
age,  obliged  him  to  attach  himself  to  other  artists, 
and  it  was  by  Frans  van  Mieris  and  Godfried 
Schalcken  that  he  was  chiefly  influenced.  His  first 
productions  were  portraits  and  domestic  subjects, 
which  were  generally  admired.  The  States  of 
Holland  commissioned  him  to  paint  a  picture  for 
their  council  chamber,  leaving  to  him  the  choice  of 
the  subject,  provided  that  it  related  to  the  adminis- 
tration of  justice.  On  this  occasion,  De  Moor  proved 
himself  capable  of  nobler  work  than  that  which  had 
hitherto  engaged  his  pencil.  He  painted  in  the 
town-hall  at  Leyden  the  terrible  subject  of  '  Brutus 
condenming  his  two  Sons  to  Death,'  which  he  repre- 
seirted  in  the  most  awful  and  impressive  manner. 
The  celebrity  of  Karel  De  Moor  reached  Italy,  and 
the  Grand-Duke  of  Tuscany  expressed  a  desire  to 
place  his  portrait,  painted  by  himself,  among  the 
illustrious  artists  in  the  UfiSzi  Gallery.  It  was  ac- 
cordingly sent  to  Florence  in  1702,  and  the  painter 
was  honoured  in  return  with  a  gold  medal  and 
chain.  Be  was  also  commissioned  by  the  Emperoj- 
of  Germany  to  paint  the  portraits  of  Prince  Eugene 
and  the  Duke  of  Marlborough,  and  these  he  executed 
so  much  to  the  satisfaction  of  that  monarch,  that 
he  conferred  on  the  artist  the  order  of  knighthood. 
One  of  his  best  works  is  in  the  hall  of  the  magis- 
trates at  the  Hague,  representing  the  Burgomasters 
and  Eschevins  in  the  year  1719.  The  pictures  of  De 
Moor  are  cleverly  composed,  his  figures  are  correctly 
drawn,  and  his  colouring  is  clear  and  transparent. 
In  some  of  his  larger  portraits  he  seems  to  have 
aimed  at  a  style  combining  the  chaste  delicacy  of 
Van  Dyck  with  somewhat  of  the  vigour  of  Rem- 
brandt. Although  his  works  are  always  very 
highly  finished,  his  touch  is  firm  and  free.  De 
Moor  died  at  Warmond  in  1738.     He  etched  a  few 


J  portraits,  from  his  own  designs,  among  which  are 
those  of  Gerard  Dou,  Jan  van  Goyen,  Frans  van 
Mieris,  and  himself.  The  following  are  some  of 
his  principal  works : 

Antwerp.      Gallery.       A  Lady  with  a  Bouquet.    {This 
picture  bears  the  forged  signa- 
ture of  G.  Metsu.) 
Dresden.       Gallery.       A  Hermit  praying. 
Florence.       Uffizi.  His  own  Portrait. 

Petersburg.  Hermitage.    Ecce  Homo. 

„  „  A  Hermit.    1730. 

DE'  MOTTI,  Jacopo.    See  Dei  Motti. 

DE  MOUCHERON,  Feedehik.  See  Moucheeon. 

DENANTO,   Feancesco,   of  Savoy,   a  painter 
and   engraver  on  wood,  worked   at  Venice  from 
1440  to  1450,  and  is  said  to  have  been  a  disciple 
of  Titian.      Among  other  wood-cuts  by  him,  there 
is  a  large  one  representing '  Christ  healing  the  Lame 
Man.'    It  is  executed  in  a  spirited,  taste- 
ful style,  and,  being  inscribed,  Francis-      ^^ 
cus  Denanto  de  Sabaudia,  /.,  is  probably      H^ 
from  a  design  of  his  own.    'The  annexed  TVMVf 
monogram  is  stated  to  be  his :  J-/    L\ 

DENBY,  William,  an  English  painter,  was  bom 
at  Great  Bookbam,  in  Surrey,  in  1819.  He  studied 
under  Dyce  in  the  School  of  Design  at  Somerset 
House,  of  which  he  became  an  assistant  master  ia 
1847.  He  subsequently  superintended  the  Antique 
Department  in  the  South  Kensington  School  till 
his  death  in  1875,  which-  was  occasioned  by  ill- 
ness contracted  at  Rome  a  few  years  previously. 
Amongst  the  few  works  which  he  exhibited  at  the 
Royal  Academy  may  be  mentioned :  '  The  Infant 
St.  John,' '  A  Girl  reading,'  and '  St. Peter  and  Rhoda.' 

DE  NECKEE,  Jobst,  who  also  signed  his  name 
De  Negkee  and  Dii^eckbk,  a  most  skilful  wood- 
engraver,  was  a  native  of  Antwerp.  He  settled  at 
Augsburg  about  1510,  and,  in  conjunction  with 
several  other  artists,  executed  the  wood-cuts  of 
Burgkmair's  and  Schauflein's  designs.  He  en- 
graved the  designs  which  the  latter  made  to 
illustrate  the  allegorical  poem  of  '  Theuerdanok,' 
and  also  some  of  those  which  Burgkmair  made  for 
the  '  Triumph  '  of  the  Emperor  Maximilian.  He 
was  the  inventor  of  chiaroscuro  in  three  tints,  of 
which  the  best  example  is  the  fine  portrait  of 
Hans  Baumgartner,  dated  1512,  after  the  design 
of  Burgkmair.  His  chief  work  is  the  'Prodigal 
Son,' which  appears  to  be  likewise  after  Burgkmair. 
There  is  also  by  him  an  enlarged  copy  of  Holbein's 
'  Dance  of  Death,'  dated  1544.  He  died  probably 
before  1561. 

David  De  Necker  and  Samson  De  Necker,  who 
were  wood-engravers  and  natives  of  Augsburg, 
were  probably  his  sons,  and  Hercules  De  Neokeb, 
another  engraver  on  wood,  is  said  to  have  been  a 
son  of  David  De  Necker. 

DB  NEVE,  Feans,  was  born  at  Antwerp  about 
the  year  1627,  and  for  some  time  studied  the  works 
of  Rubens  and  Van  Dyck.  He  afterwards  visited 
Rome,  where  he  resided  for  some  years,  and  on  his 
return  to  his  native  country  gave  proof  of  con- 
siderable ability  as  a  painter  of  historical  subjects; 
but  he  afterwards  distinguished  himself  more  as  a 
painter  of  what  are  called  heroic  landscapes,  with 
subjects  from  history  or  fable,  in  which  he  exhibited 
the  fertility  of  his  genius  and  the  refinement  of  his 
taste.     There  are  the  following  paintings  by  him : 

Vienna.         Gallery.      The  Archduke  Leopold  William 
of  the  Netherlands. 
»  „  Charles  II.  of  Spain. 

„    Liechtenstein  Gal.  The  Judgment  of  Solomon. 
»  „  The  Murder  of  the  Innocents. 


De  Neyn 


PAINTERS  AND  ENGRAVERS. 


Dente 


De  Neve  likewise  executed  several  etchings  in  a 
Blight  but  very  masterly  style.  They  are  embellished 
with  figures,  correctly  drawn  and  cleverly  grouped. 
Among  them  are : 

Narcissus. 

A  Shepherdess  playing  the  Tambourine. 

DE  NEYN,  PlETBR,  who  was  born  at  Leyden  in 
1597,  studied  for  some  time  under  Esajas  van  de 
Velde,  and  gave  promise  of  becoming  a  good 
landscape  painter,  in  the  manner  of  his  master ; 
but  he  afterwards  applied  his  talents  to  archi- 
tecture, in  which  he  succeeded  so  well  that  he  was 
appointed  architect  to  his  native  city,  Leyden, 
where  he  died  in  1639. 

DENIS,  Simon  Alexandre  Clement,  called  '  den 
Schelen,'  was  born  at  Antwerp  in  1755.  After 
studying  for  some  time  under  Antonissen,  he 
went,  in  1786,  to  Italy,  and  there  married  a 
Roman  lady.  He  afterwards  settled  at  Naples, 
where  he  became  painter  to  the  king,  and  died  in 
1813.  Denis's  pictures,  which  are  for  the  most 
part  landscapes,  are  executed  in  an  Italian  manner, 
and,  with  the  exception  of  colour,  are  good  in 
every  respect.  The  Antwerp  Museum  contains 
three  specimens  of  his  art,  and  the  Louvre  one. 

DENNEL,  Antoine  FaANgois,  a  French  en- 
graver, possibly  a  brother  of  Louis  Dennel,  was  a 
pupil  of  Wille.  He  worked  in  Paris  from  1760 
to  1815,  and  engraved  several  plates  for  Pilhol's 
'  Mus^e  Franjais,'  but  his  best  works  are  the  '  Essai 
du  Corset,'  and  the  '  D^dioace  d'un  Poeme  ^pique,' 
after  P.  A.  Wille. 

DENNEL,  Louis,  a  French  engraver,  was  born 
at  Abbeville  in  1741,  and  died  in  Paris  in  1806. 
He  was  a  pupil  of  Beauvarlet,  in  whose  style  he 
engraved  several  plates,  among  which  are  the 
following : 

The  Triumph  of  Galatea  ;  after  Luca  Giordano. 
Pygmalion  enamoured  of  his  Statue ;  after  Lagrenie. 
The  Triumph  of  Painting ;  after  the  same. 
Painting  cherished  by  the  Graces ;  after  the  same. 

DENNER,  Balthasae,  a  German  painter,  whose 
works  surprise  by  the  toilsome  servility  of  their 
finish,  as  much  as  they  disgust  by  a  total  absence 
of  all  that  is  estimable  in  the  art,  was  born 
at  Hamburg  in  1685.  After  being  instructed  in 
drawing  by  an  obscure  painter  of  that  town,  he 
went  to  Berlin  in  1707,  where  his  works  were 
admired  by  Frederick  II.  The  Duchess  of  Bruns- 
wick-Wolfenbiittel  invited  him  to  her  court  in 
1720,  where  he  painted  her  portrait;  and  from 
thence  he  went  to  Hanover,  where  he  met  with 
so  much  encouragement  that  he  came  to  London 
in  1721,  and  remained  here  until  1728.  The  only 
productions  of  this  mechanic  in  the  art,  that  have 
any  claim  to  notice,  are  his  heads  of  old  men  and 
women,  which  still  find  collectors  among  the  ad- 
mirers of  patient  and  persevering  precision.  There 
are  examples  of  these  at  Hampton  Court  and  in 
the  Louvre,  as  well  as  in  the  Galleries  of  Berlin, 
Cassel,  Copenhagen,  Dresden,  Florence,  Munich, 
St  Petersburg,  and  Vienna.  He  died  at  Rostock 
in  1749. 

Brulliot  mentions  a  B.  Dennee,  an  engraver, 
who  executed  some  views  on  the  'Tiber  after  Cor- 
nells Meyer  for  a  work  published  in  1683,  but  he 
gives  no  particulars  of  the  artist. 

DENNING,  Stephen  Poyntz,  an  English  mini- 
ature and  portrait  painter,  was  bom  in  1795.  He 
was  a  pupil  of  John  Wright,  and  exhibited  at  the 
Royal  Academy  from  1814  to  1851,  but  he  employed 


himself  chiefly  in  copying  the  works  of  other  artists. 
In  1821,  he  became  curator  of  the  Dulwioh  Gallery, 
and  resided  at  the  college  until  his  death  in  1864. 
There  is  in  the  National  Portrait  Gallery  a  vignette 
sketch  in  water-colours  by  him  of  James  Hogg, 
the  Ettrick  Shepherd.  He  also  painted  portraits 
of  Isaac  D' Israeli  and  Sir  Matthew  Wood,  Lord 
Mayor  of  London. 

DENON,  Baron  Dominique  Vivant,  (or  De 
NoN,)  born  at  Chalons  on  the  Sa6ne  in  1747,  was 
one  of  the  train  of  artists  and  literary  and  scientific 
men  who  accompanied  Napoleon  Bonaparte  to 
Egypt ;  where  he  wielded  alternately  the  pen  and 
the  sword,  it  is  said  with  equal  dexterity.  His 
great  work  on  the  Egyptian  expedition,  the  '  Voy- 
age de  la  Haute  et  Basse  !l&gypte,'  the  numerous 
drawings  for  which  were  made  by  himself,  is  alone 
suiEoient  to  immortaUze  his  name.  Napoleon  was 
warmly  attached  to  him,  made  him  Director-General 
of  the  Museums,  and  consulted  him  on  all  matters 
connected  with  the  fine  arts.  He  took  but  little 
interest  in  politics,  his  thoughts  being  principally 
occupied  by  engraving,  and  by  the  fair  sex,  many 
of  whose  portraits  he  drew  and  etched  during  his 
diplomatic  travels.  He  also  etched  the  celebrated 
collection  of  painters'  portraits  in  the  Uffizi  Gallery 
at  Florence,  but  his  most  remarkable  works  were 
his  reproductions  of  Rembrandt's  etchings,  espe- 
cially those  of  the  '  Resurrection  of  Lazarus,'  the 
'  Death  of  the  Virgin,'  and  the  painter's  own  portrait. 
His  large  etching  of  Luca  Giordano's  '  Adoration 
of  the  Shepherds '  opened  to  him  in  1787  the  doors 
of  the  Academy.  One  of  his  best-known  portraits  is 
that  of  Benjamin  de  La  Borde,  which  was  engraved 
by  Masquelier  and  published  in  his  'Chansons.' 
Denon  died  in  Paris  in  1825,  universally  beloved 
for  his  good  qualities,  and  admired  for  his  talents 
and  the  purity  of  his  taste.  He  resembled  Voltaire, 
as  well  in  his  wit  as  in  his  features. 

DE  NOTER,  Heemanus  August,  the  son  of  Pieter 
Frangois  De  Noter,  was  born  at  Ghent  in  1806. 
He  was  instructed  by  his  father,  and  gave  early 
promise  of  success.  He  painted  landscapes, 
winter  scenes,  marine  views,  and  subjects  in  the 
manner  of  Wouwerman.    He  died  at  Ghent  in  1837. 

DE  NOTER,  PiETBR  Franqois,  a  Flemish  painter 
of  landscapes  and  interiors,  was  bom  at  Waelhem, 
near  Mechlin,  in  1779.  He  became  a  professor  in  the 
Academy  of  Ghent  and  developed  into  an  eminent 
painter  of  landscapes,  marine  subjects,  winter 
scenes,  views  of  the  interiors  of  cities,  and 
cathedrals.  His  most  esteemed  pictures  are  his 
views  of  cities  and  winter  scenes ;  and  during 
the  latter  part  of  his  career  he  confined  his 
talents  almost  exclusively  to  the  representation  of 
such  subjects.  His  pencilling  was  delicate  ;  and  in 
this  respect  he  may  be  considered  as  belonging  to 
the  Dutch  school.  His  pictures  are  numerous  and 
varied,  and  are  to  be  found  in  the  cabinets  of 
Belgium,  Holland,  and  the  north  of  France.  He 
also  engraved  a  collection  of  landscapes,  several 
of  which  are  after  Hobbema.  He  died  at  Ghent 
in  1842.  Amongst  his  works,  which  show  great 
minuteness  of  detail,  are : 
Brussels.        Museum.     View  at  Bruges. 

„  „  "View  from  Pont  Neuf,  Ghent. 

Ghent.  Academy.     Abbey  of  St.  Pierre,  Ghent. 

„  „  Winter  view  of  Ghent. 

DENTE,  Marco,  called  Maeco  da  Ravenna,  an 
Italian  engraver,  born  in  the  latter  part  of  the  15th 
century,  was  one  of  the  most  eminent  pupils  of 
Marc-Antonio's  school.     His  best  works,  remark- 

397 


Bentone 


A  BIOGRAPHICAL  DICTIONARY  OF 


De  Peters 


"able  for  their  purity  and  care  of  execution,  are 
copies  after  Baooio  Bandiuelli,  Giulio  Romano,  Ra- 
phael, and  more  especially  Marc-Antonio,  whom 
he  imitated  in  a  most  -p^  CyC^  ^  T?  A 
deceptive  manner.  He  AU-^-y^  -"^ 
generally  used  the  ac- 
companying monogram : 

DENTONE,  II.     See  Curti,  Girolamo. 

DEN  TYN,  Lambertos,  was  born  at  Antwerp 
in  1770.  He  was  a  scholar  of  P.  van  Regemorter, 
and  painted  interiors  by  candle-light,  and  land- 
scapes by  moonlight.     He  died  in  1816. 

DENUELLE,  Alexandre  Dominique,  a  French 
decorative  painter  and  architect,  was  born  in  Paris 
in  1818.  He  studied  under  Delaroche,  and  after- 
wards served  on  the  Commission  for  Historical 
Monuments.  He  died  at  Florence  in  1879.  He 
was  largely  engaged  in  mural  paintings  for 
churches,  and  specimens  of  his  art  will  be  found 
in  the  Abbey  of  St.  Denis,  in  St.  Paul  at  Nimes, 
St.  Polycarp  at  Lyons,  the  Oratory  at  Birmingham, 
the  Church  of  the  Celestines  at  Avignon,  and  in 
Strassburg  Cathedral. 

DEN  UYL,  Jan  (Uil,  or  Vyl),  is  probably  the 
artist  by  whom  there  are  many  drawings  to  be 
found  in  Holland,  signed  /.  den  Uil,  or  /.  den 
Uyl.  There  are  only  five  of  bis  etchings  described  : 
an  Ox  and  a  Sheep,  a  Bull,  two  Oxen,  a  Dog,  and 
a  Buffalo.  In  style  they  approach  those  of  Nicolaes 
Moojaert,  but  do  not  equal  them  in  merit.  They 
appear  to  have  been  executed  about  the  end  of  the 
16th  century. 

DENY,  Jeanne,  was  a  French  engraver  of 
merit,  who  flourished  in  the  last  quarter  of  the 
18th  century.  She  executed  some  of  Monnet's 
and  Marillier's  illustrations  to  the  '  Romans  et 
Contes'  of  Voltaire,  of  Desrais's  designs  for  the 
'  Contes '  of  La  Fontaine,  and  several  of  the 
plates  for  the  '  Cabinet  Choiseul '  and  the  '  Cos- 
tumes Frangais.' 

Martial  Deny,  her  brother,  likewise  engraved 
subjects  for  the  same  works.  The  one  or  the  other 
engraved  also  '  Le  Restaurant '  after  Lavreince. 

DENYS,  Prans,  a  Flemish  painter  of  portraits, 
who  may  be  ranked  amongst  the  first  artists 
of  his  time,  is  very  often  confounded  with  his 
son  Jacob,  a  painter  of  less  account.  Frans 
was  a  native  of  Antwerp,  and  was  received  into 
the  Guild  of  St.  Luke  in  1631,  but  the  dates  of 
his  birth  and  death  are  not  known. 

DENYS,  Jacob,  a  Flemish  painter,  the  son  of 
Frans  Denys,  was  born  at  Antwerp  in  1644,  and 
received  into  the  Guild  of  St.  Luke  in  1664.  He 
was  a  scholar  of  Erasmus  Quellinus,  the  elder, 
but  at  an  early  age  he  went  to  Italy,  where  he 
passed  the  greater  part  of  his  life.  His  merit 
recommended  him  to  the  patronage  of  the  Duke  of 
Mantua,  in  whose  employment  he  passed  several 
years.  He  afterwards  was  invited  to  Florence, 
where  he  painted  for  the  Palazzo  Pitti  several  his- 
torical pictures,  and  the  portrait  of  the  Grand-Duke, 
with  those  of  the  principal  personages  of  the  court. 
After  fourteen  years'  absence,  he  returned  to  his 
native  country,  and  died  at  Antwerp  in  1708. 
The  style  of  Denys,  both  in  his  historical  works 
and  in  his  portraits,  resembles  that  of  Van  Dyck, 
with  something  more  of  the  Italian  taste,  though 
with  less  purity  of  colouring.  There  are  in  the 
Antwerp  Gallery  two  works  by  him,  a  portrait  of 
Gregonus  Martens,  head-man  of  the  corporation  of 
St.  Luke  (dated  1694),  and  a  '  Study  from  the 
Living  Model.' 

398 


DENYS,  Simon  Alexandre  Clement.  See  Denis. 

DEODATE,  — .  The  name  of  this  engraver  is 
afiSxed  to  a  portrait  of  Sir  Theodore  Mayerne, 
physician  to  James  I.  and  Charles  I. 

DEODATO.     See  Orlandi. 

DE'  PAESI,  Girolamo.     See  Muziano. 

DE  PAPE,  Adriaan,  a  Dutch  painter,  who  lived 
probably  at  Leyden  in  the  middle  of  the  17th 
century,  is  said  to  have  been  a  scholar  of  Gerard 
Dou.  Balkema,  who  is  the  only  writer  who  notices 
him,  says  that  in  the  sale  of  ComeUs  van  Dyck's 
collection  of  pictures  in  1713,  there  was  a  picture 
by  De  Pape  representing  a  '  Kitchen  with  a  Woman 
paring  Turnips '  ;  and  in  Gerrit  Muller's  collection 
sold  at  Amsterdam  in  1827,  another  of  a  'Kitchen 
with  a  Woman  plucking  a  Fowl.'  The  latter,  he 
says,  is  more  in  the  manner  of  Brekelenkam  than 
of  Gerard  Dou.  It  is  now  in  the  Hague  Gallery. 
He  gives  no  particulars  relative  to  his  birth,  place 
of  residence,  or  death,  though  he  says  he  was 
worthy  of  the  school  whence  he  proceeded.  In 
the  Marquis  of  Bute's  collection  is  a  picture  signed 
by  him  of  a  '  Woman  paring  Apples,'  and  in  the 
'  Exposition  retrospective '  held  at  Brussels  in 
1873,  was  a  painting  by  him,  dated  1648,  lent  by 
the  Comte  G.  Du  Chastel. 

DE  PASSE.    See  Van  de  Passe. 

DE  PATINIR,  Joachim,  (or  Db  Pateniee,)  was 
born  at  Dinant  about  the  year  1490.  He  resided 
chiefly  at  Antwerp,  where  he  acquired  considerable 
reputation  as  a  landscape  painter,  and  was  admitted 
a  master  of  the  Guild  of  St.  Luke  in  1516.  He 
was  one  of  the  earliest  Flemish  painters  who  painted 
landscapes  independent  of  historj'.  Many  of  his 
works  exist,  and,  considering  them  as  the  earliest 
productions  of  their  class,  they  fuUy  justify  the 
praise  of  Van  Mander.  In  most  of  them  is  found 
a  small  clownish  figure  indecently  exhibited.  He 
also  painted  hunting  scenes  and  battles,  which,  at 
that  early  period,  were  held  in  considerable  estima- 
tion. Some  historical  pictures  also  are  attributed 
to  him.  Those  which  are,  perhaps,  least  liable  to 
doubt  are  in  the  Gallery  at  Vienna.  Albrecht 
Durer  found  De  Patinir  to  be  the  most  agreeable 
of  all  the  Flemish  artists,  and  formed  with  him  a 
close  intimacy ;  he  also  painted  his  portrait.  De 
Patinir  died  at  Antwerp  in  1624.  The  following 
paintings  by  him  may  be  mentioned : 

Antwerp.  Museum.  The  Flight  into  Egypt. 

„  „  The  Adoration  of  the  Magi. 

Berlin.  Gallery.  The  Conversion  of  St.  Hubert. 

„  „  The  Best  on  the  Flight  into  Egypt. 

Brussels.  Museum.  Mater  Dolorosa. 

London.  Nat.  Gall.  The  Crucifixion. 

,1  „  St.  John  the  Evangelist. 

„  „  St.  Christopher. 

Madrid.  Gallery.  The  Temptation  of  St.  Anthony. 

Vienna.  Academy.  The  Entombment. 

„  „  Christ  bewailed  under  the  Cross. 

„  Belvedere.  St.  John  the  Baptist  preaching. 

DEPAULIS,  Alexis  Joseph,  a  French  engraver, 
was  born  in  Paris  in  1792,  and  died  there  in  1867. 

DE  PAULIS,  Andreas.    See  Pauli. 

DE  PAY,  JoHANN,  was  born  at  Riedlingen  in 
Swabia  in  1609,  and"  died  at  Munich  in  1660.  His 
own  portrait,  by  himself,  dated  1655,  is  in  the 
Munich  Gallery. 

DE  PETERS,  Anton,  a  painter  and  etcher,  was 
born  at  Cologne  in  1723,  and  studied  in  Paris  under 
Greuze.  He  was  raised  to  the  rank  of  a  noble  by 
the  king  of  France,  and  appointed  court  painter 
by  the  Danish  king,  Christian  IV.,  as  well  as  by 
Prince  Charles  of  Lorraine.    The  Revolution  drove 


Be  Poorter 


PAINTERS  AND  ENGRAVERS. 


Derson 


him  back  to  his  native  country,  where  he  lived  in 
poverty,  and  died  at  Cologne  in  1795.  There  are 
by  him : 

PAINTINGS. 

Death  of  Cleopatra  {in  miniature  upon  ivory). 
A  Girl  leaving  the  Bath  (Herr  Merlo,  Cologne). 
The  Girl  with  the  Carp. 

ETCHINGS. 

Tirgin  and  Child,  in  a  landscape. 

Holy  Family  on  the  Flight  to  Egypt  {after  Eembrandt). 

DB  POORTER,  Willem,  a  native  of  Haarlem, 
who  flom-ished  from  1630  to  1645,  was  a  pupil  of 
Eembrandt,  and  his  works,  executed  after  that 
master,  display  considerable  merit,  and  are  some- 
what rare.  He  usually  painted  historical  subjects, 
but  sometimes  undertook  interiors.  His  chef- 
d'oeuvre  is  '  Solomon  worshipping  false  Gods,'  in 
the  possession  of  M.  Coster  in  Paris.  Besides  this, 
there  are  in  public  galleries  the  following  works 
by  him : 

Berlin.        Gallery.         Samson  and  Delilah. 
Brussels.  Arenberg  Coll.  An  Interior. 
Cassel.         Gallery.  The  Circumcision. 

Copenhagen.  Gallery.     Mercury  and  Proserpine. 

„  „  Peace.     1643. 

Dresden.         Gallery.     Ahasuerus  and  Esther.    1645. 
„  „  The  Woman  taken  in  Adultery. 

„  The  Virgin  and  Child,  with  St. 

Joseph  and  St.  Simeon;  after 
Semhrandt. 
Rotterdam.  Museum.      An  Allegory  of   Human  Insta- 
bility.   1630. 

DEQUEVAUVILLEE,  FRANgois  Jacques,  a 
French  engraver,  was  born  in  Paris  in  1783.  He 
was  a  pupil  of  his  father,  N.  B.  P.  Dequevauviller, 
and  of  Bouoher-Desnoyers.  His  principal  works 
were  portraits,  among  which  may  be  mentioned: 

M.  Daigrefeuille  ;  after  Uigaud. 

Cardinal  de  Beausset. 

The  Duke  de  Berry. 

Portrait  of  Erasmus ;  after  Solbein. 

Portrait  of  De  Kratzer  ;  after  the  same. 

DEQUEVAUVILLER,  Nicolas  Baeth^lemi 
Feanqgis,  a  French  engraver,  born  at  Abbeville  in 
1745,  was  one  of  the  best  pupils  of  J.  DaulM. 
He  died  in  Paris  in  1807.  His  best  works  are 
'  L'Assemblee  au  Salon '  and  '  L'Assembl^e  au 
Concert,'  both  after  Lavreince.  He  also  engraved 
some  landscapes  in  a  neat,  pleasing  manner,  in- 
cluding the  following : 

Two  French  Naval  Battles ;  after  Bossel. 

A  Landscape ;  after  TVynants. 

Noon,  a  Landscape  with  figures  ;  after  Berchem. 

Evening,  the  etching  by  Weisbrod  ;  after  the  same. 

View  on  the  Tiber ;  after  Asselyn. 

View  of  Tivoli ;  after  A.  van  der  Werff. 

A  Landscape,  with  Cattle ;  after  D.  van  Bergm. 

A  View  of  Landeck ;  after  C.  Brand. 

A  View  on  the  Adige ;  after  the  same. 

A  Landscape,  with  Ruins ;  after  F.  Decker. 

The  Bathers ;  after  C.  Poelenbwrg. 

DE  RAM,  Jan,  a  Dutch  engraver,  was  born 
about  1680.  He  was  a  scholar  of  Romeyn  De 
Hooghe,  but  was  more  free  and  correct  than  his 
instructor.  He  worked  for  the  booksellers,  and 
also  engraved  in  mezzotint,  of  which  style  there 
is  a  specimen  in  a  portrait  of  Christian  V., 
King  of  Denmark.  The  date  of  his  death  is  not 
known. 

DERBY,  Alfred  Thomas,  a  water-colour  painter, 
was  born  in  1821.  He  was  the  eldest  son  of  the 
miniature  painter,  William  Derby.  After  having 
studied  at  the  Royal  Academy,  his  first  attempts 


were  in  oil,  but  he  afterwards  painted  in  water- 
colour,  assisting  his  father  in  his  copies  of  pictures 
by  well-known  modern  artists.  After  his  father's 
death  he  still  continued  in  the  same  line,  painting 
many  exact  and  carefully-finished  copies,  besides 
some  original  works.  He  frequently  exhibited  por- 
traits at  the  Royal  Academy.  He  died  at  Hammer- 
smith in  1873. 

DERBY,  W^ILLIAM,  an  English  miniature  painter 
and  copyist,  was  born  in  1786,  at  Birmingham,  where 
he  received  instruction  from  Joseph  Barker.  In 
1808  he  came  to  London  and  executed  drawings 
for  the  '  Stafford  Gallery,'  and  in  1825  for  Lodge's 
'  Portraits.'  He  also  made  copies  of  ancestral  por- 
traits for  Lord  Derby.  In  1838  he  was  struck  with 
paralysis,  but  was  able  to  pursue  his  avocations 
till  his  death  in  1847.  There  are  two  water- 
colour  drawings  by  him  in  the  South  Kensington 
Museum:  'A  Fisherman,' and  'A  Man  holding  a 
book.' 

DE  REYN,  Jan,  was  born  at  Dunkirk  about 
the  year  1610,  and  went  when  he  was  young  to 
Antwerp,  where  he  became  a  scholar  of  Van  Dyck. 
Such  was  his  progress  under  that  master,  that  he 
was  invited  to  accompany  him  to  England,  where 
he  continued  to  assist  him  until  the  death  of  his 
illustrious  instructor.  He  afterwards  established 
himself  in  his  native  town,  where  he  painted  several 
admirable  pictures  for  the  churches,  and  was  much 
employed  as  a  portrait  painter.  His  principal 
works  for  the  churches  at  Dunkirk  were  the 
'  Death  of  the  four  Royal  MSrtyrs,'  for  the  church 
of  St.  Bloi;  and  the  'Baptism  of  Totila,'  for  the 
church  of  the  English  convent.  There  are  many 
of  his  portraits  in  private  collections,  which  are 
little  inferior  to  those  of  Van  Dyck.  The  principal 
altar-piece  in  the  parochial  church  of  St.  Martin,  at 
Bergues  St.  Vinox,  near  Dunkirk,  is  by  this  master : 
it  represents  '  Herodias  bringing  the  Head  of  St. 
John  to  Herod.'  De  Reyn  died  at  Dunkirk  in  1678. 
The  Brussels  Museum  has  a  Female  Portrait  by 
him,  dated  1637. 

DE'  RITRATTI,  Feanobsco.    See  Negei. 

DE  ROORE,  Jacques,  was  bom  at  Antwerp  in 
1686.  He  was  the  son  of  a  goldsmith,  who  in- 
tended to  bring  him  up  to  his  own  profession,  but 
his  father  died  when  he  was  very  young,  and  his 
mother  permitted  him  to  indulge  the  inclination  he 
had  shown  for  art.  He  was  at  first  placed  under 
the  care  of  Louis  van  der  Bosch,  under  whom 
he  studied  for  two  years,  and  then  entered  the 
school  of  Caspar  Jacobus  van  Opstal.  He  painted 
historical  subjects  and  conversations ;  in  the  for- 
mer, he  adopted  the  style  of  Richard  van  Orley, 
and  in  the  latter  imitated  that  of  the  younger 
Teniers.  His  works  were  held  in  the  highest  esti- 
mation, and  he  was  loaded  with  commissions,  not 
only  for  the  collections  of  Brabant  and  Flanders, 
but  also  for  those  of  Holland.  When  not  more 
than  twenty  years  of  age  he  was  received  into  the 
Academy  at  Antwerp,  and  was  considered  one  of 
the  ablest  artists  of  his  time.  He  was  much  em- 
ployed in  embellishing  the  saloons  of  the  principal 
mansions,  and  in  painting  the  ceilings  of  the  public 
edifices.  One  of  his  most  admired  performances 
was  a  saloon  and  ceiling,  representing  the  '  History 
of  Pandora,'  painted  for  the  family  of  Hasselaer,  in 
1740.     He  died  at  Antwerp  in  1747. 

DE'  ROSSI.     See  Dei  Rossi. 

DE'  ROTARI,  PiETKO.    See  Dei  Eotaei. 

DERSON,  N.,  a  French  engraver,  appears  from 
the  inscription  on  one  of  his  prints  to  have  been  of 

399 


Dertinger 


A  BIOGRAPHICAL  DICTIONAEY  OF 


Sescamps 


Reims  in  Champagne.  We  have  by  this  artist  a 
plate  of  the  stately  fafade  of  the  cathedral  of 
Notre-Dame  at  Reims,  neatly  etched  and  finished 
with  the  graver,  with  several  figures  spiritedly 
touched  in  the  style  of  Callot,  and  dated  1625. 

DERTINGER,  Eknst,  who  was  born  in  1816, 
engraved  after  Von  der  Embde,  T.  Schutz,  W. 
Kaulbach,  and  other  artists.  He  died  at  Stuttgart 
in  1865. 

DE  RUEL,  JoHAN  Baptist,  was  born  at  Ant- 
werp in  1634.  He  was  introduced  as  a  singer  to 
the  court  of  the  Elector  of  Mayence,  and  was 
there  instructed  in  painting  by  Jan  Thomas.  He 
afterwards  settled  at  Wurzburg,  where  he_  exe- 
cuted altar-pieces  and  portraits.  A  portrait  by 
him  is  in  the  Munich  Gallery.  He  died  in  1685, 
or,  according  to  others,  in  1715. 

DEEUET,  Claude,  a  painter  and  engraver,  was 
born  at  Nancy,  in  Lorraine,  in  1588,  and  died  in 
the  same  town  in  1660.  He  was  a  scholar  of 
Claude  Henriet,  and  living  in  habits  of  intimacy 
with  his  fellow-citizen  Callot,  he  adopted  the  style 
of  that  master,  and  engraved  in  it  a  few  plates,  of 
which  the  best  are  : 

Charles  IV.,  Duke  of  Lorraine,  on  Horseback.    1628. 
The  Carriere,  or  Eue  Neuve,  at  Nancy. 
The  Ducal  Palace  at  Nancy. 

DE  RUYTEE,  Jan,  was  a  Dutch  painter  of 
scenes  from  every-day  life,  who  was  still  living  in 
1822.  A  '  Cook  in  a  Kitchen '  by  him,  in  the 
Amsterdam  Gallery,  i»  dated  1820. 

DE  RUYTER,  N.,  was  a  Flemish  engraver,  who 
flourished  about  the  year  1688.  He  appears  to 
have  imitated  the  style  of  Paulus  Pontius,  but  with- 
out much  success.  Among  others,  we  have  a  plate 
by  him  representing  'Diana  reposing  after  the 
Chase,'  after  Gerard  Valck. 

DE  RY,  Danckeets.     See  Danckeets  de  Ey. 

DE  RYCKE,  Daniel,  a  Flemish  painter,  was  a 
native  of  Ghent,  who  flourished  there  and  at 
Bruges  between  the  years  1462  and  1469.  His 
mural  and  decorative  paintings  and  portraits  caused 
him  to  be  thought  one  of  the  most  distinguished 
painters  of  his  time,  but  his  works  have  unfor- 
tunately perished  by  the  hands  of  the  Iconoclasts. 

DE  RYCKE,  Willem,  (De  Rbtck,  or  De  Ryke,) 
a  Flemish  painter,  was  born  at  Antwerp  in  1635. 
He  was  brought  up  a  goldsmith,  but  quitted  that 
business  to  study  painting,  and  made  some  pro- 
ficiency in  history  and  portraits,  though  be  never 
reached  any  eminence.  He  visited  England  in  the 
reign  of  King  William  III.,  and  died  in  London 
in  1697.  He  is  also  known  as  an  engraver,  and 
among  his  plates  are  the  following  : 

Susanna  surprised  by  the  Elders. 
St.  Catharine  before  her  Judges. 
Mars  and  Venus.     1683. 

His  daughter,  Cathaeina  De  Rtcke,  was  a  talented 
artist. 

DE  RYCKER,  A.,  was  a  Flemish  painter,  who 
in  1591  executed  for  the  church  of  St.  Jacques  at 
Antwerp  a  triptych,  the  centre  panel  of  which, 
representing  '  Christ  on  the  Cross,  between  the 
two  Thieves,'  has  since  disappeared.  The  wings, 
however,  which  contain  the  portraits  of  the  donor, 
Jan  Doncker,  and  his  wife,  are  suificient  to  place 
the  painter  among  the  most  distinguished  masters 
of  his  time.  There  are  in  the  Antwerp  Gallery 
the  two  wings  of  another  triptych  which  are 
ascribed  to  him,  but  the  archives  of  the  Guild  of  St. 
Luke  fail  to  afford  any  information  about  this  artist. 

400 


DE  RYE,  Aegidius,  was  a  painter  who  flourished 
in  the  Netherlands  about  1697,  which  date  is  on  a 
'  Burial  of  St.  Catharine '  by  him  in  the  Vienna 
Gallery. 

DE  RYNG,  Pietee,  a  Flemish'  painter  of  sub- 
jects of  still-life,  flourished  about  the  middle  of 
the  17th  century.  In  the  Museum  at  Amsterdam 
there  is  a  picture  by  him,  representing  a  table 
covered  with  blue  velvet,  on  which  are  various 
kinds  of  fruit,  oysters,  and  other  shell-fish.  There 
is  in  the  Antwerp  Museum  a  fruit  piece  by  him, 
dated  1651,  and  in  the  Dresden  Gallery  is  a  picture 
of  shell-fish  and  fruit  with  his  monogram — a  ring 
with  a  diamond.  Some  twenty  or  thirty  years  ago 
several  of  his  works  were  brought  to  England  by 
dealers ;  but  it  is  apprehended  that  they  have 
changed  their  name,  and  assumed  that  of  Jan 
Davidsz  De  Heem. 

DESALLIER-D'ARGENVILLE,  Antoine  Jo- 
seph, a  French  amateur  and  writer  on  art,  was 
bom  in  Paris  in  1680.  He  etched  several  plates 
of  subjects  and  landscapes  from  his  own  designs, 
and  was  the  author  of  the  well-known  '  Abrege  de 
la  Vie  des  plus  fameux  Peintres,'  published  first 
in  1745-52.     He  died  in  Paris  in  1765. 

DE  SALZEA,  Pietee.    See  De  Fode. 

DE  SAN,  Geeaed,  was  born  at  Bruges  in  1754, 
and  studied  under  Legillon  at  the  Academy  of 
that  city.  In  1781  he  travelled  about  Prance  and 
to  Rome,  where  he  painted  for  four  years,  and 
received  in  1782  a  silver  medal  from  the  Papal 
Academy  for  drawing  from  the  nude.  He  further 
received  two  gold  medals  from  the  Academy  of 
Parma.  On  returning  home  he  devoted  himself 
to  the  painting  of  portraits,  and  in  1790  was  made 
director  of  the  Bruges  Academy.  After  five  years, 
however,  the  Revolution  caused  him  to  proceed  to 
Groningen,  and  in  1798  he  became  president  of 
the  newly-founded  Academy  in  that  town.  He 
died  at  Groningen  in  1829. 

DESANGIVES,  Nicolas,  a,  French  painter  on 
glass,  who  acquired  a  great  reputation  early  in  the 
16th  century  for  his  windows  in  the  church  of  St. 
Genevieve,  and  in  the  charnel-house  of  the  church 
of  St.  Paul,  in  Paris. 

DESANI,  Pieteo,  was  born  at  Bologna,  accord- 
ing to  Malvasia,  in  1595,  and  was  a  disciple  of 
Lionello  Spada,  under  whom  he  became  a  very 
fair  painter  of  history.  He  resided  chiefly  at 
Reggio,  where  there  was  scarcely  a  church  or  a 
public  edifice  that  did  not  contain  some  of  his 
works.  Among  the  most  esteemed  were  the 
'  Crucifixion,'  with  the  Virgin  Mary,  the  Mag- 
dalen, and  St.  John,  in  the  Chiesa  del  Corpo  di 
Christo,  and  '  St.  Francis  receiving  the  Stigmata,' 
in  the  church  of  the  Padri  Zoccolanti.  The  com- 
positions of  Desani  are  masterly,  and  his  drawing 
correct ;  but  there  is  a  crudity  and  hardness  in  his 
colouring  that  give  to  his  pictures  a  disagreeable 
efEeot.     He  died  in  1657. 

DES  BATAILLES,  Maetin.  See  Maetin,  Jean 
Baptiste. 

DESBOIS,  Maetial,  who  was  born  in  Paris  in 
1630,  and  died  there  in  1700,  was  an  excellent 
engraver  in  mezzotint.  He  engraved  '  Moses  strik- 
ing the  Rock,'  after  Giro  Ferri,  and  other  plates 
after  Paolo  Veronese,  Guercino,  N.  Poussin,  &c. 

DESCAMPS,  GniLLADME  DfemS  Joseph,  a 
painter  and  engraver,  was  born  at  Lille  in  1779. 
He  was  a  pupil  of  Vincent,  but,  obtaining  tlie 
'_'  prix  de  Rome,"  he  improved  himself  by  travel- 
ling in  Italy,  and  became  court-painter  of  Murat  in 


Descamps 


PAINTERS  AND  ENGRAVERS. 


Oesplaces 


Naples.     He  died  in  Paris  in  1858.    The  following 
paintings  were  executed  by  him : 

The  'Women  of  Sparta  (in  the  Lille  Museum).    1808. 

The  Martyrdom  of  St.  Andrew  (in  St.  Andre,  Lille). 

Murat  on  board  the  Ceres  dietributing  Bewards  (en- 
graved hy  himself). 

The  Conversion  of  St.  Augustine  (in  St.  Eustache,  Paris). 

The  Apotheosis  of  Cardinal  Tommasi  (in  San  Martina  di 
Monti,  Rome). 

The  Neapolitan  Troops  marching  out  against  Capri. 

As  an  engraver  he  also  produced  six  plates  from 
the  '  Fable  of  Psyche.' 

DESCAMPS,  Jean  Baptistb,  a  French  historical 
and  subject  painter,  was  bom  at  Dunkirk  in 
1706.  He  studied  under  D'Ulin  and  Largillifire, 
and  painted  several  pictures  for  Louis  XV.,  illus- 
trating that  monarch's  coronation  and  visits  to 
Havre.  In  1764  he  was  received  into  the  Academy, 
on  which  occasion  he  painted  his  best  known  work, 
'  A  Mother  in  a  Kitchen  with  her  two  Children,' 
which  is  now  in  the  Louvre.  His  latter  years  were 
chiefly  spent  at  Rouen,  where  he  was  director  of  a 
School  of  Design,  which  he  had  been  instrumental 
in  founding.  In  1753-64  he  published,  'La  Vie 
des  Peintres  Flamands,  Allemands,  et  Hollandois,' 
and  in  1769  his  '  Voyage  pittoresque  de  la  Flandre 
et  du  Brabant.'     He  died  at  Rouen  in  1791. 

DESCOMBES,  Le  Chevalier,  a  French  painter, 
was  a  disciple  of  Largilliere,  of  whom  he  painted 
a  portrait,  which  has  been  engraved  by  Petit. 

DES  COUDRBS,  Ltjdwig,  an  historical,  portrait, 
and  genre  painter,  was  born  at  Cassel  in  1820,  and 
pursued  his  first  studies  under  J.  von  Schnorr,  at 
the  Academy  of  Munich.  He  travelled  in  Italy  in 
1844-5,  and  placed  himself  in  1848-9  under  Karl 
Sohn  at  Diisseldorf,  where  for  a  time  he  settled, 
but  in  1855  he  was  appointed  professor  in  the  School 
of  Arts  at  Carlsruhe,  in  which  city  he  died  in  1878. 
Among  his  best  pictures  we  find ; 

Francesca  da  Bimini.    1850. 

The  Weeping  Magdalen.    1852. 

The  Lamentation  before  the  Burial  (Carlsruhe  Gallery). 
1855. 

The  Adoration  of  the  Shepherds  (in  possession  of  the 
Grand-Duke  of  Baden).    1857- 

The  Holy  Women  before  the  Cross  (in  St.  Nicholas, 
Hamburg).    1863. 

Iphigeneia  (in  possession  of  the  Grand-Duke  of  Baden). 
1865. 

Under  the  Bed  Cross.    1872. 

Psyche  and  Pan. 

Happy  Existence — a  child's  picture. 

DESCOURTIS,  Charles  Milchiok,  a  French 
engraver,  was  born  in  Paris  in  1763,  and  died  in 
the  same  city  in  1820.  He  was  a  pupil  of  Janinet, 
and  engraved  in  colour  after  his  style .  He  executed 
views  in  Paris  and  in  Rome  after  De  Machy,  but 
his  best  works  are  a  'Village  Fair,'  a  'Village 
Wedding,'  'The  Quarrel,'  and  'The  Tambourine,' 
after  Taunay. 

DE  SEEUW,  Maeinus.    See  Rotmeeswalbn. 

DESENNE,  Alexandre  Joseph,  was  born  in 
Paris  in  1785,  and  showed  at  an  early  age  a  taste 
for  art.  He  was  in  his  time  the  most  celebrated 
designer  of  vignettes,  and  illustrated  the  works  of 
no  less  than  twenty-seven  authors.  He  died  in 
Paris  in  1827. 

DE'  SERAPINI,  Seeafino.    See  Dei  Serapini. 

DES  GODETS,  Antoine,  a  French  designer  and 
engraver,  as  well  as  architect,  was  born  in  Paris  in 
1653,  and  died  in  the  same  city  in  1728.  He  pub- 
lished in  1682  a  folio  volume  of  plates,  entitled, '  Les 
Edifices  antiques  de  Rome,'  engraved  from  his  own 
designs ;  and  he  etched  the  frontispiece  himself. 
D  D 


DESGOFFE,  Alexandre,  a  French  landscape 
painter,  was  bom  in  Paris  in  1805.  He  studied 
under  Ingres,  and  travelled  in  Italy  from  1837  to 
1842.  He  usually  introduced  into  his  landscapes 
historical  or  mythological  incidents,  and  he  also 
painted  some  Biblical  subjects.  The  Luxembourg 
Gallery  has  his  '  Fury  of  Orestes,'  and  the  Museum 
of  Lyons  his  '  Cyclops.'  He  decorated  the  Salle 
des  Etudes  of  the  Biblioth^que  Nationale  in  1868, 
and  died  in  Paris  in  1882. 

DBS  GRANGES,  D.,  was  afi  obscure  artist,  who 
is  mentioned  by  Strutt  as  the  engraver  of  some 
very  indifferent  frontispieces  and  book-plates ; 
among  others,  the  ornamental  title  to  a  book  called 
'  Bethel,  or  a  Form  for  Families,'  1634. 

DESHAYS  DE  COLLEVILLE,  Jean  Baptistb 
Henri,  a  French  historical  painter,  was  born  at 
Rouen  in  1729.  He  was  first  instructed  by  his 
father,  and  afterwards  became  a  pupil  of  Boucher, 
whose  daughter  he  married.  He  also  visited  Italy, 
and  was  received  into  the  Academy  in  1759.  He 
excelled  particularly  in  painting  altar-pieces,  one 
of  the  best  of  which  is  a  '  St.  Jerome,'  in  the  church 
of  Le  Plessis-Piquet  (Seine).  Deshays  died  in 
Paris  in  1765.  He  had  a  younger  brother,  FEANgoi3 
Br0no  Deshays  de  Colleville,  who  painted  por- 
traits, but  had  not  a  spark  of  genius. 

DESJOBERT,  Louis  Remy  Eugene,  a  French 
landscape  painter,  was  bom  at  Chateauroux  in  1817, 
and  died  in  Paris  in  1863.  As  a  specimen  of  his 
painting  may  be  mentioned  '  St.  Ouen's  Bay, 
Jersey.' 

DESMAISONS,  Pierre  Emile,  a  French  litho- 
grapher, died  in  1880,  aged  68,  at  Montlignon  (Seine- 
et-Oise).  Amongst  his  most  successful  works  are 
his  reproductions  of  paintings  by  Vidal  and  !^douard 
Frfire. 

DESMARAIS,  Jean  Baptiste,  a  French  his- 
torical painter,  was  born  in  Paris  in  the  latter  part 
of  the  18th  century.  He  studied  at  Rome  from 
1786  to  1790,  and  subsequently  became  professor 
and  vice-president  of  the  Academy  at  Carrara, 
where  he  died  in  1814. 

DESMAR^ES,  Geoeg,  (or  Des  Maries,)  a 
portrait  painter,  was  bom  in  1697  at  Stockholm, 
where  he  was  instructed  in  painting  by  Peter 
Martin  van  Meytens,  whose  assistant  he  afterwards 
became.  In  1724  he  made  a  stay  in  Amsterdam, 
and  in  the  following  year  in  Nuremberg  and  then 
in  Venice,  where  he  received  further  tuition  from 
Piazzetta.  In  1731  he  settled  in  Mimich,  where  he 
became  court  painter,  and  where  he  continued  to 
reside  till  his  death  in  1776.  A  portrait  of  him- 
self and  one  of  his  daughter  are,  with  a  third  in 
the  Munich  Gallery,  and  other  portraits  by  him  are 
at  Augsburg. 

DBSMARQUETS,  Pauline.    See  Auzou. 

DESMOLES,  Arnaud,  a  French  painter  on 
glass,  flourished  about  1510.  He  executed  some 
windows  in  the  cathedral  at  Auch,  between  the 
years  1509  and  1513,  by  order  of  the  Cardinal  de 
Sourdis.* 

DESNOYERS,  Augustb  Gaspard  Louis  Bou- 
chbe.  Baron.     See  Boucher- Desnoyees. 

DESPERRIERES,  Madame,  a  French  portrait 
painter,  exhibited  at  the  Salon  from  1812  to  1819. 
A  portrait  of  the  Duchess  of  AngouWme  by  her  is 
in  the  Bordeaux  Museum. 

DESPLACES,  Louis,  a  French  engraver,  was 
bom  in  Paris  in  1682.  He  engraved  a  considerable 
number  of  plates,  possessing  great  merit,  some  of 
which  are  in  the  style  of  Gerard  Audran,  and 

401 


Desportes 


A  BIOGRAPHICAL  DICTIONARY  OF 


Beuerlein 


though  he  was  unequal  to  that  distinguished  artist, 
his  drawing  is  correct,  and  his  works  evince  ex- 
cellent taste.  His  best  prints  are  those  after 
Jouvenet.  He  worked  with  the  point  and  the 
graver.  He  died  in  Paris  in  1739.  The  following 
are  his  principal  works  : 

SUBJECTS   ENGRAVED   FOB   THE   CKOZAT   COLLECTION. 

Jupiter  and  Danae  ;  after  Titian, 

Paolo  Veronese  between  Virtue  and  Vice ;  after  Paolo 

Veronese.  <^ 

■Wisdom  accompanying  Hercules  ;  after  the  same. 
Chrisb  washing  the  Disciples'  Feet ;  after  G.  Muziano. 
The  Adoration  of  the  Magi ;  after  Giulio  Eomano. 
The  Triumph  of  Titus  and  Vespasian  ;  after  the  same. 
The  Crucifixion ;  after  Annihale  Garracci. 

SUBJECTS   AETEB    VARIOUS   MASTERS. 

The  Martyrdom  of  St.  Peter  ;  after  II  Calabrese. 

The  Purification  ;  after  Tintoretto. 

Diana  and  Actseon  ;  after  Carlo  Maratti. 

The  Eape  of  Helen ;  after  Guido. 

The  Birth  of  Adonis ;  after  C.  Cignani. 

The  Gallery  of  the  President  Lambert ;  after  Le  iSueur. 

The  Eoman  Charity  ;  after  Le  Bnn. 

Hercules  combating  the  Centaurs;  after  the  same. 

Christ  healing  the  Sick  ;  after  Jouvenet. 

The  Elevation  of  the  Cross  ;  after  the  same. 

The  Descent  from  the  Cross  ;  after  the  sam^. 

St.  Bruno  praying ;  after  the  same. 

Venus  prevailing  on  Vulcan  to  forge  Arms  for  .fflneas  ; 

after  the  same. 
The  Triumph  of  Venus;  after  Antoine  CoJ/pel. 
Cupid  taking  refuge  with  Anacreon  ;  after  the  same. 
jEneas  saving  his  Family  from  the  Burning  of  Troy ; 

after  the  same. 

PORTRAITS. 

Mil  p..  Duclos  as  Ariana ;  after  Largilliere. 
Bvrard  Titon  du  Tillet ;  after  the  same. 
Marguerite  B^caille,  veuve  Titon  ;  after  the  same. 
The  Abb6  de  Ranc6 ;  after  Rigaud. 
Charles  Fran9ois  Silvestre ;  after  Seratdt. 

DESPORTES,  Alexandre  FRANgois,  a  French 
painter  of  hunting  scenes  and  animals,  was  born  at 
Champigneul,  in  Champagne,  in  1661';  He  was  a 
scholar  of  Nioasius  Bernaert,  a  Flemish  painter 
then  resident  in  Paris,  who  had  studied  under 
Snyders,  but  who  died  before  his  pupil  had  made 
any  great  progress  in  the  art.  Without  further  in- 
struction, he  applied  himself  with  great  assiduity 
to  the  study  of  nature,  not  only  in  animals  and 
landscape,  but  in  perfecting  himself  in  the  draw- 
ing of  the  figure  after  the  Academy  model.  Des- 
portes was  not  satisfied,  as  is  frequently  the  case 
with  artists  in  that  branch,  with  painting  the 
animals,  and  leaving  to  others  the  more  important 
part  of  the  picture.  He  painted  the  hunters,  as 
well  as  their  game,  and  his  figures  are  well  drawn 
and  full  of  character.  He  was  much  employed  by 
Louis  XIV.  in  the  palaces  of  Versailles,  Fontaiue- 
bleau,  and  Meudon,  and  was  made  painter  to  the 
king.  In  1699  he  became  a  member  of  the 
Academy  in  Paris.  Walpole  does  not  mention 
him  in  the  '  Anecdotes,'  but  in  1713  he  accom- 
panied the  Duke  of  Aumont  in  his  embassy  to 
England,  and  here  painted  several  pictuijgs.  He 
died  in  Paris  in  1743.  There  are  twenty-seven  of 
his  works  in  the  Louvre.  Among  them  is  his  own 
portrait,  painted  for  his  reception  at  the  Academy 
in  1699. 

DESPORTES,  Claude  Francois,  an  animal 
painter,  and  the  son  of  Alexandre  Francois  Des- 
portes, was  born  in  Paris  in  1695,  and  died  there 
in  1774.  A  large  picture  of  'Still  Life'  by  him  is 
in  the  Louvre ;  it  constituted  his  reception  painting 
on  his  entry  into  the  Academy  in  1723. 
402 


DESPORTES,  Nicolas,  a  nephew  and  pupil  of 
Alexandre  Frangois  Desportes,  was  born  in  1718. 
He  at  first  painted  animals,  but  afterwards,  under 
the  tuition  of  H.  Rigaud,  devoted  himself  to  por- 
trait painting.  He  was  received  into  the  Academy 
in  1757  with  a  picture  of  '  A  Wild  Boar  pursued 
by  a  Dog.'     He  died  in  1787 

DES  PREZ,  F.,  was  a  French  engraver  on  wood, 
who  resided  in  Paris  about  the  year  1573.  He 
executed  a  large  plan  of  the  town  of  Rochelle, 
with  the  additional  fortifications  made  at  the  time 
it  was  besieged  in  the  civil  wars  in  1573.  It  is 
inscribed,  A  Paris,  par  F.  des  Prez,  rue  Mowt- 
orgueil  au  hon  pasteur. 

DBSPREZ,  LoDis  Jean,  a  French  historical 
painter  and  architect,  was  bom  at  Lyons  in  1740. 
He  produced  some  works  in  Paris,  and  then  went 
to  Rome,  where  he  assisted  in  the  production  of 
the  'Voyage  pittoresque  de  Naples.'  He  was 
patronized  by  Gustavus  III.,  with  whom  he  went 
to  Sweden,  and  for  whom  he  painted  decorations, 
battle-pieces,  &c.  He  died  at  Stockholm  in 
1804.  His  '  Costumes  of  Sweden '  have  been 
published. 

DESROCHERS,  Etienne  Johanbiek,  a  French 
engraver,  was  born  at  Lyons  about  1661.  He 
engraved  and  published  upwards  of  600  portraits, 
which  must  have  had  in  their  day  some  popularity, 
for  in  1723  he  was  elected  a  member  of  the  Aca- 
demy.    He  died  in  Paris  in  1741. 

DES  RUINES,  Robert.     See  Robert,  Htoert. 

DESTOUCHES,  Paul  tmjx.    See  Detouohe. 

DES  TUILERIES,  Bernard.    See  Palissy. 

DE  SUBLEO,  Michelb,  (or  De  Sobleo,)  was  a 
native  of  Flanders,  who  went  when  young  to 
Bologna.  He  was  educated  in  the  school  of  Guido 
Reni.  He  painted  some  pictures  for  the  churches 
at  Bologna,  especially  for  that  of  Gesii  e  Maria, 
which  partake  of  the  style  of  his  master,  with 
something  of  the  vigour  of  Guercino.  He  resided 
during  a  great  part  of  his  life  at  Venice,  where 
there  are  several  of  his  works,  the  most  esteemed 
of  which  is  an  altar-piece  in  the  church  of  the 
Carmelites,  representing  some  Saints  of  that  order. 
In  the  Bologna  Gallery  are  four  works  by  him : 
a  '  St.  Agnes,'  a  '  Virgin,'  '  The  Apparition  of  the 
Virgin  to  St.  Augustine  and  others '  (from  the 
church  of  Gesvl  e  Maria),  and  '  St.  John  the  Baptist 
preaching.' 

DETOUOHE,  Paul  6milb,  called  Destouches,  a 
pupil  of  David,  Gu6rin,  Gros,  and  Girodet,  was  bom 
at  Dampierre  in  1794,  and  was  a  painter  of  history 
and  portraits,  but  distinguished  himself  more  ia 
genre  pieces.  His  pleasing  scenes  of  family  life 
are  spirited  and  carefully  executed.  '  The  Orphan,' 
'  The  Young  Conscript, '  and  '  The  Wounded  Student ' 
are  considered  his  best  paintings.  He  died  in 
Paris  in  1874. 

D!1^TREZ,  Ambeoise,  who  was  born  in  Paris  in 
1811,  studied  at  Lille,  and  subsequently  became 
Director  of  the  Painting  School  at  Valenciennes, 
where  he  died  in  1863.  In  the  Lille  Museum  are 
a  '  Presentation  in  the  Temple '  and  two  Landscapes 
by  him. 

DETROY.     See  Teot. 

DEUERLBIN,  Johann  Hiebontmus,  was  a 
painter  of  Wiirzburg,  who  in  1619  became  a  pupil 
of  Biiler,  and  was  admitted  in  1624  into  the  Brother- 
hood of  St.  Luke.  He  painted  the  'Triumph  of 
Death '  in  the  choir  of  St.  Peter's  Church  at  Wiirz- 
burg, and  a  votive  picture  in  the  cloister  of  the 
Cathedral. 


Beuren 


PAINTERS  AND  ENGRAVERS. 


De  Visch 


DEUREN,  0.  VAN,  is  only  known  by  his  signa- 
ture, and  the  date  1624,  on  a  picture  of  a '  Hermit' 
now  in  the  Dresden  Gallery. 

DEURER,  LuDWiG,  a  son  of  Peter  F.  Deurer,  was 
born  at  Mannheim  in  1806,  and  studied  at  Nurem- 
berg, Munich,  and  Rome.  He  was  an  excellent 
painter  of  historical  subjects,  and  painted  'The 
Knights  of  Malta  before  Jerusalem.'  He  died  in 
1847. 

DEURER,  Peter  Ferdinand,  a  painter  of  history 
and  portraits,  who  was  born  at  Mannheim  in  1779, 
studied  art  at  Diisseldorf  and  Cassel.  For  saving 
the  pictures  of  the  gallery  of  his  native  town,  during 
the  siege  by  the  French,  he  was  made  director  of  it 
and  professor  at  the  Academy.  In  1826  he  went 
to  Rome  and  made  a  copy  of  Raphael's  '  Burial  of 
Christ,'  which  copy  is  now  in  the  Art  Hall  at 
Carlsruhe.     He  died  at  Kissingen  in  1844. 

DEUTSCH,  Manuel.    See  Manuel. 

DE  VADDER,  Lodewijk,  was  born  at  Brussels 
about  1560.  It  is  not  known  by  whom  he  was 
instructed,  but  he  may  be  ranked  amongst  the 
ablest  landscape  painters  of  his  country.  Prom 
the  grandeur  of  his  style,  and  the  picturesque 
beauty  of  his  scenery,  it  is  probable  that  he 
resided  some  time  in  Italy,  where  he  appears 
to  have  made  the  works  of  Titian  the  particular 
objects  of  his  study,  as  his  best  productions  bear 
a  striking  resemblance  to  the  landscapes  of  that 
master.  The  forms  of  his  rocks  and  trees  are 
noble  and  select,  and  his  distances  are  distinguished 
by  a  vapoury  degradation.  The  pictures  of  De 
Vadder  are  deservedly  esteemed  in  his  native 
country,  where  they  are  found  in  the  choicest 
collections.  His  merit  would  have  been  more 
generally  known  in  England,  had  not  his  works 
been  frequently  imposed  upon  the  public  under 
borrowed  names.  He  is  said  to  have  died  at  Brus- 
sels about  1623,  but  his  death  occurred  probably 
earlier.  A  '  Landscape '  by  him  is  in  the  Darm- 
stadt Gallery.  There  are  a  few  spirited  etchings 
of  landscapes  by  this  artist,  executed  in  the  style 
of  Lucas  van  Uden. 

DE  VALCK.     See  Valck. 

DE'  VECCHI,  Giovanni.    See  Dei  Vecohi. 

DEVEMY,  Louis,  who  was  bom  at  Lille  in  1808, 
first  practised  as  an  advocate.  He  adopted  art  as  a 
profession  in  1845,  and  established  himself  in  Paris 
in  1852.  He  died  there  in  1.874.  A  picture  of  '  Still 
Life '  by  him  is  in  the  Museum  of  his  native  city. 

DEVERIA,  EuGtoB  FEAN901S  Marie  Joseph, 
who  was  bom  in  Paris  in  1805,  was  a  brother  of 
Aohille  Deveria;  he  frequented  the  school  '  of 
Girodet.  Besides  several  historical  pieces,  he 
painted  for  the  Museum  at  Versailles,  the  ceilings 
in  the  Louvre,  the  Palais  Royal,  and  Notre-Dame 
de  Lorette.  His  portraits  of  Marshals  Brissac  and 
Crevecceur  are  at  Versailles.  His  own  is  in  the 
Dffizi ;  and  the  Louvre  possesses  his  '  Birth  of 
Henri  IV.'  (1827).  His  '  Death  of  Joan  of  Arc '  is 
in  the  Museum  at  Angers.    He  died  at  Pau  in  1865. 

DEVERIA,  Jacques  Jean  Maeib  Achille,  born 
in  Paris  in  1810,  was  a  painter  and  lithographer. 
He  was  a  pupil  of  Lafitte  and  of  Girodet.  His 
subjects  were  mostly  of  a  religious  character,  and 
painted  in  a  pleasing  manner.  He  died  in  Paris 
in  1857.  His  best  claim  to  notice,  however,  rests 
upon  his  successful  administration  of  the  depart- 
ment of  engravings  in  the  BibliothSque  Nationale, 
to  the  direction  of  which  he  was  appointed  in  1849. 
Before  that  date  chaos  had  reigned  supreme,  and 
it  was  due  to  his  patient  labour,  as  well  as  to  his 
D  D  2 


refined  taste  and  sound  learning,  that  order  by 
degrees  took  its  place. 

DEVIGNE.    See  Vigne. 

DEVIS,  Antony  T.,  an  English  landscape 
painter,  the  brother  of  Arthur  Devis,  was  horn  in 
1729.  He  exhibited  a  few  times  at  the  Society  of 
Arts  and  at  the  Royal  Academy.  During  the  latter 
part  of  his  life  he  lived  at  Albury,  in  Surrey, 
where  he  died  in  1817.  His  works  are  in  the 
early  manner  of  water-colour  drawings.  There  is 
a  Landscape  by  him,  dated  1772,  in  the  South 
Kensington  Museum. 

DEVIS,  Arthur,  was  bom  at  Preston  in  Lanca- 
shire, about  the  year  1711,  and  was  the  pupil  of 
Peter  Tillemans.  He  painted  in  a  variety  of 
ways,  sometimes  portraits,  but  mostly  small  whole- 
lengths  and  conversation  pieces.  He  was  an  ex- 
hibitor at  the  Society's  Rooms,  in  the  Strand,  in 
1761,  but  never  joined  either  the  Chartered  Society 
or  the  Royal  Academy.  He  died  at  Brighton  in 
1787. 

DEVIS,  Arthur  William,  a  portrait  and  his- 
torical painter,  was  born  in  London  in  1763,  and 
received  his  first  instruction  in  art  from  his  father, 
Arthur  Devis.  He  made  rapid  progress,  and  ob- 
tained, at  an  earlier  age  than  is  usual,  a  silver  medal 
from  the  Royal  Academy,  and,  what  was  of  more 
importance,  the  good  opinion  of  Sir  Joshua  Rey- 
nolds. In  his  twentieth  year  he  was  appointed 
by  the  East  India  Company  draughtsman  to 
accompany  Captain  Wilson  in  the  'Antelope  '  in  a 
voyage  round  the  world.  The  vessel  was  wrecked, 
and  he  sustained  many  hardships.  He  afterwards 
went  to  Bengal,  where  he  continued  the  exercise  of 
his  art,  and  painted  the  picture  of  '  Lord  Cornwallis 
receiving  the  two  sons  of  Tippoo  Saib  as  hostages.' 
He  returned  to  England  in  1795,  and  painted  for 
Mr.  Alexander  Davison  two  historical  pictures  ;  the 
one  representing  the  '  Detection  of  Babington's  Con- 
spiracy, in  the  reign  of  Queen  Ehzabeth ' ;  and  the 
other  '  Archbishop  Langton  showing  Magna  Charta 
to  the  Barons,  at  Bury  St.  Edmund's.'  The  portraits 
in  this  picture  are  not  those  of  the  actual  descend- 
ants of  the  barons,  but  of  noblemen  of  distinction 
who  were  desirous  of  being  so  represented.  He 
painted  for  the  same  gentleman  an  excellent  por- 
trait of  Nelson.  He  also  painted  the  '  Death  of 
Nelson '  on  board  the  Victory.  His  last  picture 
was  one  commemorative  of  the  death  of  the  Prin- 
cess Charlotte.  His  life  was  one  of  vicissitudes 
and  difficulties,  and  was  terminated  by  a  stroke  of 
apoplexy  in  1822.  Devis,  as  an  historical  painter, 
was  equal,  if  not  superior,  to  any  of  his  day,  but 
circumstances  did  not  conduce  to  bring  his  powers 
into  action.  His  picture  of  the '  Detection  of  Babing- 
ton's Conspiracy'  was  painted  in  competition  with 
some  of  the  most  eminent  members  of  the  Royal 
Academy,  West,  Northcote,  Copley,  Smirke,  Wilkie, 
and  others;  and,  unquestionably,  was  the  best  in 
composition,  delineation  of  character,  truth  of 
colour,  and  management  of  chiaroscuro.  His  own 
portrait  is  in  the  composition.  The  National  Por- 
trait Gallery  possesses  his  portrait  of  Governor 
Herbert,  painted  at  Calcutta  in  1791. 

DE  VISCH,  Matthias,  was  born  at  the  village 
of  Reningen,  in  1702.  He  studied  under  Joseph 
van  den  Kerkhove  at  Bruges,  became  a  student  of 
the  Academy,  and  obtained  the  first  prize  in  1721. 
He  went  to  Paris  in  1723 ;  thence  to  Italy,  where 
he  remained  nine  years.  On  his  return  to  Bruges 
he  painted  the  picture  of  '  Hagar  and  Ishmael  in 
the  Desert '  for  the  church  of  St.  James,  and  opened 

403 


De  Vlamynok 


A  BIOGRAPHICAL  DICTIONABY  OF 


De  Vos 


a  school  of  design ;  and  he  is  remembered  more 
for  his  zeal  in  furthering  the  knowledge  of  paint- 
ing among  the  youth  of  Bruges  than  for  any 
superior  talent  shown  by  him  in  the  practice  of  it. 
He  painted  the  portrait  of  Maria  Theresa  for_  the 
city  of  Bruges,  and  several  for  other  communities 
of  Flanders.  He  collected  materials  for  a  history 
of  painting  in  Belgium,  which  he  gave  to 
Descamps,  who  made  use  of  them  for  his  '  Lives 
of  the  Flemish  Painters.'  De  Visch  died  in  1765, 
it  is  said  from  over-exertion  in  endeavouring  to 
make  the  students  of  his  own  Academy  rival  those 
of  that  of  Antwerp,  upon  the  restoration  of  the 
former  after  its  destruction  by  fire  in  1755. 

DE  VLAMYNOK,  Pieeke  Jean,  a  Belgian  en- 
graver, was  born  at  Bruges  in  1795.  He  received 
his  first  instruction  in  drawing  in  the  studio  of 
Odevaere,  after  whose  'Narcisse'  he  executed  in 
1820  his  first  plate.  Having  obtained  from  the 
King  of  the  Netherlands  a  pension  for  four  years, 
he  went  to  Paris,  and  there,  under  the  supervision 
of  Dien,  he  engraved  the  'Battle  of  Nieuport.' 
His  chief  work  was  the  '  Ascension,'  after  Rubens, 
upon  which  he  was  engaged  for  many  years.  He 
also  engraved  portraits  of  Raphael,  Rembrandt, 
Odevaere  (after  Diez),  and  Count  Frederic  de 
Merode.  There  are  likewise  many  drawings  in 
black  chalk  and  several  lithographic  portraits  by 
him.  Besides  these  he  executed  in  lithography 
some  of  the  masterpieces  of  Flemish  art  which 
adorn  his  native  city — Memlinc's  '  Shrine  of  St. 
Ursula,'  the  triptych  of  the  '  Mystic  Marriage  of 
St.  Catharine,'  the  '  Adoration  of  the  Magi,'  and 
the  '  Vierge  a  la  pomme.'  He  died  at  Bruges  in 
1850. 

DE  VLIBGER,  Simon,  was  born  at  Rotterdam 
about  1600,  and  acquired  a  considerable  reputation 
as  a  painter  of  sea-pieces  and  landscapes,  although 
it  is  not  known  by  whom  he  was  instructed.  He 
had  the  credit  of  being  the  master  of  Willem  van 
de  Velde,  the  younger,  and,  though  bis  merit  was 
eclipsed  by  the  brilliant  talents  of  his  disciple,  his 
pictures  are  deservedly  placed  in  the  choicest  col- 
lections. In  1634  he  entered  the  Guild  at  Delft, 
and  in  1643  became  a  citizen  of  Amsterdam.  He 
was  still  living  in  1656,  but  died  probably  at  Am- 
sterdam shortly  before  1660.  This  painter  deserves 
more  notice  than  has  been  bestowed  on  him.  Like 
Van  Goyen,  he  is  judged  by  his  inferior  productions, 
or  by  pictures  that  have  been  injured  by  time,  or 
by  injudicious  cleaning.  His  selections  are  pic- 
turesque, his  compositions  are  not  crowded  with 
unnecessary  objectc,  his  execution  is  remarkably 
free,  and  in  the  representation  of  the  effects  of  a 
gale,  or  fresh  breeze,  he  approaches  the  grandeur 
of  Ruisdael.  Unfortunately  his  colours,  in  many 
instances,  have  faded,  or  vanished  altogether,  par- 
ticularly in  the  sky,  so  that  his  pictures  appear 
cold  or  murky ;  still  a  master  mind  and  hand  may 
be  discerned.  He  etched  about  twenty  plates  of 
bindscapes,  rivers,  canals,  and  animals  ;  some  of 
which  resemble  in  style  those  of  "Waterloo.  The 
following  are  some  of  his  principal  works : 

Amsterdam.  Museum.    The  Eegatta.    1655. 

II  ),  Naval  Combat  on  the  Slaak.   1638. 

Antwerp.     Museum.     A  Calm  Sea. 
Berlin.         Gallery.       A  Sea-piece. 
Dresden.       Gallery.       Storm  at  Sea. 
Munich.        Gallery.       Storm  at  Sea. 
Petersburg.  Mermitage.  The  Arrival  of  the  Prince  of  Orange 

at  Flushing. 
Vienna.        Belvedere.    Calm  Sea,  with   many   ships  (a 

404 


DE  VLIEGHER,  Seeaftn,  a  Belgian  painter,  was 
born  at  Eecloo  in  1806.  He  was  at  first  a  pupil  of 
Antoon  De  Poorter,  afterwards  of  Geimaert,  and 
finally  a  student  of  the  Academy  at  Ghent.  He 
painted  genre  subjects  and  portraits,  and  became 
director  of  the  Academy  at  Alost,  where  he  died 
in  1848. 

DE  VOIS,  Adeiaan,  or  Aet,  was  bom  at  Leyden 
in  1641.  His  father  was  a  celebrated  organist,  and 
was  desirous  of  bringing  his  son  up  to  the  same 
profession ;  but  the  latter  had  so  little  taste  for 
music,  and  so  decided  a  disposition  for  painting, 
that  he  was  induced  to  place  him  under  the  tuition 
of  Nicolaes  Knupfer,  a  painter  of  some  repute  at 
Utrecht,  with  whom  he  continued  two  years,  when 
he  returned  to  Leyden,  and  there  became  a  disciple 
of  Abraham  van  den  Tempel.  De  Vols,  however, 
did  not  adopt  the  manner  of  either  of  his  instruct- 
ors ;  he  formed  an  intimacy  with  Pieter  van 
Slingeland,  who  had  been  a  disciple  of  Gerard 
Dou,  whose  highly-finished  style  he  followed  with 
the  greatest  success.  Although  he  occasionally 
attempted  history  on  a  small  scale,  his  best  pro- 
ductions are  portraits,  conversations,  and  domestic 
subjects,  which  are  little  inferior  to  the  works 
of  Metsu  or  of  Mieris.  His  drawing  is  very  cor- 
rect, and  his  colouring  clear  and  transparent,  with 
a  perfect  intelligence  of  the  chiaroscuro.  The 
pictures  of  this  artist  are  extremely  scarce,  as  they 
were  very  carefully  finished,  and  therefore  few ; 
and  he  is  said  to  have  passed  several  years  of  his 
life  in  idleness  and  dissipation,  in  consequence  of 
his  having  married  a  lady  of  considerable  fortune. 
He  died  at  Leyden ;  Balkema  says  in  1698.  The 
following  are  some  of  his  principal  works : 


Amsterdam. 

Museum, 

The  Fish  Merchant. 

)> 

» 

The  Violin  Player. 

„ 

» 

A  Lady. 

Antwerp. 

Museum. 

An  Old  Woman. 

Berlin. 

Gallery. 

Venus  and  Adonis.    1678. 

Cassel. 

Gallery. 

A  Man  smoking  and  drinking. 

Dresden. 

Gallery. 

1666. 

i> 

1) 

A  Man  in  a  grey  hat. 

» 

)i 

A  Shepherdess. 

Frankfort. 

Stadel. 

Head  of  an  old  Man. 

Hague. 

Gallery. 

Portrait  of  a  Huntsman. 

Munich. 

Gallery. 

A  Drinker. 

5, 

J, 

A  Smoker. 

Paris. 

Lmvre. 

Portrait  of  a  Man  seated  at  his 
bureau. 

DE  VOLLER,  Aeetgen.    See  Claessoon. 

DE  VOS.  There  were  several  painters  of  this 
name,  nearly  contemporaries,  but  of  different  fami- 
lies. As  most  of  them  painted  landscapes,  por- 
traits, and  animals,  their  names  and  works  have 
been  confounded.  Among  them,  in  addition  to 
those  in  the  following  articles,  are,  a  second  Pieter, 
a  second  Willem,  a  Hendrik,  and  other  baptismal 
names,  but  there  is  very  little  information  to  enable 
the  inquirer  to  distinguish  their  works.  A  race 
of  painters  of  the  name  continues  in  Holland  to 
this  day. 

DE  VOS,  CoENELls,  was  born  at  Hulst  about 
1685,  and  became  master  in  the  Guild  of  St.  Luke 
at  Antwerp  in  1608,  having  been  mentioned  in 
1599  in  the  '  Liggeren '  as  a  pupil  of  Remeeus ;  he 
was  dean  of  the  Guild  in  1619-20.  He  painted 
historical  pictures  and  portraits,  the  latter  some- 
what in  the  style  of  Rubens.  He  died  in  1651. 
He  was  a  friend  of  Van  Dyck,  who  painted  his 
portrait.  The  following  are  some  of  his  principal 
Works : 


CeVos 


PAINTERS  AND  ENGRAVERS. 


De  Vos 


Antwerp.     Museum, 


Berlin.  Gallery. 

»  » 

lirussels.  Museum. 

(/assel.  Gallery. 

Madrid.  Gallery. 


Miinich. 

Petersburg.  Hermiiage. 
Botterdam.  Museum, 
Vienna.         Gallery, 


Portrait  of   Abraham  Grapbeus, 

Messenger  of    the  Corporation 

of  St.  Luke.    1620. 
Triptych— Adoration  of  the  Magi. 

(From  the  Cathedral,  Antwerp^ 
Portrait  of  a  Gentleman  and  his 

"Wife.    1629. 
Portrait  of  his  Daughter. 
Portrait  of   the    Artist  and    his 

Family. 
Portrait  of  a  Man. 
Portrait  of  Salomon  Cock. 
Venus  rising  from  the  Sea. 
Triumph  of  Bacchus. 
Apollo  and  the  Python. 
Family  Picture. 
Family  Picture. 
An  Allegory. 
Baptism  of  Cloris. 


DE  VOS,  CoKNELls,  a  painter  of  accessories  in 
other  artists'  productions,  was,  in  1633-34,  received 
into  the  Guild  of  St.  Luke  at  Antwerp,  as  a  master's 
son.  He  is  no  relation  to  the  celebrated  Cornelis 
De  Vos. 

DE  VOS,  Jan,  lived  at  Antwerp  in  the  middle  of 
the  17th  century.  A  portrait  of  a  Man  by  him  is  in 
the  Rotterdam  Museum. 

;  DB  VOS,  Lambertus,  a  native  of  Mechlin,  who 
entered  the  Guild  of  St.  Luke  in  that  city  in  1563, 
went  to  Constantinople,  and  there  executed  in  1674 
a  volume  of  drawings  of '  Oriental  Costumes,'  which 
is  preserved  in  the  Library  at  Bremen. 

DE  VOS,  Marten,  an  eminent  Flemish  painter, 
was  bom  at  Antwerp  in  1531.  He  was  the  son  of 
Pieter  De  Vos,  an  artist  of  sufficient  ability  to  be 
received  into  the  Academy  at  Antwerp  in  1519, 
and  from  whom  he  received  his  first  instruction  in 
painting.  He  had  afterwards  the  advantage  of 
frequenting  the  school  of  Frans  Floris,  under 
whom  he  studied  until  he  was  twenty-three  years 
of  age,  when  he  determined  to  visit  Italy,  and 
passed  some  years  at  Rome,  where  he  iiliproved 
his  style  of  design  by  studying  with  attention 
the  works  of  the  great  painters  of  the  Roman 
school.  The  charm  of  Venetian  colouring  led 
him  to  visit  Venice,  where  he  had  the  good 
fortune  to  win  the  esteem  and  friendship  of  Tin- 
toretto, who  not  only  instructed  him  in  the  best 
principles  of  colouring,  but  employed  him  as  a 
coadjutor  to  paint  the  landscapes  in  his  pictures. 
With  the  aid  of  such  advice  and  assistance,  De 
Vos  became  an  admirable  colourist,  and  gained 
such  reputation,  that  he  was  employed  in  painting 
the  portraits  of  several  of  the  illustrious  family  of 
the_  Medici,  as  well  as  some  historical  subjects 
which  added  to  his  fame. 

After  an  absence  of  eight  years,  De  Vos  returned 
to  Flanders,  where  the  celebrity  he  had  acquired 
in  Italy  excited  public  curiosity,  and  he  was  com- 
missioned to  paint  several  altar-pieces  for  the 
churches  at  Antwerp  and  other  cities  of  the  Nether- 
lands. He  was  also  much  employed  as  a  portrait 
painter,  and  there  is  an  appearance  of  nature  in 
his  heads  which  was  unequalled  at  the  period  at 
which  he  lived.  He  was  received  into  the  Guild 
of  St.  Luke  at  Antwerp  in  1559,  and  died  in  his 
native  city  in  1603.  The  following  are  some  of  his 
principal  works : 

Antwerp.  Mus.  Christ  on  the  Cross. 

»  „    A  Triptych : — The  Triumph  of  "l 

Christ.    1590.     Formerly 
n  „     A  Triptych : — Incredulity    of  }■      in  the 

St.  Thomas.       CatHedral. 

1574. 


Antwerp.  Mus.  Birth  of  Christ.     {From  the  church  of  the 
Capuchins  at  Mechlin,) 
„  „     A    Triptych :— The  Tribute   Money,  &c. 

1601.    {From  the  church  of  St.  Andrew  at 
Antwerp.) 
„  „     A  Triptych : — St.  Luke  painting  the  por- 

trait of  the  Virgin,  &c.    1602.     {Farts 
of  the  wings  are  by  Otho  van  Veen  and 
Marten  Pepyn.     From  the  altar  of  the 
Guild  of  St.  Luke  in  the  cathedral^ 
„  „     Polyptych: — St.  Francis  of  Assisi  receiv- 

ing the  Stigmata,  &c.    (From  the  church 
of  the  RecolletSj  Antwerp,) 
„  „     Temptation  of  St.  Anthony.   1591.    {Form- 

erly the  centre-piece  of  a  triptych  over  the 
altar  of  St.  Anthony  in  the  cathedral,) 
Brussels.  Mus.  The  Wings  of  a  Triptych.  {Fortraits  of 

the  Donor  and  his  Wife.) 
Florence.  Vffizi.  His  own  Portrait. 

„  „     Crucifixion. 

Madrid.     Gall.  Baising  of  Lazarus. 
„  „      Samson  and  Delilah. 

Seville.     Mus.  The  Last  Judgment. 

The  works  of  Marten  De  Vos  had  considerable 
influence  on  art  in  his  time ;  but  many  of  them 
were  destroyed  by  the  Iconoclasts. 

His  son,  Marten  De  Vos,  who  was  also  a  painter, 
was  born  at  Antwerp  in  1576.  He  was  admitted 
into  the  Guild  of  St.  Luke  at  Antwerp  in  1607,  and 
died  in  1613. 

DE  VOS,  Paulus,  the  brother  of  Cornelis  De 
Vos,  was  born  at  Hulst,  about  the  year  1600,  and 
studied  under  Remeeus.  From  the  subjects  and 
style  of  his  pictures,  it  is  probable  that  he  was  a 
disciple  of  Frans  Snyders.  He  painted  animals  and 
hunting  scenes  with  great  ability,  and  his  works 
are  little,  if  at  all,  inferior  to  those  of  that  dis- 
tinguished artist.  His  animals,  particularly  his 
dogs,  are  drawn  with  correctness  and  spirit,  and 
his  colouring  is  clear  and  harmonious.  He  died 
in  1654.  There  are  in  the  Madrid  Gallery  no  less 
than  fifteen  of  his  works,  and  in  the  Hermitage 
at  St.  Petersburg  there  are  five. 

De  vos,  Pieter,  the  elder,  a  Flemish  painter, 
went  to  Antwerp  from  Holland,  but  whether  from 
Gouda  or  Leyden  is  uncertain.  His  name  occurs 
in  the  archives  of  the  Guild  of  St.  Luke  in  1519, 
and  he  was  dean  of  the  Guild  in  1536.  He  is 
believed  to  have  died  in  1566.  He  was  the  father 
of  Marten  De  Vos. 

DE  VOS,  Pieter,  the  younger,  the  brother  of 
Marten  De  Vos,  was  a  native  of  Antwerp.  He 
entered  the  Guild  of  St.  Luke  in  1554,  and  is 
said  to  have  been  still  living  in  1590.  He 
painted  historical  subjects,  but  his  works  are  little 
known. 

DE  VOS,  Simon,  was  born  at  Antwerp  in  1603, 
and  entered  the  Guild  of  St.  Luke  in  1620.  He 
had  the  advantage  of  studying  in  the  school  of 
Rubens,  under  whom  he  became  a  very  eminent 
painter  of  history  and  portraits.  There  are  some 
altar-pieces  by  him  in  the  churches  at  Antwerp, 
which  have  been  sometimes  mistaken  for  the  works 
of  his  illustrious  instructor.  Such  are  his  picture 
of  the  '  Resurrection,'  in  the  cathedral ;  the  '  De- 
scent from  the  Cross,'  in  the  church  of  St.  Andrew  ; 
and  '  St.  Norbert  receiving  the  Sacrament,'  in  the 
abbey  of  St.  Michael.  Sir  Joshua  Reynolds  com- 
mends this  picture,  and  speaks  of  him  as  a  portrait 
painter  in  the  following  terms :  "  De  Vos  was 
particularly  excellent  in  portraits.  There  is  at 
Antwerp  his  own  portrait,  painted  by  himself,  in 
black,  leaning  on  the  back  of  a  chair,' with  a  scroll 
of  blue  paper  in  his  hand,  so  highly  finished,  in  the 
broad  style  of  Correggio,  that  nothing  can  exceed 

405 


De  Vo3 


A  BIOGRAPHICAL  DICTIONARY  OF 


it."    He  died  in  1676.     Besides  the  above  works 
the  following  may  be  noticed : 
Berlin.         Gallery.        The  Chastisement  of  Love. 
Eotterdam.  Museum.       Portrait  of  a  Man.    1640. 
„  „  Portrait  of  a  Man.     1645. 

DE  VOS,  WlLLEM,  the  son  of  Pieter  De  Vos,  the 
younger,  and  nephew  and  scholar  of  Marten  De 
Vos,  painted  historical  subjects  in  the  style  of  his 
instructor,  acquiring  therein  considerable  reputa- 
tion. He  was  born  probably  at  Antwerp,  and  in 
1693  entered  the  Guild  of  St.  Luke,  of  which  he 
became  dean  in  1600.  His  portrait  was  painted 
and  etched  by  Van  Dyck  among  those  of  the  dis- 
tinguished artists  of  his  time. 

DBVOSGE,  Anatolb,  the  son  of  Francois  De- 
vosge,  was  born  at  Dijon  in  1770,  and  painted,  after 
the  manner  of  his  master,  David,  several  pictures, 
the  subjects  of  which  were  taken  from  the  Old 
Testament,  and  from  mythology  and  Greek  and 
Roman  history.  He  succeeded  his  father  as  director 
of  the  School  of  Art  at  Dijon,  where  he  died  in  1850. 

DEVOSGE,  FEANgois,  was  a  French  historical 
painter,  founder  of  the  School  of  Design,  Painting, 
and  Sculpture  at  Dijon.  He  was  bom  at  Gray  in 
1732,  and  taught  by  his  father,  Goustou,  and  Des- 
hays,  the  painter ;  his  principal  works  are,  '  The 
Nativity,'  '  St.  Angela,'  '  St.  Peter,  kneeling,'  '  The 
Assumption  of  the  Virgin,'  '  The  Martyrdom  of 
St.  Marcel,'  &c.  He  died  at  Dijon  in  1811. 

DE  VOUW,  Johannes,  was  a  Dutch  landscape 
painter,  of  whom  nothing  more  is  known  than  that 
he  lived  in  Rotterdam,  and  died  not  later  than 
1691.  He  painted  landscapes  with  trees  and  build- 
ings, and  also  drew  maps  and  plans. 

DE  VREE,  NiooLAAS,  a  flower  painter,  born  at 
Utrecht  about  the  year  1650,  was  celebrated  in 
his  day  for  the  lightness  of  his  pencil,  and  the  fresh 
and  natural  brilliancy  of  his  colours ;  his  works, 
however,  are  but  little  known  out  of  Holland.  He 
died  at  Alkmaar  in  1702.  In  the  Hermitage  at 
St.  Petersburg  is  a  '  Park,'  by  him,  dated  1677. 

DE  VRIENT,  Feans,  commonly  known  as  Frans 
Floeis  (the  name  of  Floris  having  been  borne  by 
his  great-grandfather,  re-assumed  by  his  father, 
and  used  by  himself  in  signing  his  paintings),  was 
born  at  Antwerp  about  1517,  and,  until  he  was 
twenty  years  of  age,  studied  sculpture  under  his 
uncle  Claudius  De  Vrient.  His  love  of  painting 
induced  him  to  change  the  chisel  for  the  palette,  and 
he  became  a  scholar  of  Lambert  Lombard,  from 
whose  instruction  he  derived  great  advantage.  He 
afterwards  visited  Italy,  where  he  studied'  atten- 
tively the  works  of  Michelangelo  and  the  antique. 
After  passing  some  years  at  Rome,  he  returned  to 
Flanders,  with  an  ample  collection  of  drawings  he 
had  made  from  the  objects  most  worthy  of  admira- 
tion. His  first  productions  exhibited  a  grander 
and  more  correct  design,  and  a  superior  style  of 
composition  to  what  had  before  been  witnessed  by 
his  countrymen,  and  he  acquired  the  appellation 
of  the  'Flemish  Raphael.'  He  was  patronized 
by  the  Counts  of  Hoom  and  Bgmont,  and  was 
received  as  a  master  into  the  Guild  of  St.  Luke 
at  Antwerp  in  1640.  When  the  Emperor  Charles 
V.  made  his  entry  into  Antwerp,  in  1549,  Floris 
was  engaged  to  paint  the  triumphal  arches ;  and 
he  is  said  to  have  finished  seven  figures  as  large 
as  life,  with  different  attributes,  in  one  day.  On' 
a  similar  occasion,  when  Philip  II.  visited  the 
Low  Countries,  he  painted  in  a  few  hours  a  large 
picture  representing  'Victory,'  with  several  figures 
of  slaves,  and  the  attributes  of  War  and  Peace. 
406 


De  Vries 


His 


Antwerp.        Museum. 


Berlin. 


Brussels. 


Copenhagen.  Gallery. 
Dresden.        Gallery. 


Florence. 

Hague. 

Madrid. 


Uffizi. 
Gallery. 
Gallery. 


Of  this  subject  he  etched  a  plate,  dated  1552, 
death  occurred  at  Antwerp  in  1570. 

Frans  Floris  was  the  founder  of  a  large  school. 
He  usually  signed  his  paintings  in  full,  or  with  a 
monogram  composed  of  three  Fs  (Frans  Floris 
Fecit).    Among  his  extant  works  are  the  following : 

Amsterdam.  Museum.  The  Mne  Muses. 

,^  „  Christ  and  the  Little  Children. 

„  A  Water  "Wedding  at  Middelburg. 

The  Fall  of   Lucifer  (painted  in 
1554:  for  the  altar  of  the  Fencers 
in  the  cathedral  of  Antwerp;  his 
test  work). 
„         The  Adoration  of  the  Shepherds. 
„  Eyckaert  Aertsz,  the  painter,  as 

St.  Luke. 
Gallery.  Vulcan     ensnaring     Mars     and 
Venus.     1547. 
„         Venus  and  Cupid. 
„         Lot  and  his  Daughters. 
Museum.  The  Last  Judgment  (painted  for 
Notre-Dame    des    Victoires  au 
Sdblon  at  Brussels).    1566. 
„  The  Adoration  of  the  Magi.    (A 

triptych,  which  was  probably  his 
last  work,  and  was  jinished  by 
Hieronymus  Francken  in  1571.) 
Cain  and  Abel. 

Adoration  of  the  Shepherds. 
The  Emperor  Vitellius. 
The  Laughing  Maiden. 
Lot  and  his  Daughters. 
Christ  carrying  Ms  Cross. 
Adam  and  Eve.    1560. 
Venus  and  Adonis. 
The  Deluge. 
Two  Portraits. 
Petersburg.  Hermitage.  The  Three  Ages  of  Man. 
Vienna.        Belvedere.  Adam  and  Eve  under  the  Tree  of 
Knowledge. 
„  „  Adam    and   Ere   driven  out  of 

Paradise. 
„  „         The  Holy  Family. 

As  an  etcher  Frans  Floris  executed,  among  other 
plates,  "^ Victory,'  and  'Christ  washing  the  Dis- 
ciples' Feet ' :  both  from  his  own  designs.  His 
two  sons,  Jan  Baptista  and  Feans  De  Veient, 
were  both  painters.  The  first  was  assassinated  at 
Brussels  by  the  Spaniards ;  the  second,  who  was 
born  at  Antwerp  about  1545,  settled  at  Rome,  and 
became  noted  for  his  easel  pictures.  They  were 
both  living  in  1679. 

DE  VRIES,  Adeiaan,  a  Flemish  portrait  painter, 
was  admitted  as  a  master  into  the  Guild  of  St. 
Luke  at  Antwerp  in  1634-35.  His  works  possess 
considerable  merit,  and  have  been  attributed  to 
Ferdinand  Bol,  to  Van  Dyck,  and  to  Rembrandt. 
He  died  subsequently  to  1650.  In  the  Dresden 
Gallery  is  a  male  portrait  by  him,  dated  1639. 
In  the  Rotterdam  Museum  is  his  portrait  of 
Adriaen  Adriaensz  Vroesen  of  Rotterdam,  dated 
1639,  and  in  the  Berlin  Gallery  is  a  Man's  por- 
trait ascribed  to  him. 

Some  confusion  appears  to  exist  between  the 
works  of  this  artist  and  those  ojE  Abeaham  Db 
Veibs,  who  was  admitted  into  the  Guild  of  St. 
Luke  at  the  Hague  in  1644,  and  died  before  1662. 

DE  VRIES,  Jan  (or  Hans)  Veedeman,  was 
bom  at  Leeuwarden,  in  East  Friesland,  in  1627. 
He  was  sent,  when  young,  to  Amsterdam,  where 
he  became  a  scholar  of  Reyer  Gerritsz,  under  whom 
he  continued  five  years,  and  applied  himself  with 
great  assiduity  to  the  study  of  perspective.  In 
1549  he  went  to  Antwerp,  where  he  was  employed, 
with  others,  in  painting  the  triumphal  arches  which 
were  erected  on  the  public  entry  of  the  Emperor 
Charles  V.  and  his  son  Philip  into  that  city ;  on 


De  Vries 


PAINTERS  AND  ENGEAVEES. 


Se  Wedig 


which  occaaion  he  proved  himself  an  artist  of 
considerable  ability.  He  was  much  employed  in 
decorating  the  saloons  of  the  principal  mansions 
with  perspective  views,  which  he  designed  with 
such  truth  and  efEect  that  the  ilhision  was  com- 
plete. He  travelled  through  Germany  and  Italy, 
and  he  everywhere  met  with  encouragement  and 
employment.  After  his  return  to  Antwerp,  the 
latter  part  of  his  life  was  principally  occupied  in 
making  designs  of  architectural  and  other  subjects 
for  the  print-sellers,  particularly  Hieronimus  Cock, 
who  published  a  great  variety  of  prints  from  his 
designs.  We  have  a  book  of  monuments  by  him, 
entitled  '  Csenotaphiorum,  tumulorum  et  mortuorum 
monumentorum  varies  formae,'  published  at  Ant- 
werp in  1563.  The  plates  are  etched  and  finished 
with  the  graver,  with  considerable  intelligence.  In 
the  Vienna  Gallery  is  the  '  Interior  of  a  Church '  by 
him  ;  and  the  Bordeaux  Museum  has  a  Landscape. 

DE  VEIES,  Paulus,  the  eldest  son  of  Jan 
Vredeman  De  Vries,  was  born  at  Antwerp  in  1554, 
and  died  in  1598.  He  was  specially  employed 
at  Prague  in  the  service  of  the  Emperor. 

DE  VEIES,  EoELOF,  was  a  Dutch  landscape 
painter,  who  flourished  at  Haarlem  from  about 
1643  to  about  1669.  Buildings  are  often  seen  in 
his  works.     There  are  by  him : 


Berlin.  Gallery. 

Frankfort.        Stddel  Inst. 
Vienna,      Liechtenstein  Gall, 
Czernin  Gall. 


Three  Landscapes. 
Four  Landscapes. 
Landscape. 
Landscape. ' 


DE  VEIES,  Salomon,  born  at  Antwerp  in  1556, 
was  the  second  son  of  Jan  Vredeman  De  Vries,  by 
whom  he  was  instructed.  He  painted  landscapes 
ornamented  with  ruins,  which  are  not  badly  com- 
posed, but  their  colouring  has  become  dark,  pro- 
ducing an  unpleasant  efEect,  and  diminishing  their 
value.  He  died  at  the  Hague  in  1604.  His  son, 
PiETER  Db  Veies,  who  was  bom  in  1587,  was  also 
a  landscape  painter. 

DE  VEIES,  Simon,  (or  Simon  Feisius,)  a  Dutch 
engraver,  was  apparently  of  the  same  family  as 
Jan  Vredeman  De  Vries.  He  was  born  at  Leeu- 
warden,  in  1580,  and  is  regarded  as  one  of  the 
first  who  brought  etching  to  perfection.  Abraham 
Bosse,  in  his  treatise  on  the  art  of  engraving, 
observes,  that  the  first  artist  to  whom  he  was 
indebted  for  intelligence  «ras  Simon  Frisius,  whom 
he  thinks  entitled  to  great  credit,  as  being  one  of 
the  first  that  handled  the  point  with  freedom  and 
facility.  His  etchings  are  bold  and  masterly ;  and 
in  his  hatchings  he  approaches  the  neatness  and 
strength  of  the  graver.  The  prints  of  De  Vries 
are  scarce,  and  are  much  esteemed.  The  small 
figures  which  he  occasionally  introduces  into  his 
landscapes  are  correctly  drawn.  He  frequently 
marked  his  plates  S.  F.  fecit,  but  sometimes  with 
the  wotA  fecit  only.  The  following  are  his  prin- 
cipal works  : 

A  set  of  twelve  small  heads  of  female  Saints'and  Sibyls ; 

after  his  own  designs. 
A  set  of  Portraits ;  after  Sendrik  Sondius. 
A  set  of  twelve  plates  of  Birds  and  Butterflies ;  after 

Marcus  Geerarts. 
Twenty-five   Views   and  Landscapes;   entitled,   Ti/po- 

graphia  variarum  Eegionum  ;  after  Matthys  Bril.  1611. 
A  mountainous    Landscape  on    the    Sea-coast,    with 

figures ;  after  Sendrik  Goltiias. 
A  Landscape,  with  a  Tower ;  after  the  same.    1608. 
A  Landscape,  with  the  story  of  Tobit  and  the  Angel ; 

after  P.  Lastman. 
A  Landscape,  with  the  Flight  into  Egypt;   after  H. 

Bondius. 


A  Landscape,  with  two  pastoral  figures  J  highly  finished, 
and  very  scarce. 

DE  WAAL.  See  De  Wael. 
DB  WAAED,  Antonie,  born  at  the  Hague  in 
1689,  was  a  scholar  of  Simon  van  der  Does ;  he 
afterwards  studied  in  Paris.  He  is  mentioned  as 
a  painter  of  historical  subjects,  portraits,  land- 
scapes, and  animals,  and  also  as  a  decorator  of 
the  interiors  of  apartments.  Of  his  life  nothing 
further  is  recorded,  and  his  works  are  scarcely 
known  out  of  Holland,  but  it  is  said  that  they  are 
esteemed  there,  and  obtain  high  prices.  He  died 
at  the  Hague  in  1751. 

DE  WAEL,  CoRNELis,  (or  Db  Waal,)  a  younger 
son  of  the  elder  Jan  Baptist  De  Wael,  was  born  at 
Antwerp  in  1594.  He  received  his  first  instruc- 
tion in  the  art  from  his  father  ;  but  he  afterwards 
accompanied  his  brother,  Lucas  De  Wael,  to  Italy, 
and  resided  some  time  at  Genoa,  where  he  painted 
some  pictures  for  the  churches,  but  he  chiefly 
excelled  in  painting  battles,  marches,  skirmishes 
of  cavalry,  and  processions,  in  which  he  gained  a 
distinguished  reputation.  He  was  much  employed 
by  the  Duke  of  Arschot,  and  painted  several  of 
his  best  pictures  for  Philip  III.,  King  of  Spain,  by 
whom  they  were  held  in  the  highest  estimation. 
He  died  at  Genoa  in  1662.  In  the  Vienna  Gallery  is 
a  '  Passage  of  the  Eed  Sea '  by  him,  and  in  the  Cassel 
Gallery  is  a  '  Venetian  Market  Crier. '  We  have  by 
this  artist  several  very  spirited  etchings  from  his 
own  compositions,  among  which  are  the  following ; 

The  Blind ;  12  plates. 

The  Market  Sellers ;  16  plates. 

Domestic  Interiors  ;  20  plates. 

The  Four  Seasons. 

The  Five  Senses ;  5  plates. 

The  Slaves ;  12  plates. 

DE  WAEL,  Jan  Baptist,  (or  De  Waal,)  was 
bom  at  Antwerp  in  1557,  and  was  a  disciple  of 
Frans  Francken  the  elder.  He  painted  historical 
subjects  in  the  style  of  his  master,  and  acquired 
sufSoient  celebrity  to  be  received  a  member  of  the 
Academy  in  his  native  city,  where  he  died  in  1633. 
Van  Dyck  painted  his  portrait.  His  pictures  are 
very  rare. 

DE  WAEL,  Jan  Baptist,  (or  Db  Waal,)  a 
younger  artist  of  the  name,  is  stated  to  have  been 
either  the  son  or  nephew  of  Cornells  De  Wael.  We 
have  by  him  some  slight  etchings,  among  which  is 
a  set  of  eight  prints,  representing  the  '  History  of 
the  Prodigal  Son,'  from  the  designs  of  Cornells 
De  Wael,  executed  in  1658. 

DE  WAEL,  Lucas  Janszen,  (or  De  Waal,) 
the  son  of  the  elder  Jan  Baptist  De  Wael,  was 
born  at  Antwerp  in  1591,  and  first  instructed  in 
art  by  his  father ;  but,  as  his  genius  led  him  to 
landscape,  he  was  afterwards  placed  under  the 
tuition  of  Jan  Brueghel.  He  followed  the  style 
of  his  preceptor  with  great  success,  and,  on  leaving 
that  master,  he  travelled  to  Italy,  and  passed  some 
time  at  Genoa,  where  his  works  were  highly 
esteemed,  and  he  met  with  very  flattering  en- 
couragement. Although  his  pictures  occasionally 
represent  battles  and  attacks  of  cavalry,  which  are 
well  composed,  and  touched  with  great  spirit  and 
animation,  his  most  esteemed  works  are  his  moun- 
tainous landscapes  and  waterfalls,  in  which  th« 
scenery  is  extremely  picturesque.  He  died  at 
Antwerp  in  1676. 

DE  WEDIG,  Gotthaedt,  a  painter  of  still-life 
subjects,  flourished  at  Cologne  about  1630.  4-* 
example  of  his  art  is  in  the  Darmstadt  Gallery. 

407 


De  Weert 


A  BIOGRAPHICAL  DICTIONARY  OF 


De  Wit 


DB  WEERT,  Adriaen,  was  born,  according  to 
Descamps,  at  Brussels  about  1536,  and  studied  at 
Antwerp  under  Christiaen  van  de  Queborn,  a  land- 
scape painter  little  known.  He  afterwards  visited 
Italy,  where  he  passed  some  years,  and  applied 
himself  especially  to  the  study  of  the  works  of 
Parmigiano.  On  his  return  to  Flanders,  he  exe- 
cuted several  pictures  in  the  graceful  style  of  that 
master,  particularly  a  series  of  the  '  Life  of  the 
Virgin,'  and  had  acquired  great  reputation,  when  the 
troubles  in  the  Low  Countries  obliged  him,  in  1566, 
to  quit  Brussels  and  take  refuge  at  Cologne,  where 
he  died  soon  afterwards.  All  the  notices  of  this 
artist  are  however  unsatisfactory. 

LE  WEERT,  Jacob,  who  flourished  about  the  year 
1605,  was  probably  a  native  of  the  Low  Countries, 
though  he  chiefly  resided  in  Paris.  He  was  prin- 
cipally employed  by  the  booksellers,  and  engraved 
several  frontispieces  and  other  book  ornaments  in 
a  neat,  though  tasteless  style.  We  have  also  by 
him  a  set  of  prints  from  his  own  designs,  repre- 
senting the '  Life  and  Passion  of  Christ,'  published 
by  Jean  Le  Clerc,  with  French  verses  to  each  print. 

DE  WETT.     See  also  Duwett. 

DE  WETT,  Jacob,  was  a  Dutch  painter,  who 
worked  atHolyrood  Palace  between  1674  and  1686, 
and  there  painted  the  series  of  apocryphal  portraits 
of  the  Scottish  kings. 

DE  WETTB,  Feans,  to  whom  are  assigned,  in 
Dr.  Waagen's  edition  of  Kugler,  two  pictures  in 
the  Schleissheim  Gallery, — '  The  Three  Young  Men 
in  the  Fiery  Furnace'  and  '  The  Raising  of  Lazarus,' 
— may  perhaps  be  identical  with  Jacob  Willemsz 
De  Wet,  who  was  established  at  Haarlem  in  1636, 
was  master  in  the  Guild  at  Alkmaar  in  1637,  and 
was  living  in  that  town  as  late  as  1671.  He 
executed  Biblical  and  mythological  scenes  in  the 
manner  of  Rembrandt,  among  which  are : 

The  Adulteress  before  Christ  {Augshurg  Gallery). 
Christ  in  the  Temple.  1635.    {Brunswick  Museum). 
The  Burning  of  Troy. 

DE  WILDE,  Feans,  was  a  Dutch  engraver,  who 
was  born  about  the  year  1680.  He  resided  at 
Amsterdam,  where  he  etched  a  few  very  small 
plates,  which  are  executed  with  great  neatness  and 
spirit,  apparently  from  his  own  designs.  Among 
others  are  the  following  : 

The  Angel  appearing  to  Abraham.    1705. 

Venus  rising  from  the  Sea. 

The  Fable  of  the  AVolf  and  the  Dog ;  oiroalar.    1704. 

A  View  of  the  City  of  Chalons. 

A  View  of  a  Sea-port. 

A  Landscape,  with  figures. 

DE  WILDE,  Maeia,  was  probably  a  relation  of 
Frans  De  Wilde.  She  engraved  a  set  of  fifty 
plates  from  antique  gems,  which  were  published 
at  Amsterdam  in  1703. 

DE  WILDE,  Samuel,  an  English  portrait  painter, 
was  born  in  1747.  He  painted  both  in  oil  and 
water-colour,  and  exhibited  dramatic  portraits  at 
the  Royal  Academy  between  1788  and  1821.  He 
died  in  1832.  Several  of  his  portraits  are  at  the 
Garrick  Club,  and  amongst  his  other  works  are : 
■William  Farren. 
John  Emery. 

Harley  as  Kent  in  '  King  Lear.'    1794.  (South  Kmsinq. 
ton  Museum.) 

DE  WINT,  Petee,  a  .water-colour  painter,  was 
born  at  Stone,  in  StafEordshire,  in  1784.  He  was 
descended  from  a  Dutch  family  which  had  settled 
m  America.  Although  intended  for  his  father's 
professwn— that  of   a  physician— he  preferred 


to  follow  art,  and  studied  under  John  Raphael 
Smith,  the  engraver,  in  whose  studio  he  became 
friendly  with  Hilton,  the  historical  painter,  and 
brother  of  his  future  wife.  In  1807  he  entered 
the  schools  of  the  Royal  Academy,  where  he  occa- 
sionally exhibited  up  to  1828.  He  joined  the 
Water-Colour  Society  as  an  Associate  in  1810, 
becoming  a  full  member  in  1812,  and  it  was  here 
that  most  of  his  works  appeared.  He  rarely  quitted 
his  native  country,  which  furnished  the  subjects  of 
thegreaterportion  of  his  works,  and  the  level  country 
of  Lincolnshire  had  a  great  charm  for  him.  He 
occasionally  painted  in  oils,  and  four  specimens 
of  his  work  in  this  medium,  besides  a  large  col- 
lection of  his  water-colour  drawings,  are  in  the 
South  Kensington  Museum.  He  died  in  London 
in  1849,  and  was  buried  at  the  Savoy  Chapel. 

Twenty-three  drawings  by  De  Wint  were  be- 
queathed to  the  National  Gallery  by  Mr.  Henderson 
in  1880,  and  among  them  are  : 

Lincoln  Cathedral. 
Bray  on  the  Thames. 
Huins  of  Lincoln  Castle. 
Harvest  Time,  Lancashire. 

The  water-colour  drawings  in  the  South  Ken- 
sington Museum  include : 

Thombury  Castle. 

Gateway  at  Lincoln, 

The  Cricketers. 

Nottingham. 

Walton-on-Thames. 

Hay  Harvest. 

Mountain  Tarn. 

Ferry  on  the  Severn.    1840. 

Haddon  Hall.     1839. 

Shap  Fells,  Westmoreland. 

"Wilsford,  Lincolnshire. 

Kick  Making,  near  Lincoln. 

Tutbury  Castle. 

View  near  Salt  Hill,  Bucks. 

Lincoln  Cathedral. 

Torksey  Castle. 

Cowes  Castle. 

DE  WINTER,  JiLLis,  was  born  at  Leeuwarden 
in  1650,  and  was  a  scholar  of  Richard  Brakenburg, 
whose  style  he  imitated  with  considerable  success. 
He  painted  subjects  similar  to  those  of  his  master, 
representing  Dutch  boors  regaling,  and  the  recrea- 
tions of  the  cabaret.  His  pictures  are  little  known, 
except  in  Holland,  and  even  there  are  not  held  in 
much  estimation.     He  died  at  Amsterdam  in  1720. 

DE  WIT,  Jakob,  was  born  at  Amsterdam  in 
1695,  and  when  fourteen  years  of  age  was  placed 
under  the  tuition  of  Albert  van  Spiers,  an  historical 
painter  of  some  eminence,  under  whom  he  studied 
three  years.  The  desire  of  contemplating  the  pro- 
ductions of  Rubens  and  Van  Dyck,  and  the  other 
distinguished  masters  of  the  Flemish  school,  which 
embellished  the  public  edifices  at  Antwerp,  in- 
duced him  to  visit  that  city,  where  he  became  a 
scholar  of  Jacob  van  Hal,  a  painter  of  little 
celebrity,  under  whom  he  did  not  continue  longer 
than  two  years,  when  he  devoted  himself  entirely 
to  the  study  of  the  works  of  Rubens  and  Van 
Dyck._  In  1712  and  1713  he  made  drawings  from 
the  paintings  by  Rubens  in  the  four  ceilings  of  the 
Jesuits'  church,  in  thirty-six  compartments,  which 
were  destroyed  by  lightning  in  1718,  and  we  are 
indebted  to  De  Wit  for  the  preservation  of  these 
admirable  compositions,  which  were  afterwards 
engra,ved  from  his  copies  by  Jan  Punt.  He  was 
principally  employed  in  painting  ceilings,  and  the 
decorations  of  splendid  apartments,  consisting  of 


De  Witte 


PAINTERS  AND  ENGEAVERS. 


Diamante 


emblematioal  and  allegorical  subjects,  which  he 
composed  with  great  ingenuity.  He  was  particu- 
larly successful  in  the  representation  of  children, 
whom  he  was  fond  of  introducing  into  his  pic- 
tures, generally  at  their  play,  and  painted  in 
chiaroscuro. 

In  1736  he  was  employed  by  the  magistrates  of 
Amsterdam  in  the  embellishment  of  their  great 
Council -chamber  with  subjects  from  the  Old  Testa- 
ment. He  likewise  painted  several  altar-pieces 
for  the  catholic  churches  in  Holland,  which  are 
very  creditable  performances,  and  are  held  in  con- 
siderable estimation.  He  died  at  Amsterdam  in 
1754.  In  the  Cassel  Gallery  are  four  pictures 
of  the  '  Four  Seasons '  (represented  by  Children) 
signed  and  dated  1761  and  1752,  and  also  two 
decorative  subjects  of  children.  In  the  Dresden 
Gallery  is  a  painting  (in  imitation  of  bas-relief)  of 
'  Children  with  the  attributes  of  the  chase,'  dated 
1753.  The  Rotterdam  Museum  possesses  two  pic- 
tures by  him,  'Minerva  and  fout  Children'  and 
'Faith,  Hope,  and  Charity,'  in  grisaille,  dated 
1743. 

DE  WITTE.  There  are  several  other  artists 
of  this  name,  in  addition  to  those  cited  below,  such 
as  Feans,  and  Anthonib,  who  were  painters  ;  and 
others  who  were  engravers :  but  the  accounts  are 
much  confused. 

DB  WITTE,  CoENELls,  (or  Db  Wit,)  a  landscape 
painter  of  the  16th  century,  was  a  brother  of  Pieter 
De  Witte,  called  Pietro  Candido. 

DE  WITTE,  Emanoel,  was  bom  at  Alkmaar  in 
1607,  and  was  a  scholar  of  Evert  van  Aelst,  a 
painter  of  still-life.  He  did  not,  however,  adopt 
the  style  of  his  instructor,  but  for  some  time 
applied  himself  to  portrait  painting.  Not  meeting 
with  the  encouragement  he  expected,  he  studied 
perspective  and  architecture,  and  became  one  of 
the  most  eminent  artists  of  his  country  in  painting 
interior  views  of  churches  and  temples,  which  he 
embellished  with  figures  correctly  drawn,  and 
touched  with  great  spirit.  His  best  pictures 
represent  the  interiors  of  churches  at  Amsterdam, 
with  groups  of  figures,  habited  in  the  dresses  of 
the  time.  He  died  at  Amsterdam  in  1692.  The 
following  works  are  by  him : 

Amsterdiiin,    Museum.    Interior  of  a  Charch, 
Berlin.  Musmm.    Interior  of  a  Church.    1667. 

„  „  Interior  of  the  Nieuwekerk,  Am- 

sterdam. 
„  „  Interior  of  the  Synagogue,  Am- 

sterdam.   1680. 
Brussels.         Museum.    Interior  of  the  Church  at  Delft. 

„  „  Interior  of  a  Church.     1685. 

Rotterdam.    Museum.     The  Fish  Merchant.    1672. 

DE  WITTE,  Gaspar,  was  bom  at  Antwerp  in 
1618,  He  visited  Italy,  where  he  remained  several 
years,  and  on  his  return  acquired  considerable  re- 
putation in  painting  small  landscapes  very  highly- 
finished,  in  which  he  generally  introduced  archi- 
tectural ruins,  of  which  he  had  made  sketches 
during  his  residence  in  Italy.  He  died  at  Ant- 
werp in  1680  or  1681.  In  the  Antwerp  Museum 
are  two  Landscapes  by  him — one  with  a  '  Fortune- 
telUng '  for  subject,  dated  1667,  and  another  with 
'Christ  healing  the  Blind  Man,'  dated  1671.  In 
the  Vienna  Gallery  is  a  '  Landscape  with  Ruins  of 
an  Aqueduct.' 

DE  WITTE,  LiEVEN,  known  also  as  Livieno 
da  Anveesa,  was  a  painter  and  architect,  who 
practised  at  Ghent  in  the  15th  century.  He  de- 
voted himself  to  buildings  and  other  perspective 


subjects,  but  also  produced  historical  pictures.  The 
windows  of  the  cathedral  of  St.  Bavon  in  Ghent 
were  painted  from  his  designs,  and  he  is  said  to 
have  worked  at  the  miniatures  in  the  Grimani 
Breviary  now  in  the  library  of  St.  Mark  at  Venice. 

DE  WITTE,  PiETEE,  called  Pietee_  Candid,  or 
PiETEO  Candido,  was  born  at  Bruges  in  1548.  It 
is  not  known  under  whom  he  studied,  but  he 
travelled  to  Italy  when  he  was  young,  and  there 
formed  an  intimacy  with  Giorgio  Vasari,  whom 
he  assisted  in  the  works  upon  which  he  was 
employed  in  the  Vatican.  He  painted  with  equal 
success  in  oil  and  in  fresco,  and  was  employed 
by  the  Grand-Duke  of  Tuscany  in  several  con- 
siderable works  in  the  palace  at  Florence,  and 
designed  some  cartoons  for  tapestry.  Maximilian, 
Elector  of  Bavaria,  invited  him  to  Munich,  where 
he  passed  the  remainder  of  his  life.  Jan  Sadeler 
has  engraved  several  prints  from  the  works  of 
this  master,  among  which  are  the  'Annunciation,' 
'  Christ  with  the  Disciples  at  Emmaus,'  the  '  Holy 
Women  at  the  Tomb  of  the  Saviour,'  and  the 
'Last  Supper.'  He  died  at  Munich  in  1628.  In 
the  Vienna  Gallery  are  the  '  Death  of  St.  Ursula,' 
and  a  '  Holy  Family   and  St.  Stephen,'  by  him. 

DE  WITTE,  PiETER,  who  was  well  known  in 
Rome  as  Pbtktjs  Albus,  was  born  at  Antwerp  in 
1620,  and  died  at  Rome  in  1669.  He  painted 
landscapes  in  the  style  of  Claude  Lorrain. 

DEYNDM,  J.  B.  van,  a  Flemish  painter,  was 
born  at  Antwerp  in  1620,  and  died  in  1669.  He 
excelled  in  painting  historical  subjects  and  land- 
scapes in  distemper,  and  was  an  eminent  miniature 
portrait  painter. 

DEYSTER,  LoDEWYK  de.    See  Db  Deysteb. 

DE'  ZAGANELLI,  Feancesco.    See  Dei  Zaga- 

NBLLI. 

DEZALLIER  D'ARGENVILLE,  Antoine  Jo- 
seph.   See  Dbsallieb  d'Aegenvillb. 

DE  ZE,  —  ,  is  the  name  affixed  to  a  small  print- 
representing  '  Christ  dead  in  the  Tomb,  attended 
by  an  Angel.'  It  is  executed  entirely  with  the 
graver,  in  a  style  resembling  that  of  Jan  Sadeler, 
and  is  apparently  from  the  artist's  own  design. 

DE  ZEEUW,  Maeinus.    See  Roymbbswalen. 

DE  ZETTER,  Paul,  was  a  native  of  Hanover, 
who  flourished  about  the  year  1630.  He  was 
chiefly  employed  in  engraving  portraits,  from  his 
own  designs,  which  are  executed  with  sufiBcient 
neatness,  bui  in  a  stiff,  tasteless  style.  He  en- 
graved several  plates  for  Boissard's  collection  of 
portraits.  His  prints  are  sometimes  marked  P. 
D.  Z.  fee. ,  and  sometimes  with  the  accom-  T> 
panying  monogram :  S^  * 

D'  HANGEST,  Egbeet  Maeinus  Febdeeik.  See 
Db  Hangest. 

D'  HEUR,  Coenelis  Joseph.    See  De  Hbur. 

D'  HONDECOETER,  Melchioe.     See  De  Hon- 

DECOETBB. 

DIAMAER,  Hendeik  Feans,  was  a  Flemish 
engraver,  who  flourished  in  the  early  part  of  the 
18th  century.  There  are  by  him  a  set  of  Biblical 
subjects  etched  in  the  manner  of  Sebastian  Le 
Clerc,  and  also  a  few  portraits,  among  which  is 
that  of  Aubert  Lemire,  after  Van  Dyok. 

DIAMANTE,  Fra,  was  the  pupil  and  assistant 
of  Fra  Filippo  Lippi,  and  like  him  had  been  a 
novice  in  the  Carmine  of  Florence.  He  survived 
his  master,  and  became  the  guardian  of  Filippino 
Lippi.  He  seems  to  have  been  at  Prato  with  Fra 
Filippo,  and  is  said  to  have  aided  him  in  the  decor- 
ations of  the  choir  of  its  cathedral.     In  1463  he 

409 


Diamautini 


A   BIOGRAPHICAL  DICTIONABY  OF 


Dickinson 


was  confined  in  his  convent  at  Florence  by  order 
of  his  superior,  and  letters  remain  to  prove  that 
the  '  oomune  '  of  Prato  demanded  his  liberty.  He 
afterwards  went  to  Spoleto,  and  assisted  Fra  Filippo 
in  the  frescoes  of  the  Duomo,  and  received  two 
hundred  ducats  for  their  completion  in  1470  after 
his  master's  death.  From  there  he  returned  to 
Prato,  where  in  1470  he  executed  the  portrait  of 
the  Podesta,  Cesare  Petruooi,  in  the  portico  of  the 
palace.  This  work  has  now  been  destroyed,  and 
it  is  very  difficult  to  tell  where  Fra  Diamante's 
work  begins  in  any  of  the  frescoes  still  remaining 
where  the  two  friars  worked  together.  The  dates 
of  his  birth  and  death  are  unknown. 

DIAMANTINI,  Giuseppe,  a  painter  who  was 
more  eminent  as  an  engraver,  was  born  at  Fossom- 
brone  in  1660.  He  resided  chiefly  at  Venice, 
where  he  distinguished  himself  both  as  a  painter 
and  as  an  engraver.  In  the  church  of  San  Moise 
is  a  picture  by  him  of  the  '  Adoration  of  the  Magi,' 
but  he  was  more  employed  for  private  collections 
than  for  the  churches,  and  must  have  devoted  a 
great  part  of  his  time  to  engraving,  as  he  has  left 
a  considerable  number  of  plates,  of  which  the 
greater  part  are  etchings.  They  are  executed  in  a 
free  style,  with  considerable  taste,  and  his  design 
is  graceful,  and  tolerably  correct.  He  died  at 
Venice  in  1708.  The  following  are  his  principal 
prints,  which  are  frequently  marked  Eques  Dia- 
mantinus,  in.  f. 

The  Holy  Family,  with  St.  John  holding  a  Cross. 

Hagar  in  the  Desert ;  oval. 

The  Marriage  at  Oana  ;  after  Paolo  Veronese. 

The  Dead  Christ,  supported  by  an  Angel. 

The  Death  of  Dido ;  octagon. 

"Venus,  Ceres,  and  ApoUo. 

Mercury  and  Flora. 

The  FaU  of  Phaeton. 

Mercury  and  Argus ;  octagon. 

Venus  and  Adonis  ;  the  same. 

Venus  and  Adonis ;  a  different  composition. 

Mars  and  Venus. 

Diana  and  Bndymion. 

The  Sacrifice  of  Iphigeneia. 

Boreas  carrying  oif  Oreithyia. 

Justice  and  Peace. 

Eight  emblematical  subjects  of  different  sizes. 

DIANA.     See  Ghisi,  Diana. 

DIANA,  Benedetto,  was  a  companion  of  Car- 
pacoio  and  Mansueti,  who  lived  in  the  latter  part 
of  the  16th  and  early  part  of  the  16th  centuries. 
He  was  an  inferior  artist,  and  worked  both  in 
tempera  and  oils.  He  painted  'The  Brethren 
distributing  Alms,'  in  San  Giovanni  Evangelista, 
Venice  ;  and  he  assisted  Lazzaro  Bastiani  in  paint- 
ing the  standards  on  the  Piazza  of  San  Marco. 
Many  galleries  in  Venice  possess  paintings  by 
him.  In  the  Academy,  besides  other  paintings, 
are  the  '  Virgin  and  Child,'  formerly  in  Santa  Lucia 
at  Padua,  and  a  'Transfiguration.'  The  church  of 
Santa  Maria  della  Crooe,  Crema,  has  an  altar-piece 
representing  the  'Gift  of  the  Miraculous  Girdle 
to  St.  Thomas.'  No  dates  can  be  given  of  his 
birth  or  death. 

DIAS,  Gaspar,  a  Portuguese  painter,  studied 
at  Rome  under  Raphael  and  Michelangelo,  and  on 
his  return  home  devoted  himself  to  the  produc- 
tion of  church  pictures.  He  died  at  Lisbon  in  1671. 
+  0  0^^"°'^^'  ™  historical  painter,  was  born 
at  ban  Sebastian  in  Brazil,  and  stud'ed  at  Rome 
under  Cavallucci  towards  the  end  of  the  18th  cen- 
tury. After  his  return  to  South  America  he  became 
professor  of  drawing  at  Rio  Janeiro. 
410 


DIAZ,   Diego  Valentin,  a   Spanish  historical 
painter,  and  a  familiar  of  the  Holy  Office,  was  a 
native  of  Valladolid.     He  painted  many  important 
pictures  for  churches  and  monasteries,  especially 
for  the  church  of  San  Benito,  now  a  barrack,  and 
the  convents  of  St.  Jerome  and  of  St.  Francis,  of 
which  the    '  Jubilee   of  the  Porciuncula '    in   the 
latter  house  was  one  of  the  most  esteemed.     His 
'  Holy  Family,'  painted  for  San  Benito,  is  now  in 
the  Museum  at  Valladolid  ;  but  his  best  work  was 
the  altar-piece  representing  the  'Annunciation  of 
the  Virgin,'  painted  for  the  Hospital  for  Orphan 
Girls  which  he  founded  at  Valladolid.     The  archi- 
tecture and  perspective  are  in  the  finest  style,  and 
the   statues    introduced   are    admirably  executed. 
Diaz  died  at  Valladolid  in  1660.     He  accumulated 
considerable  wealth,  the  greater  part  of  which  he 
left  for  the  support  Of  this  hospital,  where  he  was 
buried,  and  where  are  preserved  the  portraits  of 
the  munificent  artist  and  of  his  wife — "  he  a  grey- 
haired  sharp  old  man,  she  a  dark-eyed  dame." 

DIAZ,  GoNZALO,  a  Spanish  painter,  was  a  scholar 
of  Sanchez  Castro.  He  executed  in  1499  some 
small  paintings  for  the  altar  of  the  Magdalen  in 
the  cathedral  of  Seville. 

DIAZ  DE  LA  PENA,  Narcisse  Virgile,  a  French 
landscape  painter,  was  bom  in  1809,  at  Bordeaux, 
where  his  parents,  who  were  of  Spanish  extraction, 
had  taken  up  their  abode.  Having  been  left  an 
orphan  at  the  age  of  ten,  he  was  adopted  by  a 
Protestant  clergyman  at  Bellevue,  and  from  his 
earliest  years  he  studied  nature  in  the  woods,  the 
loss  of  his  left  leg  being  caused  by  sleeping  on 
the  grass.  At  the  age  of  fifteen  he  was  placed 
with  a  porcelain  manufacturer,  but  left  him  in  order 
to  study  under  Sigalon.  He  then  tried  historical 
and  genre  subjects,  but  without  success,  and  for 
several  years  endured  great  poverty.  At  length 
his  landscapes  won  for  him  fame.  He  last  exhibited 
at  the  Salon  in  1859,  and  died  at  Mentone  from  the 
bite  of  a  viper  in  1876.  Amongst  his  chief  works 
are: 

The  Nymphs  in  the  Grotto  of  Calypso.    1840. 
The  Dream.     1841. 
Gipsies  going  to  a  FSte.    1844. 
"     Interior  of  a  Forest.    1846. 
Dogs  in  a  Forest.    1847. 
The  Promenade.    1848. 
Diana  setting  out  for  the  Chase.     1848. 
A  Bather  tormented  by  Cupids.    1851. 
The  Last  Tears.     1855. 
The  Close  of  a  fiiue  Day.    1855. 
La  EivaJe.     1855. 
Galatea.    1859. 

The  following  works  by  him  are  in  public  galleries: 
Girl  with  Dogs  {South  Kensington  Museum). 
The  Forest  of  Fontainebleau  (Bordeaux  Museum). 
Four  Studies  {Luxemiourg  Gallery/). 

His  eldest  son,  IjImile  Diaz,  who  was  also  a  painter, 
died  in  1860,  at  the  early  age  of  26. 

DIBDIN,  Charles,  the  well-known  sOng-writer, 
who  was  bom  at  Southampton  in  1746,  and  died  in 
London  in  1814,  occasionally  practised  art  as  an 
amateur.  John  Hill  engraved  in  aquatint  some 
views  of  Lake  Scenery  after  him.  Dibdin  also, 
it  is  said,  executed  some  scene-painting. 

DICHTL,  Martin,  (or  Duchtl,)  a  German  painter 
and  engraver  in  mezzotint,  practised  at  Nuremberg 
from  1623  to  1680.  In  the  Gallery  at  Stockholm 
is  a  work  by  him  called  '  A  Kitchen.' 

DICKINSON,  William,  an  English  engraver, 
was  born  in  London  in  1746.  He  obtained  a  pre- 
mium from  the  Society  of  Arts  in  1767.    His  works 


Dickson 


PAINTERS  AND  ENGRAVERS. 


Biest 


were  published  by  a  firm  of  which  he  was  a  mem- 
ber. In  his  later  years  he  lived  in  Prance,  still 
pursuing  his  profession,  and  he  died  in  Paris  in 
1823.     Amongst  his  engravings  are : 

Sir  Joseph  Banks ;  after  Sir  Joshua  Reynolds.    1774. 
Dr.  Percy,  Dean  of  Carlisle ;  after  the  same.    1775. 
Viscountess  Crosbie ;  after  the  same.    1779. 
Elizabeth  Hamilton,  Countess  of  Derby  ;  after  the  same. 

1780. 
Lady  Taylor ;  after  the  same.    1783. 
Miss    Eamus,  afterwards   Lady   Day;    after  Romney. 

1779. 
Admiral  Lord  Keppel ;  after  the  same.    1779. 
Sir  Charles  Hardy ;  after  the  same.    1781. 
Lord  Grantham  ;  afte/r  the  same.    1783. 
John,  Duke  of  Argyll ;  after  Gaiiishorough. 
Lord  Auckland ;  after  Sir  T.  Lawrence,    1796. 
Napoleon  I. ;  after  Gerard.    1815. 
Sir  E.  Peel ;  after  Northcote.    1818. 

DICKSON,  J.,  an  English  engraver,  resided  at 
Oxford  about  the  year  1660.  He  engraved  a  por- 
trait of  Edward  Parry,  Bishop  of  Killaloe,  prefixed 
to  his  '  Antidote  against  the  Prosperity  of  the 
Wicked,  and  the  AfBictions  of  the  Just,'  published 
in  1660. 

DIDAY,  PEANgois,  a  Swiss  landscape  painter, 
was  born  at  Geneva  in  1812.  He  studied  in  Paris 
and  travelled  in  Italy,  but  chiefly  lived  in  his  native 
country.  He,  however,  frequently  exhibited  in  the 
Paris  Salon,  where  he  obtained  medals  in  1840 
and  1841.  He  died  in  1877,. at  Geneva,  to  which 
city  he  bequeathed  his  property,  valued  at  400,000 
francs.     The  following  are  among  his  best  works : 

Glacier  of  Bosenthal.  {Lausanne  Museum.) 
The  Oak  and  the  Beed.  {Geneva  Museum.) 
The    Faulhoru    in    Switzerland.       {Neue   Pinaiothek, 

Munich.) 
Mont  Saleve.  1    {London  International  Exhibition, 

Storm  in  a  Forest,  j       1863.) 

DIEGO,  — ,  a  Spanish  engraver,  who  in  1548 
executed  at  Saragossa  the  frontispiece  for  Zurita's 
'  Anales  de  Aragon,'  printed  inil562. 

DIELAI,  Giovanni  Francesco.    See  Sukchi. 

DIEN,  Claude  Marie  Eeanqois,  a  French  en- 
graver and  painter,  was  born  in  Paris  in  1787.  He 
was  instructed  by  Eeboul  and  by  Audouin,  and 
died  in  Paris  in  1865.  The  following  works  by  him 
may  be  mentioned : 

The  Sibyls ;  after  Raphael. 

Baphael  and  Perugino ;  after  the  same. 
"    The  Holy  Family ;  after  the  same. 

The  Madonna ;  after  Murillo. 

The  Death  of  Demosthenes ;  after  Boisselier. 

St.  Scolastica ;  after  Lesuenr. 

The  Battle  of  Austerlitz ;  after  Girdrd. 

DIENECKER.     See  Db  Nbcker. 

DIEPENBEECK,  Abraham  van,  was  born  at 
Bois-le-Duo  in  1599,  but  most  likely  went  to 
Antwerp  about  1629.  With  the  advantage  of  a 
classical  education,  and  the  tuition  of  Rubens,  he 
was  nurtured  in  a  genial  soil,  ^nd,  like  his  great 
instructor,  he  treated  with  equal  success  subjects 
of  history  and  fable.  His  first  pursuit  in  art  was 
painting  on  glass,  and  he  produced  some  works 
in  that  branch  which  are  highly  esteemed,  par- 
ticularly the  windows  in  a  chapel  in  the. cathedral 
of  Antwerp,  where  he  represented  the  'Acts  of 
Mercy,'  and  some  others  in  the  church  of  the 
Dominicans,  in  which  he  depicted  the  '  Life  of  St. 
Paul.'  He  abandoned  glass  painting  soon  after  his 
return  from  Italy,  whither  he  had  been  for  im- 
provement, and  devoted  himself  to  oil  painting 
and  designing.    His  inveative  genius,  and  his  rare 


facility  of  execution,  caused  him  to  be  much  em- 
ployed in  designs  for  the  publications  of  his  time, 
particularly  for  the  Abb6  de  Marolles's  '  Tableaux 
du  Temple  des  Muses,'  published  at  Paris  in  1655, 
the  plates  for  which  were  engraved  by  Cornelia 
Bloemaert.  In  the  church  of  the  Carmelites  at 
Antwerp  is  a  fine  picture  by  this  master,  repre- 
senting the  '  Virgin  in  the  Clouds,  with  St.  Ely ' ; 
and  at  the  RecoUets  there  were  some  pictures  by 
him  which  are  said  by  Descamps  to  be  equal  to 
those  of  Van  Dyck.  'This  painter  was  in  England 
in  the  reign  of  Charles  I.,  and  was  much  employed 
by  the  Duke  of  Newcastle,  for  whom  he  made  the 
designs  for  his  book  on  '  Horsemanship.'  He  died 
at  Antwerp  in  1675.  The  following  are  some  of 
his  best  works : 


Antwerp. 

Museum. 

The  Ecstasy  of  St.  Bonaventura. 

1? 

Cathedral. 

St.  Norbert. 

Berlin. 

Gallery. 

The  Marriage  of  St.  Catharine. 

» 

» 

The  Flight  of  Cloelia. 

Bordeaux. 

Museum. 

The  Eape  of  Ganymede. 

Brussels. 

Museum. 

St.    Francis    adoring    the    Holy 
Sacrament. 

Deume. 

Church. 

St.  Norbert  and  the  first  Abbot  of 
St.  Michel. 

Dresden. 

Gallery. 

Neptune  and  Amphitrite. 

Frankfort 

Stadel. 

Portrait  of  a  Young  Man.     1665. 

)» 

jj 

Portrait  of  a  Young  "Woman. 

Munich, 

Gallery. 

Abraham  and  the  three  Angels. 

Paris. 

Louvre. 

The  Flight  of  Cloelia. 

„ 

n 

Portraits  of  a  Man  and  'Woman. 

Vienna. 

Gallery. 

An  Allegory  of  Mortality. 
A  Pieta. 

There  is  an  etching  of  a  '  Peasant  and  his  Ass,' 
by  Van  Diepenbeeck,  which  is  very  rare.  • 

DIEPRAAM,  Abraham,  a  Dutch  painter  of  the 
17th  century,  painted  drolleries  and  drunken  frolics. 
He  was  a  scholar  of  Hendrik  Martin  Rokes,  called 
Sorgh,  although  he  did  not  follow  the  style  of  that 
master,  but  imitated  the  works  of  Adriaan  Brouwer, 
in  which  he  was  not  very  successful. 

DIERIX,  Adriaen,  known  as  Breeder  Adriaen 
Rodriguez,  of  the  Society  of  Jesus,  was  born  at 
Antwerp  in  1618,  and  died  at  Madrid  in  1669.  He 
went  to  Spain  when  he  was  about  thirty,  and  entered 
the  Imperial  College  at  Madrid,  where  he  entered 
the  Society  of  Jesus,  and  changed  his  name  from 
Dierix  to  Rodriguez,  for  the  sake  of  euphony. 
He  painted  in  the  Flemish  manner,  for  the  refec- 
tory of  the  above-mentioned  college,  '  Abraham 
entertaining  the  three  Angels,'  the  'Marriage  at 
Cana,'  the  '  Holy  Family,'  '  Christ  at  Emmaus,' 
and  the  '  Banquet  at  the  house  of  the  Pharisee, 
with  the  Magdalen  anointing  Christ.' 

DIES,  Albert  Christoph,  born  at  Hanover  in 
1755,  acquired  the  rudiments  of  art  under  a  painter 
in  that  town.  He  afterwards  studied  under  Pigage 
at  Mannheim  and  under  Mechel  at  Basle,  and  then 
visited  Rome  and  Naples.  At  Rome  he  executed 
some  landscapes  in  water-colour  for  Volpato. 
Among  his  works  may  be  mentioned  the  twenty- 
four  etchings  of  Italy,  contributed  to  the  'Collection 
de  Vues  pittoresques  de  I'ltalie '  (1799),  of  which 
those  of  Tivoli  are  very  fine.  In  the  Belvedere  at 
Vienna  there  are  by  him  two  landscapes  in  oil,  both 
views  near  Salzburg,  dated  1796  and  1797  ;  these, 
however,  are  of  less  importance  than  his  water- 
colours.     He  died  at  Vienna  in  1822. 

DIEST,  Adriaan  van,  was  born  at  the  Hague  in 
1655.  He  was  the  son  of  a  painter  of  sea-pieces, 
by  whom  he  was  instructed  in  the  art.  When  he 
was  seventeen  years  of  age  he  came  to  London, 
and  was  employed  by  Granville,  Earl  of  Bath,  for 

411 


Sietel 


A  BIOGRAPHICAL  DICTIONARY  OF 


Dietrich 


whom  he  painted  several  views  and  ruins  in  the 
west  of  England.  He  also  painted  portraits,  but 
did  not  meet  with  much  encouragement,  although 
his  pictures,  particularly  his  landscapes,  possess 
considerable  merit;  as  a  proof  of  which  Horace 
Walpole  states  that  there  were  seven  pictures  by 
Van  Diest  in  Sir  Peter  Lely's  collection.  He 
etched  several  landscapes  from  his  own  designs,  in 
a  slight,  masterly  style.  Van  Diest  died  in  Lon- 
don in  1704.  Unfortunately  for  his  reputation,  he 
is  generally  known  by  his  worst  pictures,  which 
are  frequently  found  in  old  houses,  on  wainscots, 
or  over  doors,  and  are  executed  in  a  hasty  manner, 
with  much  mountainous  background.  His  better 
pictures  have  changed  their  name. 

DIETEL,  Cheistoph  and  Franz  Ambeos.  These 
artists,  who  were  brothers,  resided  at  Vienna  in 
the  early  part  of  the  18th  century.  They  engraved 
conjointly  a  set  of  plates,  representing  the  principal 
fountains  at  Rome.  Franz  Ambros  Dietel  died  at 
Vienna  in  1730. 

DIETERLEIN.     See  Dietteelin. 

DIETISALVI.     See  Diotisalvi. 

DIETLER,  JoHANN  Fkiedeich,  was  born  at 
Solothurn,  in  Switzerland,  in  1804,  and  was  in- 
structed in  the  rudiments  of  art  by  German,  a 
drawing-master  of  that  town.  He  distinguished 
himself  as  a  portrait  painter,  and  visited  Paris  and 
Italy,  remaining  also  some  time  at  Geneva ;  but 
he  finally  settled  at  Berne,  where  he  died  in  1874. 
He  painted  for  the  town  of  Solothurn  '  The  Burgo- 
master Wengi  before  the  Cannon.' 

DIETRICH,  Cheistian  Wilhelm  Benst,  (after- 
wards called  DiETElci,  or  Dieteicy,)  a  German 
artist,  was  born  at  Weimar  in  1712.  He  learnt 
the  principles  of  art  from  his  father,  Johann 
Georg  Dietrich,  who  was  court-painter  at  Weimar, 
and  was  afterwards  a  scholar  of  Thiele,  the  land- 
scape painter.  He  established  himself  at  Dresden, 
where  he  was  patronized  by  the  court,  and  was 
in  1729  appointed  court-painter  to  Augustus  II., 
king  of  Poland  ;  and  in  1741  he  received  the  same 
appointment  with  a  yearly  salary  of  400  thalers, 
for  which  he  was  to  produce  yearly  four  cabinet 
pictures,  for  Augustus  III.,  who  sent  him  in  1742 
to  Italy,  where  he  passed  some  time  at  Rome  and 
Venice.  His  studies  in  Italy  do  not  appear  to 
have  had  much  influence  on  his  style,  which  re- 
mained entirely  German.  His  chief  talent  consisted 
in  a  successful  imitation  of  the  works  of  Rembrandt, 
Ostade,  Poelenboroh,  Salvator  Rosa,  &c.,  particu- 
larly as  a  colourist,  in  which  he  greatly  excelled. 
In  1746  he  became  keeper  of  the  Dresden  Gallery, 
in  which  he  is  very  fully  represented.  He  was 
also  Professor  in  the  Academy  of  Arts  at  Dresden, 
and  Director  of  the  Painting  School  at  the  Meissen 
Porcelain  Factory.  Dietrich  also  executed,  after 
his  own  compositions,  a  large  number  of  etchings, 
in  which  he  imitated  successfully  the  manner  of 
Rembrandt  and  of  Ostade.  He  died  at  Dresden  in 
1774.  The  following  are  some  of  the  best  of  his 
paintings : 
Bordeaux.    Museum.     Holy  Family. 

»  „  Landscapes  (Jive). 

Brussels.      Museum.     His  own  Portrait. 
Cassel.  Gallery.      Two  Landscapes. 

Darmstadt.  Gallery.      The  Parable  of  the  "Woman  and 
the  Lost  Penny. 
»  ij  The  Parable  of  the  Blind  leading 

the  Blind. 
„  Evening  Landscape. 

Gallery.     Fifty-four  Pictures  (bearing  dates 
from  1739  to  1766). 
412 


Dresden. 


Hampton  Court.  Fal.    Nymphs  in  a  landscape  bathing. 
„  „        „        The  "Woman  talcen  in  Adultery. 

„  „        „        The  Tribute  Money. 

London.  Kat.  Gallery.  The  Itinerant  Musicians.    1745, 
Milan.  Brera.  Landscape. 

Paris.         Louvre.        The  "Woman  taken  in  Adultery, 

1753. 
Petersburg.  Hermitage.  Bepose  in  Egypt.    1757. 
„  „  The  Entombment.    1759. 

„  „  The  Squirrel. 

„  „  A  Camera  Obscura. 

„  „  Views  in  Italy  {two). 

Vienna.        Gallery.      Angel  appearing  to  the  Shepherds. 
„  „  Adoration  of  the  Shepherds.  1760. 

Dietrich's  etched  work  extends  to  nearly  two  hun- 
dred prints,  several  of  which  are  very  scarce,  as  he 
frequently  destroyed  the  plate,  after  having  taken 
off  a  certain  number  of  impressions.  His  earlier 
works  are  marked  with  a  monogram,  composed  of 
a  C.  and  a  D.,  but  he  afterwards  signed  them  with 
his  name,  or  with  his  initials,  G.  W.  E.  D.,  or 
with  B.  only.  The  following  are  his  principal 
prints : 

SAOBED  SUBJECTS. 
Lot  and  his  Daughters ;  scarce. 
Abraham  going  to  sacrifice  Isaac ;  scarce.    1730. 
The  same  subject  differently  composed ;  very  scarce. 
The  Nativity.     1740. 
St.  Philip  baptizing  the  Eunuch. 
The  Adoration  of  the  Shepherds ;  in  the  style  of  Eem- 

hrandt. 
The  Circumcision. 
The  Flight  into  Egypt. 

Another  of  the  same  subject,  differently  composed. 
The  Bepose  in  Egypt ;  scarce.    1732. 
Another  Repose  in  Egypt.     1734. 
The  EetUTU  from  Egypt. 

Christ  found  disputing  with  the  Doctors.    1731. 
Our  Saviour  healing  the  Sick. 
The  Prodigal  Son. 

The  Eesurrection  of  Lazarus ;  in  the  style  of  Eemirandt. 
The  Descent  from  the   Cross ;  in    the   same   style ; 

scarce.    1730. 
Another  of  the  same  subject,  differently  treated ;  also 

in  the  style  of  Bemhrandt.     1742. 
The  Disciples  at  Emmaus ;  extremely  rare ;  the  plate 

destroyed. 
Christ  appearing  to  the  Magdalen ;  unfinished.    1760. 
The  Preaching  of  St.  James.    1740. 
St.  Jerome  writing.    1731. 

VAEIODS   SUBJECTS. 
Famine  and  Pestilence ;  very  scarce.     1731. 
Nero  on  his  Death-bed,  tormented  by  Furies  and  the 

Shade  of  his  Mother  ;  scarce. 
Jupiter  and  Antiope :  one  of  his  best  etchings :  scarce. 

1735. 
The  Artist  in  his  Painting  Boom.    1730. 
The  same  subject  with  variations.     1732. 
The  Quack  Doctor ;  in  the  style  of  Tenters.    1732. 
The  Hungarian  Quack  Doctor.    1757. 
The  Itinerant  Musicians  ;  in  the  style  of  Ostade.    The 

picture  by  Dietrich  is  in  the  National  Gallery. 
The  Alchemist  in  his  Laboratory ;  in  the  style  of  Bern- 

brandt ;  scarce.     1731. 
Twenty  plates  of  Busts  and  Heads  ;  chiefly  in  the  man- 
ner of  Remhrandt. 
About  thirty-six  plates  of  Landscapes,  in  the  styles  of 

Berchem,  Breenberg,  Claude  Lorrain,  Ruisdael,  and 

Salvator  Rosa,  and  in  his  own  manner. 

DIETRICH,  JoHANN  Feiedeich,  a  painter  of 
historical  subjects,  was  bom  at  Biberach  in  1789, 
and  learned  painting  of  Seele  and  HeidelofE  at 
Stuttgart.  In  1820  he  went  to  Rome,  where  he 
studied  the  works  of  the  great  masters,  and  executed 
several  paintings,  as  well  as  copies,  of  considerable 
merit.  After  his  return  home,  he  was  employed  in 
the  Hall  of  the  Estates  at  Rosenstein,  and  painted 
in  fresco  for  several  churches.    He  was  Professor 


Dietterlin 


PAINTEES  AND  ENGEAVBES. 


Dillens 


in  the  Academy  at  Stuttgart,  wliere  he   died  in 
1846.    His  best  works  are  ; 
The  Eesurrection  of  Christ  (in  Stuttyart  Cathedral). 
The  Visitation,  the  Nativity,  the  Adoration  of   the 

Magi,  Christ  on  the  Mount  of  Olives,  the  Crucifixion, 

the    Entombment,    and    the    Resurrection  (in    the 

Church  at  Bidaeh,  near  Carlsruhe). 
Abraham  entering  the  Promised  Land  (in  the  Royal 

Palace,  Stuttgart). 
An  Adoration  of  the  Shepherds.  )        (Stuttgart 

Christ  with  the  Disciples  at  Emmaus.  J       Gallery.) 
The  Madonna  di  Foligno ;  after  Raphael  (in  the  Church 

at  Dottemhausen), 
Helios  with  the  Hours.  \  /■    ^j.    t     ji.         ji  t>        ^  •   \ 
Luna  with  Herse.  [  <'"  *^  Landhaus  of  Bosenstetn.) 

Christ  on  the  Mount  of  Olives  (in  the  Church  of  Ravens- 
Jiis  last  and  best  work. 


DIETTEELIN,  Bartholomaus,  (or  Dietbrlein,) 
a  painter  and  engraver,  who  flourished  in  the  early 
part  of  the  17th  century,  was  the  son  of  a  painter 
named  Hilaeius  Dietterlin,  of  Strassburg.  By 
him  are  known  a  very  scarce  plate — the  '  Ascension 
of  Christ ' — and  a  Landscape. 

DIETTEELIN,  Wendel,  (Dieterlein,  or  Dit- 
TERLEIN,)  who  was  born  at  Strassburg  in  1550,  was 
the  grandfather  of  Bartholomaus  Dietterlin.  On 
the  ceilings  of  the  Lusthaus  at  Stuttgart  there  are 
paintings  by  him  representing  the  '  Creation,'  the 
'  Fall  of  Man,'  and  the  '  Last  Judgment,'  and  in  the 
Belvedere  at  Vienna  is  the 'Calling  of  Matthew.' 
He  also  etched  several  portraits,  and  twelve  spirited 
grotesques,  and  published  a  work  on  Architectural 
Design,  with  209  engravings.  There  are  176  ori- 
ginal designs  by  him  in  the  Academy  at  Dresden. 
He  died  in  1599.     Some  of  his  works  have  the 

monogram  annexed : 

DIETZ,  Pbodor,  a  German  historical  painter, 
born  at  Neunstetten,  near  Krautheim,  Baden,  in 
1813,  was  instructed  in  the  principles  of  art  by 
Kuntz  at  Carlsruhe.  After  studying  in  the  Academy 
at  Munich,  and  at  Paris  under  Horace  Vernet  and 
Alaux,  he  returned  to  Germany  and  there  com- 
menced his  career.  In  1839  he  became  painter 
at  the  court  of  Baden,  in  1862  professor  at  the 
Academy  at  Carlsruhe,  and  later  on  President  of 
tBe  German  Artistic  Society.  He  made  several 
tours,  and  died  in  the  course  of  one  in  1870  at 
Gray,  France,  The  following  are  some  of  his  besj; 
paintings : 

The  Destruction  of  Heidelberg  by  Melao  (Carlsruhe 
Gallery). 

The  Death  of  Piecolomini. 

The  Death  of  Pappenheim. 

6ustavus  Adolphus  at  Llitzen. 

The  Night  Eeview  of  Napoleon. 

The  Guard  of  Baden  before  Paris. 

Napoleon  at  Wagram. 

Blucher  crossing  the  Rhine. 

Bliicher  at  La  £othiere. 

Bliicher's  March  on  Paris.    1814.    (Berlin  Museum.) 

The  Elector  Max  Emanuel  of  Bavaria  storming  Bel- 
grade in  1688  (JVeue  Finakothek,  Munich). 

DIETZSCH,  JoHANN  Albert,  the  younger  brother 
of  Johann  Christoph  Dietzsch,  was  born  in  1720, 
and  died  in  1782.  He  engraved  about  twenty 
plates  of  views  of  Nuremberg  and  its  vicinity, 
published  in  1760.  He  also  painted  battle-pieces, 
landscapes,  fruit,  flowers,  and  portraits.  Some  of 
his  landscapes  have  been  engraved  by  Prestel. 

DIETZSCH,  Johann  Christoph,  a  German  painter 
in  water-colours,  especially  of  landscapes,  flowers, 
and  fruit,  was  born  at  Nuremberg  in  1710.  He  has 
left  some  plates  of  landscapes  etched  in  the  style 


of  Waterloo,  which,  though  more  finished,  are 
very  inferior  to  the  works  of  that  master  in 
picturesque  simplicity.  He  died  in  his  native  city 
in  1769.     There  are  by  him  the  following  plates : 

Portrait  of  Correggio. 
Portrait  of  Raphael. 

Sixteen  Landscapes  in  the  manner  of  Ruisdael  and 
Waterloo. 

DIED,  Antoine,  a  French  painter,  bom  in 
Paris  about  1661,  was  a  son  of  !^douard  Dieu,  an 
engraver,  who  died  in  Paris  in  1703.  He  was 
instructed  by  Lebrun,  and  painted  historical  sub- 
jects and  portraits  in  the  style  of  his  master,  and 
not  without  merit.  The  '  Duke  of  Burgundy  before 
the  King,'  and  the  '  Marriage  of  the  Duke  of  Bur- 
gundy,' are  in  the  Museum  at  Versailles,  but  his 
best  work  is  the  portrait  of  'Louis  XIV.  on  his 
Throne,'  which  was  engraved  by  Nicolas  Arnoult. 
He  was  received  at  the  Academy  in  1722,  and  died 
in  Paris  in  1727.  His  brothers,  Jean  DiEn  and 
Jean  Baptiste  Dieu,  were  engravers ;  the  former 
was  born  about  1658,  and  died  in  Paris  in  1714. 

DIEU,  Jean,  called  Dieu  de  Saint-Jean,  father 
and  son,  were  French  painters  who  flourished  in 
the  17th  century.  Jean  Dieu,  the  elder,  was  also  an 
etcher.  Jean  Dieu,  the  younger,  who  was  a  por- 
trait painter,  was  born  about  the  year  1655,  and 
died  in  Paris  in  1695. 

DIGHTON,  Denis,  an  English  painter  of  battle 
scenes,  the  son  of  Dighton  the  caricaturist,  was 
born  in  London  in  1792.  He  studied  in  the  Eoyal 
Academy,  but  obtained  through  the  Prince  of 
Wales  a  commission  in  the  army.  Eesigning 
this,  however,  and  marrying,  he  settled  in  London, 
and  devoted  himself  to  art,  exhibiting  at  the 
Eoyal  Academy  from  1811  to  1825.  Loss  of  the 
royal  patronage,  together  with  other  causes,  afEected 
his  reason,  and  he  retired  to  Brittany,  where  he 
died  at  St.  Servan  in  1827.  Amongst  his  works 
are : 

Death  of  Nelson  [Bridgewater  Collection). 
Defeat  of  the  Turks  at  Klissura. 
Cavalry  skirmishing  (South  Kensington  Museum). 
Battle  of  Waterloo  (Jler  Majesty's  Collection). 

His  wife  was  Fruit  and  Flower  Painter  to  Queen 
Adelaide,  and  exhibited  at  the  Eoyal  Academy 
between  1824  and  1835. 

DIGHTON,  Egbert,  an  English  portrait  painter 
and  caricaturist,  was  born  in  1752.  He  exhibited 
occasionally  at  the  Free  Society  of  Artists  and  at 
the  Eoyal  Academy.  In  1799  he  brought  out  a 
'  Book  of  Heads,'  and  thenceforth  devoted  himself 
chiefly  to  caricature.     He  died  in  London  in  1814. 

DIGHTON,  William  Edward,  a  landscape 
painter,  was  a  pupil  of  William  Miiller,  and  after- 
wards of  Frederick  Goodall.  He  exhibited  Eng- 
lish landscape  scenery  at  the  British  Institution 
and  Eoyal  Academy  from  1844  to  1851,  after 
which  he  visited  the  East,  and  in  1863  sent  to  the 
Eoyal  Academy  two  pictures,  '  The  Euins  of  the 
Temple  of  Luxor'  and  '  Bethany.'  Dighton  died 
at  Hampstead  in  1853,  aged  31.  Had  he  lived,  he 
would  doubtless  have  made  a  name  in  the  world  of 
art.  He  left  behind  him  many  fine  works,  which 
are  for  the  most  part  in  private  collections  in 
Liverpool. 

DILLENS,  Adolf,  a  Belgian  genre-painter,  was 
born  at  Ghent  in  1821,  and  received  instruction 
from  his  elder  brother  Hendrik  Dillens.  His  first 
works  were  of  an  historical  nature,  but  he  after- 
wards  devoted    himself    to    pictures  illustrating 

413 


A  BIOGRAPHICAL  DICTIONARY  OF 


Dilleus 

Zealand  peasant  life.    He  died  in  1877.     Amongst 
his  best  works  are  : 

The  Gossip  at  the  Wmdow.  .      .  , 

Taking  Toll  at  the  Bridge  (of  this  picture  he  painted 

three  versions). 
i^Fa&'at  wSt^Capelle  (at  Pans  International  Ex- 
hibition, 1855). 
A  Ball  at  Goes  [at  the  same).  ,  „  .  •,  v  ■       i  afl91 

The  Juggler  (at  London  International  Exhibition,  \WJ.). 
Skaters  (in  Brussels  3fusewn). 
Eecruiting:  Austrian  Soldiers  halting  at  a  Tavern  [m 

the  same). 
DILLENS,  Hendeik,  a  Belgian  genre  painter, 
was  born  at  Ghent  in  1812,  and  died  at  Brussels  m 
1872.     He  executed  several  pleasing  and  spirited 
paintings,  among  the  best  of  which  are  : 

The  French  Trooper  caressing  his  Child. 

The  Capture  of  the  Maid  of  Orleans. 

An  Old  Man  giving  Counsel  to  Two  Youths. 

Consecration  of  a  Church  (with  over  200  figures). 

DILLIS,  Ignaz,  a  brother  and  pupil  of  Johann 
Georg  von  Dillis,  was  bom  at  Grungiebing  in  1772, 
and  died  at  Munich  in  1808.  He  etched  some 
landscapes  containing  figures  and  animals,  but 
abandoned  art  for  the  science  of  forestry. 

DILLIS,  Johann  Cantius,  a  Bavarian  landscape 
painter  and  etcher,  was  born  at  Griingiebing  in 
1779.  He  was  the  youngest  brother  of  Johann 
Georg  von  Dillis,  by  whom  he  was  instructed,  and 
with  whom  he  went,  in  1805,  to  Italy,  where  he 
stayed  two  years.  His  best  pictures  are  a  '  View 
in  the  Environs  of  Grotta  Perrata,'  dated  1809,  in 
the  Schleissheim  Gallery,  and  a  '  View  of  the  Alps 
near  Eeselau,'  and  '  Stone  Bridges  near  the  Mills 
at  Audorf,'  in  the  Leuchtenberg  Gallery.  He  died 
at  Munich  in  1856.  He  etched  twelve  plates,  among 
which  may  be  mentioned,  a  '  View  of  the  Castle 
of  Harlacliing,'  'A  Eocky  Country  with  Mills,'  and 
'  A  Farm  Cottage  hidden  in  Trees.' 

DILLIS,  Johann  Georg  von,  a  Bavarian  painter, 
was  born  at  Griingiebing  in  1769,  and  studied  at 
the  Academy  of  Munich  and  under  Oefele.  He 
afterwards  paid  frequent  visits  to  Switzerland, 
Italy,  Sicily,  France,  and  Spain.  He  painted  por- 
traits and  landscapes,  but  his  engagements  as 
director  of  several  picture  galleries  in  Germany 
occupied  the  greater  part  of  his  time,  so  that  bis 
works  are  not  numerous.  He  died  at  Munich  in 
1841.  In  the  Modern  Gallery  of  that  city  there 
are  by  him  a  '  Landscape  at  Grotta  Ferrata,'  and  a 
'  View  of  the  Tegernsee,'  and  in  the  Schleissheim 
Gallery  is  an  'Autumnal  Picnic'  He  also  etched 
62  landscapes. 

DINGLINGER,  Sophie  Feibdekikb,  who  was 
born  in  1736  at  Dresden,  and  died  in  the  same  city 
in  1791,  practised  as  a  miniature  painter.  The 
Dresden  Gallery  possesses  seven  portraits  by  her 
of  members  of  the  Dinglinger  family — amongst 
them  her  own. 

DIOLAI,  Giovanni  Feanobsco.    See  Suechi. 

DIONISIO  FIAMMINGO.     See  Calvabet. 

DIONYSIDS,  of  Colophon,  who  flourished  about 
the  middle  of  the  5th  century  B.  c,  was  a  con- 
temporary of  Polygnotus,  whom  he  in  part  imitated 
and  almost  rivalled.  The  subjects  which  he  chose 
to  treat  were  less  important;  but,  according  to 
.flSlian,  "  his  works  exhibited  the  same  expressive 
character,  the  same  choice  of  attitudes,  a  similar 
attention  to  propriety,  and  the  same  elegant  arrange- 
ment of  his  draperies :  but  he  represented  the 
objects  in  a  smaller  proportion."  By  these  expres- 
414 


Discepoli 


sions  >ailian  has  been  supposed  to  explain  more 
clearly  a  passage  in  the  '  Poetics  '  of  Aristotle ;  and 
it  has  been  thought  to  result  from  his  suggestion, 
that  Polygnotus  designed  his  figures  larger  than 
life  Dionysius  the  size  of  life,  and  Pauson  smaller 
than  life.  Winokelmann,  however,  interprets  this 
in  another  manner.  According  to  that  writer, 
Polygnotus  painted  his  figures  better,  that  is  to  say, 
he  stamped  them  with  grandeur  above  the  scale 
and  conformation  of  man,  and  as  he  usually  chose 
his  subjects  from  mythology,  or  from  heroic  his- 
tory, his  figures  resembled  heroes,  and  represented 
nature  in  the  most  perfect  form  of  ideal  beauty. 
Pauson  gave  to  his  figures  a  more  common  and 
familiar  air.  In  the  opinion  of  Winokelmann, 
Aristotle  meant  to  say  that  the  pictures  of  Poly- 
gnotus were  in  painting  what  tragedy  is  in  poetry, 
and  that  the  figures  of  Pauson  resembled  the 
characters  in  a  comedy,  which  are  represented 
more  than  ordinarily  ridiculous,  to  render  the  efEect 
more  ludicrous.  Dionysius,  whom  Pliny  places 
amongst  the  most  famous  painters,  held  a  sober 
medium  between  Polygnotus  and  Pauson,  and  may 
be  said  to  have  been,  with  respect  to  Polygnotus, 
what  Euripides  was  to  Sophocles  ;  the  latter  repre- 
sented his  heroines  as  they  ought  to  be,  the  former 
as  they  were.  This  characteristic  procured  for 
Dionysius  the  appellation  of  dvBpio'^Toypcupos,  or  the 
'  painter  of  mankind.' 

DIOTISALVI,  (or  Dibtisalvi,)  was  a  contem- 
porary of  Ducoio,  who  from  1259  painted  miniatures 
at  Siena,  some  of  which  are  still  preserved  in  the 
Academy  of  that  city.  He  also  produced  some 
larger  pictures,  among  which  is  a  'Madonna'  in 
the  church  of  the  Servi,  dated  1281. 

DIOTTI,  GrosBPPE,  who  was  born  at  Casal 
Maggiore  in  1779,  was  instructed  in  the  Academy 
at  Parma,  and  later  by  Camuccini  at  Rome.  He 
painted  in  fresco  as  well  as  in  oil,  distinguishing 
himself  as  a  painter  of  historical  subjects,  and 
became  a  professor  in  the  Academy  at  Carrara, 
and  also  in  that  at  Bergamo,  where  he  died  in  1846. 
In  the  Belvedere  at  Vienna  is  a  picture  by  him 
representing  'The  Kiss  of  Judas,'  and  in  the 
Milan  Gallery  is  the  '  Congress  of  Pontida.'  Other 
noteworthy  works  by  him  are,  '  Leonardo  da  Vinci 
and  Lodovico  Sforza,'  and  'Tobias  receiving  his 
Sight.'  His  own  portrait,  dated  1821,  is  in  the 
Uffizi. 

DIECKS,  August,  a  German  painter  of  genre 
pieces  and  a  lithographer,  was  bom  at  Emden  in 
East  Friesland  in  1806,  and  studied  at  the  Academy 
of  Diisseldorf.  'The  Decorated  Schoolmaster,'  a 
creditable  work  by  him,  is  in  the  Gallery  of  that 
town.     He  died  at  Diisseldorf  in  1871. 

DIRICKSBN,  DiEiCK,  a  German  engraver,  worked 
at  Hamburg  in  the  earlier  part  of  the  17th  century, 
and  was  still  living  in  1647.  He  was  principally 
employed  by  the  booksellers,  and  engraved  some 
portraits  in  a  neat  style,  resembling  that  of  the  Van 
de  Passes. 

DISCEPOLI,  Giovanni  Battista,  was  born  at 
Lugano  in  1590.  He  was  usually  called  '  Lo  Zoppo 
di  Lugano,'  from  his  being  a  cripple.  Although 
he  was  for  some  time  a  scholar  of  Camillo  Pro- 
caccini,  he  did  not  adopt  the  style  of  that  master. 
Lanzi  states  that  he  was  one  of  the  best  and 
most  chaste  colourists  of  his  time.  Several  of  his 
works  are  in  the  churches  at  Milan ;  his  pic- 
ture of  '  Purgatory '  in  San  Carlo  is  particularly 
esteemed.  In  the  Brera  is  an  '  Adoration  of  the 
Magi'  from  San  Marcellinoin  Milan.     Lugano  and 


Sisteli 


PAINTERS  AND  ENGRAVERS. 


Dobson 


Como  also  possess  some  of  his  works ;  in  the 
church  of  Santa  Teresa,  in  the  latter  place,  is  a 
picture  of  that  Saint,  which  is  much  admired. 
He  died  in  1660. 

DISTELI,  Mabtin,  was  horn  at  Olten,  in  Switzer- 
land, in  1802.  In  early  life  he  studied  art,  intend- 
ing to  heoome  a  painter,  but  afterwards  gained 
some  celebrity  by  drawing  caricatures,  which 
were  published  in  the  '  Distelikalender. '  His  Swiss 
•  battle-pieces  indicate  a  strong  patriotic  feeling. 
He  died  at  Solothurn  in  1844. 

DITMAR,  Heneik,  (or  Dittmarz,)  was  a  German 
portrait  painter  who  flourished  in  Hamburg  and  in 
Denmark  in  the  latter  half  of  the  seventeenth  cen- 
tury. In  the  Copenhagen  gallery  there  is  by  him 
a  '  Hermit  in  his  Cell,'  dated  1665.  He  died  in 
Denmark  late  in  1677  or  early  in  1678. 

DITMAR,  Jan,  (orDlTiiEE,)  a  Flemish  engraver, 
was  born  in  the  Netherlands  about  1538,  and  was 
admitted  into  the  Guild  of  St.  Luke  at  Antwerp  in 
1574.  He  engraved  some  plates  after  Martin  De 
Vos,  and  other  Flemish  masters,  among  which  is 
a  print  after  Michiel  Coxcie,  representing  'Christ 
seated  in  the  Clouds,  surrounded  by  Angels  holding 
the  Instruments  of  the  Passion  and  the  Symbols 
of  the  Four  Evangelists,'  dated  1574. 

DITTENBERGER,  Johann  Gustav,  an  historical 
and  portrait  painter,  was  bom  at  Neuenweg,  in 
Baden,  in  1799.  He  was  at  first  a  pupil  of  Rott- 
mann  and  Roux  at  Heidelberg,  but  in  1821  he 
entered  the  Munich  Academy.  After  this  he  worked 
for  a  while  in  the  studio  of  Baron  Gros  at  Paris, 
and  then  removed  to  Rome.  He  returned  to 
Vienna  in  1831,  and  died  in  1879.  He  executed  a 
number  of  church  pictures,  among  which  we  find 
'  The  Annunciation,'  '  St.  Andrew  converting  the 
Russians,'  '  St.  Severinus.  blessing  the  Land  of 
Austria,'  'The  Angelic  Salutation'  (for  Olmiitz 
Cathedral),  and  two  allegorical  pictures  of  '  Ger- 
many '  and  '  Schleswig-Holstein '  (1850).  He  also 
etched  a  number  of  illustrations  to  Schiller's  poems. 
He  frequently  marked  his  works  with  the  annexed 


monogram : 


DITTERLEIN.    See  Dietterlin. 

DITTMARZ,  Henkik.     See  Ditmae. 

DIXON,  John,  an  English  miniature,  crayon,  and 
water-colour  painter,  was  a  pupil  of  Lely.  He  ex- 
celled in  nymphs,  satyrs,  cupids,  &c.  He  was  under 
William  III.  keeper  of  the  Bang's  picture  closet, 
but  in  his  later  years  .he  became  impoverished, 
and  retired  to  Bungay,  where  he  died  in  1715. 

DIXON,  John,  an  engraver  in  mezzotint,  was 
bom  at  Dublin  about  1740,  and  died  in  London 
in  1780.  He  studied  under  West  in  his  native 
city,  and  became  in  1766  a  member  of  the  Incor- 
porated Society  of  Artists.  There  are  several  fine 
portraits  engraved  by  him  after  Sir  Joshua  Rey- 
nolds and  other  masters,  among  which  are  the 
following  : 

portraits  after  various  masters. 

William  Beckf ord.  Lord  Mayor  of  London ;  ad  vimm 
del.    17T1. 

Henry,  Duke  of  Buccleuch,  with  Lady  Mary  Scott  fond- 
ling a  Dog ;  after  Gainsborough.    1771. 

Garrick  in  the  character  of  Eichard  III. ;  after  N. 
Daruse. 

POETEAITS  AFTER  SIR  JOSHUA  REYNOLDS. 
Mary,  Duchess  of  Ancaster. 
Francis,  Earl  of  Hertford. 


WiUiam,  Duke  of  Leinster.    1775. 

Henry,  Earl  of  Pembroke. 

The  Countess  of  Pembroke,  with  her  son,  Lord  Herbert. 

Charles  Townshend,  Chancellor  of  the  Exchequer, 

DIXON,  Robert,  a  landscape  painter,  was  born 
in  1780.  He  published,  in  1810-11,  thirty-six  views 
of  '  Norfolk  Scenery.'  Some  of  his  works  appeared 
at  the  Norwich  Exhibitions.  At  the  South  Ken- 
sington Museum  is  a '  Farm  Yard '  by  him  in  water- 
colours.     He  died  in  1815. 

DIZIANI,  Gaspaeo,  an  Italian  caricaturist,  was 
a  pupil  of  Bastiano  Ricci.  He  died  at  Venice  in 
1767.  In  the  Dresden  Gallery  is  a  '  Painter  painting 
a  portrait  from  life,'  by  him. 

DOBIASCHOFSKY,  Franz,  was  born  at  Vienna 
in  1818,  and  was  instructed  by  Fiihrich  and  Kuppel- 
wieser.  He  excelled  in  painting  historical  subjects 
and  portraits,  which  have  been  praised  for  their 
good  design  and  poetic  feeling.  He  was  a  pro- 
fessor at  the  Academy  at  Vienna,  where  he  died 
in  1867.  Among  his  best  works  may  be  mentioned 
two  in  the  Belvedere  at  Vienna,  viz. ,  '  A  young  Man 
and  Woman  in  a  Garden,'  and  '  Cimburgis  saved 
from  the  bear  by  Duke  Ernest  Ironside'  (1850). 

DOBROVOLSKY,  Vasily  Stefanovitoh,  a 
Russian  painter,  was  born  in  1786.  He  was  a 
member  of  the  Academy  of  Arts,  and  one  of  the 
founders  of  the  School  for  Painting  and  Sculpture 
at  Moscow,  in  which  city  he  died  in  1855. 

DOBSON,  William,  a  portrait  painter,  was 
born  in  London  in  16i0.  He  was  placed  as  an 
apprentice  to  Robert  Peake,  a  portrait  painter 
and  picture  dealer,  who  was  afterwards  knighted 
by  Charles  I.  From  this  master's  instruction  he 
was  not  likely  to  profit  much,  but  he  procured  him 
the  means  of  copying  some  pictures  hy  Titian  and 
Van  Dyck,  by  which  he  acquired  an  excellent  prin- 
ciple of  colouring,  and  great  freedom  of  hand. 
On  leaving  his  master,  Dobson  appears  to  have 
lived  in  indigence  and  obscurity,  until  Van  Dyck, 
passing  a  shop  on  Snow  Hill,  perceived  a  picture 
exposed  in  the  window  for  sale,  which  had  suffi- 
cient merit  to  excite  his  curiosity  to  discover  the 
painter,  whom  he  found  at  work  in  a  miserable 
garret.  The  well-known  liberality  of  Van  Dyck 
soon  released  him  from  his  wretched  situation ;  he 
afterwards  introduced  him  to  the  king,  and-  zeal- 
ously recommended  him  to  his  Majesty's  protection. 
On  the  death  of  Van  Dyck,  Dobson  was  appointed 
serjeant-painter  to  the  king,  whom  he  accompanied 
to  Oxford,  where  he  painted  his  portrait,  as  well  as 
those  of  Prince  Rupert  and  several  of  the  nobility. 
The  melancholy  fate  of  the  king  was  followed  by 
the  overthrow  of  the  arts  and  elegance,  and  Dobson, 
who  was  imprudent  and  extravagant,  became  in- 
volved in  debt,  and  was  thrown  into  prison.  He 
was  released  by  a  patron,  but  not  long  afterwards 
he  died  in  London  in  1646.  Of  the  painters 
of  his  time,  Dobson  appears  to  have  approached 
nearest  to  the  excellence  of  Van  Dyck.  His  por- 
traits are  faithful  transcripts  of  nature,  and  although 
he  was  not  equally  successful  in  his  historical  pic- 
tures, the  few  which  he  painted  are  not  without 
considerable  merit.  One  of  his  best  works  in  his- 
tory is  'The  Decollation  of  St.  John,'  at  Wilton. 
King  Charles  I.  styled  Dobson  the  '  English  Tinto- 
retto,' but  very  absurdly,  as  his  manner  of  paint- 
ing bears  no  resemblance  to  that  of  the  Venetian 
master.  There  are  in  the  National  Portrait  Gallery 
paintings  by  Dobson  of  Himself,  Sir  Harry  Vane 
the  younger,  Francis  Quarles  the  poet,  and  Endy- 
mion  Porter ;  and  at  Hampton  Court  there  are  a 

416 


Doceno 

picture  of  Himself  and  his  Wife,  and  portraits  of 
two  Gentlemen. 

DOCENO.  See  Gheeabdi,  Cbistofano.  _ 
DOCHARTY,  James,  a  Scotch  landscape  pamter, 
was  born  at  Bonhill,  near  Dumbarton,  in  1829.  He 
was  at  first  engaged  with  his  father  m  calico 
manufacture,  and  did  not  turn  to  art  till  18bi!. 
His  works  appeared  at  the  Edinburgh  Academy, 
the  Glasgow  Institution,  and  the  Eoyal  Academy. 
In  1876  failing  health  caused  him  to  visit  the 
Continent  and  the  East,  but  he  died  on  his  return 
to  Glasgow  in  1878.  He  was  elected  an  Associate 
of  the  Eoyal  Scottish  Academy  in  1877.  Amongst 
his  best  works  are  : 

The  Haunt  of  the  Red  Deer.     1869. 

The  Head  of  Loch  Lomond.    1873. 

Glenooe.     1874. 

The  River  Achray.    1876. 

A  Good  Fishing  Day.    1877. 

DODD,  Daniel,  was  an  English  miniature  and 
oubjeot  painter  in  the  latter  h'alf  of  the  18  th 
century.  He  was  a  member  of  the  Free  Society 
of  Artists  in  1763,  where  he  exhibited.  His  chief 
works  are : 

The  Royal  Procession:  to  St.  Paul's. 
Representation  of  the  Eoyal  Academy. 

DODD,  Egbert,  a  marine  painter,  flourished  in 
the  latter  part  of  the  18th  century.  His  pictures 
are  chiefly  illustrative  of  the  doings  of  the  British 
navy.  He  also  represented  storms  at  sea  very 
successfully.  Redgrave  has  been  unable  to  trace 
his  name  later  than  1809  in  the  books  of  the  Eoyal 
Academy.     Among  his  works  are : 

Admiral  Parker's  Victory.    1781. 

The  Loss  of  the  '  Centaur.'     1785. 

Lord  Rodney's  Victory.    1785. 

The  British  Fleet  at  Spithead  escaping  from  the  burning 

'  Boyle.'     1796. 
Commencement  of  the  Battle  of  Trafalgar.    1806. 

DODGSON,  Geoege  Haydook,  who  was  born  at 
Liverpool  in  1811,  was  at  first  apprenticed  to 
George  Stephenson,  the  engineer.  His  duties  in 
that  capacity  increased  an  innate  love  of  art, 
and  in  1836  was  published  a  volume,  illustrated 
by  him,  descriptive  of  the  scenery  of  the  Whitby 
and  Pickering  Railway.  Giving  up  engineering, 
Dodgson  went  to  London,  where  he  was  for  some 
time  employed  by  architects  and  several  illus- 
trated newspapers  to  make  drawings.  After  a 
connection  of  some  years  with  the  New  Society 
of  Painters  in  Water-Colours,  he  was  elected  in 
1848  an  Associate-Exhibitor  of  the  Society  of 
Painters  in  Water-Colours,  and  became  a  full 
member  four  years  later.  His  contributions  to 
that  society  were  usually  landscapes.  He  was 
especially  fond  of  painting  beech  trees.  Dodgson 
died  in  London  in  1880. 

DOBRBECK,  Fbanz  Burchaeb.    See  Bhechaed 

DOEEBECK. 

DOBRE,  Otto  Eeich  Friedeich  August,  was 
born  at  Ludwigslust  in  Mecklenburg-Schwerin  in 
1831,  and  died  at  Dresden  in  1868.  In  the  Dresden 
Gallery  is  the  '  Interior  of  a  Parisian  Studio '  by  him. 

DOES.     See  Van  dee  Does. 

DOESBUEGH,  F.,  a  Dutch  engraver,  flourished 
from  about  1680  to  1714.  He  engraved  a  plate 
representing  'Admiral  van  Tromp  engaging  the 
English  Fleet.'  We  have  also  by  him  several 
prints  of  the  old  Roman  customs ;  they  are  etched 
and  finished  witii  the  graver  in  a  very  indifferent 
style. 

416 


A   BIOGRAPHICAL   DICTIONARY  OF 


Dole! 


DOETECUM.     See  Duetecum. 

DOFIN.     See  Dauphin. 

DOIX,  FEAN501S  Joseph  Alotse,  a  French  land- 
scape painter,  was  born  in  Paris  in  1777.  The 
Museum  of  Tours  possesses  some  works  by  this 
artist,  the  date  of  whose  death  is  unknown. 

DOLCE,  Luzio,  (or  Dolci,)  of  Castel  Durante  in 
the  state  of  Urbino,  who  flourished  in  1689,  is 
commended  for  his  altar-pieces  and  other  pictures 
in  the  churches  there.  It  is  said  that  he  was  , 
employed  by  the  Duke  of  Urbino  to  paint  at  the 
Imperiale.  He  executed  many  works  at  Rome,  as 
well  as  at  Castel  Durante,  and  resided  in  the 
former  city  for  some  time.  There  are  few  par- 
ticulars recorded  of  him,  though  he  is  often 
mentioned  with  high  commendation. 

DOLCI,  Agnese,  was  the  daughter  of  Carlo 
Dolci,  and  arrived  at  some  degree  of  excellence  in 
copying  the  works  of  her  father.  She  also  painted 
some  pictures  of  her  own  composition,  but  never 
approached  the  merit  of  Carlo.  She  died  in  1686. 
Among  her  own  works  are : 

Modena.    Gallery.     The  Virgin  adoring  the  Infant  Jesus. 
Paris.        Louvre.       The  Consecration  of  the  Bread  and 

Wine. 
Siena.       Iristiiute.    Virgin  and  Child,  with  St.  Joseph. 

DOLCI,  Carlo,  or  Caelino,  who  was  bom  at 
Florence  in  1616,  was  a  scholar  of  Jacopo  Vignali. 
Without  the  possession  of  much  genius  or  inven- 
tion, he  excited  considerable  interest  by  a  number 
of  pleasing  and  highly-finished  pictures,  chiefly 
confined  to  devout  subjects,  and  most  frequently 
representing  heads  of  our  Saviour,  and  of  the 
Virgin.  These  are  not  so  much  admired  for  par- 
ticular beauty  of  character,  as  for  a  soft  and 
tranquil  expression  of  devotion  in  the  patient  suf- 
fering of  Christ,  the  plaintive  sorrow  of  the  Mater 
Dolorosa,  or  the  compunction  of  a  Saint  in  peni- 
tence. Subjects  of  that  description  he  treated 
with  great  delicacy  and  tenderness.  The  general 
tone  of  his  colouring  is  well  appropriated  to  the 
character  of  his  subjects,  nothing  is  harsh  or 
obstrusive,  all  is  modest,  placid,  and  harmonious. 
He  generally  painted  in  a  small  size,  though  there 
are  at  Florence  some  pictures  by  him  as  large  as 
life.  .  His  small  pictures  of  heads  of  the  Madonna 
are  more  numerous,  and  are  highly  valued  by  the 
admirers  of  polished  and  laborious  finishing.  He 
died  at  Florence  in  1686.  There  are  many  repe- 
titions of  his  small  pictures  by  his  pupils,  Loma 
and  Mancini,  and  his  daughter  Agnese.  Many  of 
his  pictures  are  in  Englan,d.  The  following  are 
some  of  his  best  works : 

Berlin. 
Burghley 

House.        Exeter. 
Cassel.  Gallery.'  St.  Cecilia. 

Copenhagen.      Gallery.     Christ. 

„  „  The  Madonna. 

Darmstadt.         Gallery.    St.  Dorothea  and  an  Angel. 
Dresden.  Gallery.    The  Daughter  of  Herodias  with 

the  Head  of    St.  John   the 
Baptist. 
11  „  St. Cec)iia(paintedforthe  Grand- 

Duke  Cosmo  III.). 
!>  „  Christ  blessing  the  Bread  and 

"Wine. 
Dulwlch.         College.        St.  Catharine  of  Siena. 

j>  ,,  St.  Veronica. 

Florence.        Fitti  Pal.    His  own  Portrait  when  young. 
»  „  Sleeping  St.  John. 

»  „  Madonna  and  Child. 

)>  „  The    Duchess    Vittoria     della 

Rovere. 


Gallery.     St.  John  the  Evangelist. 
^  ™      /  (  Christ  breaking  the  Bread, 


Solendo 


PAINTERS  AND  ENGRAVERS. 


Domenico  di  Michelino 


Florence.      Pitti  Pal. 


Corsini  Pal. 
Uffizi. 


Glasgow.  Gallery. 

»  .     » 

London.    NaUotial  Gall, 
Munich.  Gallery. 


Petersburg.  Hermitage. 


Diogenes. 

St.  Peter  weeping, 

St.  Rosa.    1668. 

Moses. 

St.  John  the  Evangelist. 

St.  Margaxet.    1664. 

St.  Andrew  before   the  Cross. 
1646. 

St.  Charles  Borromeo. 

St.  Francis  Xavier. 

St.  Nicholas  of  Tolentino. 

Christ  in  the  Garden. 

Ecce  Homo. 

St.  Casimir  of  Poland. 

St.  Dominic. 

Vision  of  St.  John  the  Evan- 
gelist. 

St.  SebastiaiL 

Madonna  and  Child,  with  St. 
Salome. 

St.  Mary  Magdalen. 

St.  Galla  Placidia.    1675. 

His  own  Portrait.    1674. 

St.  Lucia. 

The  Saviour  seated,  with  Saints. 

St.  Peter. 

St.  Simon. 

Adoration  of  the  Magi. 

Madonna  and  Child. 

Virgin  and  Child. 

Madonna  &  Child  with  Flowers. 

Virgin  with  a  Lamb. 

Penitent  Magdalen. 

Infant  Christ. 

St.  Agnes. 

Ecce  Homo. 

Mater  Dolorosa. 

Magdalen. 

St.  Anthony. 

St.  Catharine. 

St.  Cecilia. 

St.  Apollonia. 

Madonna  and  Child. 

Sincerity. 
'„  „  Mater  Dolorosa. 

DOLENDO,  Bahtholomeus,  a  Dutch  engraver, 
was  bom  at  Leyden  about  the  year  1560,  and  is 
presumed  to  have  been  instructed  in  engraving  by 
Hendrik  Goltzius.  He  worked  entirely  with  the 
graver,  in  an  open,  clear  style.  There  are  by  him 
several  plates,  some  of  "which  are  from  his  own 
designs.  He  occasionally  marked  his  prints  with  his 
name,  but  more  frequently  with  one  of  these  ciphers, 

Among  other  engrav- 
ings by  him  are  the 
following : 

Jonah  in  the  Sea,  swallowed  by  the  Whale ;  circular. 
Jonah  thrown  back  on  the  Sea-shore ;  the  same. 
A  Dutch  Merry-making ;  after  his  own  design. 
Adam  and  Eve  taking  the  Forbidden  Fruit;  after  C. 

van  Mander. 
Christ  appearing  to  the  Magdalen ;  B.  Dolendo,  inv.  et 

fee. 
The  Holy  Family  ;  after  M.  Coxcie. 
St.  John  preaching  in  the  Wilderness. 
Pyramus  and  Thisbe ;  after  Crispin  van  den  Broeck. 
Jupiter  and  Ceres;   an  allegorical  subject;  after  B. 

Spranyer. 
The  Assumption  of  the  Virgin. 

DOLENDO,  Zachaeias,  was  a  brother  of  Bar- 
tholomeus  Dolendo,  whom  he  surpassed  both  in 
style  and  in  correctness.  He  was  born  at  Leyden 
in  1661,  and  is  said  by  Huber  to  have  been  a 
disciple  of  Jacob  De  Ghein.  There  are  some  por- 
traits by  this  master,  which  are  not  inferior  in 
neatness  to  those  by  J.  Wierix;  his  plates  are 
frequently  marked  with  this  cipher  IC\  There  are 
by  him:  £/. 


Borne. 
Vienna. 


Corsini  Pal. 
Gallery. 


William,  Prince  of  Orange ;   half-length,  in  armour. 

1581. 
Andromeda  chained  to  the  Eock ;  finely  drawn ;  after 

his  own  design. 
Adam  and  Eve  embracing,  whilst  Eve  receives  the 

Apple  from  the  Serpent ;  after  B.  Spranger. 
St..  Martin  dividing  lus  Cloak  with  two  Beggars ;  after 

the  same. 
The  Continence  of  Scipio;  after  A.  Bloemaert. 
The  Virgin  and  Infant,  with  two  Angels ;  after  J.  De 

Ghein. 
The  Crucifixion ;  after  the  same. 
A  Set  of  small  Plates  of  the  Gods  and  Goddesses; 

copied  from  the  larger  ones  by  H.  Goltzius. 

DOLIVAR,  Joan,  is  said  by  Huber  to  have  been 
born  at  Saragossa  in  1641.  He  studied  engraving 
in  Paris,  and  engraved  some  of  the  plates  of 
ornamental  and  decorative  subjects  for  Berain's 
'Ornemens.'  He  was  also  employed  in  the  set  of 
the  '  Little  Conquests '  of  Louis  XIV.  His  works 
are  inferior  to  those  of  Le  Pautre  and  Ghauveau. 

DOLLB,  William,  an  English  engraver,  was 
bom  in  London  about  1600.  He  was  chiefly 
employed  on  portraits  for  the  booksellers.  These 
are  sought  after  rather  on  account  of  their  scarcity 
than  their  merit  as  engravings.  Among  them  are 
the  following : 

Sir  Henry  Wotton,  Provost  of  Eton. 

Mark  Frank,  Master  of  PemlH^ke  Hall,  Cambridge. 

John  Cosin,  Bishop  of  Durham. 

George  Villiers,  Duke  of  Buckingham. 

Bobert  Sanderson,  Bishop  of  Lincoln. 

John  Milton. 

Robert,  Earl  of  Essex. 

Samuel  Botley,  Short-hand  Writer. 

DOLOBELLA,  Tommaso,  a  native  of  Belluno, 
who  was  born  about  the  year  1580,  and  flourished 
about  1630,  was  according  to  Ridolfi  a  scholar  of 
Antonio  Vassilacchi,  called  Aliense.  He  excelled  in 
painting  portraits,  and  was  invited  to  the  court  of 
Poland  by  Sigismund  III.,  where  he  painted  the 
royal  family  and  several  of  the  nobility,  and  was 
favoured  with  the  particular  protection  of  that 
monarch.  He  painted  a  few  historical  subjects, 
but  is  more  celebrated  as  a  portrait  painter.  In 
the  Sala  del  Senate  in  the  Ducal  Palace,  Venice, 
is  a  representation  by  him  of  'The  Doge  and 
Procurators  adoring  the  Host.' 

DOMENCHIN  DE  CHAVANNE,  Pieere  Salo- 
mon, a  French  landscape  painter,  who  was  born  in 
Paris,  in  1672.  He  was  received  into  the  Academy 
in  1709,  the  picture  which  he  painted  upon  the  occa- 
sion, '  Les  Pasteurs,'  being  now  in  the  Louvre.  He 
was  an  artist  of  moderate  ability,  and  was  employed 
in  the  Gobelins  manufactory,  where  he  died  in  1744. 

DOMENECH,  Antonio,  a  painter  of  Valencia, 
who  flourished  in  the  latter  half  of  the  16th  century 
and  devoted  himself  to  Scriptural  subjects,  was  a 
scholar  of  Nicolas  Borras,  whom  he  assisted  in 
several  of  his  works,  and  whose  manner  he  so 
closely  imitated,  that  even  at  ValeBcia,  where  the 
productions  of  Borras  may  be  supposed  to  be 
well  known,  the  works  of  Domenech  are  attributed 
to  him. 

DOMENIGHINO.    See  Zampieri. 

DOMENICO,  Francesco,  who  was  bom  at  Tre- 
viso  in  1488,  studied  under  Giorgione.  His  own 
portrait,  dated  1512,  is  in  the  Hermitage  at  St. 
Petersburg. 

DOMENICO,  Sano  di.    See  Sano  di  Pietro. 

DOMENICO  DI  BARTOLO.    See  Ghbrzo. 

DOMENICO  di  MICHELINO,  who  lived  in  the 
15th  century,  was  the  pupil  of  Fra  Angelico.  He 
painted  the  portrait  of  Dante  from  a  design  by 

417 


Someuico  di  Pace 


A  BIOGRAPHICAL  DICTIONARY  OF 


Doni 


Baldovinetti,  in  the  Churoli  of  Santa  Maria  dei  Piore 
at  Florence.  The  dates  of  his  birth  and  death  are 
alike  unknown. 

DOMENICO  DI  PACE.     See  Beccafumi. 

DOMENICO  FIORENTINO.  See  Del  Baebieee. 

DOMENICO  VENEZIANO.  See  Veneziano. 
'  DOMENIQUE,  Jean,  was  a  native  of  France, 
who  resided  chiefly  at  Rome,  where  he  died  in 
1684.  He  was  a  scholar  of  Claude  Lorrain,  and 
was  a  successful  copyist  and  imitator  of  the  works 
of  that  master. 

DOMER,  Jaques,  (Doomee,  or  Demee,)  a  Dutch 
artist,  was  born  in  1647,  and  flourished  about  1680. 
He  is  better  known  by  his  drawings  than  by  his 
pictures  in  oil.  His  manner  approximates  to  that 
of  Rembrandt,  and  it  may  be  believed  that  his 
dark  landscapes  have  been  ascribed  to  the  latter. 
His  compositions  are  simple,  but  strikingly  true. 

DOMINGO,  Luis,  a  Spanish  painter  and  sculptor, 
born  at  Valencia  in  1718,  was  a  scholar  of  Hipolito 
Robira  in  painting,  and  of  Bautista  Balaguer  in 
sculpture.  The  Dominican  convent  at  Valencia 
possessed  several  pictures  by  him,  among  which 
was  one  of  St.  Louis  Bertran.  Domingo  died  at 
Valencia  in  1767.  His  works  in  sculpture  are  to 
be  seen  in  several  churches  of  that  city. 

DOMINICI,  Beenaedo,  a  Neapolitan  painter 
and  writer  on  art,  flourished  about  the  year  1740. 
He  studied  landscape  painting  under  Joachim 
Franz  Beisoh,  a  German  artist,  who  passed  some 
time  at  Naples,  and  attached  himself  to  the  clear 
and  finished  style  of  that  master.  He  also  painted 
what  are  called  'bambocciate.'  In  1742  and  1743, 
he  published  at  Naples,  in  two  volumes,  '  Vite  de' 
Pittori,  Soultori,  ed  Architetti  Napolitani.' 

DOMINICI,  Fbancesoo,  a  native  of  Treviso,  was 
a  pupil  of  Paris  Bordone.  Ridolfi  commends  a 
work  by  him  in  the  dome  of  the  Banca  della  Com- 
pagnia  della  Madonna  at  Treviso,  representing  a 
'  Procession  of  a  Bishop  and  several  Canons,'  which 
is  dated  1572.  Dominici  also  excelled  as  a  portrait 
painter,  but  did  not  survive  his  thirty-fifth  year. 

DONADO,  Adeiano,  a  Spanish  monk  of  the 
order  of  Barefooted  Carmelites  at  Cordova,  painted 
some  excellent  works  for  his  convent.  He  died  at 
a  great  age  in  1630.  The  Lille  Museum  has  a 
'  Flagellation  of  Christ '  by  him. 

DONALDSON,  Andebw,  a  Scotch  landscape 
painter  in  water-colours,  was  born  at  Comber,  near 
Belfast.  Taken  by  his  father,  an  operative  weaver, 
to  Glasgow,  he  met  with  an  accident,  which  event- 
ually led  to  his  devoting  himself  entirely  to  art,  in 
the  pursuit  of  which  he  visited  many  parts  of-  the 
United  Kingdom.  He  died  in  1846  at  Glasgow; 
where  he  had  obtained  a  large  teaching  connection. 
In  the  Glasgow  Corporation  Galleries  there  are  by 
him  the  'Old  Theatre  Royal,  Glasgow,  after  the 
fire  in  1829,'  and  a  '  Scotch  Highland  Village.' 

DONALDSON,  John,  was  born  at  Edinburgh  in 
1737,  and  distinguished  himself  as  a  miniature 
painter,  both  in  enamel  and  water-colours.  In  the 
year  1764,  and  again  in  1768,  he  obtained  the 
premium  given  by  the  Society  of  Arts  for  the  best 
picture  in  enamel.  He  occasionally  amused  him- 
self with  the  point,  and  etched  several  plates  of 
beggars,  after  Rembrandt,  which  possess  consider- 
able merit.     He  died  in  London  in  1801. 

DONATO,  of  Pavia,  flourished  at  the  close  of  the 
fifteenth  century,  and  is  the  author  of  a  '  Christ 
crucified,  between  th,e  Virgin  and  St.  John,'  in  the 
hospital  of  Savona ;  also  of  a  '  Virgin  in  Glory 
with  Saints '  (signed  in  1507),  in  the  Louvre  at  Paris. 

418 


DONATO  VENEZIANO.    See  Veneziano. 

DONADER,  LoEENZ,  was  an  obscure  German 
engraver,  by  whom  there  is  only  known  a  work 
representing  '  St.  Anthony,'  after  Albrecht  Diirer, 
which  he  executed  about  the  year  1539. 

DONDUCCI,  Giovanni  Andrea,  called  II  Mas- 
TELLBTTA,  was  bom  at  Bologna  in  1675.  He 
was  at  first  a  scholar  of  the  Carracci,  but  did  not 
long  remain  under  their  tuition.  His  impetuous 
disposition  disdaining  the  control  of  academic  pre- 
cision, he  attempted  to  establish  a  new  style, 
founded  on  a  spirited  and  graceful  design,  in 
imitation  of  the  works  of  Parmigiano  and  Tiarini, 
which  he  particularly  admired,  and  a  promptness 
of  execution  which  was  natural  to  him.  The  novel 
manner  of  Donducci  was  not  without  its  admirers ; 
and  he  was  employed  in  a  great  number  of  works 
for  the  public  edifices  at  Bologna,  where  are  his 
principal  works.  He  also  painted  landscapes,  which 
were  entirely  in  the  style  of  the  Carracci,  and  were 
much  esteemed,  particularly  at  Rome.  Annibale 
advised  him  to  establish  himself  in  that  city,  and 
to  devote  himself  to  those  subjects ;  a  counsel  by 
no  means  agreeable  to  Donducci.  His  most  admired 
performance  is  his  'St.  Irene  drawing  the  Arrow 
from  the  Breast  of  St.  Sebastian,'  at  the  church  of 
the  Celestines.  He  died  at  Bologna  in  1655.  The 
following  of  his  works  are  also  preserved : 

Bologna.  S,  Dommico.  St.  Dominic  restoring  to  life  the 
Man  killed  by  the  fuiions 
Horse. 

The  Storm. 

The  E«surrection  of  Christ. 

The  Last  Snpper. 

The  Flight  into  Egypt. 

Christ  in  the  Garden. 

Christ  hearing  the  Cross. 

Christ  surrounded  by  Angels. 

Charity. 

Abraham  and  the  Three  Angels. 

Elias  sleeping. 

Portrait  of  a  Painter. 

Finding  of  Moses. 

St.  John  baptizing. 

Christ  and  the  Yixg^  appearing 
to£t.  Francis  of  AssisL 

DONELLI,  Caelo,  called  Caelo  Vimeecati,  who 
was  born  at  Milan  in  1660,  was  a  scholar  of  the 
Procaccini.  He  exhibited  but  few  of  his  pictures 
at  Milan ;  he  painted  more  at  Codogno,  and  in  his 
best  manner.     He  died  in  1715. 

DONGEN,  DiONTS  van,  bom  at  Dort  in  1748, 
was  a  scholar  of  J.  Xavery,  at  the  Hague.  He 
painted  landscapes  and  cattle  in  the  manner  of 
his  master  for  some  time ;  but  having  removed 
with  his  parents  to  Rotterdam,  he  studied  the 
works  of  Paul  Potter,  Cuyp,  Wynants,  and  other 
masters,  which,  with  a  constant  attention  to  nature, 
caused  a  sensible  alteration  in  his  style.  His 
works  found  ready  purchasers  among  the  English, 
French,  and  Germans,  as  well  as  among  his  own 
countrymen.  He  died  at  Rotterdam  in  1819.  In 
the  Stadel  Gallery  at  Frankfort  is  a  'Cattle-piece' 
by  him. 

DONI,  Adonb,  (or  Dono  dei  Doni,)  who  was 
bom  at  Assisi,  early  in  the  16th  century,  is  said  to 
have  been  a  disciple  of  Pietro  Perugino.  His  style 
retained  but  little  of  the  Gothic  manner  of  that 
master,  and  in  his  later  years  he  abandoned  the 
style  of  the  school  of  Raphael,  and  adopted  that  of 
Michelangelo.  He  worked  chiefly  at  Assisi,  and 
after  that  city  most  at  Fuligno,  but  all  trace  of 
his  work  at  the  latter  place  has  disappeared.    He 


„  S.  iSalvatore, 

„  iS.  'Francesco. 

„  /  Me-ndicanti. 

„  S.  Paolo. 

"  T,.  " 

„        Fmacoteea. 
Florence.       Vffizi. 
Modeua.       Museum. 


Paris. 


Sonne 


PAINTERS  AND  ENGRAVERS. 


Doornik 


also  painted  in  Perugia,  and  throughout  Umbria. 
In  the  church  of  San  Francesco,  at  Perugia,  is  a 
picture  by  this  master  of  the  '  Last  Judgment ; ' 
and  one  of  the  '  Adoration  of  the  Kings '  is  in 
San  Pietro  in  the  same  city.  There  are  in  the 
Lower  Church  of  the  Franciscan  Convent  at 
Assisi  frescoes  by  him  representing  the  'Preach- 
ing and  Martyrdom  of  St.  Stephen,'  and  in  the 
small  refectory  is  the  'Last  Supper,'  painted  in 
1573,  which  was  probably  his  last  work.  Doni 
died  at  Assisi  in  1675.  Vasari  is  wrong  in  stating 
that  he  was  a  nephew  of  Taddeo  Bartoli.  In  the 
Berlin  Gallery  there  is  by  him  a  '  Madonna  with  the 
Infant  Jesus,'  who  is  represented  as  reaching  after 
a  book  which  is  in  the  Virgin's  hand. 

DONNE,  W.,  a  Dutch  engraver,  flourished  about 
the  year  1680.  Among  other  prints,  he  engraved 
a  plate  representing  '  Venus  and  Cupid,'  in  a  land- 
scape, with  other  figures  in  the  distance,  after  A. 
Elsheimer.     It  is  etched  in  a  slight,  poor  style. 

DONNEKER.     See  Db  Neckbb. 

DONNET,  S.  This  artist  is  mentioned  by  Strutt 
as  the  engraver  of  a  very  indifferent  print  repre- 
senting a  '  Man  seated,  reading  a  book.' 

DONNINI,  GiEOLAMO,  was  born  at  Correggio  in 
1681,  and  studied  first  at  Modena  under  Francesco 
Stringa,  afterwards  under  Giovanni  Giuseppe  dal 
Sole  at  Bologna,  and  ultimately  at  Forli,  under 
Carlo  Cignani.  He  was  chiefly  employed  in  easel 
pictures,  although  he  occasionally  painted  larger 
works  for  churches.  In  the  Madonna  di  Galiera,  at 
Bologna,  is  an  altar-piece  representing  'St.  Anthony 
of  Padua.'  There  are  some  of  his  works  in  the 
churches  of  the  Romagna,  and  at  Turin,  which  are 
not  unworthy  of  a  scholar  of  Cignani.  In  the 
Mudena  Gallery  are  two  pictures  by  him  of  the 
'  Birth  of  Christ.' 

DONO,  Paolo  di,  called  Paolo  TJccello,  from 
his  love  of  painting  birds,  was  born  at  Florence  in 
1397,  and  in  early  youth  was  apprenticed  to  Lorenzo 
Ghiberti,  the  founder  of  the  famous  bronze  gates 
of  the  Baptistery  of  that  city.  It  is  doubtful  from 
whom  he  learned  to  paint,  or  from  whom  he  acquired 
the  laws  of  perspective  for  which  he  became  so 
famous,  although  it  is  known  that  Manetti  taught 
him  geometry.  Vasari  says  that  he  wasted  so 
much  of  his  time  over  the  study  of  perspective 
"  that  he  became  more  needy  than  famous."  Four 
paintings  of  battle-scenes  executed  by  him  for 
the  Bartolini  family,  at  Gualfonda,  near  Florence, 
are  wonderful  specimens  of  this  artist's  thorough 
knowledge  of  foreshortening  and  perspective. 
Of  these  designs  one  is  in  the  National  Gallery, 
another  is  in  the  UfBzi,  a  third  is  in  the  Louvre, 
and  the  fourth  is  still  in  private  hands  in  Flor- 
ence. The  Louvre  also  possesses  a  panel  by 
this  artist  which  contains  the  portraits  of  Giotto, 
Donatello,  Brunelleschi,  Giovanni  Manetti,  and 
himself,  as  the  representatives  of  painting,  sculp- 
ture, architecture,  mathematics,  and  perspective. 
It  is  certain  that  he  lived  in  Florence  nearly  all 
his  life,  although  during  some  short  period  in  it 
he  may  have  been  at  Padua,  since  Morelli  states 
that  the  frescoes  of  the  palace  of  the  Vitaliani 
were  executed  by  him.  About  the  year  1486  he 
painted  in  the  cathedral  at  Florence  the  colossal 
equestrian  portrait  of  Sir  John  Hawkwood,  the 
adventurer  and  soldier.  This  chiaroscuro  painting, 
which  is  in  terra  verde,  displays  a  wonderful  power 
of  foreshortening  and  proportion,  and  is  intended 
to  imitate  a  stone  statue  seen  aloft  standing  out 
from  the  wall  of  the  church.    His  masterpieces  are 


iS.  Maria 
Novella. ' 

Uffizi. 
Nat.  Gall. 
Louvre. 


the  series  of  frescoes  imitating  bas-reliefs  painted 
from  about  1446  to  1448  in  the  cloisters  of  Santa 
Maria  Novella.  These  paintings  represent  the 
'  Creation  of  Animals,'  the  '  Creation  of  Man,'  the 
'Temptation  of  Eve,'  the  'Expulsion  from  Eden,' 
'  Adam  and  Eve  labouring  by  the  sweat  of  their 
brow,'  the  'Sacrifice  and  Death  of  Abel,'  the 
'  Building  of  the  Ark,'  the  '  Entry  of  the  Animals,' 
the  'Deluge,'  'Noah's  Sacrifice,'  and  the  'Inebriety 
of  Noah.'  Genuine  paintings  by  this  master  are 
very  rare,  although  records  prove  that  he  executed 
several  altar-pieces  for  churches  in  Florence  and 
in  Urbino.  Paolo  died  at  Florence  in  1475.  The 
Soolopi  College,  near  the  church  of  Sant'  Agata,  at 
Urbino,  possesses  a  predella  with  six  subjects  relat- 
ing to  the  theft  of  a  pax,  which  Messrs.  Crowe  and 
Cavalcaselle  consider  to  be  a  genuine  production  by 
Paolo  Uccello.     His  principal  paintings  are : 

Florence.    Cathedral.    Equestrian    Statue    of    Sir    John 
Hawkwood  (Captain-General  of 
the  Florentines,  known  in  Italy 
as  Giovanni  Acuto). — Fresco  exe- 
cuted in  terra  verde. 
f  Subjects  from  the  Book  of  Genesis : 
the  Creation,the  Fall, the  Deluge, 
Noah's    Sacrifice,  &c. — Frescoes 
in  terra  verde  in  the  cloister  ;  most 
,    of  them  in  part  destroyed. 
Battle-piece. 
Iiondou.      Nat.  Gall.   Battle  of  Sant'  Egidio. 
Paris.  Louvre.        Bust  portraits  of    Giotto,  Dona- 

tello,    Brunelleschi,     Giovanni 
Manetti,  and  himself. 
„  „  Battle-piece. 

Urbino.  Scolopi  College.  Legend  of  the  Theft  of  a  Pax. 

DONOSO,  Josef  Ximenez.   See  Ximenez  Donoso. 

DONV^,  Jean  FBANgois,  a  French  painter,  was 
born  at  Saint- Amand  in  1736.  He  was  a  pupil  of 
Louis  Watteau,  and  of  Greuze,  and  so  closely 
imitated  the  style  of  the  latter  that  many  of  his 
pictures  have  been  sold  as  those  of  his  master.  The 
Museum  of  Lille  has  three  portraits  by  him,  one 
being  that  of  Sauvage,  the  enamel  painter,  and  the 
other  two  portraits  of  himself.  He  died  at  Lille 
in  1799. 

DONZELLO,  PiERO  and  Ippolito,  (or  Del  Don- 
ZELLO,)  were  two  brothers,  the  sons  by  different 
mothers  of  Francesco  d' Antonio  di  Jacopo,  bailifE 
('  donzello ')  of  the  Signoria  of  Florence,  and  were 
both  born  in  that  city— Piero  in  1451,  and  Ippolito 
in  1455.  The  teacher  of  Piero  is  unknown.  Ip- 
polito was  the  pupil  of  Neri  di  Bicci  from  1469 
to  1471,  and  the  brothers  were  companions  in  the 
'  Studio '  at  Florence  up  to  1480.  In  1481,  or  soon 
after,  they  went  to  Naples  to  decorate  the  palace 
of  Poggio  Reale,  which  was  ihen  being  built  for 
Alfonso  I.,  from  the  designs  of  Giuliano  da  Majano, 
and  it  is  not  unUkely  that  IppoUto  died  in  that 
city.  Piero  died  at  Florence  in  1509 ;  but  the 
death  of  Ippolito  is  not  registered.  'They  both 
assisted  Antonio  Solario,  called  II  Zingaro,  in  the 
frescoes  in  the  cloisters  of  the  monastery  of  San 
Severino  at  Naples,  and  in  the  Museum  of  that  city 
may  be  seen  two  '  Crucifixions,'  a  'Virgin  and  Child 
with  Saints,'  and  other  paintings  assigned  to  them. 

DOOMER,  Jaques.    See  Domer. 

DOOMS,  Caspar,  an  engraver  in  mezzotint, 
worked  at  Prague  from  1644  to  1675,  and  after- 
wards at  Vienna  and  Mayence.  His  best  known 
plate  is  an  '  Ecce  Homo,'  after  Albrecht  Durer,  now 
very  rare. 

DOORNIK,  Jan  van,  a  painter  of  Leyden,  is 
said  to  have  produced  pictures  in  the  manner  of 

419 


Doort 


A  BIOGRAPHICAL  DICTIONARY  OF 


Borigi 


Wouwennan.  He  also  painted  historical  subjects 
and  portraits.  It  is  not  known  exactly  at  what 
period  he  lived. 

DOORT,  P.  VAN,  was  a  Dutch  engraver,  who 
worked  entirely  with  the  graver,  and  was  a  humble 
imitator  of  the  style  of  Cornelis  Cort.  Among 
other  prints  by  him,  is  one  after  Bernardino  Pas- 
sari,  representing  the  '  Holy  Family,'  in  which  St. 
Elizabeth  is  presenting  an  apple  to  the  Infant  Christ. 

DORBAY,  — ,  a  French  engraver,  flourished  to- 
wards the  end  of  the  17th  century.  He  en- 
graved, among  other  plates,  some  views  of  the 
Royal  Palaces  in  France. 

DORCY,  PiBBRE  Joseph  Dedeeux.    See   Ded- 

BBUX-DOBOT. 

D0R6,  Louis  Chbistophe  Gustave  Paul,  a 
French  historical  painter  and  illustrator  of  books, 
was  born  at  Strassburg  in  1833.  His  name  was 
originally  Doeee,  a  not  unf  requent  German  name, 
which  he  modified  into  the  French  equivalent  by 
which  he  became  so  widely  known.  In  1848,  when 
but  fifteen  years  of  age,  ho  began  to  exhibit  at  the 
Salon  landscape  sketches  in  pen  and  ink  which 
showed  considerable  abUity,  and  in  the  same  year 
he  became  one  of  the  regular  contributors  to  the 
'  Journal  pour  rire.'  He  also  contributed  a  large 
number  of  designs  to  the  'Journal  pour  tous.' 
His  earliest  exhibited  works  were  the  '  Battle  of 
the  Alma,'  in  the  Salon  of  1855,  and  the  '  Battle  of 
Inkermann,'  in  the  Salon  of  1857,  but  his  best  pic- 
ture, and  that  which  first  brought  him  into  notice 
as  a  painter,  was  '  Paolo  and  Francesca  da  Rimini,' 
exhibited  in  1863.  This  was  followed,  among 
others,  by  'The  Titans,'  a  drawing  heightened 
with  white,  in  1866,  and  '  The  Neophyte '  in  1868. 
Dore's  ambition  was  to  win  fame  as  an  historical 
painter,  but  in  this  he  failed.  Although  gifted  with 
marvellous  fertility  of  imagination  and  wonderful 
facility  of  execution,  he  nevertheless  possessed 
grave  defects.  Nowhere  are  his  faults  of  composi- 
tion and  drawing  more  manifest  than  on  the  enor- 
mous canvases  exhibited  in  the  Dor6  Gallery  in 
London.  '  Christ  leaving  the  Prsetorium '  (1867-72) 
and  'Christ's  Entry  into  Jerusalem'  (1876),  each 
measuring  twenty  feet  in  height  and  thirty  feet  in 
length,  are  works  to  which  he  devoted  his  utmost 
energy,  but  which  add  nothing  to  his  reputation. 
Besides'  these  his  most  ambitious  works  were  his 
'  Bcce  Homo  ! '  (1877),  and  '  Moses  before  Pharaoh ' 
(1878-80).  His  '  Tobit  and  the  Angel,'  painted  in 
1865,  is  in  the  Luxembourg  Gallery. 

It  is,  however,  as  a  designer  of  illustrations  for 
books  that  the  wonderful  versatility  of  his  genius 
becomes  most  apparent.  The  designs  for  the 
'  Contes  drolatiques '  of  Balzac,  published  in  1856, 
are  masterpieces  of  caricature,  which  breathe  the 
true  mediseval  spirit.  They  were  preceded  by 
the  illustrations  to '  Rabelais,'  issued  in  1854,  among 
which  that  of  the  '  Monks  of  Seville  '  is  inimitable 
in  its  humour,  and  by  those  to  the  '  Legend  of  the 
Wandering  Jew,'  issued  in  1856.  The  '  Contes 
drolatiques '  and  '  Rabelais '  are  unsurpassed  even 
by  the  designs  for  Dante's  'Inferno,'  terrible  as 
are  the  latter  in  their  weird  imagination.  These 
were  published  in  1861,  accompanied  by  a  blank- 
verse  translation  of  the  text  by  W.  M.  Rossetti, 
and  were  followed  in  the  same  year  by  the  illustra- 
tions to  the  '  Contes  '  of  Perrault,  and  in  1863  by  a 
series  of  designs  for '  Don  Quixote,'  which  are  care- 
ful studies  of  Spanish  life.  The  '  Purgatorio '  and 
'  Paradise '  of  Dante,  completing  the  '  Divina  Com- 
media,'  were  not  published  until  1868.  The  designs 
420  ^ 


for  the  '  Bible  '  (1865-66),  Milton's  '  Paradise  Lob 
(1866),  Tennyson's  'Idyls  of  the  King'  (1867-6J 
La  Fontaine's  'Fables'  (1867),  Hood's  'Poem 
(1870),  Baron  Davillier's  '  Espagne '  (1873),  Coli 
ridge's  '  Ancient  Mariner '  (1876),  Louis  Enauli 
'  Londres '  (1877),  the  '  Orlando  Furioso  '  of  Arios 
(1879),  and  Poe's  'Raven'  (1883)— the  last  woi 
on  which  he  was  engaged — marked  the  grades  in 
constantly  descending  scale  of  genius  and  of  powe 

Dore's  reputation  as  an  artist  does  not  rest  e: 
clusively  on  his  paintings  and  designs.  He  po 
sessed  also  considerable  ability  as  a  sculptor,  an 
was  engaged  upon  the  monument  to  the  eldi 
Dumas  when  death  struck  him  down.  A  colossi 
vase  decorated  with  groups  of  figures  was  sent  b 
him  to  the  Exposition  Universelle  at  Paris  in  1871 

Gustave  Dor^  died  in  Paris  in  1883.    He  leJ 
unfinished  a  series  of  illustrations  to  Shakespear 
and  unaccomplished  the  intention  to   execute 
statue  of  the  great  dramatist.     The  following  ai 
his  most  important  pictures : 

The  Battle  of  the  Alma.    {Salon,  1855.) 

The  Battle  of  Inkermann.     {Salon,  1857.) 

Paolo  and  Francesca  da  Bimini.     {Salmon,  1863.) 

Tobit  and  the  Angel.    1865.     {Luxembourg  Gallery.) 

The  Neophyte.    {Salon,  1868.) 

The  Mountebank's  Family.     {Salon,  1868.) 

Andromeda.    1868. 

The  Triumph  of  Christianity  over  Paganism.    1868. 

Christian  Martyrs.    1871. 

Christ  leaving  the  Praetorium.    1867-72. 

The  Massacre  of  the  Innocents.     1869-72. 

The  Night  of  the  Crucifixion.    1872-73. 

The  Dream  of  Pilate's  Wife.    1873-74. 

Christ's  Entry  into  Jerusalem.    1876. 

Ecce  Homo !    1877. 

The  Ascension.    1879. 

Moses  before  Pharaoh.    1878-80. 

A  Day  Dream.     1882. 

The  Vale  of  Tears.    1882.  E.E.S. 

DORFMEISTER,  Johann  Evangelist,  an  Aus 
trian  landscape  painter,  was  born  in  1741,  and  die( 
in  1765.  A  '  Forest  Party  '  by  him  is  in  the  Vienn 
Gallery. 

DORIGNY,  Louis,  a  French  historical  painte 
and  engraver,  was  a  son  of  Michel  Dopgny,  am 
was  born  in  Paris  in  1654.  His  father  died  whei 
he  was  only  ten  years  of  age,  and  he  was  place( 
under  the  tuition  of  Charles  Le  Brun.  On  leaving 
that  master  he  studied  for  four  years  at  Rome 
visited  Gubbio  and  Foligno,  and  from  thence  wen 
to  Venice,  where  he  resided  for  ten  years,  an( 
executed  many  decorative  paintings.  He  thei 
went  to  Verona,  where  he  passed  the  rest  of  hi 
life,  and  gave  proof  of  his  ability  as  a  painte 
both  in  oil  and  in  fresco.  In  1704  he  visited  Parii 
and  became  a  candidate  for  admission  into  thi 
Academy,  but  was  excluded  through  the  influenci 
of  the  architect  Mansard.  In  1711  he  was  sum 
moned  to  Vienna  by  Prince  Eugene,  in  whosi 
palace  he  painted  the  ceilings  of  the  grand  stair 
case  and  of  some  other  apartments.  He  died  ai 
Verona  in  1742.  His  '  Susannah  and  the  Eldeis 
is  in  the  Bordeaux  Museum.  He  executed  som( 
etchings  in  a  free,  painter-like  style,  among  whiol 
are  the  following : 

A  set  of  thirty-two  vignettes,  with  the  title,  from  hii 
own  designs,  for  an  Italian  edition  of  the  '  Pensfe 
Chrfitiennes '  of  Pere  Bouhouis. 

Six  subjects  from  Ovid's  Metamorphoses. 

Five  Emblems  of  Horace ;  the  designs  for  three  of  thess 
are  in  the  Louvre. 

A  View  of  the  Amphitheatre  at  Verona. 

The  Descent  of  the  Saracens  at  the  Port  of  Ostia ;  aft" 


Dorigny 


PAINTERS  AND  ENGRAVERS. 


Dorrell 


DORIGNY,  Michel,  a  French  painter  and  en- 
graver, was  born  at  St.  Quentin  in  1617,  and  was 
brought  up  under  Simon  Vouet,  whose  daughter 
he  married.  He  painted  historical  subjects  in  the 
style  of  his  master ;  and  some  of  his  pictures  are  in 
the  chateau  of  Vincennes.  His  '  Flora  and  Zephyr ' 
is  now  in  the  Louvre,  and  an  '  Allegory '  by  him 
is  in  the  Madrid  Gallery.  He  is,  however,  better 
known  as  the  engraver  of  several  plates  etched  in 
a  bold,  spirited  style,  but  with  a  considerable 
degree  of  harshness  in  the  efEect  which  is  very 
disagreeable.  Dorigny  died  in  Paris  in  1665.  The 
following  are  his  principal  plates,  all  of  which  are 
after  the  pictures  of  Simon  Vouet : 

The  Holy  Family.     1649. 

The  Nativity. 

The  Adoration  of  the   Magi;  in  four  sheets,  in  the 

manner  of  a  frieze. 
Jupiter  giving  Apollo  the  conduct  of  the  Chariot  of  the 

Sun. 
Apollo  killing  the  Python. 
Peace  descending  on  the  Earth. 
Venus  at  her  Toilet. 
Venus,  Cupid,  and  Hope,  plucking  Feathers  from  the 

Wings  of  Time. 
Mercury  and  the  Graces. 
Iris  cutting  the  hair  of  Dido. 
The  Eape  of  Europa. 

He  also  engraved  from  his  own  designs  ; 

A  set  of  Six  Bacchanalian  subjects. 
A  Caricature  of  the  architect  Mansard,  entitled  '  La 
Mansarde.' 

DORIGNY,  Sir  Nicolas,  a  French  engraver,  was 
the  youngest  son  of  Michel  Dorigny,  and  was  born 
in  Paris  in  1658.  He  was  brought  up  to  the  bar,  and 
followed  that  profession  until  he  was  thirty  years  of 
age,  when,  in  consequence  of  deafness,  he  turned 
his  thoughts  to  the  »rts,  and  visited  Italy,  where 
he  remained  twenty-eight  years.  His  first  plates 
were  executed  with  the  point ;  and  if  we  were  to 
judge  of  his  talent  by  his  early  prints,  his  reputa- 
tion would  be  very  short  of  that  which  he  acquired 
by  a  union  of  the  point  and  the  graver  in  his  later 
productions.  He  took  for  his  model  the  admirable 
works  of  Gerard  Audran ;  and  although  he  by  no 
means  equalled  that  celebrated  artist,  either  in  the 
style  of  his  drawing,  or  in  the  picturesque  efEect 
of  his  light  and  shade,  his  prints  will  always  be 
esteemed  both  for  their  merit  as  engravings  and 
for  the  importance  of  the  subjects  of  which  he 
made  choice.  In  1711  he  was  invited  to  England 
by  Queen  Anne  to  engrave  the  Cartoons  of  Raphael 
at  Hampton  Court,  which  he  finished  in  1719, 
and  in  the  following  year  he  was  knighted  by  King 
George  I.  Whilst  be  was  in  England  he  painted 
some  portraits  of  the  nobility,  but  with  no  great 
success.  He  returned  to  France  in  1725,  and  was 
received  into  the  Academy  in  the  same  year.  He 
exhibited  some  pictures  of  sacred  subjects  at  the 
Salon  from  1739  to  1743,  and  died  in  Paris  in  1746. 
The  following  are  his  principal  prints : 
Kine  plates  of  the  Seven  Planets,  and  the  Creation  of 

the  Sun  and  Moon ;  after  the  paintings  by  Raphael 

in  the  Ohigi  Chapel  in  La  Madonna  del  Popolo. 
The  Cartoons  at  Hampton  Court ;  after  the  same  ;  eight 

plates,  including  the  title. 
The  Transfiguration ;  after  the  same. 
The  History  of  Cupid  and  Psyche,  and  the  Triumph 

of  Galatea,  twelve  plates,  including  the  title ;  after 

the  paintings   from  the  designs  of  Maphael,  in  the 

Farnesina. 
The  Descent  from  the  Cross ;  after  Danielle  da  Volterra. 
St.  Peter  and  St.  John  heaUng  the  Lame  Man  at  the 

Gate  of  the  Temple ;  after  L.  Cigoli. 


The  Martyrdom  of  St.  Sebastian  ;  after  Domenichino. 

The  Martyrdom  of  St.  Petronilla  ;  after  Guerciiio. 

St.  Francis  kneeling  before  the  Virgin  and  Child ;  after 

A.  Carracci. 
St.  Catharine  in  Meditation ;  after  Carlo  Cignani. 
St.  Peter  walking  on  the  Sea ;  after  Lanfranco. 
The  Virgin  and  Child,  with  St.  Charles  Borromeo  and 

St.  Liborius ;  after  B.  Lamherti. 
The  Trinity  ;  after  Guido  Rem. 
The  Birth  of  the  Virgin ;  after  Carlo  Maratti. 
The  Adoration  of  the  Magi ;  after  the  same. 
The  Virgin  and  Child,  with  St.  Charles  Borromeo  and  St. 

Ignatius ;  after  the  saTJie. 
Eight  plates  of  the  paintings  in  the  Cupola  of  St.  Agnes ; 

after  Giro  Ferri. 

DORN,  Joseph,'  was  born  at  Gratz-Sambach, 
near  Pommersfelden  in  1759,  and  studied  in  the 
galleries  of  Munich,  Vienna,  and  Diisseldorf.  He 
copied  to  deception  the  cabinet  pictures  of  Frans 
van  Mieris,  Gerard  Dou,  Terborch,  Van  der  Werffi, 
and  others,  and  was  particularly  celebrated  for 
his  skill  in  restoring  old  paintings.  He  died  at 
Bamberg  in  1841.  His  wife,  Rosalie  Doen,  ex- 
celled in  portrait  painting ;  she  was  the  daughter 
of  the  historical  painter  Treu. 

DORNER,  Johann  Jakob,  the  elder,  who  was 
bom  at  Bhrenstetten,  near  Freiburg  in  Breisgau,  in 
1741,  was  at  first  a  pupil  of  Rosoh  at  Freiburg  and 
of  Ignaz  Bauer  at  Augsburg.  He  afterwards  visited 
Italy,  the  Netherlands,  and  Paris ;  and  excelled  as  a 
painter  of  historical  and  genre  subjects.  He  was  a 
professor  and  director  of  the  Gallery  at  Munich  in 
1770,  and  died  in  that  city  in  1813.  In  the  Darm- 
stadt Gallery  is  a  picture  of  '  Two  Soldiers  and  a 
Maiden '  by  him ;  and  in  the  Pinakothek  at  Munich, 
a  '  Linen  Draper,'  which  is  a  portrait  of  his  wife, 
dated  1775. 

DORNER,  Johann  Jakob,  a  Bavarian  landscape 
painter,  the  son  of  Johann  Jakob  Dorner  the  elder, 
was  born  at  Munich  in  1775.  He  was  instructed 
in  art  by  his  father  and  by  Mannlioh,  but  he 
afterwards  studied  the  works  of  Claude  Lorrain 
and  Karel  Du  Jardin.  He  travelled  by  himself 
through  the  picturesque  regions  of  Bavaria,  Switz- 
erland, and  France.  His  works  are  distinguished 
for  spirited  composition  and  taste  in  their  execu- 
tion. In  1803  he  became  Restorer,  and  in  1808 
Inspector  of  the  Royal  Gallery  at  Munich,  and 
was  subsequently  elected  a  member  of  the  Aca- 
demies of  Hanau,  Vienna,  Berlin,  and  Munich. 
He  died  at  Munich  in  1852.  The  following  works 
by  him  are  in  public  collections  : 

Berlin.  Gallery.        A  Forest  Eoad.    1817. 

Cassel.  Gallery.        Two  "Waterfalls. 

Munich.     Pinakothek.    View  of  the  Walchensee,  in  the 
Mountains  of  Upper  Bavaria. 
„  „  Waterfall,  with  a  Huntsman. 

„  „  Landscape  and  Mill  near  Basing. 

„  „  Landscape  in  the  Tyrol  during  a 

Thunderstorm. 

DORNER,  Johann  Konead,  an  Austrian  painter, 
was  bom  at  Egg,  near  Bregenz,  in  1810,  and 
studied  historical  painting  under  Cornelius.  In 
1836  he  went  to  St.  Petersburg,  and  there  painted 
many  portraits  and  altarpieoes.  He  afterwards 
returned  to  Munich,  and  in  1860  went  to  Rome, 
where  he  died  in  1866.  He  executed  his  best 
works  whilst  in  Rome ;  they  are  mostly  of  a  re- 
ligious character.  A  'Madonna  and  Child,  with 
St.  John,'  and  the  'Infant  Christ'  are  in  the 
Pinakothek  at  Munich. 

DORRELL,  Edmund,  an  English  water-colour 
landscape  painter,  was  bom  at  Warwick  in  1778. 


Dorste 


A  BIOGRAPHICAL   DICTIONARY   OF 


Sou 


He  exhibited  at  the  Royal  Academy  from  1807  to 
1828,  and  at  the  Water-Colour  Society  from  1809  to 
1818.  He  died  in  London  in  1867.  There  are  by 
him  at  the  South  Kensington  Museum : 

On  the  Thames. 

Landscape,  with  cottage,  church,  figures,  &c. 

Fisherman  and  Boats,  Mount  Bdgcumbe. 

Crowhurst,  near  Hastings. 

View  from  Box  TTill. 

DORSTE,  I.  V.  This  signature  appears  on  a 
profile  portrait  of  a  Man,  in  the  Dresden  Gallery, 
which  by  Vosmaer  is  ascribed  to  Geraert  Drost. 

DOSSI,  Battista,  was  an  Italian  painter  of 
landscapes  and  caricatures,  who  was  a  scholar 
of  Lorenzo  Costa,  and  worked  mostly  in  conjunc- 
tion with  his  brother  Giovanni.  In  the  Costabili 
Gallery  at  Ferrara  are  four  landscapes  by  hira ; 
and  in  San  Pietro  at  Modena  are  other  works  by 
him.  He  also  executed  two  fantastic  landscapes 
which  are  in  the  Palazzo  Borghese  at  Rome,  and 
assisted  Raphael  for  a  short  time  in  1520.  He 
died  in  1548.  The  UfSzi,  Florence,  has  a  '  Female 
Saint '  by  him. 

DOSSI,  Giovanni,  commonly  called  Dosso  Dossi, 
and  sometimes  Giovanni  di  Nicol6  di  Luteeo, 
appears  to  have  been  bom  about  the  year  1479  in 
the  vicinity  of  Ferrara.  His  surname  is  supposed 
to  have  been  derived  from  the  village  of  Dosso,  in 
the  province  of  Ferrara.  He  was  in  1512  a  disciple 
of  Lorenzo  Costa  in  Mantua.  He  afterwards,  with 
his  brother  Battista,  visited  Rome  and  Venice,  and 
they  there  passed  eleven  years,  studyingthe  works  of 
Giorgione  and  Titian,  till  they  formed  a  style  which 
may  be  called  their  own,  and  which,  although  not 
totally  divested  of  the  Gothic,  is  distinguished  by 
originality  of  invention,  and  great  harmony  of  colour. 
Giovanni  excelled  in  painting  figures,  in  which  Bat- 
tista was  less  successful ;  but  Battista  distinguished 
himself  as  a  painter  of  landscape,  in  which  Lomazzo 
considers  him  little  inferior  to  Gaudenzio  Ferrari, 
Pordenone,  and  even  Titian.  The  brothers  were 
much  employed  by  Alfonso  I.,  Duke  of  Ferrara,  and 
by  his  successor,  Brcole  II.  They  painted  the 
cartoons  for  the  tapestries  in  the  cathedral  at 
Ferrara,  and  for  those  in  the  church  of  San  Fran- 
cesco, and  in  the  ducal  palace  at  Modena.  Several 
of  Dosso  Dossi's  frescoes  are  still  to  be  seen  in 
the  ducal  palace  at  Ferrara,  but  others  were 
destroyed  by  fire  in  1718.  He  excelled  in  portraits 
as  well  as  historical  subjects,  and  painted  that 
of  Ariosto,  who  employed  hira  to  make  designs 
for  his  'Orlando  Furioso.'  The  poet  has  cele- 
brated the  names  of  the  Dossi  by 
enrolling  them  with  those  of  Leon- 
ardo da  Vinci,  Michelangelo,  Raphael, 
and  Titian.  Dosso  Dossi  died  at  Ferrara  in  1542. 
The  following  paintings  by  him  are  known : 

Berlin. 


The  Fathers  of  the  Church  in 
meditation  on  the  Mystery  of 
the  Immaculate  Conception  of 
the  Virgin. 
Bergamo.        Museum.    Portrait  of  a  Man. 
Dresden.  Gallery.    The  Virgin  and  God  the  Father 

in   one  Glory,  with  the  Four 
Doctors  of  the  Church  below. 
Ferrara.  Certosa.     The  Virgin  and  Child,  with  St. 

John  and  two  other  Saints. 
„         S.  Agastino.    The  Crucifixion,  with  the  Virgin, 
St.  John,  and  St.  Augustine. 
The  Virgin  enthroned,  crowned 
by  Angels. 
»  «  St.  John  at  Patmos. 

",  „„  !>  The  Annunciation. 

422 


Musemn. 


Ferrara. 


Museum. 


») 

Ducal  Pal. 

Florence. 

UJizi. 

n 

London. 
Milan. 

Fitti  Fal. 

Nat.  Gal. 

Brera. 

» 

Amtrodana. 

Modena. 

Cathedral. 

j» 

Carmine. 

S.  Pietro. 
Gallery. 

Paris. 


Louvre. 


Some.     Borghese  Pal. 

„  Doria  Fal. 

Vienna.  Gallery. 


Madonna  with  Saints.  {A  very 
large  picture  in  Jive  compart- 
ments, from  S.  Andrea.) 

Decorative  paintings  with  three 
Bacchanals. 

The  Hours  of  the  Day. 

Massacre  of  the  Innocents. 

His  own  Portrait. 

Repose  in  Egypt, 

Adoration  of  the  Magi. 

A  Sainted  Bishop  with  two  Angels 
1536. 

Mary  Magdalen  washing  Christ's 
feet. 

Virgin  in  Glory  adored  by  Saints. 
1522. 

A  Dominican  Saint  and  a  Woman 
{allegorical). 

Assumption  of  the  Virgin. 

The  Nativity. 

Virgin  adored  by  SS.  George  and 
Michael. 

Several  Portraits,  among  them 
that  of  Alfonso  I.  of  Terrara 
{in  the  style  of  Titian). 

Holy  Family. 

St.  Jerome. 

Circe. 


St.  Jerome. 


DOSSIER,  Michel,  a  French  engraver,  was  bom 
in  Paris  in  1684,  and  died  in  the  same  city  in  1750. 
He  was  a  pupil  of  Pierre  Drevet,  and  engraved 
but  a  very  few  plates,  the  best  known  of  which  is 
'  Vertumnus  and  Ponjona,'  after  Rigaud,  the  figure 
of  Pomona  being  a  portrait  of  Anne  Varice  de 
Valliere,  wife  of  Jean  Neyret  de  La  Ravoye.  The 
following  may  also  be  mentioned : 

The  Marriage  of  the  Virgin  ;  after  Jouvenet 

Christ  healing  the  two  Blind, Men  at  Jericho;  after 

Colomhel. 
Christ  driving  the  Money-Changers  ont  of  the  Temple ; 

after  the  same. 
The  Supper  at  the  house  of  Simon  the  Pharisee ;  after 

the  same. 
Jean  Baptiste  Colbert,  Marquis  of  Torcy ;  after  Eigaud. 

DOU,  Gekabd,  was  bom  at  Leyden  in  1613,  in 
the  same  year  and  the  same  city  which  had  the 
glory  of  claiming  Rembrandt  as  citizen.  His  father, 
Douwe  Janszoon  de  Vries  van  Arentsvelt,  who  was  a 
glazier,  allowed  his  son  to  follow  the  path  to  which 
the  boy's  instincts  led  him,  and  apprenticed  him, 
in  1622,  to  the  studio  of  the  engraver,  Bartholo- 
meus  Dolendo.  Here  young  Gerard  spent  some 
time  in  mastering  the  art  of  drawing.  After  quit- 
ting the  engraver's  desk  he  went,  in  1624,  into  the 
workshop  of  Pieter  Kouwenhoven,  a  painter  on 
glass,  and  in  1628  he  entered  the  studio  of  the 
great  Rembrandt  van  Ryn,  but  he  borrowed  little 
of  his  master's  style  and  manner.  Dou's  talent 
was  all  his  own ;  his  pictures,  though  small,  are 
superb  specimens  of  the  art,  finished  with  care,  and 
true  to  nature. 

After  setting  up  for  himself,  Dou  is  reported  to 
have  worked  at  portrait  painting ;  but  his  maimer 
was  too  slow  and  laboured  to  please  his  sitters,  and 
he  then  took  as  subjects  for  his  paintings  the 
scenes  of  humble  industry  that  the  neighbouring 
market-place  afforded,  and  interiors  graced  by 
buxom  maids. 

No  details  have  been  handed  down  to  us  of  Don  s 
life.  It  was  probably  passed  happily  and  quietly 
at  his  work.  He  resided — with  the  exception  of 
two  gaps,  from  1651  to  1657,  and  again  from 
1668  to  1672— in  his  native  city.  That  he  was 
a  prosperous   man    is  to  be  inferred   from  to^ 


Dou 


PAINTERS  AND  ENGRAVERS. 


Doughty 


large  sums  for  whicli  he  sold  his  paintings.  The 
wealthy  connoisseur  Van  Spiring  gave  Dou  an 
annual  donation  of  a  thousand  florins  merely  to  be 
allowed  to  have  the  first  choice  of  the  pictures 
that  the  artist  had  completed  at  the  close  of  every 
year.  Besides  this  annual  grant.  Van  Spiring  paid 
the  ordinary  price  like  any  other  purchaser  for  the 
pictures  which  he  chose. 

Gerard  Dou  died  at  Leyden  in  1675,  and  was 
buried  in  the  church  of  St.  Peter.  Among  his 
pupils  and  followers  were  Frans  van  Miens, 
Schalcken,  Gabriel  Metsu,  and  Van  Slingeland. 
The  following  are  his  principal  works : 

Amsterdam.  Museum.    Portrait  of  Himself, 
„  „  The  Night  School. 

„  „  The  Hermit. 

„  „  Curiosity. 

„  „  Portraits  of  Pieter  van  der  Werf, 

Burgomaster  of  Leyden,  and 
his  Wife.      (The  portraits  are 
hy  DoUf  the  landscape  hy  Claes 
Fietersz  Berchem.) 
„  Six  Coll.       The  Dentist. 

„  „  A  Girl  at  a  "Window.    1667. 

„  „  A  Candle-light  Effect. 

„    Van  der  Hoop  C.  A  Fish-woman. 
Berlin.  Gallery.     The  Penitent  Magdalen.    1656. 

„  „  Portrait  of  an  Old  'Woman. 

„  „  The  Store-room. 

Brussels.        Gallery.     Portrait  of  Himself. 

„         Arenterg  Coll.  An  Old  'Woman  sitiang  at  a  table 
covered  with  Grold. 
Cassel.  Gallery.     Bust  Portrait  of  an  Old  Man,  with 

a  blue  feather  in  his  hat. 
Copenhagen.  Gallery.     A  Doctor. 

„  „  A  Maid.    1658? 

„  „  Bust  Portrait  of  a  'Woman. 

Dresden.        Gallery.     Portrait  of  Himself.     1647. 

„  „  A  Grey  Cat  on  a  Window-sill ;  in 

the  back-ground,  Dou  before 
his  easel.    1657. 
„  „  A    Girl    plucking   Grapes  at  a 

Window.    1658. 
„  „  Gerard  Dou  playing  the  'Violin. 

1665. 
„  „  A    School-maater    mending   his 

Pen.    1671. 
„  „  The  Dentist,  with  a  Boy,  whose 

tooth    he  has  just  extracted. 
1672. 
>,  „  A  Hermit  praying. 

And  nine  others. 
Dulwich.        Gallery.      A  Lady  playing  on  the  Virginal, 
Florence.        Uffizi.  Portrait  of  Himself .    1618. 

„  „  The  Pan-cake  Seller. 

Hague.         Gallery.        The  Young   Tailoress  (or,   The 
Young  Mother).     1658. 
„  „  A    Young    Woman    holding    a 

Lamp. 
London.         Nat.  Gal.    Portrait  of  Himself. 
„  „  Portrait  of  his  Wife. 

„  „  The  Poulterer's  Shop. 

„    Buckingham  Fal.  An  Old  Man. 
„  „  A  Kitchen-Maid.    1646. 

„     Bridgewater  So.  TheTriolui  Player.      1637. 
„  „  Portrait  of  Himself. 

„     Nbrthtrook  Coll.  A  Lady  playing  the  Spinet. 
„       Bute  Collection.  An  Old  Man  reading. 
Mimich,  Gallery.     A  Beggar  asking  Alms  of  an  Old 

Woman  selling  Vegetables. 
„  „  The  Bakeress. 

„  „  Portrait  of  Himself.    1663. 

And  eleven  others. 
Paris.      Louvre.  The  Dropsical  Woman.    1663. 

„  „  ASilverEwerandSalver.  (Painted 

on  the  shutter  of  an  elony  hox 
which   formerly  contained    the 
painting  of '  The  Dropsical  Wo- 
tnan.') 
„  „  The  Village  Grocer.    1647. 

„  „  The  Trumpeter. 

The  Dutch  Cook. 


Paris.       Louvre.  A  Woman  hanging  up  a  Cock  at 

a  Window.     1650. 
„  The  Gold-weigher.     1664. 

■   „  „  The  Dentist. 

,j  Beading  the  Bible.     (The  old  man 

"  and  woman  represented  are  said 

to  be  portraits  of  Gerard  Sou's 
father  and  mother.) 
Portrait  of  Himself,  at  a  Window, 
"  holding  his  Palette  andBrushes. 

„  Portrait  of  an  Old  Woman  read- 

ing at  a  Table. 
Petersburg.  Hermitage.   A  Doctor  and  an  Old  Woman. 
„  „  The  Herring-seller. 

„  Portrait  of  Himself.     1665. 

„  „  A  Young  Peasant  Woman  pre- 

paring to  bathe. 
„  „  A  Young    Soldier   preparing  to 

bathe. 
„  „  A  Young  Woman  combing  her 

hair  by  the  side  of  a  river. 
And  six  others. 
Vienna.  Gallery.    The  Doctor  and  an  Old  Woman. 

1653. 
„  „  AnOldWomanwateringFlowers. 

„  Czernin  Coll.    Portrait  of  Himself. 

„  „  A  Party  playing  at  Cards. 

„        Liechtenstein  C.  Portrait  of  Himself. 

DOUDYNS,  WiLLBM,  a  Dutch  painter,  was  born 
at  the  Hague  in  1630.  He  was  of  a  distinguished 
family,  and  followed  the  art  rather  as  an  amateur 
than  a  professor ;  but  with  a  zeal  that  enabled  him 
to  reach  a  reputable  rank  among  the  painters  of 
his  country.  After  receiving  some  instruction 
from  an  obscure  artist,  named  Alexander  Petit, 
he  travelled  to  Italy,  where  he  passed  twelve  years 
studying  the  best  productions  of  the  art,  and  ac- 
quired a  correctness  of  design  and  an  elevation  of 
taste,  which  distinguish  his  works.  On  his  return 
to  Holland,  he  executed  several  fresco  paintings, 
particularly  decorations  for  ceilings,  in  which,  from 
his  perfect  knowledge  of  foreshortening,  he  ex- 
celled. Some  of  his  works  of  that  description  are 
in  the  town-hall  at  the  Hague.  Two  of  his  most 
admired  easel  pictures  were  in  the  possession  of  » 
M.  Van  Heteren,  representing  '  Time  discovering 
Truth,'  and  'Wisdom  triumphing  over  Vice  and 
Intemperance.'  Doudyns  was  one  of  the  founders 
of  the  Academy  at  the  Hague,  of  which  he  was 
appointed  the  director.     He  died  in  1697. 

DOU:^,  Claude  and  Jean.     See  De  Hoet. 

DOUBT,  — ,  a  French  engraver  on  wood,  flour- 
ished about  the  year  1530.  Papillon  notices  a 
woodcut  executed  by  him,  representing  the  '  Virgin 
Mary  and  the  Infant  Christ,'  after  Andrea  del 
Sarto. 

DOUFFET,  Geeaeet,  (Doufiet,  or  Dupfeit,) 
was  born  at  Li^ge  in  1594,  and  studied  for  some 
time  at  Antwerp  in  the  school  of  Rubens,  and 
afterwards  in  Italy.  He  composed  and  designed 
with  good  taste,  and  his  historical  pictures  are 
much  esteemed.  '  Pope  Nicholas  V.  at  the  Tomb 
of  St.  Francis  of  Assisi '  (painted  in  1627),  '  St. 
Helena  and  the  true  Cross '  (painted  for  the  Abbey 
of  St.  La-wrence,  Liege),  and  two  male  portraits 
(one  dated  1624),  are  in  the  Munich  Gallery.  He 
died  at  Lifege  in  1660. 

DOUGHTY,  Thomas,  one  of  the  earliest  native 
landscape  painters  of  America,  was  born  at  Phila- 
delphia in  1793.  He  abandoned  mercantile  pursuits 
for  art  in  1820,  worked  also  in  London  and  Paris, 
and  died  in  New  York  in  1856.  In  the  Edinburgh 
Museum  is  a  '  View  on  the  Schuylkill '  by  him. 

DOUGHTY,  William,  a  painter  and  engraver,  was 
a  native  of  York.  In  1776  he  became  a  pupil  of  Sir 
Joshua  Reynolds,  and  after  an  unsuccessful  attempt 

423 


Souven 


A  BIOGRAPHICAL   DICTIONARY  OF 


Doyle 


as  a  portrait  painter  in  Ireland,  he  in  1779  settled 
down  in  London ;  but  in  the  following  year  he  set 
sail  for  Bengal,  having  just  married  a  servant  girl, 
from  Reynolds's  house.  His  ship,  however,  was 
captured  by  the  French  and  Spaniards,  by  whom 
he  was  brought  to  Lisbon,  where  he  died  in  1782. 
Two  paintings  which  he  exhibited  were  a  '  Circe ' 
and  a  portrait  of  Sir  Joshua  Reynolds  ;  but  he  was 
more  successful  with  his  etchings  and  mezzotint 
portraits,  among  which  are  the  following : 

Thomas  Beckwith,  the  Antiquary  of  York. 
Thomas  Gray,  the  Poet. 
Admiral  Keppel ;  after  Sir  Joshua  Beyruilds. 
William  Mason,  the  Poet;  after  the  same. 
Mary  Palmer,  the  niece  of  Sir  Joshua  Reynolds,  after- 
wards Marchioness  of  Thomond  ;  after  the  same. 
Dr.  Samuel  Johnson  ;  after  the  same. 

DOUVEN,  Johannes  Francisots  van,  was  born 
at  Roermond,  in  the  Duchy  of  Guelders,  in  1656. 
His  father  dying  when  he  was  young,  he  was 
placed  under  the  care  of  a  painter  of  Li^ge,  named 
Gabriel  Lambertin,  who  had  studied  in  Italy,  and 
had  formed  a  collection  of  studies  and  drawings, 
which  were  of  great  utility  to  the  progress  of  his 
pupil.  On  leaving  that  master  he  was  taken  into 
favour  by  a  Spanish  nobleman  residing  at  Roermond, 
who  possessed  a  valuable  collection  of  the  Italian 
school.  He  was  permitted  to  copy  and  study 
these,  and  they  were  a  mine  of  instruction  to  the 
young  artist.  His  first  essays  were  in  historical 
painting ;  and  he  would  probably  have  distin- 
guished himself  in  that  branch,  had  not  the  flatter- 
ing invitation  he  received  from  the  Elector  induced 
him  to  visit  Diisseldorf,  where  he  painted  the 
portraits  of  that  prince  and  the  principal  personages 
of  his  court,  and  was  appointed  principal  painter  to 
the  elector.  This  success  seems  to  have  inclined 
his  future  course  chiefly  to  portrait  painting ;  and 
his  talents  were  emjjoyed  at  almost  every  court  in 
Germany,  where  he  received  many  honourable 
marks  of  favour  and  distinction.  He  was  also 
patronized  at  the  court  of  Tuscany,  where  the 
Grand  Duke  placed  his  portrait  in  the  Florentine 
Gallery.  He  occasionally  painted  easel  pictures  of 
historical  subjects,  which  were  correctly  drawn  and 
well  composed.  Douven  died  at  Diisseldorf  in 
1727.     The  following  pictures  are  by  him  : 

Cassel.  Gallery.    Susannah  and  the  Elders.    1725. 

„  „  Bathsheba  bathing, 

>)  „  Clement  Augustus,  Elector  of  Co- 

logne. 
Florence.  Ufflzi.    Portrait  of  Elizabeth  Haurey. 

;j  „        Portrait  of  Himself. 

>i  „        St.  Anne  teaching  the  Yirgin. 

))  „        Portrait  of  Maria  Luisa  de'  Medici. 

Munich.        Gallery.    Portrait  of  the  Elector  Palatine, 
John  "William. 
»  »  Portrait  of  a  young  Elector  Pala- 

tine. 

His  son,  Baetholomeus  van  Douven,  bom  at 
Diisseldorf  in  1688,  painted  in  the  manner  of  A. 
van  der  WerfB.  He  was  employed  at  the  court  of 
the  Elector  of  Cologne,  and  excelled  in  the  execution 
of  portraits.  The  Cassel  Gallery  has  a  picture  of 
the  '  Three  Graces '  by  him,  and  in  the  palace  at 
Cassel  is  a  '  Holy  Family,'  known  as  '  La  Vierge 
aux  cferises,'  which  was  taken  to  Paris  by  the 
French,  but  returned  in  1815.  There  is  by  him  in 
the  Dffizi  Gallery  at  Florence  a  picture  containing 
medallion  portraits  of  the  Elector  Palatine  John 
Wilham,  and  his  wife  Maria  Luisa  de'  Medici, 
copied  from  the  original  by  Van  der  Werfi  in  the 
Munich  Gallery 
424 


DOUW,  Simon  van,  flourished  at  Antwerp,  where 
he  was  free  of  the  Guild  of  St.  Luke  in  1653-54. 
In  the  Lille  Museum  is  a  '  Landscape  with  figures ' 
by  him,  signed  and  dated  1677. 

DOW,  Gekaed.    See  Don. 

DOWNES,  Beenaed,  an  English  portrait  painter, 
flourished  in  the  latter  half  of  the  18th  century. 
He  exhibited  at  the  Royal  Academy  from  1770  to 
1775,  and  at  the  Incorporated  Society  of  Artists, 
of  which  he  was  a  member.    He  died  before  1780. 

DOWNMAN,  John,  an  English  portrait  and 
historical  painter,  was  born  in  Devonshire  in  the 
middle  of  the  18th  century.  He  studied  under 
West,  and  in  the  schools  of  the  Academy,  of  which 
he  became  an  Associate  in  1795.  He  practised 
his  profession  successively  at  Cambridge,  London, 
Plymouth,  Exeter,  Chester,  and  at  Wrexham,  where 
he  died  in  1824.     Amongst  his  works  are : 

A  Lady  at  work.    1770. 

The  Death  of  Lucretia.    1773. 

Eosalind  (painted  for  the  "  Shakespeare  Gallery  "). 

The  Priestess  of  Bacchus. 

The  Eetum  of  Orestes. 

Tobias. 

Miss  Farren  and  Mr.  King  in  character. 

DOYEN,  Gabriel  Fean^gis,  a  French  historical 
painter,  was  born  in  Paris  in  1726.  Before  he  had 
attained  his  twelfth  year  he  entered  the  studio  of 
Carle  van  Loo,  and  in  1746  obtained  the  'grand 
prix  de  Rome.'  On  his  return  to  Paris  in  1755,  he 
at  once  established  his  reputation  by  his  '  Death  of 
Virginia,'  exhibited  at  the  Salon  of  1759,  in  which 
year  he  was  received  into  the  Academy  upon  his 
picture  of  '  Jupiter  attended  by  Hebe.'  He  became 
a  professor  in  1776,  and  about  this  time  he  was 
employed  to  decorate  the  chapel  of  St.  Gr^goire  at 
the  Invalides.  In  1791  he  went  to  Russia,  where 
he  was  greatly  honoured  by  Catharine  II.  and  Paul 
I. ,  for  whom  he  executed  many  ceilings  and  other 
works.  He  was  also  appointed  director  of  the 
Academy  at  St.  Petersburg,  in  which  city  he  died 
in  1806.  His  best  works  are  'The  Triumph  of 
Amphitrite,'  now  in  the  Louvre,  and  '  The  Descent 
of  the  Holy  Spirit,'  in  the  chapel  of  St.  Genevieve 
in  the  church  of  St.  Roch  in  Paris.  The  sketch 
for  the  latter  is  in  the  Louvre.  The  Darmstadt 
Gallery  possesses  his  '  Adoration  of  the  Kings.' 

DOYEN,  Lb.    See  Le  Doten. 

DOYEN,  PiEERE  Gabeiel,  a  French  painter, 
was  bom  in  Paris  in  1723,  and  died  there  in  1799. 
He  was  a  member  of  the  Academy  of  St.  Luke, 
and  may  therefore  be  presumed  to  have  been  not 
entirely  devoid  of  talent. 

DOYLE,  John,  a  caricaturist,  well-known  as 
'  H.B.,'  was  born  in  Dublin  in  1797.  At  an  early 
age  he  studied  under  an  Italian  landscape  painter 
named  Gabrielli,  and  also  became  a  student  in  the 
Dublin  Society's  Drawing  Academy  and  a  pupil  of 
Comerf  ord.  About  1822  he  came  to  London,  where, 
not  succeeding  very  well  as  a  portrait  painter,  he 
produced  by  lithography,  and  published,  likenesses 
of  the  leading  men  of  the  day ;  among  others  the 
Duke  of  Wellington  on  a  white  charger,  and  the 
Duke  of  York.  From  this  time  he  chiefly  em- 
ployed himself  in  producing  caricatures  of  leading 
members  of  Parliament,  under  the  initials  '  H.B.' 
His  death  occurred  in  London  in  1868.  His  political 
portraits,  though  caricatures,  were  always  treated 
with  a  gentlemanly  feeling,  never  descending  to 
coarseness  or  vulgarity.  The  original  sketches  for 
610  out  of  the  917  to  which  they  amounted  are 
in  the  British  Museum.     A  portrait  of  Christopher 


Sraeger 


PAINTERS  AND  ENGRAVERS. 


Drevet 


Moore  by  Doyle  is   in  tlie  National  Gallery  of 
Ireland. 

DRAEGER,  Joseph  Anton,  an  historical  painter, 
was  born  atTrevesin  1800,  and  died  at  Romein  1833. 
He  studied  under  Kugelgen  in  Dresden,  but  went 
in  1823  to  Italy  and  took  up  his  quarters  in  Rome, 
■where  he  followed,  as  a  nondescript  in  life  and  art, 
his  own  peculiar  style  of  colouring.  In  his  desire 
to  attain  the  charm  of  the  colours  of  the  great 
Venetians,  a  very  faded  picture  of  that  school  led 
him  to  the  conviction  that  they  painted  their  pic- 
tures entirely  in  grey  before  putting  on  the  bright 
colours.  Working  in  this  way  he  obtained  an 
extraordinary  clearness  of  colour,  a  good  example 
of  which  is  seen  in  his  'Moses  protecting  the 
Daughters  of  Jethro,'  in  the  Berlin  Gallery. 

DRAGHI,  Giovanni  Battista,  was  born  at 
Genoa  in  1657.  He  was  a  scholar  of  Domenico 
Piola,  whose  promptness  and  facility  he  imitated 
and  acquired.  He  resided  at  Parma  and  Piacenza, 
where  there  are  several  of  his  works.  They  evince 
something  of  the  design  of  the  Bolognese  school, 
with  the  taste  of  Parmigiano.  In  the  church  of 
San  Francesco  il  Grande  at  Piacenza,  is  a  picture 
by  him  of  the  'Martyrdom  of  St.  James.'  The 
dome  of  Sant'  Agnese,  in  the  same  city,  is  by  this 
master ;  and  in  the  church  of  San  Lorenzo,  a  pic- 
ture of  the  titular  Saint.  At  Genoa  there  are  some 
of  his  easel  pictures  in  private  collections.  He 
died  at  Piacenza  in  1712. 

DRAKE,  Nathan,  a  portrait  painter,  flourished 
at  York  and  Lincoln  in  the  middle  of  the  18th 
century.  He  occasionally  painted  views,  and  was 
a  member  of  the  Society  of  Artists,  with  whom  he 
exhibited  from  ,1760  to  1780. 

DEAPENTIBRE,  John,  an  engraver,  was  pro- 
bably from  his  name  a  native  of  France.  He  was 
in  England  about  the  year  1691,  and  was  employed 
by  the  publishers  in  some  plates  of  portraits  and 
frontispieces,  which  are  executed  with  the  graver 
in  a  neat,  but  tasteless  style.  The  following 
portraits  are  by  him : 

■William  and  Mary,  when  Prince  and  Princess  of  Orange. 

John  Graham,  Viscount  Dundee. 

Thomas  White,  Bishop  of  Peterborough. 

Benjamin  Calamy,  Prebendary  of  St.  Paul's. 

Henry  Cutfces,  of  the  Middle  Temple. 

Sir  James  Dyer,  Chief  Justice  of  the  Common  Fleas. 

Peter  Perkins,  Mathematician. 

Daniel  Burgess,  Dissenting  Minister.    1691. 

Benjamin  Keach,  Anabaptist  Minister. 

Elias  Keach. 

John  Todd,  AM. 

He  also  engraved  a  satirical  print  of  a  lady 
shaving  a  gentleman;  inscribed,'  Le  Beau  Service.' 

DREBER,  Heinrich,  (called  Fbanz-Deebbe,) 
a  German  landscape  painter,  was  born  at  Dresden 
in  1822.  Living  in  the  house  of  a  relation 
whose  name  Franz  he  adopted,  he  frequented  the 
Academy  of  his  native  city,  and  afterwards  the 
studio  of  Ludwig  Bichter.  After  he  had  gained 
the  gold  medal,  he  resided  for  some  time  in 
Munich,  and  in  the  spring  of  1843  went  as  exhibi- 
tioner of  the  Dresden  Academy  to  Rome,  where 
he  became  a  member  of  the  Academy  of  St.  Luke, 
and  spent  almost  the  entire  remainder  of  his  life. 
His  study  of  Italian  nature  had  the  greatest  influ- 
ence on  his  works,  and  at  the  same  time  the 
impression  made  upon  him  by  modern  French  land- 
scape painters  increased  his  desire  to  obtain  a  soft 
fusion  of  colours.  He  died  in  Anticoli  di  Campagna, 
near  Rome,  in  1875.  His  pictures,  which  were 
exhibited  together  in  1876  in  the  National  Gallery 


at  Berlin,  are  with  few  exceptions  in  the  hands  of 
private  persons ;  there  are  two  in  the  Berlin  Gal- 
lery— a  '  Landscape,  with  the  Hunting  of  Diana,' 
and  'An  Autumn  Morning  in  the  Sabine  Mountains.' 

DRECHSLER,  Johann,  a  painter  of  flowers, 
was  born  at  Vienna  in  1766,  and  became  a  professor 
at  the  Academy  of  that  city.  He  died  at  Vienna 
in  1811.  He  painted  fruit  and  flower  pieces  in 
imitation  of  Van  Huysum.  There  are  examples  of 
his  work  in  the  Hermitage  at  St.  Petersburg,  and 
in  the  Vienna  Gallery. 

DREVEB,  Adriaan  van,  a  Dutch  landscape 
and  marine  painter,  flourished  about  1673,  and 
passed  the  greater  part  of  his  artistic  life  in  Eng- 
land. In  the  Vienna  Gallery  there  is  a  '  Winter 
Landscape '  by  him. 

DREVET,  Claude,  a  French  engraver,  the 
nephew  of  Pierre  Drevet,  was  born  probably  at 
Lyons  about  1705.  He  was  instructed  by  his 
uncle,  and  engraved  some  portraits  in  a  highly 
finished  style,  which  renders  them  of  considerable 
merit.  He  died  in  Paris  in  1781.  The  following 
portraits  are  by  him  : 

Henri  Oswald,  Cardinal  d'Auvergne ;  after  Bigaud. 
Charles  Gaspard  Guillaume  de  Yintimille,  Archbishop 

of  Paris ;  after  the  same, 
Philippe  Louis,  Count  de  Zinzendorf ;  after  the  same. 
Mme.  Le  Bret,  in  the  character  of  Ceres ;  after  the  same, 
Pierre  Oalvairao,  Abbot  of  Pontignan;  afterA.LeFrieur, 

DREVET,  Pierre,  an  eminent  French  engraver, 
was  born  at  Loire  in  the  Lyonnais  in  1663.  He  was 
first  a  pupil  of  Germain  Audran  at  Lyons,  but 
afterwards  finished  his  studies  in  Paris  under  G6rard 
Audran.  In  1696  he  became  court  engraver,  and 
in  1707  was  made  an  Academician,  and  for  his 
reception  he  engraved,  although  not  until  1722,  the 
portrait  of  Robert  de  Cotte.  He  died  in  Paris  in 
1738.  His  works,  which  are  chiefly  portraits,  are 
well  drawn  and  very  highly  finished.  The  following 
prints  are  by  him : 

SACRED   SUBJECTS. 
Abraham's  Sacrifice ;  after  A.  Coypel. 
The  Annunciation ;  after  the  same. 
The  same  subject ;  smaller. 
The  Crucifixion ;  in  two  sheets ;  after  the  same. 
The  Adoration  of  the  Shepherds ;  after  H,  Rigavd. 

PORTRAITS. 

Charles  II.,  King  of  Great  Britain. 

James  Francis  Edward  Stuart,  called  the  Old  Pretender. 

James  Fitzjames,  Duke  of  Berwick. 

Oliver  Cromwell. 

Louis  XIV.,  full-length ;  after  Sigaud. 

Louis  XV.,  seated  on  his  Throne ;  after  the  same. 

Philip  v..  King  of  Spain  ;  after  the  same, 

Louis,  Dauphin  of  France  ;  after  the  same, 

Frederick  Augustus,  King  of  Poland  ;  after  F,  de  Troy. 

rran9ois  Louis,  Prince  of  Conde  ;  after  Migaud, 

Louis  Alexandre,  Count  of  Toulouse,  with  the  Glove. 

The  same  Portrait,  without  the  Glove. 

BenS  Fran9ois  de  Beauvean,  Archbishop  of  Karbonne ; 

after  Sigaud, 
Andre  Hercule,  Cardinal  de  Fleury ;  aft^  the  same, 
Marie  de  Neufohatel,  Duchess  de  Nemours ;  after  the 

same, 
Louis  Antoine,  Duke  de  KoaiUes ;  after  the  same, 
Louis  Hector,  Duke  de  Villars,  Marshal  of  France ;  after 

the  same, 
Ernest  Augustus,  Duke  of  Brunswick-Luneburg. 
Andrfi  FSlibien ;  after  Le  Brun, 
Nicolas  Boileau  Despr^aux ;  after  De  Piles, 
Hyacinthe  Kigaud ;  from  a  picture  hy  himself, 
Marie  de  Serre,  mother  of  Eigaud ;  after  Sigaud. 
Eobert  de  Cotte,  architect ;  a/ifer  the  same. 
Nicolas  Pierre  Camus  de  Pontcarr^,  first  President  of 

the  Parliament  of  Bouen ;  after  Jouvenet. 
Jean  Forest,  painter ;  after  N.  de  LargiUiei-e. 

425 


Drevet 


A  BIOGRAPHICAL  DICTIONARY  OF 


Drolling 


DREVET,  PiEEEB  Imbert,  the  son  of  Pierre 
Dreret,  was  born  in  Paris  in  1697.  He  had  the 
advantage  of  his  father's  instruction,  and  at  a  very 
early  age  was  distinguished  by  the  talent  which  he 
displayed.  The  works  of  this  excellent  artist  may 
have  been  surpassed  in  boldness  and  freedom,  but 
have  hardly  been  equalled  in  the  exquisite  finish 
and  clearness  of  his  stroke.  His  celebrated  por- 
trait of  Bossuet,  engraved  in  1723,  is  one  of  the 
finest  line-engravings  which  has  ever  been  executed, 
whilst  that  of  Samuel  Bernard  is  scarcely  less 
admirable.  About  1730  he  became  insane,  but 
engraved  until  the  year  of  his  death,  in  which  he 
executed  the  portrait  of  Ren6  Pucelle.  He  died  in 
Paris  in  1739.  The  following  are  his  principal 
works : 

SACKED  SUBJECTS. 

Adam  and  Eve  after  their  Transgression ;  after  A .  Coy f  el. 
The  same  subject ;  smaller ;  very  highly  finished. 
Bebekah  receiving  from  Eliezer  Abraham's  presents; 

after  the  same. 
The  Presentation  of  the  Virgin  in  the  Temple ;  after 

Le  Brun.    The  first  work  of  the  engraver. 
The  Holy  Family ;  after  Antoine  Dieu. 
The  Presentation  in  the  Temple  ;  after  Louis  de  Bcml- 

longne.    The  engraver's  chef-d'oeuvre. 
Christ  in  the  Garden  of  Olives,  with  Angels ;  after  J. 

Restout. 
The  Kesurrection  ;  after  J.  Andre. 
St.  Theresa ;  after  J.  Lingre. 

POETEAITS. 

Louis  XIV.,  when  young,  conducted  by  Minerva  to  the 

Temple  of  Glory  ;  after  A.  Coypel. 
Louis,  Duke  of  Orleans  ;  after  Charles  Coypel. 
Mary  Clementina  Sobieska,  wife  of  the  Old  Pretender ; 

after  Davids. 
Francois  de  La  Mothe  Ftoelon,  Archbishop  of  Cambrai ; 

after  Vivien. 
Francois  Paul  de  Villory,  Archbishop  of  Lyons  ;  after 

Santen^e. 
Claude  Le  Blanc,  Minister  of  War ;  after  Le  Prieur. 
Cardinal  Dubois,  Archbishop  of  Cambrai ;  after  Rigaud. 
J.  B.  Bossuet,  Bishop  of  Meaux ;  full-length ;  after  the 

same. 
Samuel  Bernard  ;  after  the  same. 
Isaac  Jacques  de  Vertamont,  Bishop  of  Oonferans  ;  after 

De  Troy. 
Bene  Pucelle,  Abb^  and  Counsellor  of  the  Parliament ; 

after  Rigaud.     His  last  work.     1739. 
Adrienne  Lecouvrear,  in  the  character  of   Cornelia; 

after  Charles  Coypel. 

Pull  particulars  of  the  works  of  Pierre,  Pierre 
Imbert,  and  Claude  Drevet,  are  to  be  found  in  M.  A. 
Firmin-Didot's  work '  Les  Drevet,'  Paris,  1876,  8vo. 

DREW,  J.  P.,  a  portrait  and  figure  painter, 
worked  in  London  during  the  first  half  of  the  19th 
century.  He  exhibited  at  the  Royal  Academy 
until  1862. 

DREYER,  Dankvart  Cheistian  MAGNns,  a 
Danish  landscape  painter,  was  born  in  1816  at 
Assens,  where  he  died  in  1852.  The  Copenhagen 
Gallery  has  a  '  Landscape  '  by  him,  dated  1839. 

DRIELST,  Egbeet  van,  bom  at  Groningen  in 
1746,  practised  under  several  masters ;  the  last 
were  H.  Meyer  of  Haarlem,  and  J.  Cats  of  Am- 
sterdam. He  particularly  studied  the  works  of 
Hobbema,  Ruisdael,  and  Wynants,  and  compared 
them  with  nature.  By  this  course  his  pictures 
approached  nearer  to  the  manner  and  taste  of  the 
great  masters  of  the  preceding  century  than  to 
those  of  his  own  time.  'The  subjects  he  represented 
were  well-wooded  landscapes,  with  farms  and 
cottages,  which  he  ornamented  with  figures  and 
animals,  correctly  designed.  He  was  fond  of  the 
picturesque  efEects  of  ruined  hovels,  old  broken 
426 


and  uprooted  trees,  and  barren  heaths.  These  he 
depicted  with  a  thorough  knowledge  of  light  and 
shade,  and  with  a  colour  suited  to  the  objects. 
Sometimes,  however,  there  is  a  certain  degree  of 
negligence  or  inattention  to  be  observed  in  his 
pictures ;  and  here  and  there  he  appears  to  be  a 
mannerist.  He  died  in  1818.  His  son,  Jan  Vuubing 
VAN  Drielst,  an  artist  of  much  promise,  was  bom 
in  1790,  and  studied  under  his  father,  but  died  in 
1813. 

DRILLENBURG,  Wellem,  a  Dutch  landscape 
painter,  was  born  at  Utrecht  in  1625.  He  was  for 
some  time  a  scholar  of  Abraham  Bloemaert,  but 
abandoned  the  style  of  that  painter  in  order  to 
imitate  the  charming  landscapes  of  Jan  Both. 
Although  he  never  approached  the  excellence  of 
that  master,  his  pictures  are  said  by  Houbraken, 
who  was  his  scholar,  to  possess  great  merit. 

DROEGH  SLOOT,  Joost  Coenelisz.  See 
Deooch  Sloot. 

DROESHOUT,  Jan,  an  engraver,  was  perhaps, 
from  the  date  at  which  he  flourished,  a  relation  of 
Marten  Droeshout.  There  are  by  him  a  f  ewportraits, 
frontispieces,  and  other  works  for  the  booksellers, 
among  which  are : 

The  Portrait  of  Eichaid-Elton ;  prefixed  to  his '  Compleat 
Body  of  the  Art  Military,'  1650. 

The  Portrait  of  John  Danes  ;  engraved  for  his  'Para- 
lipomena  Orthographise,'  1638. 

Two  plates  for  Heywood's '  Hierarchie  of  the  blessed 
Angels,'  1635, 

DROESHOUT,  Marten,  an  engraver,  who  was 
probably  a  Dutchman,  resided  in  England  about  the 
year  1623.  He  was  chiefly  employed  by  the  book- 
sellers, and  engraved  some  portraits,  which,  if  they 
cannot  be  admired  for  the  beauty  of  their  execution, 
are  valued  for  their  scarcity.  His  best  known  por- 
trait is  that  prefixed  to  the  first  folio  edition  of 
'  Mr.  William  Shakespeares  Comedies,  Histories, 
&  Tragedies,'  published  in  1623.  The  excellence 
of  this  likeness  of  the  great  dramatist  is  attested 
by  the  following  verses  of  Ben  Jonson,  which  are 
printed  opposite  to  it : 

To  the  Reader. 
This  Figure,  that  thou  here  seest  put, 

It  was  for  gentle  Shakespeare  cut ; 
"Wherein  the  Grauer  had  a  strife 

With  Nature,  to  out-doo  the  life : 
O,  could  he  but  baue  drawne  his  wit 

As  well  in  brasse,  as  he  hath  hit 
TTis  face ;  the  Print  would  then  surpasse 

AH,  that  was  euer  writ  in  brasse. 
But,  since  he  cannot.  Header,  looke 

Not  on  his  Picture,  but  his  Booke. 

B.L 

Other  portraits  by  Droeshout  are : 

James,  Marquis  of  Hamilton. 

Thomas,  Lord  Coventry. 

John  Donne,  Dean  of  St.  Paul's. 

HeUdah  Crooke,  M.D. 

John  Fox,  the  Martyrolopst. 

John  Howson,  Bishop  of  Durham. 

Lord  Mountjoy  Blount,  afterwards  Earl  of  Newport. 

DROLLING,  Martin,  a  native  of  Oberbergheim, 
near  Colmar,  was  born  in  1752.  He  received  his 
first  lessons  in  art  from  an  obscure  painter  of 
Schlestadt,  but  afterwards  went  to  Paris  and  entered 
the  Bcole  des  Beaux- Arts.  He  gained  a  momentary 
celebrity  by  bis  '  Interior  of  a  Kitchen,'  painted 
in  1815,  exhibited  at  the  Salon  of  1817,  and  now 
in  the  Louvre.  He  usually  painted  interiors  and 
familiar  subjects  of  general  interest.  Although 
faulty  in  drawing  and  never  above  mediocrity,  his 


Drolling 


PAINTEES  AND  ENGRAVERS. 


Drummond 


works  were  popular  during  his  lifetime,  and  many 
of  them  were  engraved  and  lithographed.  He  died 
in  Paris  in  1827.  The  Louvre  has  by  him  a 
'  Woman  at  a  window '  and  a  '  Violin-Player.' 

DROLLING,  Michel  Mabtin,  a  French  his- 
torical and  portrait  painter,  was  bom  in  Paris  in 
1786.  He  studied  under  his  father,  Martin  Drolling, 
and  under  David,  and  obtained  the  '  grand  prix  de 
Rome  '  in  1810.  In  1833  he  was  elected  a  member 
of  the  Institute,  and  in  1837  became  a  professor  of 
the  Eoole  des  Beaux-Arts.  He  died  in  Paris  in 
1851.  Amongst  his  best  works,  which  are  all 
conceived  in  the  classical  spirit  in  which  he  was 
brought  up,  are: 

Orpheus  and  Eurydice.    1817. 

Ulysses  carrying  off  Polyxena.    1827. 

The  Good  Samaritan.    1822.     In  the  Lyons  Museum. 

The  Death  of  Cardinal  Eichelieu.    1831. 

Christ  disputing  with  the  Doctors :    in  the  church  of 
Notre-Dame  de  Lorette,  Paris. 

The  Communion  of  Marie  Antoinette :  in  the  chapel  of 
the  Conciergerie. 

DROOCH  SLOOT,  Joost  Cornelisz,  (DROoa- 
SLOOT  or  Dboeoh  Sloot,)  a  landscape  and  his- 
torical painter  of  Utrecht,  flourished  from  1616  to 
1660.  In  1616  he  was  admitted  into  the  Guild  of 
St.  Luke  at  Utrecht,  and  in  1623-24  he  became 
its  dean.  He  gave  to  the  hospital  of  St.  Job,  at 
Utrecht,  in  1628,  a  picture  of  '  Job  and  his  Friends,' 
the  landscape  part  of  which  is  said  to  be  very 
beautiful :  in  1638  he  was  named  regent  of  the 
hospital.  There  is  a.  portrait  of  him,  painted  by 
himself,  in  the  manner  of  old  Teniers ;  he  is 
seated  at  his  easel,  and  his  studio  is  furnished 
with  pictures  :  it  bears  date  1630,  and  he  appears 
about  50  years  of  age.  Some  of  his  works  are 
signed  with  the  annexed  monogram :  "JS!^ 
As  he  is  classed  with  very  respectable  J  t>0 
painters  of  the  period,  by  writers  on  whose  judgment 
reliance  may  be  placed,  he  must  not  be  confounded 
with  Nicolaas  Drooch  Sloot,  whose  works  of  a  like 
nature  are  known  in  England,  and  rank  among  the 
lowest  of  his  country.  The  following  pictures  by 
Joost  Drooch  Sloot  are  in  public  galleries  : 


Cassel. 

Dresden. 

Hague. 

Madrid. 
Modena. 
Paris. 


Gallery, 
dailery. 

Museum. 

_  „» 
Gallery. 
Gallery, 
Louvre. 


Petersburg.  Hermitage. 
Botterdam.  Museum. 
Vienna.        Gallery. 


View  of  a  Village. 

View  of  a  Village  Street. 

A  Kermesse.     1652. 

ADutch  ViUage.    1652. 

Skaters. 

Peasants. 

Troops  passing  through  a  Village. 
1645. 

A  frozen  Canal  in  Holland. 

A  Village  FSte.     1649. 

Duel  between  the  Dutch  Ger- 
hards  and  the  French  Briantes, 
1600.    (Painted  in  1630.) 

DROOCH  SLOOT,  Nicolaas,  was  born  at  Dor- 
drecht in  1650,  and  issupposedto  have  been  a  scholar 
of  Hendrik  Mommers.  He  painted  village  wakes 
and  rural  assemblies,  which  are  distinguished  by  a 
disgusting  vulgarity  of  character,  which  is  not 
compensated  by  the  agreeable  tone  of  his  colouring, 
or  the  spirit  of  his  pencil.     He  died  in  1702. 

DROSSAART, ,  a  Dutch  painter  of  land- 
scapes with  ruins  and  stag-hunts,  lived  in  the  17th 
century.  , 

DROST,  Geeaeet,  a  Dutch  painter,  was  bom  at 
Amsterdam  about  the  year  1638.  He  was  brought 
up  in  the  school  of  Rembrandt,  and  afterwards 
visited  Italy,  where  he  improved  his  style  of  design, 
by  studying  the  works  of  the  great  masters  of  the 
Roman  school.  He  died  in  1690.  The  Cassel 
Gallery  possesses  a  '  Christ  and  the  Magdalen  after 


the  Resurrection,'  by  him ;  and  the  Amsterdam 
Museum  has  a '  Daughter  of  Herodias  receiving  the 
Head  of  John  the  Baptist.'  His  works  have  occa- 
sionally been  mistaken  for  those  of  Rembrandt. 
In  the  Dresden  Gallery  there  is  a  profile  portrait 
of  a  man  in  a  large  hat,  signed  'I.  V.  Doeste,' 
supposed  to  be  by  Drost;  there  are  also  in  the 
same  gallery,  an  'Old  Man  teaching  a  Boy  to 
read,'  and  'Argus  and  Mercury' — both  of  which 
are  ascribed  to  the  same  master. 

DROUAIS,  FEANgois  Hubeet,  a  French  portrait 
painter,  was  born  in  Paris  in  1727.  ^  He  studied  at 
first  under  his  father,  Hubert  Drouais,  and  then 
became  a  pupil  successively  of  Nonotte,  Carle  Van 
Loo,  Natoire,  and  Boucher.  He  was  received  as 
an  Academician  in  1758  upon  his  portraits  of  the 
sculptors  Coustou  and  Bouchardon,  the  former 
of  which  is  now  at  Versailles,  and  the  latter  in  the 
Bcole  des  Beaux-Arts.  These  led  to  his  intro- 
duction to  the  court,  where  he  painted  portraits  of 
the  whole  of  the  Royal  Family,  and  of  most  of 
the  celebrities  and  beauties  of  the  period.  He  ex- 
hibited at  the  Salon  from  1755  to  1775,  in  which 
year  he  died  in  Paris.  The  Louvre  has  by  him  a 
picture  containing  the  portraits  of  the  Comte 
d'Artois,  afterwards  Charles  X.,  and  his  sister, 
Madame  Clotilde,  afterwards  Queen  of  Sardinia, 
when  children.  The  Museum  of  Orleans  possesses 
his  charming  portrait  of  Madame  de  Pompadour. 

DROUAIS,  Hubeet,  a  French  portrait  painter, 
was  bom  at  La  Roque,  near  Pont-Audemer  in 
Normandy,  in  1699.  He  at  first  studied  at  Rouen, 
but  subsequently  came  to  Paris,  and  entered  the 
studio  of  De  Troy,  after  whose  death  he  was  em- 
ployed by  J.  B.  Van  Loo,  A.  S.  Belle,  Oudry,  and 
Nattier.  Besides  painting  portraits  in  oil,  and  in 
water-colours,  he  gained  much  celebrity  by  his 
miniatures.  He  was  received  into  the  Academy 
in  1730,  and  died  in  Paris  in  1767. 

DROUAIS,  Jean  Gbbmain,  the  younger  son  of 
Fran9ois  Hubert  Drouais,  was  born  in  Paris  in 
1763.  He  studied  under  his  father  and  under 
Brenet,  and  then  entered  the  school  of  David.  In 
1784  he  astonished  the  Academy  by  his  picture  of 
'  Christ  and  the  Woman  of  Canaan,'  which  gained 
the  first  prize,  and  is  now  in  the  Louvre.  The 
next  year  he  accompanied  David  to  Rome,  where 
he  studied  the  works  of  Raphael  and  the  antique, 
sending  to  Paris  a  study  of  a  '  Wounded  Gladiator,' 
'Marius  at  Minturnae,'  now  in  the  Louvre,  and 
'  Philoctetes  breathing  forth  imprecations  against 
the  Gods,'  which  was  his  last  work.  He  died  of 
fever  at  Rome  in  1788. 

DRUEFKEN,  — ,  a  German  engraver  on  wood, 
who  usually  marked  his  prints  with  a  cluster  of 
grapes,  is  mentioned  by  Evelyn  in  his  '  Sculptura.' 
Among  other  cuts,  he  executed  one  representing 
the  King  of  the  Boors  in  Hungary  eaten  alive  by 
the  rebels  whom  he  had  duped. 

DBUIVESTEYN,  Aaet  Jansze,  an  amateur 
Dutch  painter,  was  born  at  Haarlem  in  1564. 
Van  Mander  speaks  in  very  favourable  terms  of 
his  talent  as  a  painter  of  landscapes  with  figures, 
although,  being  of  an  opulent  and  distinguished 
family,  he  practised  the  art  only  for  his  amuse- 
ment.    He  died  in  1617. 

DRUMMOND,  James,  a  Scotch  historical  and 
genre  painter,  was  born  in  Edinburgh  in  1816.  He 
studied  under  Sir  William  Allan,  and  first  exhibited 
at  the  Scottish  Academy  in  1835,  of  which  body  he 
became  an  Associate  in  1846,  and  an  Academician 
in  1862.     He  became  curator  of  the  Edinburgh 

427 


Drummond 


A  BIOGRAPHICAL  DICTIONAEY  OP 


Dubois 


National  (lallery  in  1868,  and  died  at  Edinburgh 
in  1877.  He  studied  archeology  closely,  and  his 
works  show  great  care  for  antiquarian  details. 
Amongst  the  best  are : 

The  Keturn  of  Mary,  Queen  of  Scots, " 

to  Edinburgh  after  her  surrender 

at  Carberry  Hill.  (/n  Natioyud 

King  James  I.  of  Scotland  seeing  his    -      Gallery  of 

future  wife  at  "Windsor.  Scotland.) 

The  Porteous  Mob. 
Montrose  on  his  way  to  execution. 

eaoe.  I    {^Belonging  to  the  Queen.) 

Old  Mortality. 
Cromwell  in  Edinburgh. 

DRUMMOND,  Samuel,  an  English  portrait  and 
historical  painter,  was  bom  in  London  in  1763. 
He  studied  in  the  Royal  Academy,  of  which  he 
became  an  Associate  in  1808,  and  afterwards 
curator  of  the  Painting  School.  He  died  in  1844. 
Amongst  his  works  are  : 

Battle  of  Trafalgar. 

Death  of  Nelson. 

Admiral  Duncan  receiving  the  sword  of  Admiral  De 

"Winter  (Greenimch  Hospital). 
Charles  Mathews,  the  elder. 
Richard  Parker,  leader  of  the  Nore  Mutiny. 
Sir  Isarabard  Brunei  {National  Portrait  Gallery). 
Mrs.  ]?ry  {National  Portrait  Gallery). 

DUBBELS,  Hendrik  and  Dihk,  are  men- 
tioned by  Balkema,  as  being  found  in  the  cata- 
logues of  Hoet  and  Terwesten,  but  without  any 
information  as  to  their  family,  or  the  time  at  which 
they  lived.  He  speaks  of  a  '  River-scene '  painted 
in  the  manner  of  Willem  van  de  Velde,  of  a  '  Winter- 
piece  with  Skaters,'  which  was  sold  in  1773  under 
the  name  of  Pieter  Dubbels,  and  of  another,  sold 
in  Van  der  Linden  Slingelandt's  sale,  by  Hendrik 
Dubbels.  This  is  all  he  could  collect  among  his 
countrymen,  respecting  artists  who  may  claim  rank 
with  the  best  of  their  school  as  marine  painters. 
In  the  incidental  notices  that  occur  of  Hendrik 
Dubbels,  he  is  by  some  called  the  master  of  Bak- 
huisen ;  by  others,  the  scholar ;  the  probability  is 
in  favour  of  the  former.  His  works  bear  little  or 
no  resemblance  to  those  of  Bakhuisen  or  Van  de 
Velde,  except  in  their  subjects;  they  are  more 
analogous  to  those  of  Van  de  Capelle.  In  the  Van 
der  Hoop  Collection  at  Amsterdam  is  one  of  great 
excellence,  and  many  others  are  to  be  found  in  rich 
collections  in  this  country,  which  fact  proves  that 
his  merit  has  been  appreciated,  though,  unfortu- 
nately for  his  reputation,  it  has  been  under  a  differ- 
ent name.  There  is  by  him  in  the  Amsterdam 
Museum  a  '  River  Scene,'  and  in  the  Copenhagen 
Gallery  is  a  '  Sea-piece.' 

DUBBELS,  Jan,  a  scholar  of  Bakhuisen,  painted 
marine  subjects  in  the  manner  of  his  master ;  he 
was  living  in  1715.  A  '  Sea-piece '  in  the  Pitti 
Palace,  Florence,  and  a  '  Calm  Sea  '  in  the  Cassel 
Gallery  are  ascribed  to  him.  It  is  not  unlikely 
that  he  is  identical  with  Hendrik  Dubbels. 

DUBOIS,  Ambeoise,  was  born  at  Antwerp  in 
1543.  Going  in  1568  to  Paris,  he  was  employed  at 
Fontainebleau  and  in  the  Louvre,  made  painter  in 
Ordinary  and  '  varlet  de  chambre '  to  the  king,  and 
naturalized  in  1601.  Having  been  appointed  painter 
to  Mary  de'  Medici  in  1606,  he  worked  at  the 
Luxembourg  during  her  regency.  Of  his  numerous 
woiks  at  Fontainebleau,  only  those  in  the  chapel  of 
St.  Saturnin,  the  series  of  fifteen  pictures  of  the 
'_  Loves  pf  Thea  genes  and  Chariclea  ^  (one  of  which 
is  now  in  the  Louvre),  some  of  the  eight  subjects 
4'^o 


of  'Tancred  and  Clorinda,'  painted  for  the  bed- 
chamber of  Mary  de'  Medici  (one  of  which,  the 
'  Baptism  of  Clorinda,'  is  now  in  the  Louvre),  and 
a  few  fragments  on  canvas,  re-painted  in  the  time 
of  Louis  Philippe,  now  remain.  He  died  at  Fon- 
tainebleau in  1614.  Among  his  pupils  were  his  two 
sons,  Jean  and  Louis. 

DUBOIS,  B.,  (or  Du  Bois,)  a  French  painter  of 
landscapes  and  an  etcher,  was  bom  about  1620, 
and  from  his  etchings  is  supposed  to  have  been  a 
scholar  of  Claude  Lorrain.  Of  his  works,  which 
are  rare,  may  be  mentioned,  a  '  Landscape  with 
cattle,'  another  with  a  storm,  and  a  third  with  a 
shepherd  and  a  shepherdess. 

DUBOIS,  Ohaeles,  a  French  painter  of  historical 
landscapes,  flourished  in  the  early  part  of  the  18th 
century.  He  was  a  native  of  Valenciennes,  and 
executed  some  works  for  the  church  of  St.  Gery  in 
that  city.  In  1734  he  sent  two  landscapes  to  the 
'  Exposition  de  la  Jeunesse '  at  Paris. 

DUBOIS,  Eduaed,  bom  at  Antwerp  in  1622, 
was  a  scholar  of  an  obscure  artist  named  Groen- 
wegen.  He  afterwards  went  to  Italy,  and  was  for 
some  time  in  the  employment  of  Charles  Emmanuel, 
Duke  of  Savoy.  In  the  reign  of  William  III.  he 
came  to  England,  and  painted  landscapes  and 
portraits,  with  little  success.  He  died  in  London 
in  1699. 

DU  BOIS,  Elias,  a  native  of  Prance,  was  chiefly 
employed  in  engraving  portraits.  Among,  others, 
he  engraved  one  of  the  Duke  of  Sully,  which  bears 
the  date  of  1614. 

DUBOIS,  Etienne  Jean,  a  French  painter  of 
historical  subjects  and  portraits,  was  a  native  of 
Paris.  He  was  a  brother  of  Francois  Dubois,  and 
like  him  a  pupil  of  Regnault.  He  died  in  Paris  in 
1864. 

DUBOIS,  PRANgois,  a  French  historical  painter, 
was  born  in  Paris  in  1790.  He  studied  under  Reg- 
nault, and  at  the  !^cole  des  Beaux- Arts,  and  ob- 
tained in  1819  the  'grand  prix  de  Rome.'  Among 
his  works  may  be  noted  the  '  Annunciation '  in  the 
church  of  Notre-Dame  de  Lorette  at  Paris,  and  the 
'  Coronation  of  Pepin  the  Short,'  and  the  '  Distribu- 
tion of  Colours  to  the  National  Guard,  Angust 
29th,  1830,'  ia  the  galleries  of  Versailles,  the  latter 
painted  in  conjunction  with  his  brother,  Etienne 
Dubois.  There  are  also  paintings  by  him  in  the 
Museums  of  Amiens  and  Angers.  He  died  in 
Paris  in  1871. 

DUBOIS,  Gdillam,  whose  name  has  been  errone- 
ously given  as  Coenelis,  was  bora  about  1622,  and 
was  registered  in  the  Guild  at  Haarlem  in  1646. 
In  1652-53  he  visited  Switzerland,  accompanied  by 
Cornelis  Bega  and  others.  He  died  at  Haarlem  in 
1680.  His  pictures,  which  are  landscapes,  gener- 
ally of  the  Rhine  country,  executed  after  the  man- 
ner of  Ruisdael,  may  be  seen  in  several  private 
galleries  on  the  Continent.  The  Berlin  Gallery  and 
the  Dulwich  Gallery  have  each  a  'View  on  the 
Rhine.' 

DUBOIS,  Jean,  born  at  Fontainebleau  in  1604,  a 
landscape  painter  and  painter  to  the  king,  succeeded 
in  1635  to  the  office  of  keeper  of  the  pictures  at 
Fontainebleau  before  held  by  his  uncle,  Claude  de 
Hoey.  This  office  he  resigned  to  his  son  in  1674, 
and  died  at  Fontainebleau  in  1679.  Louis  Dubois, 
his  brother,  also  was  keeper  of  the  pictures  at 
Fontainebleau  from  1644  to  1651,  but  resigned 
on  receiving  a  grant  of  the  pension  of  2000  livres 
■which  had  been  enjoyed  by  Fr^minet  the  younger, 
his  half-brother:    Jean  Dubois  had  two  sons,  Jean 


Su  Bois 


PAINTERS   AND  ENGRAVERS. 


Subufe 


and  LoDls  Bdbois,  born  respectively  in  1645  and 
1646,  the  elder  oi  whom  succeeded  to  the  office  of 
keeper  of  the  pictures  which  his  father  resigned  in 
his  favour  in  1674.  Jean  died  at  Fontainebleau  in 
1694,  and  Louis  at  the  same  place  in  1702. 

DU  BOIS,  Jules  Chables  Th^odoke,  a  Trench 
marine  painter,  was  born  in  Paris  in  1804,  and 
studied  under  Ary  SchefEer  and  Eugene  Isabey. 
There  are  three  naval  battle-pieces  by  him  at 
Versailles.  He  was  attached  to  the  manufactory 
of  Sevres,  and  painted  on  porcelain  and  on  glass. 
He  executed  nearly  all  the  windows  of  the  chapel 
at  Dreux,  and  died  in  Paris  in  1879. 

DUBOIS,  Louis,  a  Belgian  painter,  was  born  in 
1830.  He  painted  both  landscapes  and  portraits, 
and  occasionally  genre  and  still-life  subjects.  In 
his  style  he  was  naturalistic  in  the  extreme,  his  por- 
traits having  much  of  the  vigorous  life  and  colour 
of  Frans  Hals.  His  works  are,  however,  very  de- 
fective in  drawing.  He  died  at  Brussels  in  1880. 
The  Brussels  Museum  possesses  his  picture  of '  The 
Storks.' 

DU  BOIS,  Maetin,  a  French  engraver,  resided  in 
Paris  towards  the  close  of  the  17th  century.  He 
executed  some  of  the  plates  for  the  collection  of 
prints  from  the  works  of  the  Italian  painters,  pub- 
lished by  C.  Paten,  in  1691.  He  also  engraved 
frontispieces  for  books,  after  Dorigny  and  others. 

DU  BOIS,  Pierre,  probably  a  relation  of  Martin 
Du  Bois,  engraved,  according  to  Florent  Le  Comte, 
some  plates  of  funeral  processions,  monuments,  &c. 

DUBOIS,  Simon,  was  the  younger  brother  of 
Eduard  Dubois.  After  studying  some  time  in  Hol- 
land, under  Philips  Wouwerman,  he  came  to  Eng- 
land, where  he  painted  a  few  pictures  of  battles 
and  landscapes  with  cattle ;  but  portrait  painting 
being  the  only  branch  which  was  encouraged  at 
that  time,  he  was  under  the  necessity  of  adopting 
it,  though  it  was  by  no  means  suited  to  his  genius 
or  inclination.  He  painted  the  portrait  of  Lord 
Chancellor  Somers,  by  whose  recommendation  he 
was  employed  by  several  of  the  nobility.  He 
married  the  daughter  of  Van  de  Velde.  His  death 
occurred  in  1708.  A '  Corn-field  '  by  him,  with  the 
forged  signature  of  Euisdael,  is  in  the  Lille  Museum. 

DUBOIS-D'AISSCHB,  Louis,  Count,  was  bom 
at  Edeghem  near  Antwerp  in  1822.  He  was  a 
pupil  of  Leys,  and  painted  genre  subjects,  portraits, 
and  landscapes.  His  chief  works  are, '  The  Reader,' 
'  The  Spinner, '  and  '  The  Modem  Eve. '  He  died  in 
1864. 

DUBOIS  DRAHONET,  Alexandre  Jean,  a 
French  portrait  painter,  was  born  in  Paris  in  1791. 
He  also  executed  a  great  number  of  sketches  of 
various  national  and  military  costumes,  some  of 
which  are  at  Windsor.  He  died  at  Versailles  in 
1834.  His  portrait  of  the  Duke  of  Bordeaux  is 
in  the  Bordeaux  Museum. 

DUBOIS  DUPERRAY,  HoNOEifi  Jean,  a  French 
historical  painter,  who  also  painted  miniatures,  was 
bom  at  Chartres  in  1770.  He  died  at  Grogneul 
(Eure-et-Loir)  in  1857. 

DUBORDIEU,  Pierre,  who  lived  about  1650, 
painted  portraits  in  the  manner  of  Mireveldt,  several 
of  which  have  been  engraved  by  Suyderhoef,  Na- 
talas,  and  Matham. 

DUBOS,  Marie  Jeanne,  a  French  engraver, 
whose  maiden  name  was  Benard,  was  born  in  Paris 
in  1700.  She  was  a  pupil  of  C.  Dupin,  whose 
style  she  imitated,  and  she  engraved  several  plates 
after  Watteau,  the  younger  Cochin,  Robert  de  S^ri, 
Eosalba,  Mile,  Basseporte,  and  other  artists.     Her 


most  popular  work  was  '  A  young  Girl  caressing  a 
Rabbit,'  after  Mile.  Basseporte.  There  are  several 
plates  by  her  in  'Versailles  immortalisfe,'  which 
appeared  in  1720. 

DU  BOSC,  Claude,  a  French  engraver,  came  to 
England  about  the  year  1712,  by  the  invitation  of 
N.  Dorigny,  to  assist  him  in  engraving  the  cartoons 
of  Raphael ;  but  on  account  of  some  dispute,  he 
left  Dorigny,  and  engaged  to  engrave  the  cartoons 
for  the  printsellers.  He  also  undertook  the  Duke 
of  Marlborough's  battles,  and  sent  to  Paris  for 
Baron  and  Beauvais,  to  assist  him  in  that  under- 
taking, which  occupied  him  two  years.  He  pub- 
lished an  English  translation  of  Picart's  '  Religious 
Ceremonies,'  in  which  part  of  the  plates  were  en- 
graved by  himself,  and  the  others  by  Scotin  and 
Gravelot.  He  engraved  a  plate  of  the '  Continence 
of  Scipio,'  after  Nicolas  Poussin,  and  others  after 
some  of  the  most  eminent  masters.  His  manner 
is  coarse  and  heavy,  and  his  drawing  incorrect. 

DU  BOSC,  J.,  was  a  native  of  France,  and  flour- 
ished about  the  year  1749.  Among  other  prints, 
he  engraved  some  plates  of  flowers,  which  are 
executed  with  the  graver  in  a  very  neat  style. 

DUBOST,  Antoine,  a  French  historical  painter 
and  lithographer,  who  was  bom  at  Lyons  in  1769, 
was  killed  in  a  duel  in  Paris  in  1825. 

DU  BOUCHET,  Louis  FEANgois.    See  Soueohes. 

DUBOULEAU,  Jean  Augusts,  called  Dubouloz, 
a  French  historical  painter,  born  in  Paiis  in  1800, 
was  a  pupil  of  Baron  Gros.  He  also  painted  some 
portraits,  and  made  designs  for  the  illustration  of 
the  novels  of  Sir  Walter  Scott,  and  of  several  other 
works.     He  died  in  Paris  in  1870. 

DUBOURG,  LoDEWYK  Fabeioius,  an  historical 
painter,  and  an  engraver,  was  born  at  Amsterdam 
in  1693,  and  died  there  in  1745.  He  was  a  scholar 
of  De  Lairesse  and  Jacob  van  Huysum.  After 
producing  several  beautiful  pictures,  some  of  which 
may  be  seen  at  the  Westerkerk,  and  the  New 
Church  at  Amsterdam,  he  exchanged  the  brush  for 
the  graver,  and  executed  some  pretty  vignettes 
and  other  small  compositions,  and  also  etched  a 
number  of  plates  from  his  own  designs.  His 
collection  of  pictures  and  drawings  was  sold  at 
Amsterdam  in  1776. 

DU  BOYS,  Heineich,  an  historical  painter  of 
the  school  of  Rubens,  was  working  at  Cologne  up 
till  his  death  in  1628.  Several  of  the  churches  in 
that  city  possess  pictures  from  his  hand,  as  the 
'  Ascension  of  the  Virgin,'  '  St.  Mary  at  the  Capi- 
tol,' together  with  four  smaller  ones  fixed  to  the 
pillars  opposite  the  high  altar ;  the  '  Angel  of  the 
Annunciation,'  and  two  small  Saints,  in  the  church 
of  the  Holy  Virgin  ;  and  the  '  Taking  down  from 
the  Cross  '  (1623)  in  that  of  the  Greater  St.  Martin. 

DU  BREUIL,  Toussaint,  a  French  painter  and 
pupil  of  Freminet  the  elder,  was  bom  in  Paris  in 
1561.  He  painted  at  Fontainebleau  in  the  Pavilion 
des  Poesies,  'Mars  and  Venus,'  and  fourteen  pic- 
tures repi'esenting  the '  History  of  Hercules,'  and  in 
the  Galerie  des  Cerfs,  thirteen  bird's-eye  views 
of  royal  residences.  He  likewise  decorated  the 
Galerie  des  Rois  in  the  Louvre,  but  this  was  de- 
stroyed by  fire  in  1661.  There  are  many  drawings 
by  Du  Breuil  in  the  Louvre,  but  all  his  pictures 
seem  to  have  perished.     He  died  in  Paris  in  1602. 

DUBUFE,  Claude  Marie,  a  French  historical 
and  portrait  painter,  was  bom  in  Paris  in  1790, 
and  studied  under  David.  His  subjects  were  at 
first  classical,  and  then  scriptural,  but  his  reputa- 
tion rests  chiefly  on  his  portraits,  of  which  he 

429 


Dubufe 


A  BIO&RAPHIOAL  DICTIONARY  OF 


produced  a  large  number.  Dubufe,  who  was  the 
last  representative  of  the  school  of  David,  died 
at  Selle-Saint-Cloud  in  1864.  Amongst  his  chief 
works  are : 

A  Roman  suffering  starvation  with  his  family  rather 
than  touch  a  sum  of  money  entrusted  to  him.    1810. 

Christ  allaying  the  tempest.     1819. 

ApoUo  and  Cyparissa.    1822. 

The  Birth  of  the  Duke  of  Bordeaux.    1824.    (Orleans 
Museum.) 

The  Passage  of  the  Bidassoa.     1824. 

Four  frescoes  representing  '  Egypt,'  &c.   (Conseil  d'Etat, 
Paris,) 

The  Surprise.    1828.    {NationaZ  Gallery,  London.) 

Portrait  of  Louis  PhiUppe. 

„        „  General  Montesquiou-Fezenzac  ( Versailles). 
.,        „  Nicholas  Koeehlin.    1841. 
„        „  the  Queen  of  the  Belgians. 

DUBUFE,  Louis  Bdouard,  a  French  portrait 
painter,  the  son  of  Claude  Marie  Dubufe,  was  bom 
in  Paris  in  1820.  He  was  a  pupil  of  his  father 
and  of  Paul  Delaroche,  and  made  his  d^but  at  the 
Salon  of  1839,  with  an  'Annunciation,'  and  a 
'  Huntress.'  His  earlier  works  were  mostly  of  a 
religious  character,  the  chief  of  them  being  '  Christ's 
Entry  into  Jerusalem'  (1845),  and  two  scenes  from 
'Clarissa  Harlowe '  (1847),  but  from  1848  he  de- 
voted himself  almost  exclusively  to  portraiture, 
for  which  he  possessed  a  talent  like  that  of  his 
father.  Among  his  best  known  portraits  are  those 
■of  the  Empress  Eugenie,  the  Princess  Mathilde, 
Madame  Eouher,  the  Princess  Grhika,  General  Fleury, 
the  Count  of  Nieuwerkerke,  M.  Gounod,  Jules  Ja- 
nin,  Alexandre  Dumas  the  younger,  !l^mile  Augier, 
and  Philippe  Rousseau,  the  painter.  His  large 
picture  of  the  'Congress  of  Paris  in  1856,'  now  at 
Versailles,  the  '  Prodigal  Son,'  exhibited  in  the 
Salon  of  1866,  and  the  '  Death  of  Adonis,'  in  that  of 
1877,  are  the  most  important  of  his  other  works. 
He  died  at  Versailles  in  1883. 

DUO,  Anton,  who  flourished  in  the  middle  of  the 
17th  century,  would,  but'f  or  two  or  three  works  by 
him  which  are  known,  have  remained  in  obscurity. 
One  signed  A.  Duo  is  in  the  Vienna  Gallery ;  it 
represents  a  '  Lady  and  Gentleman  asking  mercy 
of  some  infantry  ofiScers,  who  are  plundering  their 
house.'  Another,  of  a  similar  character,  is  in  the 
Dresden  Gallery ;  it  bears  the  monogram  L.  D. 
(interlaced),  and  represents  a '  Peasant  and  his  Wife 
begging  for  mercy  of  a  soldier  who  threatens  the 
life  of  the  husband.'  The  Marquis  of  Bute  pos- 
sesses a  third:  a  'Guard- Room,  with  ladies  and 
oflScers  playing  tric-trac'  These  works  are  well 
executed  in  the  style  of  Palamedes. 

DUG,  Jacob.    See  Duck. 

DUCCI,  ViBGino,  a  scholar  of  Albani,  flourished 
about  1660  ;  he  imitated  the  manner  of  his  master, 
and  painted  in  the  cathedral  of  Citti  di  Castello 
two  pictures  of  Tobias,  which  are  said  to  be 
executed  in  an  elegant  style. 

DUCCIO,  the  son  of  Buoninsegna,  was  the  first 
of  the  Sienese  pajnters  who  abandoned  the  Byzan- 
tine manner.  He  is  said  to  have  been  born  about 
1260,  bjit  the  earliest  mention  of  him  is  in  1282. 
He  is  also  reported  to  have  been  a  pupil  of  Segna 
di  Buenaventura,  but  the  works  of  the  latter,  and 
their  dates,  which  are  between  1305  and  1326, 
show  him  to  have  been,  on  the  contrary,  Duccio's 
scholar.  In  1285  he  made  a  contract  with  the 
Fraternity  of  Santa  Maria  in  Florence  to  paint  an 
altar-piece  of  the  '  Virgin  and  Child,  with  Saints,' 
for  their  chapel  in  Santa  Maria  Novella,  but  this 
picture  and  the  '  Annunciation,'  which  he  painted 
for  Santa  Trinita  in  Florence,  no  longer  exist. 
430  .  '  s 


Duchange 

In  1302  he  painted  a  '  Madonna  '.for  fhe  chapel  of 
the  Palazzo  Pubblico  of  Siena  which  is  now  lost. 
In  1308  he  commenced  his  famous  altar-piece  for 
the  high  altar  of  the  cathedral  of  Siena,  which  was 
finished  and  carried  to  its  place  with  great  cere- 
mony in  1311.  For  this  immense  painting  he  had 
agreed  to  be  paid  at  the  daily  rate  of  sixteen  soldi 
but,  owing  to  the  enormous  amount  of  gold  and 
ultramarine  expended  on  it,  the  cost  mounted  up 
to  2000,  or  as  others  say,  3000  golden  florins.  This 
picture  was  fourteen  feet  long,  by  seven  feet  high 
and  was  painted  on  both  sides — the  front  showing 
the  '  Virgin  and  Child,  surrounded  by  various  Saints 
and  Angels ' ;  and  the  back  twenty-seven  subjects 
from  the  life  of  Christ.  These  latter  designs  were 
paid  for  by  a  separate  contract,  which  is  likewise 
preserved,  at  the  rate  of  two  and  a  half  gold  florins 
each.  It  has  now  been  moved  from  its  original 
position,  and  the  two  portions  of  which  it  consisted 
have  been  separated  and  hung  in  the  transepts  of 
the  cathedral.  It  is  the  only  undoubted  work  by 
Duccio  which  remains.  The  date  of  Duccio's  death 
is  unknown,  but  it  was  probably  soon  after  1339. 
His  pupils  were  Segna,  Martini,  the  two  Lorenzetti, 
and  perhaps  Ugolino.  The  following  paintings 
are  also  ascribed  to  him  : 

Cologne.  Bmiiboux  Coll.  St.  John  the  Baptist  preaching. 
„  „  Two  panels:   St.  Peter  and  SI. 

Paul. 
London.  National  Gall.  The  Madonna  and  Child,  with 
Angels;   and  David  with  Six 
Prophets  above:  SS.  Dominic 
and  Catharine  on  the  doors. 
(A  triptych.) 
Siena.       Academy.         Triptych— The  Virgin,  Child,  and 
Saints. 
„  „  Tirgin    and    Child,    with    four 

Saints. 
„  Hospital  of  Santa    Triptych — The  Flagellation,  The 
Maria  delta  Scala.      Crucifixion,  The   Entombment 
(spoiled  ly  restoration). 
Windsor.        Castle.       An  Altar-piece:  the  Virgin  aud 
Child,  the  Crucifixion,  and  other 
subjects. 

DUCERCBAU,  Jacques  Andeouet.     See  An- 

DEOUET-DUCERCEAU. 

DUCHANGE,  Gaspaed,  a  French  engraver, 
was  bom  in  Paris  in  1662.  He  was  a  pupil 
first  of  Guillaume  Vallet  and  afterwards  of  Jean 
Audran,  and  was  received  into  the  Academy  in 
1707.  He  died  in  Paris  in  1757.  Ducbange  may 
be  ranked  among  the  ablest  artists  of  his  country, 
particularly  for  the  mellowness  and  harmony  with 
which  he  has  combined  his  etching  with  a  taste- 
ful management  of  the  graver.  His  plates  after 
Correggio  are  peculiarly  expressive  of  the  admir- 
able style  of  that  painter.  The  number  of  his 
works  is  considerable  ;  the  following  are  the  most 
esteemed : 

poetkaits. 

Francois  Girardon;  after  Sigaud ;  presented  for  his 
reception  into  the  Academy  in  1707. 

Charles  de  La  Fosse,  painter ;  after  the  same;  presented 
upon  the  same  occasion. 

Antoiue  Coypel,  with  his  Son ;  after  a  picture  ly  him- 
self. 

SUBJECTS  AFTEE  VARIOUS  MASTERS. 
Jupiter  and  lo ;  after  Correggio. 
Jupiter  and  Danae  ;  after  the  same. 
Jupiter  and  Leda ;  after  the  same. 
[The  best  impressions  of  the  above  fine  prii^ts  are  before 

the  name  of  Somique,  who  retouched  the  plates,  and 

added  draperies.] 
The  Entombment  of  Christ ;  after  Paolo  Veronese. 


Buchatel 


PAINTERS  AND  ENGRAVERS. 


Ducros 


Mary  Magdalen  washing  the   Feet  of  Christ     after 

Jouvenet. 
Christ  driving  the  Buyers  and  Sellers  from  the  Temple ; 

after  the  same. 
The  Sacrifice  of  Jephtha ;  after  A.  Coypel. 
Tobit  recovering  his  Sight ;  after  the  same. 
Venus  sleeping,  vf  ith  three  Loves  and  a  Satyr ;  after  the 

same. 
The  Death  of  Dido ;  after  the  same. 
The  Bath  of  Diana ;  after  the  same. 
Solon  explaining  his  Laws  to  the  Athenians ;  after  N. 

Coypel. 
Trajan  dispensing  Justice  to  the  People ;  after  the  same. 
Diana  disarming  Cupid ;  after  Desormeaux. 
The  Birth  of  Mary  de'  Medici ;  after  Buhens. 
The  Landing  of  Mary  de'  Medici  at  Marseilles ;  after 

the  same. 
The  Marriage  of  Henry  IV.  and  Mary  de'  Medici ;  after 

the  sayne. 
The  Apotheosis  of  Henry  IV.  and  Eegeucy  of  Mary  de' 

Medici ;  after  the  same. 
The  Interview  of  Mary  de'  Medici  and  her  son,  Louis 

XIII. ;  after  the  same. 
The  five  last  plates  were  engraved  for  the  Luxembourg 
Gallery. 

BUCHATEL,  Feanqois,  (or  D0  Chastel,)  a 
Flemish  painter,  born  at  Brussels  in  1616,  is  said 
to  have  been  a  pupil  of  David  Teniers  the  younger, 
whose  style  he  followed  in  some  of  his  pictures, 
representing  village  festivals ;  but  he  is  more  known 
for  his  small  family  portraits  and  conversations 
in  the  manner  of  Gonzales  Coques,  and  his 
pictures  are  not  unfrequently  taken  for  those  of 
that  master.  He  is  said  to  have  worked  also  in 
Paris  in  conjunction  with  Van  der  Meulen.  His 
most  considerable  work  is  a  large  picture  in  the 
Museum  at  Ghent,  representing  'The  Inaugura- 
tion of  Charles  II.,  King  of  Spain,  as  Count  of 
Flanders,  in  1666,  in  the  Marche  au  Vendredi  at 
Ghent; '  it  is  dated  1668,  and  has  been  engraved 
by  Lucas  Vorsterman.  Duchatel's  works  are  very 
rare :  there  is  in  the  Louvre  '  A  Cavalier  and  two 
other  persons  ; '  in  the  Museum  at  Avignon,  '  The 
Interior  of  a  Guard-House ; '  in  the  Brussels  Gallery, 
'Portraits  of  two  little  Girls;'  and  in  the  Copen- 
hagen Gallery, '  Tric-Trac  Players.'  The  '  Panorama 
of  Valenciennes,'  in  the  Antwerp  Gallery,  though 
ascribed  to  Teniers,  is  set  down  by  some  critics  to 
Duchatel.     He  died  in  1694. 

DUCHEMIN,  Catherine,  a  French  flower  and 
fruit  painter,  was  born  in  Paris  in  1630,  and  died 
there  in  1698.  She  married,  in  1657,  the  sculptor 
Girardon,  and  in  1663  was  received  into  the  Aca- 
demy, being  the  first  lady  on  whom  this  honour 
had  been  conferred. 

DUCHESNE,  Jean  Baptists  Joseph,  known  as 
Duchesne  de  Gisors,  a  French  painter  of  minia- 
tures and  enamels,  was  born  at  Gisors  in  1770.  He 
was  the  son  of  Jean  Baptiste  Duchesne,  a  sculptor, 
and  a  pupil  of  Vincent.  He  exhibited  at  first  under 
the  name  of  Duchesne,  afterwards  under  that  of 
Duchesne  des  Argillers,  and  finally,  from  1833 
until  his  death,  under  that  of  Duchesne  de  Gisors. 
He  died  at  Gisors  in  1856. 

DUCHESNE,  Nicolas,  who  was  first  painter  to 
the  Queen  Mother,  Mary  de'  Medici,  was  a  mediocre 
painter  in  all  but  the  direction  of  others.  He  was 
superintendent  of  the  decorative  works  at  Fon- 
tainebleau,  where  he  maltreated  all  the  artists  in 
his  charge.     He  died  in  1627. 

DUCHINO.     See  Landriani. 

DtJCHTL,  Martin.     See  Dichtl. 

DUCIS,  Louis,  born  in  Paris  in  1773,  was  in- 
structed by  David,  whom  he  partly  imitated  in  his 
historical  pieces,  besides  which  he  devoted  himself 


also  to  genre  and  portrait  painting.  His  'Mary 
Stuart '  and  '  The  D6but  of  Talma  '  were  formerly 
in  the  Luxembourg  Gallery.     He  died  in  1847. 

DUCK,  Jacob,  a  Dutch  genre  painter,  entered 
the  Guild  of  St.  Luke  at  Utrecht  in  1626.  He 
gave  a  picture',  representing  a  musical  reunion,  to 
the  hospital  of  St.  Job  in  that  city.  He  painted 
miUtary  conversation  pieces  in  the  taste  of  Jan  Le 
Ducq,  but  with  less  delicacy  of  touch  and  finish ; 
they  are  nevertheless  of  great  beauty.  His  paint- 
ings are  to  be  met  with  at  Vienna,  at  Dresden,  and 
at  Christiania,  where  there  is  also  an  etching  by 
him  of  the '  Adoration  of  the  Kings.'  Many  writers 
state  that  this  artist  was  the  father  of  Jan  Le 
Ducq,  but  this  is  extremely  doubtful,  as  well  by 
reason  of  the  variation  in  the  name,  as  by  the  fact 
that  Jan  Le  Ducq  is  known  to  have  been  bom  at 
Haarlem  in  1636,  whereas  Jacob  Duck  resided 
constantly  at  Utrecht  from  1626  to  1646. 

DUCORNET,  Louis  C^sar  Joseph,  a  French  his- 
torical painter,  was  born  of  poor  parentage  at  Lille, 
in  1806.  Ho  was  deformed  from  his  birth,  having 
neither  arms  nor  thighs,  and  only  four  toes  to  his 
right  foot.  While  still  a  child,  he  used  to  pick  up 
pieces  of  charcoal  from  the  floor  w^ith  his  toes,  and 
the  rough  sketches  he  thus  made  evinced  so  much 
promise  that  he  received  some  local  instruction. 
By  the  help  of  the  municipality  of  Lille,  he  was 
sent  to  Paris,  where  he  studied  under  Lethi^re  and 
Gerard,  and  for  a  short  time  received  a  government 
pension.  He  died  in  Paris  in  1856.  Amongst  his 
chief  pictures  are : 

Repentance.    1828. 

The  Parting  of  Hector  and  Andromache.  {Lille Museum.) 

St.  Louis  administering  Justice.    {Lille  Museum.) 

Death  of  Mary  Magdalen.    1840.    {St.  Andre,  Lille.) 

The  Eepose  in  Egypt.    1841. 

Christ  in  the  Sepulchre.    1843. 

Edith  finding  the  body  of  Harold.    1855. 

DUCOERON,  Jules,  a  Belgian  landscape  painter, 
was  born  at  Ath  in  1770.  At  the  age  of  thirty-two, 
he  devoted  himself  to  the  art  of  painting  under  the 
direction  of  Ommeganck,  and  made  marvellous 
progress  as  a  landscape  painter,  obtaining  several 
gold  medals.  He  was  afterwards  director  of  the 
Academy  at  Ath,  where  he  died  in  1848.  The 
Brussels  Museum  has  by  him  a '  View  in  the  neigh- 
bourhood of  Irchonwelz,  near  Chievres,  Hainault,' 
and  a  '  Gale  of  Wind  at  Sunset.' 

DUCQ,  Jan  Le.    See  Le  Ducq. 

DUCQ,  JosEPHUs  Franciscus,  a  Flemish  historical 
and  portrait  painter,  was  born  at  Ledeghem  in 
1763.  He  studied  at  Bruges,  and  then  under  Suv6e 
in  Paris,  where  he  obtained  the  second  grand 
prize  in  1800,  and  a  medal  in  1810.  He  also  spent 
a  considerable  time  in  Italy,  but  returned  to  Bruges 
in  1815,  and  became  a  professor  in  the  Academy. 
He  died  at  Bruges  in  1829.  Amongst  his  chief 
works  are : 

Meleager.    1804. 

Devotion  of  a  Scythian.    1810. 

Marriage  of  Angelica  and  Medora.    1812. 

Venus  emerging  from  the  Sea.    {Brussels  Museum) 

■William  I.,  King  of  the  Netherlands.  {Bruges  Academy.) 

Van  Gierdergom.    {Bruges  Academy.) 

DUCREUX,  Joseph,  a  French  portrait  painter, 
was  born  at  Nancy  in  1737.  He  engraved  his  own 
portrait  in  three  different  characters,  which  were 
published  in  London  in  1791,  but  he  died  in  Paris 
in  the  same  year. 

DUCROS,  Pierre,  a  Swiss  landscape  painter  in 
oil  and  water-colours,  and  an  engraver,  was  born 
in  1748.    He  lived  for  a  considerable  time  at  Rome, 

431 


Suderstadt 


A  BIOGRAPHICAL  DICTIONARY  OF 


Du  Fresnoy 


and  painted  views  of  that  city  and  its  environs.  He 
executed  in  a  masterly  manner  twenty-four  views 
of  Sicily  and  Malta,  besides  numerous  drawings 
made  during  his  sojourn  in  Italy,  some  of  which 
are  of  large  dimensions.  He  died  at  Lausanne  in 
1810. 

DUDERSTADT,  Heinmch  von,  is  said  to  have 
painted  in  the  church  of  the  Paulines  at  Gottingen, 
in  1424,  the  large  altar-piece  which  is  now  in  the 
library  of  that  church.  It  represents  scenes  from 
the  life  of  the  Virgin  and  the  Passion,  and  is 
signed,  f rater  Hs.  Budstadens. 

DUDLEY,  Thomas,  an  English  engraver,  was 
born  about  the  year  1634.  He  was  a  pupil  of 
Hollar,  and  though  greatly  inferior  to  that  cele- 
brated artist,  his  prints  are  not  without  consider- 
able merit.  He  engraved  a  set  of  twenty-seven 
plates  for  Barlow's  '  Life  of  .fflsop,'  published  in 
1687,  as  well  as  the  following  portraits: 

Bichard  Bussell,  Bishop  of  Portalegre. 
James  Sharps,  Bishop  of  St.  Andrew's. 
Titus  Gates. 

DUETECUM,  Baptista,  (or  Doeteohum,)  who 
flourished  from  about  1614  to  1646,  was  probably 
a  son  of  either  Joannes  or  Lucas  van  Duetecum. 
He  engraved  a  set  of  plates  representing  the 
various  habits  and  manners  of  the  Indians.  They 
are  executed  entirely  with  the  graver,  in  a  stifE, 
indifferent  style. 

DUETECUM,  Joannes  and  Lucas  van,  (or 
Doeteohum,)  who  flourished  respectively  from 
about  1559  to  1585  and  1596,  were  natives  of 
Holland,  and  are  supposed  to  have  been  brothers. 
They  etched  conjointly,  in  a  bold  masterly  manner, 
several  large  prints,  representing  the  pompous 
funeral  of  the  Emperor  Charles  V. 

DU  FAUR,  Christian  Wilhblm  von  Fabee. 
See  Paber  du  Faue. 

DUFFEIT,  Geeaeet.     See  Douffet. 

DUFFIELD,  William,  a  painter  of  flowers, 
fruit,  and  still-life,  was  born  at  Bath  in  1817.  He 
studied  under  George  Lance,  and  afterwards  in 
the  schools  of  the  Royal  Academy,  and  under 
Wappers  at  Antwerp.  His  early  works  were 
portraits,  but  in  1849  he  sent  to  the  Royal 
Academy  a  fruit-piece,  his  first  exhibited  work, 
and  continued  to  exhibit  there  and  at  the  Society 
of  British  Artists  a  number  of  pictures  of  a  very 
high  degree  of  excellence.  He  settled  in  London 
in  1857,  and  died  there  in  1863.  He  married,  in 
1850,  Mart  Elizabeth  Rosenberg,  of  Bath,  who 
is  well  known  as  a  water-colour  painter  of  flowers, 
birds'  nests,  and  fish. 

DUFLOS,  Claude,  a  French  engraver,  was  born 
in  Paris  about  1662,  and  died  in  the  same  city 
in  1727.  It  is  not  known  by  whom  he  was  in- 
structed, but  his  style  resembles  that  of  Fran9ois 
Poilly.  We  have  by  this  artist  a  great  number 
of  plates,  executed  principally  with  the  graver, 
and  very  neatly  finished.  The  following  are  the 
most  deserving  of  notice  : 

PORTEAITS. 
Philip,  Duke  of  Orleans ;  after  S.  Toumieres. 
Jean  Fran9oi8  Paul  de  Gondy,  Cardinal  de  Eetz. 
Dems  Fran9ois  de  Chavigny,  Bishop  of  Troves. 
Nicolas  Lyon,  Procureur  du  Eoi ;  after  Herluyson. 
Jean  Jacques  Gaudart,  ConseUler  du  Eoi ;  after  Largil- 

Marc  Bene  de  Voyer;  after  Hyacinthe  Rigaud. 
SUBJECTS  AFTER   VARIOUS   MASTERS. 
'^o\ltcSon  '''^^*'  '^f'^^P-^^ruyino;  for  the 
432 


The  same  subject ;  after  Raphael. 

St.  Michael  discomfiting  the  Evil  Spirit ;  after  the  same; 

for  the  Crozat  Collection. 
Christ  with  the  Disciples   at  Emmaus;    after  Paolo 

Veronese;  for  the  Crozat  Collection. 
The  Adulteress  before  Christ ;  after  2V.  Colomiel. 
Christ  at  table  with  the  Disciples ;  after  Titian. 
Bust  of  the  Virgin ;  after  Guido. 
The  Annunciation;  after  Albani. 
Christ  appearing  to  Mary  Magdalen ;  after  tlie  same. 
St.  Cecilia ;  after  P.  Mignard. 
The  Presentation  in  the  Temple';  after  Le  Sueur. 
The  Descent  from  the  Cross  ;  after  the  same. 
The  Murder  of  the  Innocents  ;  after  Le  Brun. 
Christ  on  the  Mount  of  Olives ;  after  the  same. 
The  Crucifixion ;  after  the  sajne. 
The  same  subject;  after  the  same;  from  the  print  by 

Edelinck. 
The  Dead  Christ,  with  the  Virgin  and  St.  John ;  after 

the  same. 
The  Descent  of  the  Holy  Ghost ;  after  the  same. 
The  Assumption  of  the  Virgin ;  after  the  same. 
The  Penitent  Magdalen ;  after  the  same. 
The  Annunciation ;  after  A.  Coypel. 
The  Crucifixion ;  after  the  same. 
The  Magdalen  at  the  foot  of  the  Cross ;  after  the  same. 
A  Concert ;  after  J)ome7dchino. 
The  Triumph  of  Galatea ;  after  the  same. 
Cupid  stung  by  a  Bee ;  after  the  same. 
The  same  subject ;  smaller  and  circular, 
Bacchus  and  Ariadne ;  after  the  same. 
The  Triumph  of  Bacchus ;  after  C.  Natoire. 
The  Triumph  of  Amphitrite ;  after  the  same. 

DUFLOS,  Claude  Augustin,  the  son  of  Claude 
Duflos,  and,  like  his  father,  an  engraver,  was  bom 
in  1700.  He  is  supposed  to  have  died  in  1784  or 
1785. 

DUFLOS,  Feanqois  Philoth^e,  a  painter  and 
engraver,  was  born  in  Paris  about  1710.  He 
studied  under  De  Troy,  gained  the  •  prix  de 
Rome '  in  1729,  lived  for  some  time  in  Italy,  and 
in  1740  painted  his  own  portrait  for  the  UfSzi. 
He  died  at  Lyons  in  1746. 

DU  FOUR,  N.,  was  a  native  of  France,  who 
flourished  about,  the  year  1760.  Among  other 
prints,  he  engraved  several  small  plates  after 
Weirotter  and  other  masters. 

DU  FRESNB,  Charles,  a  French  engraver, 
executed  some  copies  of  the  works  of  Callot  and 
Albrecht  Diirer,  besides  a  few  other  plates,  among 
which  was  '  The  Interview  between  St.  Niks  and 
the  Emperor  Otho  III.,'  after  Domenichino.  He 
flourished  from  about  1791  to  the  eariy  years  of 
the  19th  century. 

DU  FRESNOY,  Charles  Alphonse,  is  perhaps 
more  celebrated  for  his  poem  on  the  art,  than  for 
his  merit  as  a  painter.  Born  in  Paris  in  1611,  he 
was  destined  by  his  father,  who  was  an  apothecary, 
to  the  practice  of  physic,  and,  with  that  intention, 
he  received  the  best  education  possible.  His 
progress  in  his  studies  was  more  than  usually 
promising;  he  soon  became  well  versed  in  the 
classics,  and  at  an  early  period  of  his  life  showed 
a  marked  genius  for  poetry.  His  love  of  paint- 
ing was  not  less  conspicuous ;  and  when  he  was 
eighteen  years  of  age  he  placed  himself  under 
the  tuition  of  Fran9ois  Perrier,  and  afterwards 
entered  the  school  of  Simon  Vouet.  After  study- 
ing under  these  masters  for  about  three  years,  he 
formed  the  project  of  visiting  Italy,  although 
without  any  other  resources  than  what  he  could 
derive  from  the  exercise  of  his  talent.  On  his 
arrival  at  Rome,  his  first  attempts  were  views 
of  the  buildings  and  architectural  ruins  in  the 
vicinity  of  that  city,  which,  though  not  without 
merit,  he  had  great  difficulty  in  introducing  to 


Duggan 


PAINTERS  AND   ENGRAVERS. 


Bugliet 


public  notice.  He  languished  at  Rome  for  two 
years,  in  indigence  and  obscurity,  when  Pierre 
Mignard,  who  had.  been  his  fellow-student  under 
Vonet,  arrived  there.  The  meeting  of  the  young 
friends  was  most  cordial,  and  from  that  moment 
an  attachment  sprang  up  which  existed  during  the 
remainder  of  their  lives.  Mignard,  who  was  the 
more  successful,  divided  with  his  friend  his  earn- 
ings ;  and  although  he  possessed  greater  facilitj' 
than  Du  Presnoy,  he  was  frequently  assisted  by  the 
counsels  of  his  friend,  and  his  perfejt  acquaintance 
with  the  theory  of  the  art,  of  which  he  has  given 
ample  proof  in  his  poem,  '  De  Arte  Grophica.' 
The  Cardinal  of  Lyons  employed  them  in  copying 
the  works  of  Annibale  Carracci,  in  the  Farnese 
gallery ;  and  they  were  most  assiduous  in  their 
studies  after  Raphael  and  the  antique.  Pelibien 
has  given  a  particular  account  of  his  works  at 
Rome,  of  which  the  following  are  the  principal : 
'The  Ruins  of  Campo  Vaccino  ; '  '  A  young  Athe- 
nian visiting  the  Tomb  of  her  Lover  ; '  '  The  filial 
Piety  of  jEueas  ; '  '  Mars  finding  Lavinia  sleeping 
on  the  Banks  of  the  Tiber,'  one  of  his  best  pictures  ; 
'  Tlie  Birth  of  Venus,'  and  '  The  Birth  of  Cupid.'  In 
1653  he  left  Rome  to  return  to  France,  by  way  of 
Venice,  where  he  was  so  struck  with  the  works  of 
Titian,  that  he  wrote  to  his  friend  to  rejoin  him  in 
that  city,  and  there  he  remained  eighteen  months, 
profiting  greatly  by  his  studies.  In  1656  he 
returned  to  Paris,  where  he  painted,  among  other 
works,  a  picture  of  '  St.  Margaret,'  for  the  church 
dedicated  to  that  saint,  a  saloon  in  the  Chateau 
Raincy,  "and  four  landscapes  in  theHStel  d'Hervart, 
afterwards  the  Hotel  des  Postes,  in  which  the  figures 
were  painted  by  Mignard.  The  remainder  of  his 
life  was  employed  in  preparing  for  publication  his 
poem,  which,  however,  did  not  appear  until  three 
years  after  his  death.  He  died  at  Villiers-le-Bel, 
near  Paris,  in  1665.  There  are  in  public  galleries 
the  following  paintings  by  him : 

Paris.  Louvre.    St.  Margaret. 

„  „         Naiads. 

Vienna.    Czendn  Coll.    The  Vision  of  Alcmene. 

DUGGAN,  Peter  Paul,  a  native  of  Ireland,  went 
while  quite  young  to  America.  He  afterwards  re- 
turned to  England,  and  resided  for  some  years  near 
London,  but  died  in  Paris  in  1861.  He  painted 
portraits  in  oil,  but  more  often  worked  in  crayons. 

DUGHET,  Gaspaed,  (commonly  called  Gaspard 
PoussiN,  or  Lb  Guaspee,)  was  born  at  Rome  in 
1613.  His  parents  were  French  subjects,  who  had 
settled  in  the  Eternal  City.  Tiiey  appear  to  have 
been  people  of  a  kindly  disposition,  for  about  1629 
they  received  into  their  house  their  fellow-country- 
man, Nicolas  Poussin,  then  a  lonely  and  friendless 
student  in  Rome,  and  nursed  him  tenderly  through 
a  dangerous  illness.  This  friendship  brought 
about  the  great  painter's  marriage  with  a  daughter 
of  his  hosts.  Nay  more,  Poussin,  seeing  the  in- 
clination of  the  young  Gaspard  towards  art,  took 
him  as  his  pupil,  and  for  three  years  carefully 
superintended  his  instruction.  Dughet  owed  much 
to  the  solid  foundation  thus  laid  by  his  brother-in- 
law,  and  he  ever  proved  himself  a  most  devoted 
disciple.  He  was  fond  of  hunting,  fishing,'  and 
out-door  sports,  and  did  not  fail  to  profit  by  the 
opportunities  thus  afEorded  him  of  studying  nature, 
and  enriching  his  knowledge  of  her  ever-changing 
aspects.  After  leaving  Poussin's  studio,  his  inde- 
pendent nature  led  him,  though  scarcely  yet  twenty, 
to  set  up  for  himself ;  and  the  progress  he  made  in 
his  art  soon  brought  patronage. 


He  spent  a  year  at  Perugia  and  Castiglione  with 
the  Duke  della  Cornia,  who  treated  him  with  great 
consideration,  and  escorted  him  back  to  Rome  at 
the  conclusion  of  his  visit.  With  another  patron 
he  made  a  trip  to  Milan,  and  after  a  severe  illness 
the  Duke  della  Cornia  took  him  away  again  for  the 
recovery  of  his  health,  and  procured  him  many 
commissions.  This  trip  was  followed  by  visits  to 
Florence,  where  he  painted  some  decorative  works 
at  the  Pitti  Palace,  and  to  Naples,  befoi-e  he  once 
more  settled  down  in  Rome. 

This  point  may  be  said  to  mark  the  conclusion  of 
the  first  period  of  Dughet's  art,  during  which  the 
works  produced  by  him  are  to  be  distinguished  by 
a  coldness  and  certain  want  of  freedom.  He  now 
came  under  the  influence  of  Claude  Lorrain,  at 
this  time  in  the  zenitli  of  his  fame  at  Rome.  The 
study  of  his  works  had  a  most  beneficial  efEect  on 
Dughet,  and  to  it  is  due  the  warmth  and  mastery 
over  light  and  air  observable  in  the  works  of 
his  maturer  period.  He  never  married,  and  with 
the  exception  of  time  given  to  sport  and  social 
pleasures — he  was  not  a  hermit-bachelor,  but  loved 
the  society  of  genial  spirits — his  life  was  devoted 
to  the  pursuit  of  his  art.  The  better  to  enable 
him  to  study  the  scenery  of  Rome  and  his  loved 
Campagna,from  which  the  subjects  of  the  majority 
of  his  pictures  were  taken,  he  had  four  houses  at 
which  he  spent  his  time:  two  in  elevated  situa- 
tions in  Rome  itself,  one  at  Tivoli,  and  another  at 
Frasoati.  The  facility  of  execution  which  he 
acquired  was  marvellous,  and  he  is  said  to  have 
required  only  one  day  to  finish  a  large  picture. 
Hence  his  works  are  almost  innumerable,  and 
specimens  are  found  in  nearly  all  the  public  and 
private  collections  of  Europe.  Besides  easel  works, 
he  found  time  also  to  execute  in  fresco  subjects 
from  the  life  of  the  prophet  Elias  at  the  Carmelite 
Chui'ch  of  San  Martino  ai  Monti  at  Rome.  His 
finest  works  are  in  the  Doria  Palace,  and  others  are 
in  the  Colonna  and  Borghese  Palaces.  It  should 
not  be  forgotten  that  he  received  much  assistance 
from  his  brother-in-law,  from  Pietro  da  Cortona, 
from  Filippo  Lauri,  and  from  many  others,  in  the 
figures  introduced  into  his  compositions  ;  but  this 
consideration  is  in  no  way  sufficient  to  remove 
the  feeling  of  surprise  at  his  wonderful  fertility. 
Amongst  his  pupils,  the  chief  names  are  those  of 
Crescenzio  di  Onofrio,  Vinoentio,  and  Jacques  De 
Rooster  of  Mechlin.  During  his  life  he  had  saved 
30,000  Roman  crowns ;  but  his  generous  habits,  and 
an  illness  of  two  years  before  his  death,  which  took 
place  at  Rome  in  1675,  did  not  leave  more  than 
suSicient  to  provide  for  his  honourable  burial. 

In  a  brief  summary  of  Dughet's  characteristics, 
his  partiality  for  quiet  lights  should  first  be  men- 
tioned. He  excels  in  the  representation  of  efEects 
before  sunrise,  and  in  the  reproduction  of  the 
peaceful  tones  of  evening.  But  his  great  strength 
lies  in  the  portrayal  of  tempests..  J)'Argenville 
observes  that  no  painter  before  him  had  been  able 
to  reproduce  the  efEects  of  wind  and  storm  in 
his  pictures :  the  leaves  seem  to  move,  and  the 
trees  cease  to  be  inanimate  objects  under  his  brush. 
His  works  now  convey  an  impression  of  great 
grandeur  and  solemnity,  and  this  sombreness  has 
probably  increased  in  the  course  of  years  by  his 
predilection  for  painting  on  a  dark  ground. 

The  drawings  which  he  left  are  very  finished  in 
execution :  some  are  outlined  with  the  pen,  and 
tinted  with  bistre  or  Indian  ink  :  others  are  drawn 
with  the  pencil  and  touched  up  with  white,  or 

433 


Dughet 


A  BIOGRAPHICAL  DICTIONARY  OF 


Du  Guemiep 


occasionally  -with  black.  There  are  also  eight 
etchings  by  him,  four  of  which  are  oval,  inscribed 
with  the  Italian  form  of  his  name,  Gasparo 
Buche  inv.  sc.  Romae,  or  G.D.s.,  or  Gasp.  Dughet 
sculpsit. 

The  following  is  a  list  of  some  of  the  pictures  by 
which  he  is  represented  in  the  chief  collections  of 
Europe : 


Belvoir  Castle. 


Blenheim  Palace. 
Brocklesby  Park. 

Cambridge. 


ENGLISH   GALLERIES. 

Christ  and  the  Disciples  going  to 

Emmaus. 
Two  other  Landscapes. 
Two  Landscapes. 
St.  Jerome. 
Five  other  Landscapes. 

imlliam  >  Landscape. 
Museum.  J 
Castle  Howard.  Three  Landscapes. 

Ohatsworth  House.  Five  Landscapes. 

Clumber  Park.  Three  Landscapes. 

Corsham  House.  Landscape,  Storm. 

Dulwich.  Gallery,    Destruction  of  Niobe. 

„  Conversion  of  St.  Paul. 

„  'J  Three  other  Landscapes. 

Edinburgh.    Nat.  Gal.    Land  Storm. 
Hampton  Court.  Palace.  Christ's  Agony  in  the  Garden. 

,,  „        The  Angels    appearing    to    the 

Shepherds. 
Isleworth.  Sion  House,    Two  Landscapes. 
Knowsley  Hall.  Two  Landscapes. 

London.  National  Gal.    Abraham  and  Isaac. 

„  „  Dido  and  iBneas. 

„  „  Four  other  Landscapes. 

"        ■^"XJ.Tl^Storm. 

„  „  Three  other  Landscapes. 

jf  Grosvenor       View  of  Tivoli  and  the  Temple  of 

House.  the  Sybil. 

„  „  Two  other  Landscapes. 

^"h^T  }  ^°"'  Landscapes. 

„      Stafford  Hoxise.  Landscape. 

„    Hertford  House.  View  of  Tivoli. 

yy  Bath  House.  Landscape. 

Longford  Castle.  Two  Landscapes. 

Osterley  Park.  Four  Landscapes. 

Panshanger  House.  Two  Landscapes. 

Petworth  House.  One  Landscape. 

Saltram  House.  Flight  into  Egypt. 

»  „  Two  other  Landscapes,  Views  of 

Tivoli. 
Somerley  House.  Landscape. 

Wardour  Uastle.  Two  Landscapes. 

"Welbeck  Abbey.  Landscape. 

"Wiltoa  House.  Landscape. 

Windsor.  Castle.     Jonah  {figures  hy  JV.  Poussht). 

„  „  Landscape,  known  as "  Solitude." 

„  „  Two  other  Landscapes. 

"Woburn  Abbey.  Four  Landscapes. 

FOREIGN   GALLERIES. 

Two  Landscapes. 

Four  Landscapes. 

Three  Landscapes. 

Italian  Landscape. 

Two  Landscapes, 

Three  Landscapes. 

One  Landscape. 

Alpheus  and  Arethnsa. 

Apollo  and  the  Cumsean  Sybil. 

View  on  a  Lake. 

Three  other  Landscapes. 

The  Fishermen. 

Several  Landscapes. 

Landscape. 

Landscape. 

Three  Landscapes. 

One  Landscape. 


Ajaccio. 

Museum. 

Avignon. 

Museum. 

Basle. 

Museum, 

Berlin. 

Gallery. 

Bordeaux. 

Museum, 

Cassel. 

Gallery. 

Cherbourg 

Museum, 

Dijon. 

Museum, 

Dresden. 

Gallery. 

Florence. 

Vjjlzi. 

>* 

FitU  Pal. 

Gotha. 

Gallery, 

Hague. 

Museum, 

Lausanne. 

Arlaud  Mus 

Lille. 

Museum, 

Lyons. 

Museum. 

434 

Madrid. 


Gallery,    St.  Jerome. 
„  „  St.  Mary  Magdalen  before   the 

Cross. 
„  „  Five  other  Landscapes. 

Milan.  Finacoteca,     St.  John  the  Baptist  as  a  child. 

Montpellier.   Museum,    Apollo  and  Daphne. 

„  „  Temple  of  the  Sybil  at  Tivoli. 

„  „  Nine  other  Landscapes. 

Munich.  Gallery.    Temple  of  the  Sybil  at  Tivoli. 

„  ,,  Mountainous  Landscape. 

„  „  One  other  Landscape. 

Nantes.  Museum.     Three  Landscapes. 

Nar  bonne.       Museum.     Landscape. 
Nismes.  Museum.    Landscape. 

Oldenburg.       Gallery.    Landscape. 
Paris.  Louvre.    A  Landscape. 

Petersburg.  Hermiitage.    Five  Landscapes. 
Puy.  Museum.    Flight  into  Egypt. 

„  „  One  other  Landscape. 

Quimper.        Museum.     Finding  of  Moses. 

Borne.  Barherini  1  m, y  _  , 

Pulace.]^^^^^^^^"^'^^^' 
„  Boryhese  Pal,    Several  Landscapes. 

„  Colonna  Pal.     Several  Landscapes. 

„  Corsini  Pal.    Several  Landscapes. 

„  Doria  Palace.    St.  Mary  of  Egypt. 

„  „  Mercury. 

„  „  A  Forest. 

„  „  The  Flight  into  Egypt. 

„  ,,  St.  Augustine  on  the  sea-shore 

with  an  Angel. 
„       Sdarra  Palace,    Martyrdom  of  St.  Erasmus. 
Stockholm.      Gallery,     Death  of  Adonis. 

„  „  Temple  of  the  Sybil  at  Tivoli. 

„  „  View  of  Nemi. 

„  ,,  Seven  other  Landscapes. 

Turin.  Gallery,    The  Cascades  of  Tivoli. 

Venice.  Academy,    Landscapes. 

Vienna.  Gallery,    The  Tomb  of  Caecilia  Metella. 

„  „  A  Landscape. 

„  ;,  A  Wooded  Landscape. 

„  Archduke )  t      j 

Alh-eclifs  Gal,i^''^^''^'e^- 
„         Liechtenstein )  m,         t      j 

Gallery,     j  Three  Landscapes. 

„  Harrach  Gallery.    Landscape. 

„    Czernin  Gallery.     Two  Landscapes, 

O.J.D. 
DUGHET,  Jean,  a  brother  of  Gaspard  Diighet, 
was  born  at  Rome  in  1614,  and  studied  under 
Nicolas  Poussin,  after  whose  works  he  engraved. 
He  died  in  1676.  Of  his  prints  the  following  are 
the  most  worthy  of  notice  : 

The   Seven  Sacraments ;  from  the  pictures  painted  by 
Nicolas  Poussin  for  the  Cavaliere  del  Pozzo,  differing 
from  those  formerly  in  the  Orleans  collection. 
Mount  Parnassus ;  after  the  same. 
The  Birth  of  Bacchus ;  after  the  same. 
The  Judgment  of  Solomon ;  after  the  same. 

DU  GUERNIER  FAMILY. 

Louis  (1650— ab.  1620). 
Alexandre  (I.  ah.  ICOO). 


Louis  (1614—1659).  Alexandre  (d.  1665).  Pierre  (1624—1674). 

DU  GUERNIER,  Alexandre,  the  elder,  son  of 
Louis  Du  Guernier  the  elder,  and  like  him  a  painter 
of  portraits  and  miniatures,  flourished  about  the  year 
1600.  His  portraits,  equal  to  those  of  his  father, 
are  rare  and  much  sought  after.  Being  a  Protest- 
ant, he  went  abroad  in  consequence  of  the  revo- 
cation of  the  Edict  of  Nantes,  and  died  in  exile. 

DU  GUERNIER,  Alexandre,  the  younger,  a 
landscape  painter,  was  a  younger  son  of  Alexandre 
Du  Guernier  the  elder.  He  died  in  Paris  in  1655, 
being  cut  short  in  a  career  of  great  promise. 

_DU  GUERNIER,  Louis,  the  elder,  a  French 
miniature  painter,  born  in  1650,  executed  numerous 
drawings  for  books  of  hours  and  breviaries,  as  well 
as  portraits  of  many  of  the  most  noted  persons  of 


I}u  Guernier 


PAINTERS  AND  ENGRAVERS. 


Du  llesnil 


his  time.  He  painted  for  the  Duke  of  Guise  a  book 
of  prayers,  in  which  the  ladies  of  the  court  were 
represented  with  the  attributes  usually  given  to 
the  saints.  He  ordinarily  worked  on  vellum,  stip- 
pling without  making  use  of  white.  He  died  about 
1620. 

,  DU  GUERNIER,  Louis,  the  younger,  the  eldest 
son  of  Alexandre  Du  Guernier  the  elder,  was  born 
in  Paris  in  1614.  He  was  added  to  the  foundation 
members  of  the  Royal  Academy  of  Painting  in 
1651,  became  professor  in  1655,  and  died  in  Paris 
in  1659.  His  sister,  Susanne,  married  the  cele- 
brated  historical  painter,  S^bastien  Bourdon. 

DU  GUERNIER,  Louis,  a  French  engraver,  was 
born  in  Paris  in  1677,  and  came  to  England  in 
1708.  He  assisted  Du  Bosc  in  engraving  tfie 
battles  of  the  Duke  of  Marlborough,  and  executed 
Bome  illustrations  to  the  works  of  Spenser  and 
Gay.     He  died  in  1716. 

DU  GUERNIER,  Pieeee,  who  was  considered 
the  best  enamel  painter  of  his  day,  was  a  younger 
son  of  Alexandre  Du  Guernier  the  elder.  He 
was  born  in  Paris  in  1624,  became  an  acade- 
mician in  1663,  and  died  in  Paris  in  1674.  His 
portraits  are  distinguished  by  a  freshness  and 
brilliancy  of  colour,  afterwards  surpassed  by 
Petitot  alone. 

DUGY,  ,    a    French   engraver,   flourished 

about  the  year  1760.  He  engraved  several  slight 
prints,  after  the  works  of  Franpois  Boucher  and 
other  masters. 

DU  HAMEEL,  Alaet,  a  goldsmith  and  engraver 
of  the  15th  century,  is  known  by  a  plate  of  '  The 
Last  Judgment,'  after  Jerom  Bosch,  and  a  '  Church 
Tabernacle.' 

DU  HAMEL,  A.  B.,  a  French  engraver,  flour- 
ished about  1760.  He  resided  in  Paris,  and  was 
employed  chiefly  by  the  booksellers  in  engraving 
book-plates  and  portraits,  among  the  latter  being 
those  of  Jolyot  de  Crebillon  and  Jean  Jacques 
Rousseau. 

DUIVEN,  Jan,  bom  at  Gouda  in  1600,  was  a 
scholar  of  Wouter  Craheth,  and  had  a  great  reputa- 
tion as  a  portrait  painter.     He  died  in  1640. 

DU  JARDIN,  Karel,  was  born  probaWy  at 
Amsterdam  about  1625.  He  was  a  pupil  of 
Nieolaas  Berchem,  and  was  unquestionably  the 
ablest  scholar  of  that  celebrated  master.  His 
progress  was  extraordinary,  and  to  perfect  him- 
self he  travelled  to  Italy  when  he  was  still  very 
young.  On  his  arrival  at  Rome  he  was  received 
into  the  Bentevogel  Society,  where  the  title  of 
'  Barbe  de  Bouc '  was  conferred  on  him.  His 
studies  were  assiduous  and  constant,  and  his 
pictures  acquired  estimation  in  Rome,  where  they 
were  admired  beyond  those  of  any  artist  of  his 
country.  •  After  a  residence  of  several  years  at 
Rome  he  returned  to  Holland,  where  his  pictures 
were  not  less  admired  than  they  had  been  in  Italy, 
and  he  met  with  great  success.  Notwithstand- 
ing this  flattering  encouragement,  his  desire  of 
revisiting  Italy  was  so  great  that  he  left  home  for 
Venice,  where  he  died  in  1678.  The  pictures  of 
Du  Jardin  are  more  conformable  to  the  iaste  of 
Italy  than  to  that  of  Holland,  and  they  generally 
exhibit  a  warmth  and  brilliancy  of  atmosphere, 
with  clear  and  sparkling  skies.  His  landscapes 
are  always  pleasing  in  their  scenery,  and  they  are 
decorated  with  charming  figures  and  animals,  in 
which,  to  the  truth  and  finish  of  Paul  Potter,  he 
unites  a  taste  which  is  not  found  in  the  works  of 
that  celebrated  cattle  painter.  As  he  died  young, 
r  F  2 


Bordeaux. 
Brussels. 

Museum. 
Museum. 

Cassel.            Gallery. 
Copenhagen.  Gallery. 
Dresden.         Gallery. 

» 

a 

Dulwioh. 

Gallery. 

Edinburgh. 

Gallery. 

Hague. 

Gallery. 

Lille. 
Loudon. 

Museum. 
Bute  Coll. 

and  his  pictures  are  highly  wrought  up,  they  are 
scarce,  and  very  valuable.  The  following  are 
some  of  the  best : 

Berlin.  Museum,    Young  man  tasting  wine.    1664. 

;;  ;;  b"^™"!;]  Italian  Landscapes. 

Landscape  and  Animals. 

The  Advance  Guard.    1652. 

The  Eeturn  to  the  shed. 

Charlatans. 

Allegory.     1663. 

Diogenes  and  the  Boy  who  drinks 

with  his  hand. 
Maid  milking  a  Goat. 
Ox  and  Goats  in  a  Landscape. 
Smith  shoeing  an  Ox. 
Peasants  in  a  Landscape. 
Halt  of  Horsemen. 
Farrier's  Shop. 
Cascade  in  Italy.    1673. 
The  Spinner. 
Pasturage. 
Fording  a  Stream. 
M  „  Tobit  and  ths  Angel. 

Paris.  iouvre.    Calvary.    1661. 

n  „  Italian  Charlatans.     1657. 

„  „  The  Ford. 

))  „         The  Pasturage. 

„  „         The  Grove.    1646. 

}}  „  Landscape  and  Animals.    1660. 

,1  „         Portrait  of  a  Man.    1657. 

Petersburg.  Sermitage.  Seven  Landscapes. 
Vienna.  Gallery.    Herdsman  and  Cattle. 

He  left  about  fifty-two  admirable  etchings  of 
landscapes,  figures,  and  animals,  which  are  exe- 
cuted with  uncommon  taste  and  spirit.  They  are 
sometimes  signed  with  his  name  at  length,  at 
other  times  with  his  initials  or  with  a  monogram. 

DUJARDIN,  Louis,  a  French  engraver  on  wood, 
was  born  at  Rouen  in  1808,  and  died  in  Paris  in 
1859.  He  executed  some  of  the  illustrations  to 
Charles  Blanc's  '  Histoire  des  Peintres.' 

DULIN,  Pierre.    See  Ulin,  Pieeke  d'. 

DULLAERT,  Heinman,  a  Dutch  painter,  was 
born  at  Rotterdam  in  1636.  He  was  the  son 
of  a  dealer  in  pictures,  and  having  shown  an 
early  inclination  for  art,  he  was  placed  in  the 
school  of  Rembrandt.  Under  that  able  instructor 
his  progress  was  such,  that  in  a  few  years 
some  of  his  small  pictures  were  painted  so  much 
in  the  style  of  his  master  as  to  be  mistaken  for 
Rembrandt's  own.  He  generally  painted  cabinet 
pictures  of  historical  subjects  and  portraits,  which 
were  deservedly  admired  for  harmony  of  colour,  a 
vigorous  touch,  and  a  masterly  effect  of  light  and 
shade.     He  died  at  Rotterdam  in  1684. 

DULONG,  Jean  Louis,  a  French  historical  and 
portrait  painter,  was  born  at  AstafEort  (Lot-et- 
Garonne)  in  1800.  He  was  a  pupil  of  Gros  and 
of  Abel  de  Pujol,  and  died  in  Paris  in  1868,  in 
which  year  he  exhibited  at  the  Salon  '  Marie  An- 
toinette in  the  Conciergerie.' 

DU  MESNIL,  Louis  Michel,  a  French  his- 
torical painter,  became  in  1750  professor  at  the 
Academy  of  St.  Luke  at  Rome.  He  painted  the 
'  Visitation  of  the  Virgin '  for  the  church  of  St. 
Jean-en-Greve  at  Paris,  and  one  of  the  '  Beatitudes  ' 
in  the  chapel  of  M.  Turgot.  A  picture  of  his, 
'  Belle,  quel  est  votre  dessein  ?  '  was  engraved  by 
C.  Dupuis.  His  son,  Pierre  Louis  Du  Mesnil, 
who  was  born  in  1698,  and  died  in  Paris  in  1781, 
was  also  professor  at  the  Academy  of  St.  Luke,  of 
which  he  became  rector.  He  usually  painted  sub- 
jects of  every-day  life,  some  of  which  have  been 
engraved. 

485 


Su  Monstier 


A  BIOGRAPHICAL   DICTIONARY   OP 


Duniarton 


DU  MONSTIER,  Daniel,  (Du  Moustier,  or  Du 
Moutier),  the  best  known  of  his  family,  was  bom 
in  Paris  in  1574.  He  was  the  son  of  Cosnie  and 
grandson  of  Geofiroy  Du  Monstier,  and  worljed  in 
crayons  and  pastels  at  the  courts  of  Francis  I., 
Henry  IV.,  and  Louis  XIII.,  executing  portraits  of 
nil  the  most  distinguished  personages  of  his  time. 
His  master  is  unknown,  but  as  his  style  resembles 
that  of  Primatiocio,  he  probably  studied  imder  one 
of  the  Italians  at  the  court  of  Francis  I.  He 
died  in  Paris  in  1646.  Nicolas  Du  Monstier,  a 
son  of  Daniel,  followed  in  his  father's  footsteps. 
He  was  born  in  Paris  in  1612,  was  received  into 
the  Academy  in  1665,  and  died  in  1667. 

DU  MONSTIER,  Geopfroy,  a  French  miniature 
painter,  born  early  in  the  16th  century,  and  still 
living  in  1547,  was  much  employed  at  Fontaine- 
bleau  by  II  Rosso.  He  likewise  painted  upon 
glass,  and  etched  several  plates  which  are  described 
in  Robert-Dumesnil's  '  Peintre-Graveur  Franfais,' 
vol.  v.  He  is  supposed  to  have  painted  in 
grisaille  the  following  miniatures  in  manu- 
scripts :  '  Francis  I.  conversing  with  Julius  Csesar,' 
in  the  British  Museum,  and  'The  Triumph  of 
Petrarch,'  in  the  Library  of  the  Arsenal  at  Paris. 

DUMONT,  Jacques,  called  Le  Romain,  on  ac- 
count of  a  long  sojourn  which  he  made  at  Rome, 
vias  bom  about  1700.  He  was  an  historical  and 
genre  painter,  whose  best  work  was  his  picture  of 
'  Hercules  and  Omphale,'  which  he  painted  for  his 
reception  at  the  Academy  in  1728,  but  he  had  more 
reputation  than  talent.  Some  of  his  works  were 
engraved  by  his  contemporaries.  His  drawing  and 
composition  are  good,  but  his  colour  is  mediocre. 
He  died  in  Paris  in  1781. 

DU  MOUSTIER.     See  Du  Monstier. 

DUNCAN,  Edward,  a  water-colour  painter,  was 
born  in  London  in  1803.  He  was  articled  to  Robert 
Havell,  the  aquatint  engraver,  and  was  thus  afforded 
frequent  opportunities  of  studying,  and  occasionally 
of  copying,  the  works  of  William  Havell.  These 
developed  his  taste  for  drawing  and  the  use  of 
colour,  and  in  1831  he  became  a  member  of  the 
New  Society  of  Painters  in  Water-Colours,  but  he 
afterwards  withdrew,  and  in  1849  was  elected  an 
Associate  of  the  Society  of  Painters  in  Water- 
Colours,  and  a  full  member  in  the  following  year. 
He  died  in  London  in  1882.  His  drawings  com- 
prise a  wide  range  of  subjects,  treated  with  much 
grace  and  great  truthfulness  to  nature,  but  his 
larger  and  more  important  works  are  chiefly  coast 
scenery,  with  shipping  and  craft  admirably  charac- 
terized.   Among  the  best  of  them  are  the  following : 

The  Shipwreck.  1859. 
The  Life-Boat.  1860. 
Blue  Lights. 

Oyster  Dredgers — Svransea  Bay. 
Landiug  Fish  on  the  Sands  at  Whitby. 
Fishing  Boats  making  for  the  Harbour  of  Boulogne — 
early  morning. 

DUNCAN,  Thomas,  was  born  in  1807,  at  Kin- 
claven,  in  Perthshire,  but  was  educated  at  Perth, 
whither  his  parents  had  removed  shortly  after  his 
birth.  He  showed  very  early  signs  of  a  peculiar 
faculty  by  employing  every  moment  in  drawing 
such  objects  _  as  struck  his  fancy,  especially  the 
portraits  of  his  young  companions  ;  and  while  still 
at  school  he  painted  the  whole  of  the  scenery  for 
a  dramatic  representation  of  '  Rob  Roy,'  which  he 
and  his  schoolfellows  performed  in  a  stable-loft. 
His  parents,  however,  considered  this  use  of  bis 
pencil  an  unprofitable  waste  of  time,  and  placed 
436  '  ^ 


him  in  the  office  of  a  law-writer.  Released  in 
time  from  the  drudgery  of  the  desk,  and  more 
than  ever  desirous  of  accomplishing  his  favourite 
object,  he  at  length  procured  the  consent  of  his 
father  to  his  visiting  Edinburgh,  where  he  was 
placed  under  the  able  instruction  of  Sir  Willi.uii 
Allan,  then  master  of  the  -Trustees'  Academy  for 
the  study  of  art,  an  establishment  endowed  by 
Government.  Duncan's  talent,  fostered  and  di- 
rected by  such  a  master,  speedily  developed  itself, 
and  he  made  rapid  progress  in  the  drawing  of  the 
human  figure.  The  first  picture  which  brought 
him  into  general  notice  was  his  '  Milkmaid  ' ;  and 
shortly  after  he  exhibited  his  '  Old  Mortality '  and 
'  The  Bra'  Wooer.'  He  was  appointed,  at  an  un- 
usually early  age,  to  one  of  the  professorships — that 
of  colour — at  the  newly-established  Royal  Suottish 
Academy,  and  subsequently,  on  the  death  of  Allan, 
to  the  well-endowed  mastership  of  the  Trustees' 
Academy.  In  1840  he  sent  to  the  Royal  Academy 
his  fine  work,  'Prince  Charles  Edward  and  the 
Highlanders  entering  Edinburgh  after  the  Battle 
of  Preston  Pans.'  This  picture  brought  the  painter 
at  once  into  most  favourable  notice.  In  1841 
Duncan  exhibited  a  most  touching  picture  from 
the  ballad  of  'Auld  Robin  Gray,'  termed  'The 
Waef u'  Heart '  (now  in  the  Sheepshanks  Collec- 
tion in  the  South  Kensington  Museum) ;  in  the 
following  year,  'Deer-stalking';  and  in  1843, 
'  Charles  Edward  asleep  after  the  Battle  of  Cullo- 
den,  protected  by  Flora  MacDonald.'  In  1844 
Duncan  exhibited  '  Cupid,'  and  '  The  Martyrdom  o£ 
John  Brown  of  Priesthill,  in  1685.'  This,  which  is 
now  in  the  Corporation  Galleries  at  Glasgow,  was  the 
last  picture  by  the  artist  exhibited  in  London,  ex- 
cepting a  portrait  of  himself,  which,  to  the  honour 
of  his  Scottish  professional  brethren,  was  purchased 
by  subscription,  and  presented  by  them  to  the  Royal 
Scottish  Academy.  Duncan  was  elected  an 
Academician  of  the  Royal  Scottish  Academy  in 
1830,  and  an  Associate  of  the  Royal  Academy  in 
1843,  but  he  did  not  long  survive  the  latter  honour, 
as  he  died  at  Edinburgh  in  1845.  Had  his  life 
been  prolonged,  there  is  no  question  hut  that  he 
would  have  achieved  a  lofty  position  in  historical 
painting ;  as  a  colourist,  indeed,  he  had  few 
superiors.  His  portraits  deseri^e  mention  as  being 
faithfully  and  skilfully  rendered. 

The  following  works  by  him  are  in  the  National 
Gallery  of  Scotland  : 

Thomas  Duncan. 

Anne  Page  inviting  Slender  to  dinner. 

Jeannie  Deans  and  the  Bobbers. 

Portrait  of  Lady  Stuart  of  Allanbank. 

John  M'Neill  of  Colonsay. 

Lord  Colonsay. 

Biian — a  celebrated  Scottish  Deerhound. 

The  two  Friends,  Child  and  Dog. 

DUNKARTON,  Robert,  a  mezzotint  engraver, 
was  born  in  London  in  1744.  He  was  a  pupil  of 
Pether,  and  painted  a  few  portraits,  some  of  which, 
as  also  some  portraits  in  crayons,  were  exhibited 
at  the  Royal  Academy  and  at  Spring  Gardens  until 
1779.  But  his  greatest  success  was  gained  as  a 
mezzotint  engraver.  His  plates  are  dated  from  1770 
to  1811,  after  which  year  there  is  no  record  of  him. 
He  engraved  in  a  clear,  finished  style  several  por- 
traits and  historical  subjects,  of  which  the  follow- 
ing are  the  principal: 

PORTRAITS. 
George,  Lord  Lyttelton  ;  ctf'ter  West. 
Jonas  Hanway ;  after  E.  Edwards, 


Dunker 


PAINTERS  AND  ENGRAVERS. 


Duplessis 


Dr.  Arne ;  after  W.  Humphrei/. 
Miss  Honieck ;  after  Sir  Joshua  Beynolds. 
John  Elliot ;  after  N.  Dance. 
Miss  Bamfylde ;  after  W.  Peters. 
James  Briniiley,  eugiaeer ;  after  Parsons. 
Miss  Catley,  in  the  character  of  Euphrosyne;  after 
Lawrcnson. 

SUBJECTS  AFTER  VAKIOUS  MASTERS. 

Lot  and  his  Daughters ;  after  A .  de  Gelder. 

Christ  and  the  Disciples  at  Emmaus ;  after  Guercino. 

Four  subjects  from  the  Life  of  Joseph ;  after  the  same. 

DUNKER,  Balthasar  Anton,  a  landscape 
painter  und  etcher,  was  born  at  Saal,  near  Stralsund, 
in  1746.  He  was  a  pupil  of  Jakob  Philipp 
Hackert  and  of  Vien,  and  was  more  distinguislied 
as  an  etcher  than  as  a  painter.  His  works  are  after 
Roos,  Van  der  Does,  Hackert,  and  Sohutz,  and 
consist  of  costumes  and  manners  of  the  French 
before  the  Revolution,  illustrations  of  books,  and 
other  miscellaneous  subjects.  Among  tliem  were 
some  excellent  landscapes,  as  the  'Environs  of 
Berne,'  and  views  of  Leghorn.  He  died  at  Berne 
in  1807. 

DUNKER,  Philip  Heinrich,  son  of  Balthasar 
A.  Dunker,  was  also  an  engraver,  and  a  painter  in 
water-colours.  In  both  pursuits  it  seems  that  he 
was  a  copjist,  as  his  drawings  are  after  Kobe]], 
Roos,  Weenix,  and  others,  and  his  engraving  after 
a  picture  by  Demarne  is  traced  to  one  by  Geisler. 
He  died  in  1836. 

D'UNKEK-HENNING-LUTZOW,  Karl  Hin- 
DBICK,  a  genre-painter,  was  born  at  Stockholm  in 
1829.  Up  to  1861  he  was  an  officer  in  the  Swedish 
Guards  ;  he  afterwards  studied  at  the  Diisseldorf 
Academy  under  K.  Sohn,  and  visited  Paris  and 
Amsterdam.  Having  by  an  accident  lost  the  use 
of  his  right  arm,  he  quickly  learnt  to  paint  with 
his  left,  but  he  soon  after  succumbed  to  a  chest 
disease,  and  died  at  Diisseldorf  in  1866.  He  was 
Swedish  court  painter,  and  a  professor  and  honor- 
ary member  of  the  Royal  Academy  at  Stock- 
holm. The  Berlin  National  Gallery  possesses  an 
'  Announcement  of  Arrest '  by  him. 

DUNLAP,  William,  an  American  painter,  was 
born  at  Perth  Amboy,  in  New  Jersey,  in  1766. 
When  only  seventeen  he  painted  a  portrait  of 
Washington.  A  group  of  himself  and  his  parents, 
done  in  1788,  is  in  the  collection  of  the  New  York 
Historical  Society.  He  published  in  1834  his 
'  History  of  the  Arts  of  Design  in  the  United 
States,'  and  died  in  New  York  in  1839. 

DUNOUY,  Alexandre  Hyacinthe,  a  landscape 
painter,  born  in  Paris  in  1757,  was  a  pupil  of  Briand. 
He  exhibited  at  the  Mus6e  Royal  in  1800  'Plusieurs 
Etudes  d'apres  la  nature  prises  a  Villers-Panl  et 
Hyeres,'  and  during  succeeding  years  many  land- 
scapes and  views  ;  in  1830  at  the  Luxembourg  he 
exhibited  '  Etudes  d'apres  nature  a  Montmorency : 
Autres  prises  a  Jouy.'  He  also  engraved  a  series 
of  thirty  landscapes  from  his  own  compositions, 
and  some  views  in  Italy  and  in  the  environs  of 
Paris.     He  died  in  1843. 

DUNSTALL,  John,  who  lived  in  London  about 
the  year  1660,  engraved  a  few  portraits  and  other 
plates,  which  are  etched  and  finished  with  the 
gi-aver  in  imitation  of  the  style  of  Hollar.  In 
1662  he  published  a  book  of  birds,  beasts,  flowers, 
fruit,  &c.,  from  his  own  designs.  Among  other 
portraits  we  have  the  following  by  him  : 

Mary,  Queen  of  James  II. 

King  William  and  Queen  Mary. 

Samuel  Clarke,  prefixed  to  his  '  Puritan  Divines.' 

James  Ussher,  Archbishop  of  Armagh. 


DUNTHORNE,  John,  father  and  son,  were  two 
painters  who  practised  at  Colchester  in  the  latter 
part  of  the  18th  century.  The  father  painted 
portraits,  whilst  the  son  painted  genre  subjects, 
several  of  which  appeared  at  the  Royal  Academy 
between  1783  and  1794. 

DUNWEGE,  Victor  and  Heinrich,  who  were 
brothers,  and  painters  of  the  school  of  Westphalia, 
executed  conjointly  a  large  altar-piece  fur  the 
parish  church  of  Dortmund.  Though  painted  in 
the  year  1523,  it  recalls  the  art  of  the  15th 
century,  having  a  gold  background,  and  being 
symmetrical  in  composition,  but  somewhat  crude 
in  colouring.  It  represents,  in  the  centre,  'The 
Crucifixion';  on  the  interior  of  the  wings,  'The 
Adoration  of  the  Kings,'  the  'Infant  Jesus,'  the 
'Virgin  and  several  of  lier  k'ndred;'  and  on  the 
exterior 'The  Donor  kneeling  before  Christ,' who 
is  surrounded  by  Saints.  Similar  in  character 
to  this  altar-piece  are  a  '  Holy  Family '  in  the 
Antwerp  Gallery  (formerly  in  the  church  of 
Calcar),  and  a  '  Crucilixion '  in  the  Berlin  Gal- 
lery (not  now  exhibited),  which  are  ascribed  to 
the  brothers  Diinwege.  The  '  Adoration  of  the 
Kings,'  dated  1512,  in  the  Naples  Museum,  is 
by  a  Westphalian  master,  resembling  these  artists 
in  style., 

DUPERAC,  felENNE,  (or  Dn  P^rac,)  a  French 
painter,  architect,  and  engraver,  was  born  at  Bor- 
deaux about  1525.  He  studied  at  Rome,  and  en- 
graved the  '  Last  Judgment,'  after  Michelangelo, 
and  the  '  Judgment  of  Paris,'  after  Raphael.  He 
etched  in  the  manner  of  Fontana  forty  plates, 
entitled  'I  Vestigj  dell'  Antichita  di  Roma,'  and 
published  in  Rome  in  1575.  Henry  IV.  appointed 
Dup^rac  architect  at  Fontainebleau,  where  he 
painted  the  bath-room  with  '  Marine  Deities '  and 
the  '  Loves  of  Jupiter  and  Calisto,'  but  these  works 
were  destroyed  by  fire  in  1697.  He  died  in  Paris 
in  1604.  . 

DUPBRREUX,     Alexandre     Louis    Robert 

MiLLIN.      See  MiLLIN  Dupebreux. 

DUPLESSI-BERTAUX,  Jean,  a  French 
draughtsman  and  engraver,  was  born  in  Paris  in 
1747.  He  engraved  many  plates  for  the  '  Voyage 
a  Naples  et  dans  les  Deux-Siciles  '  of  the  Abbi  de 
Saint-Non,  and  for  the  '  Voyage  en  Grece '  of 
Choiseul-Gouffier,  and  etched  some  of  the  plates  of 
the  '  Galerie  du  Palais-Royal.'  His  best-known 
works,  however,  are  those  which  he  executed  for 
the  '  'Tableaux  historiques  de  la  Revolution,'  some 
of  which  are  from  his  own  designs,  and  the 
'  Campagnes  d'ltalie,'  after  the  drawings  of  Carle 
Vemet.  There  are  also  plates  by  him  in  Denon's 
'  Voyage  en  Egypte,'  the  '  Mus^e  rran(;ais,'  and  the 
'  Musie  Filhol.'     He  died  in  1818  or  1819. 

DUPLESSIS,  Joseph  SifrJide,  a  French  portrait 
painter,  was  born  at  Carpentras,  near  Avignon,  in 
1725.  He  was  destined  for  the  priesthood,  but  at 
an  early  age  he  showed  his  inclination  for  the  arts. 
He  was  taught  by  his  father,  Duplessis  the  elder, 
and  afterwards  by  Frere  Imbert.  He  visited  Rome 
in  1745,  and  studied  there  under  Subleyrae ;  and 
on  his  return  home,  after  a  short  stay  at  Lyons, 
he  established  himself  in  Paris,  and  was  received 
into  the  Academy  in  1774.  Losing  his  fortune  in 
the  Revolution,  he  accepted  the  post  of  conservator 
of  the  Museum  of  Versailles,  where  he  died  in  1802. 
He  possessed  a  high  reputation  for  his  portraits, 
among  which  are  those  of  Gluck  (now  in  the 
Vienna  Gallery),  Franklin,  Marmontel,  the  Abb6 
BoBsuet,  and  M.  and  Mme.  Neoker. 

437 


Buplonich 


A  BIOGBAPHICAL  DICTIONARY  OF 


Du  Pont 


DUPLONICH,  Vedastds,  a  Dutch  engraver, 
flourished  about  the  year  1660.  Among  other 
prints,  we  have  a  few  plates  by  him  representing 
views  in  Holland,  which  are  neatly  engraved. 
;  DUPONCHEL,  Chaeles  Eugene,  a  French  en- 
graver, born  at  Abbeville  in  1748,  was  a  scholar 
of  Jacques  Tardieu.  He  resided  in  England  about 
the  year  1779,  and  among  other  prints  engraved  a 
view  of  Waterf ord,  from  a  drawing  by  Paul  Sandby , 
the  '  Madonna  deJla  Seggiola '  of  Raphael,  a  '  Holy 
Family'  after  Andrea  del  Sarto,  and  several  other 
historical  subjects  and  portraits.  He  was  living 
in  1804. 

DUPONT,  FEANgois  Wonakd,  called  Dupont 
Watteau,  a  French  painter,  was  born  at  Moorsel  in 
1756,  and  studied  at  Lille  under  Louis  Wattean, 
whose  daughter  he  married  in  1782.  In  1798  he 
gave  up  art  for  mechanics,  with  the  study  of 
which  he  had  begun  life.  He  died  at  Lille  in  1824. 
During  the  years  devoted  to  art,  Dupont  painted 
in  all  mediums  and  all  subjects — portraits,  genre 
subjects,  &c.  In  the  Lille  Museum  is  a  picture  by 
him,  dated  1785,  of  the  '  Attributes  of  the  Fine 
Arts,'  and  in  the  Glasgow  Corporation  Galleries  is 
'  The  Vintage.' 

DUPONT,  Gainsboeough,  the  nephew  and  pupil 
of  Thomas  Gainsborough,  R.A.,  wasbornin  1767. 
He  painted  portraits  and  landscapes  in  imitation  of 
the  style  of  his  uncle,  and  also  landscapes  with 
architectural  ruins,  in  which  he  imitated  Nicolas 
Poussin.  His  principal  work  is  a  large  picture 
containing  the  portraits  of  the  Trinity  Masters, 
which  is  in  their  court-room  on  Tower  Hill.  He 
is,  however,  more  distinguished  as  an  engraver  in 
mezzotinto,  and  his  engravings  of  some  of  Gains- 
borough's portraits  are  imbued  with  the  very  spirit 
of  the  painter.  He  died  in  London  in  1797.  The 
following  are  his  best  plates  : 

George  III.,  full  length;  after  Gainshorough. 

Queen  Charlotte,  full  length  ;  after  the  same. 

The  Princess  Koyal,  and  the  Princesses  Augusta  and 
Elizabeth,  full  length ;  after  the  same. 

George,  Lord  Eodney,  full  length ;  after  the  same. 

General  Conway,  full  length ;  after  the  same. 

Colonel  St.  Leger,  full  length  ;  after  the  same. 

Kev.  Sir  Henry  Bate  Dudley,  Bart.,  full  length  ;  after 
the  same. 

Eev.  Richard  Graves,  half-length,  oval ;  after  the  same. 

DU  PONT,  Nicolas,  who  was  bom  at  Brussels  in 
1660,  painted  landscapes  and  architecture.  The 
figures  in  his  landscapes  are  attributed  to  Pieter 
Bout,  the  coadjutor  of  Bodewyns,  in  conjunction 
with  whom  he  painted  the  perspective  of  a  grand 
palace,  now  in  the  Museum  at  Ghent.  He  died  at 
Brussels  in  1712. 

DU  PONT,  Paulus  (better  known  as  Paulus 
Pontius),  an  eminent  Flemish  engraver,  was  horn 
at  Antwerp  in  1603,  and  was  instructed  in  the 
art  of  engraving  by  Lucas  Vorsterman ;  but  he 
improved  his  designs  by  the  advice  and  friendship 
of  Rubens,  froni  whose  works  he  engraved  many 
admirable  plates.  Few  artists  have  equalled  hira 
in  the  correct  and  faithful  delineation  of  his  model ; 
and  in  the  character  and  expression  of  his  figures 
he  appears  to  have  possessed  himself  of  the  mind 
of  Rubens.  He  was  not  less  successful  in  the  fine 
portraits  he  engraved  after  Van  Dyck,  in  which 
he  seems  to  have  adapted  his  style  to  the  particular 
.character  of  the  person  represented.  His  plates 
are  executed  with  the  graver  in  a  clear,  bold  style  ; 
and,  though  he  did  not  possess  the  facility  of 
Bolswert,  or  the  dehcacy  of  Vorsterman,  his  plates 
will  ever  be  esteemed  among  the  ablest  pro- 
438 


ductions  of  Flemish  art.     He  died  in  1658.     The 
following  are  his  principal  works  : 

POETRAITS  after  VAN  DYCK. 

Paulus  Du  Pont,  or  Pontius,  Engraver. 

Peter  Paul  Rubens. 

Jacob  De  Breuck,  Architect. 

Jan  Wildens,  Painter,  of  Antwerp. 

Jan  van  Ravesteyn,  Painter,  of  the  Hague. 

Palamedes  Palamdesz,  Dutch  Painter. 

Theodoor  van  Loo,  Painter,  of  Louvain. 

Theodoor  Rombouts,  Painter,  of  Antwerp. 

Cornells  van  der  Geest,  celebrated  Connoisseur. 

Gerard  Honthorst,  Painter,  of  the  Hague. 

Heudrik  van  Balen,  Painter,  of  Antwerp. 

Adriaen  Stalbeut,  Painter,  of  Antwerp. 

Daniel  Mytens,  Painter,  of  Holland. 

Gerard  Seghers,  Painter,  of  Antwerp. 

Simon  De  Vos,  Painter,  of  Antwerp. 

Gaspar  De  Craeyer,  Painter,  of  Ghent. 

Hendrik  Steenwyok,  Painter,  of  Antwerp. 

Gaspar  Gevartius,  Jurisconsult,  of  Antwerp. 

Nioolaas  Rockox,  Magistrate,  of  Antwerp, 

Jan  van  den  "Wouwer,  Counsellor  of  State. 

Caesar  Alexander  Scaglia,  Abbot  of  Stophard. 

Gustavus  Adolphus,  King  of  Sweden. 

Mary  de'  Medici,  Queen  of  France. 

Francis  Thomas,  of  Savoy,  Prince  of  Carignan. 

John,  Count  of  Nassau. 

Don  Alvarez,  Marquis  of  Santa  Cruz. 

Don  Carlos  de  Colonna,  Spanish  General. 

Don  Diego  Felipe  de  Guzman,  Marquis  de  Leganez. 

Mary,  Princess  of  Aremberg. 

Henry,  Count  de  Berghe,  in  armour. 

Sir  Balthasar  Gerbier. 

Frederick  Heiu-y,  Prince  of  Orange. 

POETEAITS  AETEE  EUBENS. 

Philip  IV.,  King  of  Spain.     1632. 

Elizabeth  of  Bourbon,  his  Queen. 

Isabella  Clara  Eugenia,  lofanta  of  Spain. 

Ferdinand,  Infant  of  Spain,  on  horseback. 

Gasparo  Guzman,  Duke  of  Olivarez. 

Cristoval,  Marquis  of  Castel  Eodrigo. 

Manuel    de    Moura    Cortereal,    Marquis    of    Castel 

Rodrigo. 
The  Mother  of  Manuel,  Marquis  of  Castel  Rodrigo. 

VAEIOUS   SUBJECTS  AFTEE  EUBENS. 

Susannah  and  the  Elders.  1624. 
The  Adoration  of  the  Shepherds. 
The  Murder  of  the  Innocents.    In  two  sheets.    1643. 

Very  fine. 
The  Presentation  in  the  Temple. 
Christ  bearing  His  Cross. 
The  Crucifixion,  with  Angels,  one  of  whom  is  overcoming 

Sin  and  Death. 
The   Dead    Christ    supported   by    the  Virgin,  with 

Mary  Magdalen,  St.  Francis,  and  other  figures ;  very 

fine. 
The  Descent  of  the  Holy  Ghost. 
The  Assumption  of  the  Virgin. 
The  Virgin  suckling  the  Infant  Christ. 
St.  Roch  interceding  with  Christ  for  the  Plague-stricken ; 

very  fine. 
Thomyris  causing  the  Head  of  Cyrus  to  be  put  into  a 

Vessel  of  Blood. 

SUBJECTS   AFTER  VAEIOUS  MASTEES. 

The  Flight  into  Egypt ;  after  Jordaens. 

Twelfth-Night ;  after  the  same. 

The  Adoration  of  the  Magi ;  after  G.  Seghers. 

The  Virgin  with  the  Infant  Christ  and  St,  Anne ;  after 

the  same. 
St.  Francis   Xavier  kneeling  before  the  Virgin  and 

Child  ;  after  the  same. 
St.  Sebastian,  with  an  Angel  drawing  an  Arrow  from 

his  breast ;  after  the  same. 
A  Dead  Christ,  supported  by  the  Virgin ;  after  Van 

Dyck. 
St.  Rosalia,  receiving  a  Crown  from  the  Infant  Jesus ; 

after  the  same. 
The  Holy  Family  ;  after  J.  van  Hoeck. 
The  Entombment  of  Christ ;  after  Titian. 


Dupont 


PAINTERS  AND  ENGEAVEES. 


Durand-Brager 


DUPONT,  PiEEEE,  a  French  engraver,  was  bom 
in  Paris  in  1730.  He  is  often  confounded  with 
Gaineborough  Dupont. 

DUPPA,  ElCHAKD,  was  an  English  copyist,  who 
flourished  in  the  latter  half  of  the  18th  and  in 
the  beginning  of  the  19th  century.  He  studied 
for  some  time  in  Borne,  and  published  two  works 
containing  copies  of  heads  by  Michelangelo  and 
Raphael ;  but  he  is  chiefly  known  by  his  lives  of 
these  two  painters,  published  in  1807  and  1816 
respectively. 

DUPBAT,  ,  a  French  painter  of  the  18th 

century,  is  known  by  a  portrait  of  the  Princess 
of  Asturias,  Dona  Maria  Barbara,  wife  of  Ferdi- 
nand VI.,  in  the  Madrid  Gallery.  No  dates  are 
known  in  connection  with  his  life. 

pUPR^,  LtioN  ViOTOR,  a  French  landscape 
painter,  was  bom  at  Hmoges  in  1816,  and  studied 
under  his  brother,  Jules  Dupr6.  He  died  in  1879, 
after  a  long  and  painful  illness.  Amongst  his 
works  are : 

Meadows  in  Berry.  , 

Environs  of  St.  Juuien. 

Oows  Drinking.    1855.    (South  ICensinc/ton  Museum.) 

View  at  Argentan.    1861. 

Landscape  in  the  Indre.    1864. 

DUPREEL, ,  was   a   French  engraver  of 

whom  no  particulars  are  related,  but  whose  works 
are  to  be  found  in  the  'Mus^e  Franyais,'  the 
'Galerie  de  Florence,'  and  other  pubhcations  of 
the  close  of  the  18th  and  commencement  of  the 
19th  centuries. 

DUPRESSOIR,  Joseph  FEANgois,  a  French  land- 
scape painter,  was  born  in  Paris  in  1800.  He 
painted  chiefly  views  in  the  south  of  France,  but 
sometimes  ventured  on  historical  subjects,  as  the 
'  Battle  of  Bethel '  in  the  galleries  at  Versailles. 
He  died  in  Paris  in  1859. 

DUPUIS,  Chaeles,  (or  Du  Puis,)  a  French  en- 
graver, was  born  in  Paris  in  1685.  He  was  a  pupil 
of  Gaspard  Duchange,  and  engraved  several  plates 
of  portraits  and  historical  subjects.  They  are  etched 
with  taste,  and  finished  with  the  gi-aver  in  a  free, 
masterly  style.  His  drawing  is  correct,  and  his 
heads  are  full  of  expression  and  character.  He 
was  a  member  of  the  French  Academy,  and  died  in 
Paris  in  1742.  The  following  are  his  plates  most 
worthy  of  notice : 

POETKAITS. 
Louis  XV. ;  after  Banc. 

Henry  of  Lorraine,  Duke  of  Guise ;  after  Du  Monstier. 
Nicolas  Constou,  sculptor ;  after  Le  Gros. 
Nicolas  de  Largilliere,  painter ;  after  Gueulain. 

SUBJECTS   AFTER   VAEIOUS   MASTERS. 
St.  John  preaching  in  the  Wilderness ;  after  C.  Maratti. 
The  Marriage  of  the  Virgin ;  after  Carle  van  Loo. 
Alexander  Severus  giving  Corn  to  the  Eomans ;  after 

Noel  Coypel. 
Ptolemy  giving  Liberty  to  the  Jews  ;  after  the  same. 
Two  of  the  Elements,  Earth  and  Air ;  after  Louis  de 

JSoullonyne. 
Cnpid  triumphing  over  Pan  ;  after  Antoine  Coypel. 
Diana  reposing,  with  her  Nymphs ;  after  the  same. 
Hinaldo  and  Armida  ;  after  the  same. 
The  Passage  of  the  Rhine ;  after  Le  JBrun. 

DUPUIS,  Nicolas  Gabriel,  the  younger  brother 
of  Charles  Dupuis,  was  born  in  Paris  in  1696,  and 
was  instructed  in  the  art  of  engraving  by  Gaspard 
Duchange.  Although  not  equal  to  his  brother,  he 
possessed  great  merit,  and  was  admitted  a  member 
of  the  Academy  in  1754.  He  engraved  several 
portraits  and  historical  sub^'ects,  in  the  style  of  his 


brother.     He  died  in  Paris  in  1771.     There  are  by 
him  the  following  prints : 

PORTRAITS. 

The  Equestrian  Statue  of  Louis  XV.  erected  at  Bor- 
deaux ;  after  Le  Moine. 

The  same,  from  that  erected  at  Eennes ;  after  the  same. 

0.  F.  Paul  de  Normand  de  Tournehem,  Director  General 
of  the  Arts  ;  after  L.  Tocque. 

Philips  'Wouwerman,  painter ;  after  C.  D.  Visscher. 

Gaspard  Duchange  ;  after  Van  Loo. 

Jean  de  Betzkoy,  Bussiau  general ;  after  Eoslin. 

SUBJECTS  AFTER   VARIOUS   MASTERS. 

The  Guardian  Angel ;   after  Domenico  Feti;  for  the 

Orozat  Collection. 
The  Adoration  of  the  Magi ;  after  Paolo  Veronese ;  for 

the  same. 
The  Holy  Family;  after  Annilale  Carracci;  for  the 

Dresden  Gallery. 
St.  Sebastian  ;  after  L.  Carracci. 
St.  Nicholas  and  St.  Francis  ;  after  Pierre. 
Amusement  of  a  Pastoral  Life;  after  Giorgione ;  for 

the  Crozat  Collection. 
The  Death  of  Lucretia  ;  after  Guido. 
.^neas  saving  his  Father  Anchises  ;  after  Carle  van  Loo. 
Nymph  and  Satyrs ;  after  L.  Cheron. 

DUPUIS,  Pierre  Feanqois,  an  etcher  and  en- 
graver in  mezzotint,  worked  in  Paris  in  the  early 
part  of  the  18th  century.  His  best  plate  is  the 
portrait  of  his  grandfather,  Pieeee  Ddpuis,  the 
flower  painter,  who  was  born  in  1610,  and  died 
in  1682. 

DUQUE  CORNEJO,  Pedro,  a  Spanish  sculptor 
and  painter,  was  born  at  Seville  in  1677.  He  was 
a  pupil  of  Pedro  Roldan  for  sculpture,  but  it  is  not 
known  by  whom  he  was  instructed  in  painting. 
The  pictures  which  he  painted  in  oil  for  the  Car- 
thusian priory  of  Santa  Maria  de  las  Cuevas,  repre- 
senting St.  Bruno  and  other  monks  of  the  order, 
and  those  which  he  painted  in  fresco  for  the  monas- 
tery of  San  Geronimo  de  Buenavista,  are  not  with- 
out merit.  He  had  a  ready  invention,  and  produced 
numerous  designs,  which  are  much  esteemed  at 
Seville.  He  died  at  Cordova  in  1767,  and  was 
buried  with  great  pomp  in  the  cathedral  of  that 
city.  His  works,  as  a  sculptor  and  carver  in  wood, 
are  to  be  seen  in  the  cathedrals  and  churches  of 
Seville,  Cordova,  Granada,  and  elsewhere. 

DUQUEYLAR,  Padl,  a  French  historical  painter, 
born  at  Digne  in  1771,  was  a  scholar  of  David.  Most 
of  the  subjects  painted  by  him  are  taken  from  the 
classic  poets  and  ancient  historians,  and  are  of  an 
elevated  character.  The '  Judgment  of  Minos,'  and 
'  Belisarius,'  both  painted  at  Rome  in  1804,  are 
described  by  Kotzebue  in  his  'Souyenirs  d'ltalie.' 
He  was  still  living  in  1831. 

DURAMEAU,  Louis  Jacques,  a  French  historical 
painter,  was  bom  in  Paris  in  1733.  He  was 
painter  to  the  king,  and  keeper  of  the  pictures  at 
Versailles,  and  was  received  into  the  Academy  in 
1774  upon  his  painting  of  '  Summer  '  on  the  ceiling 
of  the  Gallery  of  Apollo  in  the  Louvre.  He  also 
painted  the  ceiling  of  the  theatre  in  the  palace  of 
Versailles  with  the  subject  of  '  Apollo.'  There  are 
pictures  by  him  in  the  Museums  of  Alenfon  and 
Besan9on,  and  some  of  his  historical  subjects  have 
been  engraved  by  Levasseur.  He  died  at  Versailles 
in  1796. 

DURAND,  Ctrile,  a  French  genre  painter,  was 
born  at  Bordeaux  in  1790,  and  died  there  in  1840. 
An  'Interior'  by  him  is  in  the  Museum  of  his 
native  city. 

DUBAND-BRAGER,  Jean  Baptiste  Henri,  a 
French  marine  painter,  was  born  at  Dol  in  1814. 

439 


Durant 


A  BIOGRAPHICAL  DICTIONARY  OF 


Dflrer 


He  studied  under  Gudin  and  Eugdne  Isabey,  and 
in  18-tO  accompanied  the  fleet  which  brought 
Napoleon's  remains  from  St.  Helena,  which  island 
afforded  him  subjects  for  various  pictures.  He 
spent  much  of  his  time  in  travelling;  he  went 
to  Buenos  Ayres  with  the  squadron,  and  explored 
Uruguay  and  Brazil ;  he  accompanied  the  ex- 
peditions to  Tangiers  and  Mogador,  and  to  Mada- 
gascar, and  he  was  in  the  Crimea  during  the 
war  with  Russia.  He  painted  views  of  the  places 
he  visited,  and  also  naval  combats  and  sea-pieces. 
He  died  in  1879.  There  are  several  of  his  works 
in  the  galleries  of  Versailles. 

DURANT,  Jean  Lonis,  a  French  portrait  painter 
and  engraver,  was  a  native  of  Orleans.  He  worked 
at  Geneva  about  1670,  but  came  to  London  about 
the  year  1690.  He  was  a  very  indifferent  en- 
graver, and  was  chiefly  employed  by  the  book- 
sellers, for  whom  he  engraved  a  variety  of  book 
ornaments  and  portraits.  Among  the  latter  is  that 
of  Queen  Mary  II.,  after  Kneller. 

DURANTE,  Conte  Giorgio,  an  Italian  painter 
of  flowers  and  birds,  was  born  at  Brescia  in  1683, 
and  died  in  1755.  His  works  were  eagerly  sought 
after,  no  less  for  their  exact  imitation  than  for 
their  tasteful  composition.  They  are  rarely  met 
with  out  of  Brescia,  though  several  noble  Venetian 
families  possess  a  few  specimens,  and  the  best  are 
to  be  seen  in  the  royal  collection  at  Turin. 

DURELLO,  Simon,  a  German  engraver,  exe- 
cuted some  of  the  portraits  for  the  work  entitled, 
'  Istoria  di  Leopoldo  Cesare,'  published  at  Vienna 
in  1674. 

DURER,  Albbecht,  the  great  representative 
artist  of  Germany,  was  of  Hungarian  descent,  it 
having  been  lately  proved  almost  beyond  doubt 
that  his  father  belonged  to  a  Hungarian  family 
of  the  name  of  Ajtos,  who  had  lived  for  many 
generations  in  a  little  village  of  the  same  name, 
near  Gzula.  This  name  of  Ajtos,  derived  from 
'aito'  (a  door),  signifies  the  same  as  the  German 
Thiirer  or  Diirer,  which  was  probably  a  translation 
of  it,  and  it  is  significant  that  Diirer  bore  the 
same  arms — ^viz.,  the  open  door  under  a  pent-house 
roof — that  were  borne  by  this  family,  who  pro- 
bably ranked  among  the  lesser  nobility  of  Hungary, 
although  they  lived,  as  Diirer  himself  tells  us, 
"by  tending  oxen  and  horses."  Albrecht  Diirer, 
the  elder,  however,  deserted  this  patriarchal  call- 
ing, and  became  a  goldsmith,  and  after  passing 
some  time  with  the  great  masters  of  that  craft  in 
the  Netherlands,  he  came  to  Nuremberg  in  1455, 
where  he  engaged  himself  to  a  master  goldsmith, 
named  Hieronymus  Helper,  (not  Haller,  as  has  been 
stated  erroneously,)  whose  young  daughter  Barbara 
he  married  in  1467,  taking  up  about  the  same  time 
his  rights  as  burgher  and  master  goldsmith  in  the 
city.  Albrecht  Diirer  was  the  third  of  eighteen 
children  who  were  born  to  this  worthy  goldsmith, 
most  of  whom  died  in  infancy.  His  birth  took 
place  on  May  21st,  1471,  and  Anton  Koburger,  the 
celebrated  printer,  was  his  godfather.  "  When  I 
had  learnt'to  write  and  read,"  Siiys  Diirer,  in  a 
brief  family  chronicle  of  his  own  compiling,  "  my 
father  took  rae  from  school  and  taught  me  the 
goldsmith's  work."  But  he  continues,  "  my  inclin- 
ation carried  me  more  towards  painting."  There- 
fore, his  father,  giving  in  to  his  desire,  bound  him 
apprentice  in  1486  to  the  best  Nuremberg  painter 
of  his  time— Michel  Wolgemiit— to  serve  with  him 
for  three  years.  "  During  this  time,"  writes  Durer, 
"  God  gave  me  diligence  so  that  I  learnt  well.  And 
440 


when  I  had  served  my  time,  my  father  sent  me 
away,  and  I  was  absent  four  years,  until  my  father 
required  me  back,  and  as  I  set  out  in  1490  after 
Easter,  so  I  returned  in  1494  after  Whitsuntide." 
This  is  all  Diirer  tells  us  concerning  his  'Lehr- 
und  Wanderjahre,'  nor  have  we  much  other  record 
concerning  them.  A  portrait  he  drew  of  himself 
in  the  looking-glass  in  his  thirteenth  year  is 
however,  still  preserved  in  the  Albertina  at  Vienna 
and  a  careful  pen-drawing  of  the  'Virgin  and 
two  Angels,'  dated  1485,  is  to  be  found  in  the 
Berlin  Museum  ;  but  this  is  more  probably  a  copy 
from  some  earlier  master  than  an  original  com- 
position. Where  Diirer  went  during  his  four 
'  Wanderjahre '  is  not  certain.  Christoph  Scheurl 
expressly  states  in  one  place  that  he  made  a  tour 
through  Germany,  and  both  he  and  Nendorffer 
affirm  that  he  was  in  Colmar  in  1492,  where  he 
was  entertained  by  Martin  Schongauer's  three 
brothers,  as  also  by  a  fourth  brother  at  Basle.  He 
would  also  seem  to  have  been  at  Strassburg  in 
1494,  judging  from  an  old  inscription  on  two  por- 
traits supposed  to  have  been  executed  by  him.  But 
many  writers  are  of  opinion  that  he  crossed  the 
Alps  at  this  period,  and  passed  some  time  in  Italy, 
and  this  view  has  recently  been  supported  by 
Prof.  Thausing,  though  it  cannot  be  said  that  the 
evidence  he  brings  forward  in  favour  of  it  is  strong 
enough  to  establish  it  in  face  of  many  difficulties. 
Wherever  Diirer  went  during  his  '  Wanderjahre,'  it 
is  certain  he  returned  to  Nuremberg  in  Ma}',  1494. 
"  And  when  I  reached  home,"  lie  writes  in  his 
usual  laconic  style,  "  Hans  Frey  treated  with  my 
father,  and  gave  me  his  daughter  Agnes,  and  he 
gave  me  with  her  two  hundred  florins,  and  the 
marriage  was  celebrated  on  the  Monday  before 
St.  Margaret's  Day,  in  the  year  1494."  This  is 
all  Diirer  tells  us  concerning  his  marriage,  nor 
does  he  afterwards  in  any  of  his  writings  men- 
tion his  wife  except  incidentally  in  the  briefest 
manner. 

But  Diirer's  silence  has  not  prevented  his 
biographers  from  indulging  in  endlefs  conjectures 
concerning  his  domestic  relations.  The  tradition 
that  his  marriage  was  unhappy  is  a  very  old  one, 
but  its  foundation  seems  to  rest  entirely  on  a  letter 
written  by  Pirkheimer  to  Johann  Tscherte  of 
Vienna,  architect  to  Charles  V.  This  long  letter, 
which  deals  chiefly  with  the  politics  of  the  time, 
was  written,  not  in  1528,  as  has  been  supposed, 
but  in  ]  630,  two  years  after  Diirer's  d«ath,  and  in 
it  Pirkheimer  accuses  Durer's  wife  of  having 
worried  and  tormented  her  husband  to  such  a 
degree  that  in  the  end  she  caused  his  death.  The 
language  is  strong — "  She  so  gnawed  into  his  heart 
that  he  went  from  hence  the  quicker  " — "  in  short, 
she  alone  is  the  cause  of  his  death."  This  hitter 
accusation  is,  however,  regarded  by  Prof.  Thaus- 
ing, and  several  modern  critics,  to  be  merely  the 
result  of  an  overflow  of  spite  on  the  part  of  the 
learned  writer.  He  had  never  liked  his  friend's 
wife,  and  had  recently  been  annoyed  by  her  selling 
some  stag-horns  belonging  to  Diirer,  which  lie 
especially  desired.  Hence,  according  to  Prof. 
Thausing,  his  vile  misrepresentations,  which  have 
blackened  the  character  of  Frau  Agnes  for  cen- 
turies. It  is  of  course  possible  that  Pirklieimer's 
resentment  towards  Agnes  Frey  made  him  take 
a  harsher  view  of  her  conduct  than  was  justifiable, 
but  it  is  difficult  in  the  face  of  this  letter  to  believe 
with  her  modern  champions  that  her  conduct  was 
irreproachable.  The  letter  itself  seems  never  to  have 


Diirer 


PAINTERS  AND  ENGRAVEES. 


Diirer 


been  sent  to  its  destination,  but  a  rough  draft  of  it 
in  Pirkheimer's  own  handwriting  is  preserved  in 
tlie  Stadtbibliothel^  at  Nuremberg,  and  was  printed 
in  full  in  llie'Repertorium  fiir  Kunstwissenscbaft,' 
vol.  ii.  1879. 

After  his  marriage  Durer  lived  for  some  years 
with  his  young  wife  in  his  father's  house,  '  Unter 
der  Vesten,'  and  his  father  dying  in  1502,  he  appears 
from  that  time  to  have  taken  charge  of  his  mother 
until  her  death  in  1514,  and  of  his  young  brother 
Hans,  whom  he  educated  as  a  painter.  During 
this  period,  viz.,  from  1494  to  1506,  he  executed 
several  of  his  larger  copper-plates,  such  as  the 
magnificent  'Adam  and  Eve'  (1504),  'The  Na- 
tivity' (1604),  'The  Great  Horse'  and  'The  Little 
Horse'  (1505),  besides  a  good  many  others  con- 
sidered to  have  been  copied  from  Wolgemut.  The 
beautiful  conception  of  the  'Prodigal  Son'  is  also 
referred  to  this  period.  But  by  far  the  greatest 
work  that  he  executed  at  this  time  was  the  magni- 
ficent series  of  fifteen  large  wood-engravings  illus- 
trating the  '  Apocalypse,'  of  which  editions  in 
German  and  in  Latin  were  published  in  Nuremberg 
in  1498,  under  the  respective  titles  of  '  Die  heim- 
liche  Offenbarung  Johannis,'  and  'Apocalipsis  cum 
Fignris.'  The  sixteenth  cut,  representing  the 
'  Vision  of  the  Virgin  and  Child  beheld  bj'  St.  John 
as  he  is  writing  his  Revelation,'  was  added  on  the 
title-page  to  the  second  Latin  edition  published  in 
1511.  These  cuts  mark  an  epoch  in  the  history  of 
wood-engraving.  It  is  not  only  that  in  their  con- 
ception and  design  they  are  grander  than  any  that 
had  previously  appeared,  but  also  that  they  are  far 
more  skilfully  executed.  It  was  long  a  disputed 
point  whether  Diirer  did  not  himself  cut  the 
blocks  for  these  surprising  works,  but  most 
■authorities  now  agree  that  he  could  not  have 
done  so.  Diirer's  first  painting  of  importance, 
'  The  Adoration  of  the  Magi,'  now  in  the  UfSzi  at 
Florence,  was  likewise  executed  at  this  period.  It 
is  dated  1504. 

In  the  autumn  of  1505  Diirer  undertook  a  journey 
fo  Venice,  a  city  that  had  a  large  traffic  with  Nurem- 
berg. It  is  stated  by  A''asari  that  he  went  there  to 
defend  his  rights  against  Marc  Antonio,  who  was 
copying  his  plates  and  monogram.  But  that  whole- 
sale piracy  of  his  works  which  was  carried  on  to 
a  great  extent  by  Marc  Antonio  and  others  at  a 
later  period  had  scarcely  begun  at  this  time,  though 
it  is  possible  that  Diirer  while  in  Venice  suffered 
from  it,  and  made  some  complaint  to  the  Signory. 
The  most  probable  reason  that  has  been  stated  for 
his  journey  is,  that  he  had  already,  before  starting, 
received  a  commission  from  the  German  merchants 
in  Venice  for  a  picture  to  adorn  their  new  Hall  of 
Exchange — the  Fondaco  dei  Tedeschi — upon  the 
decoration  of  which  Titian  and  Giorgione  were 
also  employed.  If  he  had  not  received  it  before, 
it  is  certain  that  soon  after  his  arrival  in  Venice 
he  received  his  commission,  and  began  to  work  on 
the  magnificent  picture  known  as  'The  Feast  of 
the  Rosary  (or  Rose-Garlands),'  now  in  the  monas- 
tery of  Strahow  near  Prague.  During  Diirer's 
sojourn  in  Venice,  which  lasted  from  the  end  of 
1505  to  the  beginning  of  1507,  he  wrote  nine 
letters  to  his  friend  the  learned  counsellor  of 
Nuremberg,  Wilibald  Pirkheimer,  with  whom,  as 
we  see  by  these  same  letters,  he  was  upon  terms 
of  intimacj-. 

On  Diirer's  return  to  Nuremberg  in  1507  he 
painted  several  large  altar-pieces :  viz.,  in  1507,  the 
two  single  figures  of  'Adam  '  and  '  Eve '  on  panels 


of  which  the  originals  are  generally  supposed  to 
be  those  in  the  Pitti  Palace  at  Florence ;  in  1£08, 
'  The  Martyrdom  of  the  ten  thousand  Christians,' 
now  in  the  Vienna  Gallery;  in  1.609,  'The  As- 
sumption of  the  Virgin,'  painted  for  the  mercliant 
Jacob  Heller  of  Frankfort,  as  an  altar-piece  in 
the  church  of  the  Dominicans,  but  removed  by  the 
Elector  Maximihan  of  Bavaria  to  Munich,  where  it 
was  burnt  in  1674;  and  in  1511  the  splendid 
painting  of  the  '  Adoration  of  the  Trinity,'  in  the 
Imperial  Gallery  at  Vienna.  Besides  painting  these 
works,  Diirer  was  busily  engaged  at  this  period 
upon  various  series  of  wood-cuts.  The  year  1511, 
in  which  the  great  picture  of  the  '  Trinity '  was 
accomplished,  was  especially  fruitful.  In  this 
year  were  published  the  first  edition  of  the  '  Life 
of  the  Virgin,'  a  series  of  twenty  folio  cuts ;  the 
series  known  as  the  'Great  Passion,'  consisting  of 
twelve  folio  cuts ;  and  the  '  Little  Passion,'  con- 
taining thirty-seven  small  cuts.  This  is  perhaps 
the  best  known  of  all  the  series  of  wood-engrav- 
ings. Thirty-five  of  the  original  blocks  are  now 
in  the  British  Museum.  Numerous  other  cuts  of 
single  subjects  belong  to  the  same  period.  But 
it  is  by  his  copper-plate  engravings  more  than 
by  his  paintings  or  wood-cuts  that  Diirer  is 
now  known  to  the  world.  The  earliest  copper- 
plates which  Diirer  is  known  certainly  to  have 
executed  are,  according  to  Prof.  Thausing,  the 
'  Holy  Family  with  the  Locust'  (Bartsoh,  44),  and 
the  'Love  Offer'  (Bartsch,  93);  both  these  bear  his 
monogram,  but  were  probably  copies  from  some 
older  master.  His  noble  original  conceptions  be- 
long to  a  later  date.  Among  the  finest  of  these 
may  be  named,  'Death's  Coat  of  Arms' (1603); 
'The  Prodigal  Son;'  'Adam  and  Eve'  (1604); 
'The  Nativity'  (1504);  'The  Knight,  Death, 
and  the  Devil'  (1613);  'Melancholia'  (1514); 
'St.  Jerome  in  his  chamber'  (1514);  'The  Great 
Fortune,'  and  the  'St.  Eustace'  (or  'St.  Hubert'). 
The  two  last  are  large  plates  of  uncertain  date, 
but  are  referred  by  Prof.  Thausing  to  Diirer's  early 
time.  Other  writers  date  them  later.  The  plates 
of  the  beautiful  series  known  as  the  '  Passion  in 
Copper,'  date  from  1508  to  1613. 

In  1518  Diirer  went  to  Augsburg  at  the  time  of 
the  Imperial  Diet,  and  there  drew  a  portrait  of  the 
Emperor  Maximilian,  for  whom  he  afterwards  exe- 
cuted two  immense  works  in  wood-engraving,  viz. 
'  The  Triumphal  Arch  of  the  Emperor  Maximilian,' 
composed  of  ninety-two  blocks,  and  the  allegory 
called  '  The  Triumphal  Car  of  the  Emperor 
Maximilian.' 

In  1620-21  Durer,  accompanied  by  his  wife, 
undertook  a  journey  to  the  Netherlands,  of  which 
he  has  left  us  a  detailed  account  in  a  journal  he 
kept  during  his  travels.  This  journal,  with  the 
letters  written  from  Venice,  was  first  published 
in  Von  Murr's  'Journal  zur  Kunstgeschichte '  in 
1779-1781.  It  is  translated  into  English  in  Mr.  W. 
B.  Scott's  and  in  Mrs.  Heaton's  lives  of  Diirer. 
After  his  return  from  this  journey,  which  appears 
to  have  been  chiefly  undertaken  in  order  to  get  a 
ratification  from  the  Emperor  Charles  V.  of  a 
pension  that  had  been  granted  him  by  Maximilian, 
Diirer  remained  quietly  working  in  Nuremberg  until 
his  death,  which  took  place  on  the  6th  of  April, 
1528.  His  last  great  work  had  been  the  painting 
of  the  '  Four  Evangelists,'grandly-conceived  figures, 
which  he  presented  to  his  native  city.  They  are 
now  in  the  Munich  Gallery. 

Besides  his  artistic  works  Diirer  wrote  several 

441 


Diirer 

treatises  —  the  most  important  being,  '  The  Art 
of  Mensuration'  (1525);  '  Instruction  on  the 
Fortification  of  Towns,  Castles,  and  Places  (15^0  ; 
and  the  '  Treatise  on  Proportion,'  published  atter 
his  death  in  1528.  He  is  also  believed  to  have 
executed  some  plastic  works,  one  of  which,  a 
carving  in  hone-stone  of  '  The  Birth  of  St.  John 
the  Baptist,'  is  in  the  British  Museum. 

Diirer's  art  is  essentially  German  in  character, 
and  those  who  only  admire  the  Italian  ideal  fand 
nothing  in  it  to  desire.  It  is  the  lament  of  many 
writers  that  he  did  not  receive  Italian  training ; 
but  those  who  truly  appreciate  his  art  rejoice  that, 
in  spite  of  various  influences  that  might  have 
aifected  it,  his  style  remained  thoroughly  individual 
and  German.  "  In  creative  richness  of  fancy,  m 
extensive  power  of  thought,  and  in  moral  energy 
and  earnest  striving,  Diirer,"  writes  Liibke,  "  must 
be  called  the  first  of  all  German  masters ;  and  as 
regards  artistic  gifts,  need  fear  no  comparison  with 
any  master  in  the  world,  not  even  with  Eaphael 
and  Michelangelo.  Notwithstanding,  in  all  that 
concerns  the  true  means  of  expression — the  cloth- 
ing of  the  idea  in  the  garment  of  exquisite  form- 
he  lies  so  deeply  fettered  within  the  bonds  of  his 
own  limited  world  that  he  rarely  rises  to  the  same 
height  of  thought  or  expression." 

This  is  no  doubt  true  to  some  extent.  We  do 
not  find  in  Durer's  art  the  classic  ideal  of  the  per- 
fection of  man's  physical  nature,  nor  the  spiritual 
ideal  of  the  early  religious  painters,  nor  the  calm 
dignity  and  rich  sensuous  beauty  of  the  great 
masters  of  the  Italian  Renaissance,  hut  in  it  we 
find  a  noble  expression  of  the  German  mind,  with 
its  high  intellectual  powers,  its  daring  speculative 
philosophy,  its  deep-seated  reverence,  its  patient 
laboriousness,  and  above  all  its  strange  love  for 
the  weird  and  grotesque.  Diirer  was  the  com- 
panion of  some  of  the  most  learned  and  thoughtful 
men  of  his  day.  Luther  and  Melancthon  were 
among  the  number  of  his  friends,  and  there  is  no 
doubt  but  the  reforming  spirit  of  the  age  was 
powerfully  at  work  within  him,  affecting  his 
thought  and  art.  Melancthon  bears  testimony  to 
his  rare  worth  as  a  man  by  saying,  "his  least 
merit  was  his  art." 

BIBLIOGRAFHT. 

Neudorffer, '  Naohrichten  von  den  vomehmsten  Kiinst- 
lern  und  Werkleuten  so  inuerhalb  hundert  Jahren 
in  Niirnberg  gelebt  haben.'  Niirnberg,  1546.  (The 
earliest  account  we  have  of  Diirer.) 

Vasari, '  Vite  de'  piu  eccellente  Pittore,'  &c.  (Edited  by 
Milanesi.)    1878-82. 

Caret  van  Mander, '  Het  Sohilder-Boeck. '    1604. 

Sandrart, '  Teutsche  Academie.'     1675-79. 

Arend, '  Gedechtniss,'  &c.     1728. 

Friedrich  Cavipe^  *  Reliquien  von  Albrecht  Diirer '  (con- 
taining his  letters  and  journal).    1828. 

Joseph  Heller,  *  Das  l>ben  und  die  Werke  Albrecht 
Diirer's.'  1827.  (Only  the  second  vol.  of  this  work, 
containing  descriptive  catalogues,  was  published.) 

August  von  Eye, '  Leben  und  Wirkeu  Albrecht  Durer's.' 

1869. 
W.  B.  Scott,  'Albert  Diirer :  his  Life  and  Works.'  1869. 

Mrs.  Heaton, '  Life  of  Albrecht  Durer.'  1869.  (Second 
edition,  1881.) 

Lochner,  '  Die  Personen-Namen  in  Albrecht  Durer's 
Briefen  aus  Venedig.'     1870. 

Moriz  Thmsing,  'Diirer's  Briefe,  Tagebiicher,  und 
Keime.'    1872. 

Moriz  Thausing, '  Diirer,  Geschiohte  seines  Lebens  und 
seiner  Kunst.'     1876. 

Moriz  Thausing,  '  Albert  Diirer,  his  Life  and  "Works. 
Edited  by  F.  A.  Eaton.'     1882. 

Charles  Ephrussi, '  Albert  Durer  ct  ses  dessins.'  1882. 
442 


A   BIOGRAPHICAL   DICTIONARY  OF 


Dusart 


PRINCIPAL  PAINTINGS. 


Adoration  of  the  Magi.    1504.    {Uffizi,  Florence.) 
Feast  of  the  Eose-Garlands.    1506.    {Monastery  of  Stra- 

how,  near  Prague.) 
Virgin  crowned  by  two  Angels.    {Marquis  of  Lothian, 

Scotland.) 
Martyrdom  of  the  Ten  Thousand.    1508.    ( Vienna.) 
Crucifixion;  small.    (Dresden.) 
Adoration  of  the  Trinity.    1511.     (Vienna.) 
Figures  of  the  Four  Apostles.    1526.    (Munich.) 

POKTEAITS. 

Portrait  of  Himself.     1498.    (Florence.) 
„  „  1505?     (Munich.) 

Albrecht  Diirer  the  Elder.    (Four  replicas  at  Augsburg, 

Munich,  Uffizi,  and  Sion  House.) 
A  Young  Man  ;  probably  Hans  Diirer.   1500.   (Munich.) 
Oswald  Krell.     1499.     (Munich.) 
Michel  "Wolgemut.     1516.     (Munich^ 
Hieronymus  Holzschuher.  1526.  (Germanische  Museum, 

Nuremberg.)  If.JI-H. 

DURER,  Hans,  a  younger  brother  of  the  cele- 
brated Albrecht  Diirer,  was  born  at  Nuremberg 
in  1490.  "When,  in  1502,  they  lost  their  father, 
Albrecht  took  the  young  Hans,  a  boy  of  twelve, 
under  his  protection,  and  gave  hiin  instruction  in 
art.  He  afterwards  became  court  painter  to  the 
King  of  Poland,  at  Cracow.  His  death  is  not  re- 
corded, though  it  is  thought  that  he  may  have  been 
dead  in  1538,  for  in  that  year  his  brother  Andreas 
went  from  Nuremberg  to  Cracow  to  collect  debts. 
A  few  old  German  paintings  with  the  initials  E.  D. 
are  attributed  to  Hans  Diirer,  but  nothing  certain 
is  known  of  his  works. 

DURET,  PiEEEE,  a  French  engraver,  who  was 
living  in  Paris  in  1767.  He  engraved  several  plates 
of  landscapes,  principally  after  the  Dutch  masters, 
among  which  are  the  following  : 

A  View  in  Holland  ;  after  Smsdael. 
Two  Moonlight  subjects ;  after  Van  der  jVeer. 
The  Country  Blacksmith  ;  a-fter  Ph.  Wouwennan. 
An  Italian  Sea-port ;  aftei-  Vernet. 

DURINGER,  Daniel,  a  Swiss  painter,  born  at 
Steckborn,  in  Thurgau,  in  1720,  studied  at  Zurich, 
and  distinguished  himself  as  an  excellent  painter 
and  etcher  of  animals.     He  died  in  1786. 

DURMER,  Franz  Valentin,  an  Austrian  en- 
graver and  draughtsman,  was  born  at  Vienna  in 
1766.  He  studied  at  the  Academy  of  that  city, 
and  executed  after  Guido  Reni  the  '  Four  Seasons,' 
and  after  Poelenborch  the  '  Nativity ,'_  which  are 
two  of  his  best  plates.    He  was  still  living  in  1835. 

DUENO,  James,  an  historical  painter,  was  born 
about  the  year  1752.  He  studied  first  under  An- 
drea Casali,  and  afterwards  under  West,  and 
painted  two  pictures  for.  Boydell's  Shakespeare 
Gallery.  The  early  productions  of  this  artist  gave 
promise  of  great  ability,  which  was  not,  however, 
fulfilled.  He  went  to  Italy  in  1774,  and  died  there 
in  1795. 

DU  RONCERAY,  Marguerite  Louise  kniui 
Delormb.     See  Delorme  du  Ronceray. 

DURR,  John,  a  native  of  Germany,  flourished 
about  the  year  1625.  He  was  an  engraver  of 
little  repute,  and  worked  chiefly  for  the  booksellers, 
for  whom,  among  other  book-plates,  he  engraved 
some  portraits,  particularly  those  of  H.  J.  Ernest 
and  his  family,  and  J.  Zimmer. 

DUSART,  Cornelis,  the  elder,  flourished  in 
Holland  in  the  17th  century.  In  the  Amsterdam 
Museum  is  a  '  Fish  Market '  by  him,  signed  and 
dated  1653. 


Susart 


PAINTERS   AND  ENGRAVERS. 


Duval-le-Camus 


DUSART,  CoRNELis,  (or  Du  Saet,)  a  Dutch 
painter  and  engraver,  was  born  at  Haarlem  in  1660. 
He  entered  the  guild  of  that  city  in  1679,  and  died 
there  in  1704.  He  was  a  pupil  of  Adriaan  van 
Ostade,  whose  style  he  imitated  with  considerable 
success.  His  works,  like  those  of  Ostade,  repre- 
sent Dutch  peasants  regaling  and  merry-making. 
Although  not  equal  to  his  master  in  the  richness 
of  his  tones  and  the  harmony  tff  his  effect,  his 
colouring  is  clear  and  agreeable,  his  compositions 
are  ingenious,  and  his  touch  very  spirited.  There  is 
great  inequality  in  the  works  of  Dusart ;  but  some 
of  his  best  pictures  are  in  the  following  galleries  : 

Amsterdam.  Museum.  Fish  Market.    1683. 

„  „  The  Ambulant  Musicians. 

„  „  A  Village  Fair. 

„  „  A  Village  Inn. 

Antwerp.        Museum.     Interior  with  Peasants. 
Brussels.        Museum.    A  Dutch  Kermesse. 
Dresden.         Gallery.     "Woman  and  Child.    1679  {his  ear- 
liest known  work). 

„  „  Peasants  Fighting.    1697. 

„  „  Nine-pins  Players.    1688. 

Dulwich.         Gallery.     A  Peasant  Family. 
Frankfort.  StSdellnst.  A  Dutch  Inn.    1687. 
Ulasgow.         Gallery.     The  Musicians. 
Hague.  Museum.     Interior  of  an  Inn. 

liondon.   Northbrook  \  -^      .,    „ 

Coll.      ]  Family  Scene. 

„  Bute  Coll.     Boors  drinking. 

Petersburg.  Ser,nit.'^  ^  ^^^^^^     ^gg^ 

„  „  Interior  of  a  Grocer's  Shop. 

„  „  A  Feasant  Family. 

Vienna.         Gallery,     Peasants  before  an  Inn. 

Dusart  executed  some  very  spirited  etchings, 
and  a  few  plates  in  mezzotint,  which  are  full  of 
humorous  character.  The  following  are  his  best 
prints : 

PLATES   IN   MEZZOTINT. 

An  old  Man  playing  on  the  Violin. 

A  Girl  confessing  to  a  Monk. 

A  Dutch  Boor  reading  a  Paper,  and  holding  a  Bottle. 

Monkeys  regaling. 

An  Indian  dancing  with  a  Girl. 

A  Girl  dancing  with  a  Tea-Pot  in  her  Hand. 

Twelve  plates  of  the  Months  of  the  Year. 

The  Five  Senses. 

ETCHINGS. 

The  Interior  of  an  Alehouse,  with  Boors  regaling. 

The  Great  Fair.    1685. 

The  Little  Fair.     1685. 

The  Amorous  Cobbler. 

The  Village  Surgeon.     1695. 

The  Village  Physician.    1695. 

The  Inside  of  a  Dutch  Alehouse. 

A  Village  Festival ;  after  himself  . 

DUSCHER.     See  Tuscher. 

DUSIGN, ,  a  portrait  painter,  was  a  son  of 

Colonel  Dusi^n.  He  was  a  pupil  of  Sir  Joshua 
Reynolds,  and  practised  for  a  few  years  at  Bath, 
where  his  family  resided.  He  died  at  Rome  in 
1770. 

DUTILLEUX,  Henri  Joseph  Constant,  a 
French  landscape  painter,  who  painted  also  a  few 
portraits,  was  bom  at  Douai,  in  1807.  He  studied 
under  Hersent  and  at  the  Eoole  des  Beaux-Arts, 
and  worked  at  Arras  from  1830  until  1860,  in 
which  year  he  removed  to  Paris,  where  he  died  in 
1865.  There  are  Landscapes  by  him  in  the 
Museums  of  Lille  and  of  Douai. 

DOTTENHOFER,  Christian  Friedeich,  a  Ger- 
man engraver,  was  born  at  Gronau  in  Wurtemberg 
in  1778.  He  studied  under ,  Klengel  at  Dresden, 
and  is  chiefly  known  by  his  landscapes  after  Claude, 


Poussin,  Annibale  Carracci,  P.  Bril,  and  various 
views  in  the  Tyrol.  He  also  copied  Woollett's 
print  of  'Solitude,'  after  Wilson,  and  was  one  of 
the  artists  employed  on  the  'Musee  Napoleon.' 
He  died  at  Heilbronn  in  1846.  His  son,  Anton 
Duttenhofer,  who  was  likewise  an  engraver, 
and  was  a  pupil  of  his  father,  died  at  Stuttgart  in 
1843,  at  the  age  of  31. 

DU  VAL,  Charles  Allen,  a  portrait  and  subject 
painter,  was  born  in  1808.  He  practised  at  Man- 
chester, and  exhibited  at  the  Royal  Academy  from 
1836  till  his  death  in  1872.    Among  his  works  are : 

The  Giaour.    1842. 

Columbus  in  chains.     1855. 

The  Dedication  of  Samuel.    1858. 

The  Morning  Walk.     1861. 

DUVAL,  Marc,  called  Bertin,  after  his  brother- 
in-law,  and  also  'Le  Sourd  de  Charles  IX.,'  a 
painter  and  wood-engraver,  was  bom  at  Le  Mans, 
and  became  court  painter  of  Charles  IX.  of  France. 
Among  his  engravings,  which  are  very  rare,  may 
be  mentioned  the  Brothers  Coligni  and  Catharine 
de'  Medici.     He  died  in  Paris  in  1581. 

DUVAL,  Nioolaas.    See  Du  Val,  Robert. 

DUVAL,  Philippe,  a  French  painter,  flourished 
about  the  year  1672.  He  was  first  a  scliolar  of 
Charles  Le  Brun,  and  afterwards  studied  at  Venice. 
He  came  to  England  in  the  reign  of  Charles  II., 
and  painted  some  historical  and  mythological 
subjects,  one  of  which,  dated  1672,  represented 
'  Venus  receiving  from  Vulcan  the  Arms  of  .tineas.' 
He  died  in  London  in  1709. 

DU  VAL,  Robert,  a  Dutch  painter,  who  has 
often  been  called  in  error  Nicolaas  Duval,  was 
born  at  the  Hague  in  1644.  After  studying 
under  Nicolaas  Wieling  he  went  to  Italy,  and  be- 
came an  imitator  of  Pietro  da  Cortona.  On  his 
return  to  Holland  he  was  employed  by  William, 
Prince  of  Orange,  afterwards  king  of  England.  It 
is  said  that  he  was  sent  to  Hampton  Court  to  put 
in  order  the  Cartoons  of  Raphael ;  but  whether  to 
repaint,  or,  in  modern  phrase,  to  restore  them,  is  not 
stated.  He  was  appointed  director  of  the  Academy 
at  the  Hague,  and  died  there  in  1732. 

DU  VAL,  S.  This  artist  is  mentioned  by  Pa- 
pillon  as  an  engraver  on  wood,  who  flourished 
about  the  year  1650,  and  was  remarkable  for  the 
neatness  and  dehcacy  of  his  execution.  There  are 
twenty  cuts  by  him  for  the  '  Histoire  miraouleuse 
de  Notre-Dame  de  Liesse.'  His  other  prints  are 
chiefly  from  the  designs  of  Jacques  Stella  and  N. 
Cochin.  S.  Du  Val  is  sometimes  mentioned  as 
Sebastiano,  and  sometimes  as  Stefano  Du  Val  ; 
but  there  is  a  degree  of  mystification  about  him 
which  requires  elucidation.  He  must  not  be  con- 
founded with  Sebastiano  D'  Vl,  or  D'Val,  who 
lived  a  century  earlier. 

DUVAL-LE-CAMUS,  Jules  Alexandre,  a 
French  historical  and  scriptural  painter,  the  son  of 
Pierre  Duval-le-Camus,  was  born  in  Paris  in  1817. 
■He  studied  under  his  father,  to  whose  style  his  own 
has  considerable  aflSnity,  and  under  Drolling  and 
Delaroche.  He  died  in  1878.  Amongst  his  chief 
works  are : 

Tobit  and  the  Angel. 

Petits  Dejeuners  de  Marly. 

Rousseau  writing  '  Heloise.'    1846. 

The  Bear-Hunters.    1853. 

Macbeth  and  the  'Witches.  1855. 

The  Flight  into  Egypt.    1857. 

Jacques  Clement.    1861.    (Luxembourg  Gallery.) 

St.  Elizabeth  of  Hungary.    1863. 

Martyrdom  of  St.  Laurence.     1867. 

443 


A   BIOGRAPHICAL   DICTIONARY  OF 


Duval-le-Camus 

DUVAL-LB-CAMUS,  Pierre,  a  French  genre 
and  portrait  painter,  was  born  at  Lisieux  in  1790. 
He  studied  under  David,  and  became  painter-m- 
ordinary  to  the  Duchess  of  Berry.  He  died  at  St. 
Cloud  in  1854.     Amongst  his  works  are : 

The  Baptism.     1819. 

The  Brothers  of  the  Christian  Doctrine.     1822. 

Interior  of  a  Kitchen.     1824. 

Ennui.    1827.  ^     ,      „„_ 

Labourer's  Family  returning  from  school.     1827. 

Halt  of  Huntsmen.     1837. 

"Wolf-Hunting.     1838. 

The  Blessing  of  Orphans.     {Louvre.) 

The  First  Gatherings  of  Harvest.     {Louvre.) 

Pifferaro  teaching  his  Son.     (Loum-e.) 

An  Interior.     {Bordeaux  Museum. ) 

DUVEAU,  Louis  Jean  NoiJL,  a  French  painter, 
who  was  born  at  St.  Malo  in  1818,  studied  history 
and  genre  painting  under  L&on  Cogniet  in  Paris, 
and  afterwards  visited  Italy.  He  was  successful 
in  representing  scenes  of  fisher-life  in  his  native 
country.  He  died  in  Paris  in  18G7.  In  the  Lille 
Museum  is  his  '  Perseus  and  Andromeda,'  painted 
in  1865. 

DUVENEDE,  Marcus  van,  a  Flemish  painter, 
was  born  at  Bruges  about  1674.  He  went  to  Rome 
when  he  was  very  young,  and  became  a  scholar  of 
Carlo  Maratti,  in  whose  academy  he  studied  four 
years.  There  are  several  of  his  pictures  in  the 
churches  and  convents  of  his  native  city,  of  which 
the  most  esteemed  is  the  'Martyrdom  of  St. 
Laurence '  in  the  chapel  of  St.  Christopher.  He 
died  at  Bruges  in  1730. 

DUVET,  Jean,  (often  incorrectly  called  Danet,) 
a  French  engraver,  was  born  at  Langres  in  1485. 
He  is  sometimes  called  the  '  Master  of  the 
Unicorn,'  from  his  having  sometimes  engraved 
that  animal  in  his  allegorical  subjects.  He  flour- 
ished in  Paris  in  the  reign  of  Henry  II.  of  France, 
and  died  after  1561.  Bartsch  enumerates  forty-five 
prints  by  this  artist ;  his  plates  are  generally 
marked  /.  D.  or  with  one  of  these  ciphers,  =|=»    or 

lljVffu   The  following  are  among  his  works : 

The  God  Mars ;  I.  D.  1530. 

The  Marriage  of  Adam  and  Eve. 

Moses  with  the  Patriarchs. 

The  Manifestation  of  St.  John  the  Baptist. 

The  Crucifixion. 

A  set  of  twenty-four  plates  of  subjects  from  the  Apoca- 
lypse (the  first  of  them  marked  Joh.  Duvet  aurifdb. 
Linxfon.  amior.  70.  has  historias  ^ei^Jicit^  1555). 

DU  VIVIER,  G.    See  Vivier,  G.  de. 

DU  VIVIER,  Ignaz,  a  painter  born  at  Rians  in 
1758,  was  instructed  by  Casanova,  and  executed 
battle-scenes  in  the  style  of  his  master.  He  after- 
wards removed  to  Vienna  and  turned  his  attention 
cbiefly  to  landscapes;  a  'Waterfall'  by  him  is  in 
the  Vienna  Gallery.  He  also  etched  a  large  number 
of  landscapes  and  genre  pictures.  He  died  in  Paris 
in  19,?,%. 

DUVIVIER,  Jean  Bernard,  a  native  of  Bruges, 
was  a  painter  of  historical  subjects  and  professor 
at  the  Normal  School  in  Paris.  After  having  been 
instructed  by  Hubert,  Paul  de  Kock,  and  Suvee, 
he  studied  for  six  years  in  Italy,  and  his  style  is 
distinguished  for  beautiful  composition,  correct 
drawing,  and  bright  colouring.  He  died  in  Paris 
in  1837. 

DU    VIVIER,    Louise.      See  under  Tardieu, 
Jacques  Nicolas. 
i44 


Dyce 


-  DUWETT,  Gereit,  (often  called  De  Wett,  De 
Wet,  De  Weth,  orDE  Weet,)  was  born  at  Amster- 
dam in  1616,  and  died  there  in  1679.  He  was  a 
scholar  of  Rembrandt,  whose  manner  he  imitated; 
he  also  painted  landscapes,  and  was  accounted  a 
good  colourist.  There  is  in  the  Copenhagen 
Gallery  '  Jephthah's  Daughter '  by  him. 

DUWETT,  Jacob,  (or  De  Wet,)  was  probably 
a  son  of  Jan  Diiwett.  In  1677  he  entered  the 
Guild  of  St.  Luke  at  Cologne,  where  he  flourished 
for  many  years. 

DUWETT,  Jan,  (De  Wet,  De  Wette,  or  Db 
Weth,)  is  said  to  have  been  born  at  Hamburg  in 
1617,  but  the  date  of  his  birth  was  probably  earlier. 
While  quite  young  he  entered  the  school  of  Rem- 
brandt at  Amsterdam,  and  his  style  partakes  of 
that  of  his  master  and  also  of  that  of  Gerard  Dou. 
He  produced  a  large  number  of  biblical  and  mytho- 
logical pictures,  many  of  which  have  been  sold  as 
Rembrandt's.  He  afterwards  settled  in  Hamburg, 
but  the  date  of  his  death  is  not  recorded.  The 
'  Raising  of  Lazarus '  by  him,  dated  1633,  is  in  the 
Darmstadt  Gallery,  and  '  Christ  in  the  Temple ' 
(1635)  and  the  '  Burning  of  Troy  '  are  at  Bruns- 
wick: other  pictures  by  him  are  at  Kiel  and 
Copenhagen.  His  brother,  Emanuel  Duwett,  (or 
De  Wett,)  a  native  of  Hamburg,  who  was  likewise 
a  pupil  of  Rembrandt,  painted  landscapes  in  the 
style  of  Uytenbrouck. 

DUYNEN,  Isaac  van,  was  a  native  of  Antwerp, 
who  went  in  1664  to  the  Hague,  where  he  became 
'a  pupil  of  Van  Beyeren,  and  painted  sea  and  river 
fish  very  successfullj'.  He  died  at  the  Hague  in 
1688  or  1689.  There  is  a  picture  of  '  Cod-fish'  by 
him  in  the  Lille  Museum. 

DUYSTER,  W.  C,  a  Netherlandish  painter, 
was  the  author  of  a  painting  representing  '  Soldiers 
playing  at  Tric-trac  '  in  the  Herniitage  at  St.  Peters- 
burg. 

DYCE,  William,  a  Scottish  historical  painter, 
was  born  at  Aberdeen  in  1806,  and  educated  at 
Marischal  College,  where  he  graduated  at  the  age 
of  sixteen.  He  then  studied  art  at  the  Royal 
Academies  of  Edinburgh  and  London.  After  two 
prolonged  visits  to  Rome,  which  may  be  said  to 
have  formed  his  style,  he  settled  at  Edinburgh  in 
1830.  Here,  for  the  next  few  years,  he  painted 
portraits,  and  was  elected  an  Associate  of  the  Royal 
Scottish  Academy  in  1835.  The  year  1837  saw 
the  publication  of  his  pamphlet  on  art  education, 
which  led  to  his  being  placed  at  the  head  of  the 
government  Schools  of  Design  tliroughout  the 
country.  He  entered  into  the  Westminster  Hall 
competitions,  and  produced  for  the  decoration  of 
the  Houses  of  Parliament  '  The  Baptism  of  Etliel- 
bert,'  and  the  series  of  frescoes  illustrating  the 
history  of  King  Arthur.  He  also  painted  frescoes 
for  the  church  of  All  Saints,  Margaret  Street, 
London,  and  executed  decorative  works  for  the 
Queen  at  Osborne  and  Buckingham  Palace.  He 
was  elected  an  Associate  of  the  Royal  Academy  in 
1844,  and  an  Academician  in  1848.  He  died  in 
London  in  1864.  The  following  are  some  of  the 
chief  works  exhibited  by  him : 

Bacchus  nursed  by  the  Nymphs.     1827. 
The  Infant  Hercules.     1830.  ^ 

FrancescadaEimini.     1837.  |        "Z'^^''*"- 

James  Hamilton,  M.D.  J 

Piety  and  Faith.    Sir  Galahad  and  his  Compaiuons. 

Mercy. 


Dyok 


PAINTEES  AND  ENGRAVERS. 


Dyok 


The  Descent  of  Venus.    1836. 

St.  Dun.stan  separating  Bdwy  and  Elgiva.    1839. 

The  Christian  Yoke.     1841. 

Joash  shooting  the  Arrow  of  Deliverance.    1844. 

Jacob  and  Eaohel.     1853. 

Titian's  First  Essay  in  Colour.    1857. 

St.  John  leading  home  the  Virgin.    1860. 

George  Herbert  at  Bemerton.     1861. 

DYCK,  ANTHONins  van,  the  eminent  portrait 
painter,  was  born  of  good  family  at  Antwerp,  on 
the  22nd  of  March,  1699.  He  was  the  seventh 
child  of  a  family  of  twelve  ;  his  father,  Frans  van 
Dyok,  was  a  silk-merchant,  and  his  mother,  Maria 
Cuypers,  was  famous  as  an  amateur  flower  painter 
and  an  embroiderer.  Van  Dyok  was  apprenticed 
to  Ilendrik  van  Balen  when  he  was  but  ten  years 
old,  and  in  1615  entered  the  academy  of  the  great 
painter  Rubens,  with  whom  he  remained  as  a  pupil 
till  1620,  when  he  was  engaged  as  his  assistant. 
In  1618,  Van  Dyck  was  admitted  into  the  Guild  of 
St.  Luke  at  Antwerp.  In  the  beginning  of  1621,  he 
paid  a  short  and  unimportant  visit  to  England,  and 
worked  in  the  service  of  James  I.,  from  whom  he 
received  £100  for  special  services.  Towards  the 
close  of  1622  he  was  back  in  Antwerp ;  and  in 
1623,  by  the  advice  of  Rubens,  set  out  for  Italy. 
After  a  short  visit  to  Brussels,  occasioned  by  his 
love  for  a  peasant  girl  of  Saventhem — for  the  church 
of  which  town  he  painted  a  '  Holy  Family '  and  a 
'  St.  Martin  '■ — Van  Dyck  arrived  in  Italy,  where 
he  executed  many  important  works.  He  stayed 
chiefly  at  Genoa,  but  also  visited  Rome,  Venice, 
and  Palermo.  On  his  return,  through  Paris,  to 
Antwerp  in  1626,  Van  Dyck  at  once  became  famous 
as  a  painter  both  of  historical  subjects  and  of 
portraits.  The  chief  historical  works  which  he 
then  executed  were  a.  '  Crucilixion '  for  the  church 
of  St.  Michael  at  Ghent,  and  a  '  St.  Augustine'  for 
the  church  of  the  Augustines  at  Antwerp.  He  was 
now  loaded  with  commissions,  and  the  principal 
public  edifices  at  Antwerp,  Brussels,  Mechlin,  and 
Ghent  were  embellished  with  the  productions  of 
his  pencil.  It  was  about  this  time  that  he  painted 
the  series  of  inimitable  portraits  of  the  eminent 
artists  of  his  time,  which  have  perhaps  never  been 
equalled  for  the  admirable  variety  of  attitudes, 
and  the  characteristic  expression  of  the  heads. 
They  were  engraved  by  the  most  eminent  artists 
of  the  time,  Vorsterman,  Bolswert,  Pontius,  and 
others,  and  several  of  them  were  etched  by  Van 
Dyck  himself. 

In  1630  Van  Dyck  went  from  the  Hague — 
whither  he  had  been  invited  by  the  Prince  of 
Orange — to  London,  but  as  he  did  not  meet  with 
the  encouragement  which  he  had  been  led  to  believe 
he  should  receive  from  the  English  monarch,  he 
returned  to  Antwerp.  Charles  I.,  on  seeing  a  por- 
trait of  his  chapel-master,  Nicholas  Laniere,  which 
Van  Dyck  had  executed  on  his  visit  to  England, 
discovered  what  a  treasure  he  had  lost,  and  early 
in  1632  despatched  Sir  Kenelm  Digby  to  request 
the  painter  to  return.  Van  Dyok  was  most  graci- 
ously received  by  Charles,  who  gave  him  apart- 
ments at  Blackfriars,  where  he  was  often  honoured 
with  a  visit  from  the  king,  who  frequently  sat  to 
him.  He  was  styled  '  Principal  Painter  of  their 
Majesties  at  St.  James's,'  and  on  the  6th  of  July, 
1632,  he  received  the  honour  of  knighthood.  In 
the  same  month  he  received  £280  for  "  diverse 
pictures  by  him  made  for  his  Majestye,"  and  in  the 
following  year  he  was  granted  an  annual  salary  of 
£200.  From  this  time  Van  Dyck  became  the 
favourite  painter  in  England :  not  only  the  monarch, 


and  his  wife  and  children,  but  all  the  court  sat  to 
him.  He  was  wont  to  receive,  Walpole  tells  us,  £60 
for  a  full-length,  and  £40  for  a  half-length  portrait. 
"He  was  indefatigable,"  adds  that  author,  "and, 
keeping  a  great  table,  often  detained  the  persons 
who  sat  to  him,  for  an  opportunity  of  studying 
their  countenances,  and  of  retouching  their  pictures 
again  in  the  afternoon."  In  the  State  Paper  Office 
there  is  preserved  a  document  which  shows  that 
Van  Dyck  charged  Charles  I.  on  an  average  about 
£60  for  a  portrait ;  but  the  prices  were  frequently 
reduced.  He  lived  in  a  grand  and  almost  regal 
manner,  in  the  summer  at  Eltham,  and  in  the 
winter  at  Blackfriars.  In  1640  Van  Dyck  visited 
Antwerp,  but  he  returned  to  England  by  way  of 
Paris  early  in  the  following  year. 

Van  Dyck  died  in  Blackfriars,  London,  December 
9, 1641.  Two  days  afterwards  he  was  buried  in  the 
old  cathedral  of  St.  Paul,  near  the  tomb  of  John  of 
Gaunt.  He  bequeathed  to  his  wife,  Mary  Ruthven, 
a  grand-daughter  of  William,  first  Earl  of  Gowrie, 
and  to  his  daughter  Justiniana,  all  his  goods,  effects, 
and  moneys  due  to  him  in  England  from  King 
Charles,  the  nobility,  and  all  other  persons  what- 
ever, to  be  equally  divided  between  them.  He  also 
left  other  legacies  to  his  executors,  to  his  trustees,  to 
his  daughter,  to  his  sisters,  to  his  natural  daughter 
Maria  Theresa,  to  his  servants,  and  to  the  poor  of 
St.  Paul's  and  St.  Anne's,  Blackfriars.  Lady  Van 
D^ck  married,  as  her  second  husband,  Sir  Richard 
Pryse,  Bart. 

In  the  Museum  of  Antwerp  the  precious  tables 
are  still  preserved  in  which  the  names  of  the  Deans 
of  the  Corporation  of  Painters  were  successively 
inscribed  from  its  foundation  in  1464  until  its 
extinction  in  1778.  Two  names  only  in  this  long 
list  are  inscribed  in  capital  letters — that  of  Rubens, 
under  the  date  1631,  and  that  of  Van  Dyck,  under 
the  date  1634. 

It  is,  perhaps,  without  example  in  the  history  of 
the  art,  that  a  painter,  cut  off  in  the  vigour  of  his 
life,  should  have  left  such  a  multiplicity  of  works, 
the  number  of  which  is  perhaps  not  exceeded  by 
those  of  Rubens.  If  we  cannot,  in  a  general  view, 
place  him  on  an  equality  with  Rubens  as  an  his- 
torical painter,  it  will  be  allowed  that  he  surpassed 
him  in  the  correctness  of  his  design,  in  the  delicate 
expression  of  his  heads,  in  the  truth  and  purity  of 
his  colouring,  and  in  the  tender  blending  of  hia 
tones.  If  he  had  less  boldness  of  conception,  and 
less  fecundity  of  invention,  his  compositions  are 
regulated  by  judgment  and  propriety,  and  it  may 
be  reasonably  presumed,  that  if,  like  his  illustrious 
instructor,  he  had  devoted  himself  to  that  branch, 
and  had  not  been  chiefly  engaged  in  portrait-paint- 
ing, he  possessed  the  genius,  as  well  as  every  other 
requisite,  to  have  reached  the  highest  rank  among 
the  painters  of  history. 

In  portraiture  Van  Dyck  will  not  be  denied  the 
most  honourable  place  after  Titian,  and  it  will  even 
then  be  admitted  that  Titian  is  superior  only  in 
the  heads  of  his  portraits,  but  that  in  the  hands 
and  accessories  he  is  inferior  to  Van  Dyck,  both  in 
correctness  and  in  elegance.  Van  D3ck's  attitudes 
are  easy  and  natural,  and  they  captivate  by  an  air 
of  unaffected  simplicity  for  which  his  portraits  are 
singularly  remarkable.  His  heads  are  full  of  life 
and  expression,  without  anything  of  the  coldness 
and  insipidity  which  are  frequently  found  in  the 
productions  of  the  portrait  painter.  The  pictures 
which  he  painted  in  Italy  have  more  of  the 
Venetian  colouring  than  those  of  a  subsequent 

445 


Dyck 


A  BIOGRAPHICAL  DICTIONARY  OF 


period  ;  but  some  of  those  painted  at  Genoa  are 
deficient  in  this  respect.  On  his  return  to  Antwerp 
he  recurred  to  the  Flemish  mode,  although  he 
occasionally  blended  the  two.  The  earlier  por- 
traits which  he  painted  in  England  are  brilliantly 
coloured  and  carefully  finished  in  all  their  parts  ; 
but  as  business  increased  they  were  executed  with 
more  despatch,  and  much  of  the  subordinate  portion 
was  left  to  be  completed  by  his  pupils  or  assistants, 
the  head  and  the  hands  only  being  painted  by  the 
master,  Besides  the  many  admirable  pictures 
which  he  painted  of  the  king  and  the  royal  family, 
there  are  in  England  many  fine  portraits  of  distin- 
guished personages,  which  are  among  the  chief 
ornaments  of  the  mansions  of  the  nobility. 

There  were  no  less  than  seventy-two  portraits  of 
the  English  nobility  by  Van  Dyck  exhibited  in  the 
National  Portrait  Exhibition  of  1866,  and  Smith,  in 
his  '  Catalogue  Raisonn^,'  gives  a  list  of  upwards 
of  nine  hundred  and  fifty  works  by  this  painter. 
There  are  many  urmamed  portraits  in  the  public 
galleries  of  Europe  as  well  as  in  private  collections 
which  are  not  mentioned  in  the  following  list. 

PORTRAITS  BY  VAN  DYCK 

Included  in  the  peincipai.  Picture  Gallekies  op 
Btjkope  :  IN  THE  Manchester  Exhibition  op  1857  : 
THE  Leeds  Exhibition  op  1868 :  the  Exhibition  of 
National  PoKTKAiTa  at  South  Kensington  in  1866 
AND  1868:  the  Eotal  Collections  at  Buckingham 
Palace,  "Windsor  Castle,  and  Hampton  Court  :  and 
the  Winter  Exhibitions  op  the  "Works  op  the 
Old  Masters,  at  the  Eoyal  Academy,  peom  1870 
TO  1884. 


Aertvelt,  the  marine  ^painter 

Arundel,  Thomas  Howard, 
Earl  of 

Arundel,  Thomas  Howard, 
Earl  of,  and  his  grandson 
Thomas  (afterwards  5th 
Duke  of  Norfolk) 

Arundel  and  Surrey,  Thomas 
Howard,  Earl  of,  with  his 
Countess  and  their  Children 

Arundeli  of  "Wardour,  Thomas, 
first  Ijord.    Half  length 

Balbi  Children 

Ealen,Hendrik  vaji,  the painfej' 

Baltimore,  Anne  Arundeli, 
Lady.    £ust 

Basset,  Admiral  Sir  Francis. 
Full  leiigth    .... 

Bedford,  Ann  Carr,  Countess  of 

Eentivoglio,  Cardinal 

Berg,  Count  Henry  de 

Bolingbroke,  Family  of  the 
first  Earl  of.  Seven  half 
length  portraits  in  a  garden 

Borlace,  Sir  John.  Three- 
quarter  length 

Borlace,  Lady.  Three-quarter 
length 

Bossohaert,  N 

Eosschaert,  N.,  "Wife  of  . 

Erignole,  La  Marchesa  de,  and 
Child.     Full  length 

Brignoli  Family 

Bristol,  George  Digby,  Earl 
of,  and  "William  Earl  of 
Bedford.    Full  length  . 

Brouwer,  Adriaan,  the  painter 

Brueghel,  Jan .... 

Buckingham,  Mary  Fairfax, 
Duchess  of.    Half  lenath 

44fi  -I     y     ■ 


Augsburg  Gallery. 
Duke  of  Sutherland. 

Duke  of  Norfolk. 


Lord  Stafford. 

Lord  Arundeli  of  "War- 
dour. 

Earl  Cowper. 

Duke  of  Buccleuch. 

Lord  Arundeli  of  "War- 
dour. 

Mr.  J.  F.  Bassett. 
Earl  Spencer. 
Pitti  Palace,  Florence. 
Madrid  Gallery. 


Earl  of  Morley. 
Mr.  "W.  E.  Eankes. 

Mr.  "W.  E.  Eankes. 

Hermitage,  St.  Peters- 
burg, 

Hermitage,  St.  Peters- 
burg, 

Earl  of  Warwick. 
Palazzo  Brignoli,  Genoa. 


Earl  Spencer, 
Duke  of  Buccleuch. 
Hermitage,    St.   Peters- 
burg. 

Lord  Lyttelton. 


Buckingham,  George  "Villiers, 
first  Duke  of.  Head  only, 
after  his  assassination  , 

Buckingham,  George  Villiers, 
Duke  of,  and  his  Brother 
Francis,  as  boys.   Full  length 

Buckingham,  George  Villiers, 
second  Duke  of,  and  hi.s 
brother  Francis.  Full 
length 

Burlington,  Eicbard  Boyle, 
first  Earl  of.         .    _    . 

Cante  Croix,  Beatrice  de, 
Princess  de  Cusanee.  (A 
study  for  this  is  at  Hampton 
Court.)  .... 

Cante  Croix,  Beatrice  de, 
Princess  de  Cusanee    . 

Cante  Croix,  Beatrice  de, 
Princess  de  Cusanee    . 

Cante  Croix,  Prince  de   . 

Oarr,  Mrs 

Carew,  Thomas,  the  poet,  and 
Sir  "William  Killigrew 

Carignan,  Thomas  Francois 
de.  Prince  of  Savoy 

Carignan,  Thomas  Francois 
de,  Prince  of  Savoy 

Carignan,  Prince  Thomas  of, 
on  horseback 

Carignan,  Prince  Thomas  of. 
Sketch  .         ,         .         ... 

Carlisle,  Countess  of 

Carlisle,  James  Hay,  Earl  of. 
Half  length  .... 

Carlisle,  James  Hay,  Earl  of. 
Full  length   .... 

ChaUoner,  Sir  Thomas    . 

Charles  I.  Full  lengthy  tcith 
horse  and  attendants     . 

Charles  I.  Full  length,  toith 
horse  and  attendants     . 

Charles  I.  Full  length,  wear- 
ing the  collar  and  badge  of 
the  Order  of  the  Garter. 
Dated  1636  .... 

Charles  I.    Full  length   . 

Charles  I,  in  armour,  moimted 
on  a  dun-coloured  horse,  his 
equerry.  Sir  Thomas  Morton, 
holding  the  king's  helmet 

Charles  I.  in  armour.  Sketch 
for  the  picture  at  JSlen- 
heim      ..... 

Charles  I.  Fquestrian portrait. 
M.  St.  Antoine,  bearing  the 
king^s  helmet,  is  on  foot  by 
his  side  .... 

Charles  X.  Equestrian  portrait. 
{A  replica  of  the  Windsor 
picturd.)        .... 

Charles  I,  Half  length,  full 
face  with  baton,  helmet,  and 
crown 

Charles  I,  Three  heads  in 
different  positions,  painted 
for  Bernini's  bust   .... 

Charles  L,  on  horseback  . 

Charles  I.,  standing,  in  armour. 

Charles  L,  standing,  in  armour. 

Charles  I,  .... 

Charles  I.  and  Queen  Henri- 
etta Maria    .... 

Charles  I.  and  Queen  Henri- 
etta Maria,  with  their  sons, 
Charles  and  .Tames 

Charles  I,  and  Queen  Henri- 
etta Maria    . 

Charles  I.  and  Queen  Henri- 
etta Maria,     Full  lem/th 

Charles  I.,  Three  Children  of 


Dyck 


Marquis    of    Northamp. 
ton. 


"Windsor  Castle. 

Earl  of  "Warwick. 
Duke  of  Devonshire, 

Windsor  Castle. 

Earl  of  Warwick. 

Munich  Gallery. 
Munich  Gallery. 
Earl  Somers. 

Windsor  Castle. 

The  Queen. 

Berlin  Gallery. 

Pinacoteca,  Turin. 

Munich  Gallery. 
Windsor  Castle. 

Earl  of  Kinnoul. 

Lord  Lyttelton. 
Hermitage,    St.    Peters- 
burg, 

Louvre,  Paris. 

Sir    Charles    E,   Isham, 
Bart. 


The  Queen. 

Louisa,  Lady  Ashburton. 


Blenheim  Palace. 
Buckirgham  Palace. 

Windsor  Castle. 
Hampton  Court. 
Duke  of  Norfolk. 


Windsor  Castle. 
Madrid  Gallery, 
Sir  Matthew  Wilson,  P,t. 
Hermitage,    St.    Peters- 
burg. 
Dresden  Gallery. 

The  Queen. 


The  Queen. 

Pitti  Palace,  Florence. 
Hermitage,  St.   Peters- 
burg. 
Dresden  Gallery. 


Dyck 


PAINTERS   AND  ENGRAVERS. 


Dyck 


Charles  I.,  Three  Children  of . 
Charles  I.,  Three  Children  of 
Charles  I.,  A  daughter  oSySUf' 

rounded  with, flowers    . 
Charles,  Prince  of  Wales,  with 

the    Princesses    Elizabeth, 

Mary,  and  Anne,  and  James, 

Duke  of  York.  Dated  1637 
Charles,   Prince     of    Wales, 

Princess  Mary,  and  James, 

Duke   of   York,    itritk   two 

spanieh  seated  at  their  feet . 
Charles  II.,  when  a  boy  , 
The  same,  when  a  boy    . 
Charles  V.,  on  a  white  horse     . 
Charles  Louis,  Prince  {elder 

brother  of  Prince  Rupert)     . 
Charles  Louis,  Prince,  and  his 

brother  Prince  Rupert 
Chesterfield,  Catharine, 

Countess  of.   {Painted  alout 

1636.)    . 
Clanbraail,       Countess       of. 

{Painted  in  1636.) 
Cleveland,     Thomas      "Went- 

worth,  first  Earl  of.    Full 

length.    Sated  1636      . 
Cleveland,     Thomas     Weut- 

worth,  first  Earl  of,  with  his 

wife  and  daughter 
Cornelissen,  Antonis 
Cranfield,  Lady  Frances,  wife 

of    Richard,  fifth   Earl    of 

Dorset .... 
Craven,  William,  first  Earl  of. 

Full  length   .... 
Dacre,  Dorothy  North,  Lady. 

Three-quarter  length 
Danby,  Henry  Danvers,  Earl 

of.  Full  length  . 
Danby,  Henry  Danvers,  Earl  of 

D'Aytone,  The  Marquis,  Gov- 
ernor of  the  Netherlands 

De  Jode,  Pieter 

Delawarr,  Isabella  Edmunds, 
Lady.    Full  length 

Dellafaille,  Alexander,  magis- 
trate of  Antwerp  . 

Denbigh,  William  Fielding, 
first  Earl  of  . 

Derby,  Charlotte  de  la  Tre- 
mouille.  Countess  of.   Bust. 

Derby,  James  Stanley,  seventh 
Earl  of ,  hi  s  wife,  Charlotte  de 
la  Tr^mouille,  and  daughter, 
Lady  Katharine  Stanley 

Derby,  James  Stanley  (Lord 
Strange),  seventh  Earl  of. 
Full  length 

Derby,  James  Stanley,  seventh 
Earl  of.    Bust      . 

Devonshire,  Christian,  Count- 
ess of    

Devonshire,  Christian,  Count- 
tess  of.    Full  length    . 

De  Vos,  Bimon, painter    . 

De  Wael,  Lucas  and  Cornelis  . 

De  Weil,  Jan,  and  his  wife 

Dlgby,  Lady  Venetia,  wife 
of  Sir  Kenelm  Digby  . 

Digby,  Lady  Venetia,  on  her 
death-bed.    Bust 

Digby,  Lady  Tenetia,  on  her 
death-bed.    Bust 

Digby,  Sir  Kenelm . 

Digby,  Sir  Kenelm.  Salf 
length  

Digby,  Sir  Kenelm,  and 
Family.  Salf  length,flgures 


Louvre,  Paris. 
Turin  Gallery. 

Lord  Ashburton. 


The  Queen. 

The  Queen. 
The  Queen. 
Duke  of  Portland. 
Uffizi,  Florence. 

Vienna  Gallery. 

Louvre,  Paris. 

Earl  of  Radnor. 
Earl  of  Denbigh. 

Earl  of  Verulam. 


Earl  of  Strafford. 
Duke  of  Buccleuch. 


Lord  Buckhurst. 

Earl  of  Craven. 

Colonel  North. 

Mr.  F.  V.  Wentworth. 
Hermitage,    St.    Peters- 
bm:g. 

Duke  of  Buccleuch. 
Duke  of  Buccleuch. 

Countess  Delawarr. 

Brussels  Gallery. 

Duke  of  Hamilton. 

Earl  of  Derby. 

E.arl  of  Clarendon. 

Earl  of  Derby. 

Earl  of  Derby. 
Duke   of    Northumber- 
land. 

Marquis  of  Ailesbury. 
Duke  of  Buccleuch. 
Cassel  Gallery 
Munich  Gallery. 

Windsor  Castle. 

Dulwich  Gallery. 

Earl  Spencer. 
Windsor  Castle. 

National  Portrait  Gal. 


Doria  Family  .... 
Dorset,  Anne  Clifford,  Count- 
ess of  


Mr.  Wingfield  Digby. 
Duke  of  Abercom. 

The  Queen. 


Dorset,     Edward     Sackville, 

fourth  Earl  of      .        .        .    Lord  Buckhurst. 
Dudley,  Edward  Sutton,  ninth 

Lord Mr.  R.  Almack. 

Dyck,  Sir  Anthonius  van.  Bust.    National  Gallery. 
Dyck,  Sir  Anthonius  van        .    Louvre,  Paris. 
Dyck,  Sir  Anthonius  van,  and 

the  Earl  of  Bristol       .        .    Madrid  Gallery. 
Dyck,  Sir  Anthonius  van        .    The  Queen. 
Dyck,  Sir  Anthonius  van,  when 

young Munich  Gallery. 

Dyck,  Sir  Anthonius  van         .    Earl  Spencer. 
Elizabeth,  The  Princess,  and 

the    Duke    of    Gloucester, 

children  of  Charles  I.    {A 

study  of  heads)     .        .        .    Lord  Chesham. 
Elizabeth,  The  Princess,  daugh- 
ter of  Charles  I.  .         .    Earl  of  Craven. 
Falkland,  Lucius  Gary,  second    Lord  Arundell  of  Wm- 

Yiscount.  ITalf  length,  seated        dour. 
Feria,  The  Comte  de       .         .    Duke  of  Buccleuch. 
Fernando,  Don,  of  Austria      .    Madrid  Gallery. 
Franck,  Frans,  the   younger, 

historical  painter .        .        .■    Duke  of  Buccleuch. 
Gerbier,  Sir  Balthazar,  and  his 

Family         ....    The  Queen. 
Gevaerts,  Caspar,  jurist  and 

historian      ....    Duke  of  Buccleuch. 

See  also  under  Van  der  Geest. 
Gloucester,  Henry,  Duke  of        Windsor  Castle. 
Grandison,  William  Villiers, 

Viscount.    Full  length        .    Earl  of  Clarendon. 
Gustavus  Adolphus,  King  of 

Sweden        ....    Munich  Gallery. 
Hamilton,  Mary,  Duchess  of, 

daughter  of  William,  first 

Earl  of  Denbigh  .        .        .    Earl  of  Denbigh. 
Hamilton,  James,  first  Duke 

of.    Full  length   .        .         .     Earl  of  Carlisle. 
Hamilton,  James,  first  Duke  of    Earl  of  Denbigh. 
Hamilton,  James,  first  Duke  of    Duke  of  Hamilton. 
Henrietta  Maria,  Queen  .    Ambrosian  Library, 

Milan. 
Henrietta  Maria,  Queen.    Full 

face The  Queen. 

Henrietta      Maria,      Queen. 

Three-quarter  face        .        .    The  Queen. 
Henrietta  Maria,  Queen.  Pro- 
file        The  Queen. 

Henrietta  Maria,  Queen.  Full 

length Earl  of  Clarendon. 

Henrietti  Maria,  Queen.    Full 

length Louisa,  Lady  Ashburton. 

Henrietta  Maria,  Queen.  Life 

size Marquis  of  Lansdowne. 

Henrietta      Maria,      Queen.    Hermitage,   St.    Peters- 

Standing  hy  a  table       .        .        burg. 
Henrietta  Maria,  Queen  .        .    Dresden  Gallery. 
Henrietta  Maria,  Queen,  with 

her    dwarf.    Sir    Geofltrey 

Hudson        ....    Earl  of  Portarlington. 
Hemrietta       Maria,      Queen. 

Signed  "  M.R.  1632  "    .         .     Earl  of  Radnor. 
Henry  of  Nassau,  Prince  of 

Orange         ....    Madrid  Gallery. 
Hontsum,  Zeger   van,   canon 

of  Antwerp  Cathedral  .        .    The  Queen. 
Huntly,      George      Gordon, 

second   Marquis  of.     Full 

length Duke  of  Buccleuch. 

Huygens,  Constautin,  and  his 

five  children        .        .        .    Hague  Gallery. 
Isabella    Clara   Eugenia,  In- 
fanta of  Spain     .        .        .    Louvre,  Paris. 
Isabella   Clara   Eugenia,    In- 
fanta of  Spain,  t«  her  widow's 

dress Duke  of  Buccleuch. 

Isabella   Clara   Eugenia,  In- 
fanta of  Spain,  in  her  widow's 

dress Louvre,  Paris. 

Isabella  Clara   Eugenia,   In- 
fanta of  Spain      .        .        ,    Earl  of  Hopetouu. 
Jones,  Inigo    ....    Hermitage,  St.    Peters- 
burg. 

447 


Dyck 


A  BIOGRAPHICAL   DICTIONARY   OF 


Dyck 


Jones,  Inigo     ....    The  Queen. 

Jones,  Inigo.    Bust         .        .    Lieut.-Col.  Inigo  Jones. 

Jones,  luigo.    Miniature,  half 

length,  monochrome       .  Lieut.-Col.  Inigo  Jones. 

Killigrew,       Thomas,        and 

Thomas  Carew.  Signed,  and 

dated  1628    ....    Windsor  Castle. 
KilligreWjMrs.  Cecilia  Crofts. 

Bust Mr.  E.  H.  Cheney. 

Kirk,  Madame         .         .        .     Earl  Cowper. 
Laniere,   Nicholas,  master  of 

the  hand  to  Charles  I.   .        .     The  Queen. 
Laud,  "William,  Archbishop  of 

Canterbury.      Half  length. 

Dated  1633  .         .         .    Lambeth  Palace. 

Laud,  Archbishop.    [Replica.)      Hermitage,    St.    Peters- 
burg. 
Laud,  Archbishop   .         .         .    Earl  Ktzwilliam. 
Leers,  Burgomaster    van,    of 

Antwerp,  his  wife  and  their 

son Cassel  Gallery. 

Leganes,     The    Marquis    de, 

Governor  of  Milan       .         .     Duke  of  Buccleuch. 
Leicester,    Countess    of,  and 

Countess  of  Carlisle^  daugh- 
ters of  Henry  Percy,  ninth 

Earl    of     Northumberland. 

Half  lengths,  seated  near  a 

fountain        ....    Mr.  Charles  Morrison. 
Leicester,     Dorothy      Percy, 

Countess  of ,         .         .         .     Earl  Spencer. 
Lemon,  Mrs.  Margaret    .         .     Hampton  Court. 
Lennox,    Catharine    Howard, 

Duchess  of  .         .        .         .     The  Queen. 
Le  Eoy,  Philippe.    Inscribed    Sir     Eichard     Wallace, 

"  JEtatis  sua!  34.     1630 "      .         Bart. 
Le  Eoy,  the  wife  of  Philippe.     Sir     Eichard     Wallace, 

Inscribed"^t.sual6.  1631"        Bart. 
Liberti,  Hendrik,  organist  of 

Antwerp       ....    Madrid  Gallery. 
Liberti,  Hendrik     .         .         .    Muuich  Gallery. 
Lipsius,  Justus,  historian        .     Duke  of  Buccleuch. 
Lisle,    Philip    Sidney,    Lord, 

Algernon    and  Eobert  Sid-     Lord  De  Lisle  and  Dud- 

ney.  Full  lengths,  as  children        ley. 
Lommellini  Family  .        ,    National  Gallery  of  Scot- 

land. 
Macclesfield,  Charles  Gerard, 

first  Earl  of  .         .         .         .     Marquis  of  Salisbury. 
Malderus,  Jan,  Bishop  of  Ant- 
werp      The  Queen. 

Malderus,  Jan,  Bishop  of  Ant- 
werp      Antwerp  Gallery. 

Mallery,    Karel  van,  the  en- 
graver   Munich  Gallery. 

Mallery,  Karel  van  .         .         .    Duke  of  Buccleuch. 
Manchester,  Lord  Kimbolton, 

second  Earl  of.    ITalf  length    Duke  of  Manchester. 
Mary    de'  Medici,  Queen    of 

France Lille  Museum. 

Mary  de'  Medici       .         .         .    Munich  Gallery. 
Massey,  General       .        .         .     Mr.  G.  L.  Basset. 
Maurice,  Prince.    Full  length    Earl  of  Craven. 
Merstraten  Syndic  .         .         .     Cassel  Gallery. 
Minnes,  Sir  John.    Half  length    Earl  of  Clarendon. 
Monoada,  Francisco  de     .         .    Tienna  Gallery. 
Moncada,    Francisco    de,     on 

horseback.    {A  study  for  this, 

a  bust,  is  also  in  tlie  Louvre.)     Louvre.  Paris. 
Monmouth,  the  Countess  of    .    Earl  of  Eadnor. 
Monttort,  John        .         .        .    Uffizi,  Floreuce. 
Montfnrt,  John        .         .         .    Vienna  Gallery. 
Montrose,     James      Graham, 

Earl  of.      (Ascribed  also  to 

William  Dobson.)         .         .    Earl  of  Warwick. 
Morton,  Anne,   Countess    of. 

Half  length  ....     Earl  Spencer. 
Morton,    Sir  William,  jud  e. 

-»«s« Mr.  T.B.BulkeleyOweu. 

Mowbray      and      Maltravers, 

Henry    Frederick   Howard, 

Lord Duke  of  Norfolk. 

Nassau,  John,  Count  of  .        .    Munich  Gallery. 
Nassau,  John,  Count  of  .        .    Lord  Ashburton. 
448 


de, 


Nassau,   John,   Count  of,   his 

■wife,  son,  and  three  daugh- 
ters.    Dated  1634 
Naunton,  Lady  Penelope 
Neuberg,     Duke       Wolfgang 

Wilhelm  von 
Newcastle,    William     Caven- 
dish, Duke  of.    Full  length 
The  same.     Full  length  . 
Newport,   Mountjoy    Blount, 

Earl  of.    Half  length  . 
Nole,    Andreas      Colyns 

sculptor 
Nole,  Andreas  Colyns  de 
Nole,  Andreas  Colyns  de 
Nole,  Andreas  Colyns  de,  wife 

of,  .... 

North,  Dudley,  fourth   Lord. 

Half  length  .... 
Northampton,  James  Compton, 

third  Earl  of.     Half  length  .     Countess  Delawarr, 
Northumberland,  Henry  Percy, 

ninth  Earl  of.     Bust 
NorthumberIand,Henry  Percy, 

ninth  Earl  of.     Full  length, 

seated Earl  of  Carlisle. 

Northumberland,        Algernon 

Percy,  tenth  Earl  of.     Full 

length    .  ...     Earl  of  Essex. 

Northumberland,        Algernon 

Percy,  Earl  of,  his  Countess, 

and  their  Child.  Half  lengths    Marquis  of  Salisbury. 
Odescalchi,  Don  Livio,  nephew 

of  Pope  Innocent  IX.,  stand- 


Earl  Cowper. 
Dulwich  Gallery. 

Munich  Gallery. 

Earl  Spencer. 
Duke  of  Portland. 

Earl  of  Eosebery. 

Duke  of  Buccleuch. 
Hague  Gallery. 
Munich  Gallery. 

Munich  Gallery. 

Colonel  North. 


Earl  of  Denbigh. 


tng 


Sir  H.  H.  Campbell,  Bart. 
Earl  of  Eadnor 


Earl  of  Tarhorough. 
Wilton  House. 


Hermitage, 
burg. 


Dulwich  Gallery. 


St.   Peters- 


Orleans,  Gaston,  Duke  of 
Orleans,  Gaston,  Duke  of.  Full 

length The  Queen. 

Oxford,  The  Countess  of  .  .  Madrid  Gallery. 
Palamedes,  the  painter  .  .  Munich  Gallery. 
Parr,    Thomas,    in    his   151st 

year Dresden  Gallery. 

Pembroke    and    Montgomery, 

Philip  Herbert,  fourth  Earl 

of.    Full  length,  miniature    . 
Pembroke, Philip  Herbert,  fifth 

Earl  of,  with  his  family 
Pembroke  Family.     {Study  for 

the      picture       at      Wilton. 

Another  study  is  in  the  pos- 
session of  Lord  Carnarvon.)  . 
Pembroke,  Philip  Herbert, fifth 

Earl  of.     Half  length   . 
Pembroke    and    Montgomery, 

Philip,  fourth  Earl  of.    Half 

lenuth Earl  of  Carnarvon. 

The  same.  Three-Quarter  length    Mr.  P.  T.  D.  Wykeham. 
Pembroke    and    Montgomery, 

Philip,  fifth  Earl  of.     Half 

le.tgth     .... 
Pennington,  Admiral  Sir  John. 

Bust      .... 
Peterborough,  The  first  Count- 
ess of     . 
Peterborough,  John,  Earl  of, 

standing 
Phalsburg,  Henrietta  of   Lor- 
raine,Princessof.  Fulllengih     Earl  of  Eosebery. 
Pieresc,  Nicolas  Claude  Fabri 

de Duke  of  Buccleuch. 

Portland,   Countess   of.    Full 

length Lord  Lyttelton. 

Portland,     Eichard     Weston,    Mr.      H.      J.      Percival 

Earl  of.    Full  length     . 
Eich,  Sir  Charles.   Full  length, 

standing         .... 
Eich,  Lady  Isabella.    Life  sice, 

standing 
Eichardot,  Jean  Grusset,  and 

his  son Louvre,  Paris. 

Eichmond,  The  Duchess  of     .    Windsor  Castle. 
Eichmond,  The    Duchess    of, 

represented  in  the  character  of 

St.  Agnes       ....    The  Queen. 


Viscount  Galway. 
Mrs.  W.  Willes. 
Mr.  Mordaunt  F.  Bisset 
Mr.  Mordaunt  F.  Eisset. 


Bankes. 
Viscount  Dillon. 
Lady  Elizabeth  Pringle. 


Dyck 


PAINTERS  AND  ENGBAVEES. 


Dyck 


Bichmond  and  Lennox,Fraiices 
Howard,  Duchess  of.  Full 
lencftk.    Dated  London,  1633 

Kichmoad,  Mary,  Dachess  of, 
daughter  of  George  Villiers, 
Duke  of  Euckiugham,  with 
the  dwarf,  Mrs.  Gibson 

Eichmond,  The  Duke  of, 
standinf/         .... 

Richmond,  The  Earl  of     . 

Kichmond  and  Lennox,  James 
Stuart,  Duke  of    . 

Bichmond  and  Lennox,  James 
Stuart,  Duke  of.  ffalf  length 

Bichmond  and  Lennox,  James 
Stuart,  Duke  of,  with  the 
dog  which  saved  his  life 

Bichmond  and  Lennox,  James 
Stuart,  Duke  of.  Full  length. 


Eiclimoud  and  Lennox,  James 

Stuart,  Duke  of.    Life  size, 

standinf/,  icitk  dog 
Eubeus,  Sir  Peter  Paul.    Half 

length 

Bubens,  Sir  Peter  Paul    . 
Riibeus,  Sir  Pet3r  Paul,  on  a 

horse  given  tohim  by  Van  Dyck 
Bupert,    Prince,   vihen    twelve 

years  old        .... 
Bupert,  Prince 
Bupert,  Prince.     Half  length, 

standing,  in  armour       .     ■    . 
BUssell,  Lad;   Bachel.    Half 

length,  seated 
Euthven,  Mary  (Van   Dyck's 

wife),  as  Herminia  putting 

on  Oiorinda's  armour    . 
Eyckaert,  David,  the  painter    . 
Byckaerfc,  Martin,  the  painter  . 
Savoy,  The  Duchess  of     . 
Scaglia,  Oesare  Alessandro 
Scaglia,  Cesare  Alessandro 
Simons,  Quentyn 
Suayers,  Pieter,  the  painter 
Snyders,  Frans 
Snyders,  Frans.    Bust     . 
Snyders,  Frans,  and  wife 
Snyders,  Frans,  and  family 

Snyders,  Frans,  Wife  of  . 

Snyders,  Scribani  Carl     . 

Solms,  Emilie  von  (loife  of 
Prtnce  Henry  Frederick  of 
Orange)  .... 

Solms,  Emilie  von    . 

Southampton,  Elizabeth, Coun- 
tess of 

Southampton,  Bachael,  first 
Countess  of  . 

Spinola,  Andrea,  Doge  of 
Genoa.    Full  length,  seated  . 

Spinola,  The  Marquis.  Full 
length 

Spinola,  Polixena,  Marchioness 
of  Leganes    .... 

Stalbent,  Adriaen,  painter 

Strafford,  Thomas  "Wentworth, 
first  Earl  of.  Full  length,  in 
lialf  armour  .... 

Strafford,  Thomas,  first  Earl 
of,  and  his  secretary,  Sir 
Philip  Mainwaring.  Half 
length,  seated 

Strafford,  Thomas,  Earl  of 

Stuart,  Lord  John,  and  Lord 
Bernard,  sons  of  the  Duke 
of  Lenuox     .... 

Sunderland,  Dorothy  Sidney, 
Co:intess  of.    Half  length 

Simder'and,  Dorothy  Sidney, 
Countess  of.    Half  length    . 

Sunderland,  Dorothy  Sidney, 
Oouutess  of.    Haif  length  . 

a 


MaTquis  of  Bath. 

Earl  of  Denbigh. 

Louvre,  Paris. 
Marquis  of  Bristol. 

Duke  of  Buccleuch. 

Mr.  "W.  H.  Pole  Carew. 

Earl  of  Denbigh. 

Earl  of  Leicester. 

Lord  Methuen. 

National  Gallery. 
Duke  of  Buccleuch. 

Earl  of  Badnor. 

Vienna  Gallery. 
Earl  of  Craven. 

Mr.  H.  C.  Okeover. 

Marquis  of  Exeter. 


Mr.  J.  C.  Harford. 
Madrid  Gallery. 
Dresden  Gallery. 
Duke  of  Aberoorn. 
Munich  Gallery. 
Antwerp  Gallery. 
Hague  Gallery. 
Munich  Gallery. 
Earl  of  Carlisle. 
Munich  Gallery, 
^assel  Gallery. 
Hermitage,    St.    Pi;ters- 

burg. 
Earl  of  Warwick. 
Vienna  Gallery. 


Vienna  Gallery. 
Madrid  Gallery. 

Earl  Cowper. 

Earl  Cowper. 

Sir  Henry  Hawley,  Bart. 

Earl  of  Hopetoun. 

Madrid  Gallery. 
Duke  of  Buccleuch. 

Earl  of  Home. 


Sir  H.  Mainwaring,  Bt. 
Earl  Fitzwilliam. 


Earl  Cowper. 

Earl  of  Bradford. 
Lord  De  L'Isle  and  Dud- 
ley. 

Earl  Spencer. 


Tilly,  General.    Sketch    .        .    Munich  Gallery. 
Trafford,  Sir  Cecil.    Head  only    Sir  H.  de  Trafford,  Bart. 
Triest,  Anthonius,  Bishop    of    Hermitage,    St.    Peters- 
Ghent  burg. 

Vden,lMcas  van,  the  painter   .    Munich  Gallery. 
Vandenburgh,  Count   Henry, 

in  armour      ....     The  Queen. 
Van  den  Wouver  (Waverius),    Hermitage,    St.    Peters- 
Jan       burg. 

Van  der  Borcht,  Jacob,  Burgo- 
master of  Antwerp        .        .    Amsterdam  Museum. 
Van  der  Geest,  Cornells.   For- 
merly supposed  to  represent 
Gevartius       ....    National  Gallery. 
Van  der  Geest,  Comelis  .        .    Duke  of  Buccleuch. 
Vane,   Lady  Frances.      Half 

length Sir  Henry  B.  Vane,  Bt. 

Vane,  Sir  Henry,  the  elder. 

Half  length  ....    Sir  Henry  B.  Vane,  Bt. 
Vane,  Sir  Henry,  the  younger. 

ITiree-quarter  length      .         .     Sir  Henry  B.  Vane,  Bt. 
Verney,  Sir   Edmund.      Half 

length Sir  Harry  Verney,  Bart. 

The  same.    A  replica       .        .    Sir  Harry  Verney,  Bart. 
Villiers,  George  and  Francis, 
sons  of  the  Duke  of  Bucking- 
ham        The  Queen. 

Vrauck,       Sebastiaen,     tattle 

painter Duke  of  Buccleuch. 

Wallenstein,  Count  of     .        .    Munich  Gallery. 
Waller,  Edmund.    Full  length,    Sir  H.  G.  P.  Bedingfield, 

standing         ....        Bart. 
Wandesford,  Lord   .        .        .    Hermitage,   St.    Peters- 
burg. 
Warwick,  Earl  of,  in  armour    .    Earl  of  Leicester. 
Warwick,  Charles  Bieh,  Earl  of    Lady  Elizabeth  Pringle. 
Wemmel,     Engelbert      Taie, 
Baron  of        ...         . 
Wentworth,  Lady  Arabella 
Wharton,  Philip,  Lord     . 


Wharton,  Lady 

Wharton  Family,Two  Children 

of  the 

Wharton,  Sir  Thomas 

Wharton,  Thomas,  M.D.  Bust 

White,  Jeremiah,  chaplain  to 
Oliver  Cromwell.    Bust 

Widdrington,  William,  first 
Lord  Widdrington.  Half 
length    

William,  Prince  of  Orange,  as 
a  Boy.    Half  length 

William,  Prince  of  Orange, 
and  his  fiancee,  the  Princess 
Mary,  daughter  of  Charles  I. 

Wolfart,  Artus,  historical 
painter 

Worcester,  Edward  Somerset, 
second    Marquis  of.     Half 


Dresden  Gallery. 

Earl  Fitzwilliam. 

Hermitage,  St.  Peters- 
burg. 

Hermitage,  St.  Peters- 
burg. 

Hermitage,  St.  Peters- 
burg. 

Hermitage,  St.  Peters- 
burg, 

Eoyal  College  of  Phy- 
sicians. 

Mr.  G.  J.  A.  Walker. 


Mr.  C.  Towneley. 
Hermitage,    St.    Peters- 
burg. 


Amsterdam  Museum. 
Duke  of  Buccleuch. 


Duke  of  Beaufort. 


SACBED  SUBJECTS. 


Betrayal  of  Christ    . 
Betrayal  of  Christ    . 
Christ  Bound   .... 
Christ  on  the  Cross . 
Christ  on  the  Cross . 
Christ  on  the  Cross  .  1629 
Christ  on  the  Cross . 
Christ  on  the  Cross . 
Christ  healing  the  Paralytic    . 
Christ  and  the  Pharisee  . 
Christ  crowned  with   Thorns. 

{An  altered  copy  of  Titian's 

picture  at  Munich.) 
Crucifixion,  The 
Crucifixion,  The 
Crucifixion,  The 
Crucifixion,  The.    (Study) 


Madrid  Gallery. 
Lord  Methuen. 
Vienna  Gallery. 
Vienna  Gallery. 
Munich  Gallery. 
Antwerp  Gallery. 
Antwerp  Gallery. 
Lille  Museum. 
The  Queen. 
Palazzo  Brignoli,  Genoa. 


Madrid  Gallery. 
St.  Jacques,  Antwerp. 
Notre-Dame,  Courtray. 
Cathedral,  Mechlin. 
Hermitage,    St.   Peters- 
burg. 

449 


Dyck 


A  BIOGRAPHICAL  DICTIONARY  OF 


Dyck 


David    with     the     Head    of 

Goliath         ....     Hampton  Court. 
Dead  Christ.     (Small)      .         .     Louvre,  Paris. 
Dead  Christ      .         .         .         .Mr.  Alfred  Elmore,  E.A, 
Descent  of  the  Holy  Ghost     .     Berlin  Gallery. 
Descent  from  the  Cross  .         .    Antwerp  Gallery. 
Ecee  Homo      ....     Earl  of  Hopetoun. 
Entombment,  The    .         .         .    Antwerp  Gallery. 
Entombment,  The.     (Study)   .     Hermitage,    St.    Peters- 
burg. 
Flight  into  Egypt    .         .         .     Munich  Gallery. 
Flight  into  Egypt     .         .        .     Pitti  Palace,  Florence. 
Four  Eepentant  Sinners  before 

Christ Augsburg  Gallery. 

laoredulity  of  St.  Thomas        .     Hermitage,    St.    Peters- 
burg. 
Infant  Saviour  embracing  St. 

John The  Queen. 

Infant  Christ  and  St.  John      .    Mrs.  Morrison. 
Madonna  and  SS.  Peter,  Paul, 

and  Rosalia.     1629       .         .     Vienna  Gallery. 
Madonna  and  Child  .        .     Bridgewater  House. 

Madonna  and  Child.    (A  replica 
of  the   BridyeiDater    Gallery 
picture.)         ....    Dulwich  Gallery. 
Madonna  and  Child.     (Another 

replica  of  the  above.)      .        .     Blenheim  Palace. 
Madonna,  The  ....    Brunswick  Gallery. 
Madonna,  as  Queen  of  Heaven  .     Dresden  Gallery. 
Madonna      and     Child,    with 

Saints Louvre,  Paris. 

Madonna  and  Child  .        .     Buckingham  Palace. 

Madonna,  The.     Life  size         .     The  Queen. 
Madonna,  The.    Life  size         .    UfSzi,  Florence. 
Madonna  and  Donor        .         .     Vienna  Gallery. 
Madonna  and  Donors       .         .     Louvre,  Paris. 
Madonna  and  St.  Anthony       .     Brera,  Milan. 
Madonna  and  Child  .         .         .    Lord  Ashburton. 
Madonna  and  Child  .         .        .     Munich  Gallery. 
Madonna  and  Child,  with  St. 

Catharine      ....     Duke  of  "Westminster. 
St.  Mary  Magdalen  .         .         .     Vienna  Gallery. 
Magdalen,  The  Penitent  .     Amsterdam  Museum. 

Magdalen,  The  Penitent  .     Hague  Gallery. 

Holy  Family     ....     Acad,  of  St.  Luke,  Eome. 
Holy  Family    ....    Vienna  Gallery. 
Holy    Family,   with  the  par- 
tridges.   (Replicas  are  in  the 
Fitti  Palace  and  in  the  Mil-    Hermitage,    St.    Peters- 

seums  of  Nantes  and  Tours.)  burg.  

Holy  Family    ....     Munich  Gallery. 
Holy  Family    ....    Pinacoteca,  Turin. 
Holy  Family    ....     Lady  A.  de  Rothschild. 
Last  Supper     ....    Hermitage,    St.    Peters- 
burg. 
Marriage  of  St.  Catharine        .    The  Queen. 
Miraculous  Draught  of  Fishes. 

(A  study  after  Suiens.)         .     National  Gallery, 
Mocking  of  Christ,  The    .        .     Berlin  Gallery. 

Pieta Berlin  Gallery. 

Pieta         !        .         .        .         .    Munich  Gallery. 

Pieti Vienna  Gallery. 

Pieti Louvre,  Paris. 

St.  Anthony  of  Padua  holding 

the  Infant  Saviour        .        .    Brussels  Gallery. 
St.  Augustine  in  Ecstasy         .    St.     Augustine's,    Ant- 
werp. 
St.  Francis  in  Ecstasy      ,         .    Brussels  Gallery. 
St.  Francis  in  Ecstasy      .         .     Madrid  Gallery. 
St.  Jerome        ....     Dresden  Gallery. 
St.  Jerome        ....    Madrid  Gallery. 
St.  John  the  Evangelist  and 

St.  John  the  Baptist     .        .    Berlin  Gallery. 
A  Dying  Saint.     (A   sketch  in 

grisaille.)      ....    Hampton  Court. 
St.  Martin  dividing  his  Cloak. 
(Copy  of  the  picture  Sy  Bubens 
at  Windsor.) ....    Saventhem,  Belgium. 

St.  Peter Berlin  Gallery. 

St.  Peter,  Martyrdom  of  .        .    Brussels  Gallery. 
St.  Sebastian    ....    Louvre,  Paris. 
St,  Sebastian.      {A  sketch  for 
this  is  in  the  National  Gallery 
of  Scotland.)  ....    Munich  Gallery. 
St.  Sebastian.    (A  sketch.)       .    Earl  of  Warwick. 
450 


St.  Sebastian,  Martyrdom  of  ,    National  Gallery  of  Snot- 

land. 

St.  Sebastian,  Martyrdom  of  .    Hermitage,   St.    Peters- 
burg. 

St.  Stephen,  Martyrdom  of      .    Lord  Egerton  of  Tatton 

Samson  and  Delilah.  (A  copy  or 
replica  is  at  Hampton  Court.)    Vienna  Gallery. 

Susannah  and  the  Elders         .    Munich  Gallery! 

MISCELLANEOUS  SUBJECTS. 
Boys  blowing  Soap  Bubbles 


Child  and  Dog 
Child's     Head. 

crayon.) 
Cupid  and  Psyche  . 
Danae  and  the  Golden  Shower 
D^dalus  and  Icarus 
Diana  and  Endymion 
Emperor    Theodosius   refused 
admission  into  the   Church 
by  St.  Ambrose.    (Copy, with 
slight  alterations,  of  Rubens^ s 
picture  in  the  Vienna  G allery ^ 
Greenwich  Palace,  vAth  figures 
in  the  foreground,  ajnony  which 
are  portraits  of  Charles  I., 
Hennetta  Maria,  Lord  Arun- 
dell,  and  others 
Horses.     (A  study.) 
Binaldo  and  Armida 
Binaldo  and  Armida 

Sileuus 

Silenus 

Study  of  three  Horses,  with 
their  Riders .        .        *,        . 
Study  of  a  Man  on  Horseback 
Venus  and  Vulcan  . 
Venus  and  Vulcan  . 


Hermitage,   St.    Peters- 
burg. 
.    Antwerp  Museum. 
(Study     in    Academy  of   St.   Luke 
Rome.  ' 

Hampton  Court. 
Dresden  Gallery. 
Earl  Spencer. 
Madrid  Gallery. 


National  Gallery. 


The  Queen. 
National  Gallery. 
Louvre,  Paris. 
Duke  of  Newcastle. 
Dresden  Gallery. 
Brussels  Gallery. 

The  Queen. 
Augsburg  Gallery. 
Vienna  Gallery. 
Louvre,  Paris. 


This  distinguished  painter  occasionally  occupied 
himself  with  the  point,  and  has  etched  several 
plates,  which  are  executed  with  a  spirit  and  fire 
bordering  on  enthusiasm.  They  consist  chiefly  of 
portraits  of  the  most  eminent  artists  of  his  time, 
frona  his  own  designs,  and  are  sometimes  marked 


1^ 


Little  attentive  to  the 


with  this  monogram 

neatness  or  minuteness  of  his  execution,  his  point' 
is  animated  with  a  vigour  and  energy  which  are 
perhaps  without  example.  The  following  are  his 
principal  works : 

Christ  crowned  with  Thorns  ;  A.  Van  Dyck,  inv. 
A  Holy  Family. 
A  Bust  of  Seneca. 

PORTRAITS. 

Adam  van  Oort,  Painter. 

Justus  Suttermans,  Painter,  of  Antwerp. 

Pieter  Brueghel,  Painter. 

Lucas  Vorsterman,  Engraver. 

Jodocus  De  Momper,  Painter. 

Paulus  Pontius,  Engraver. 

Jan  Brueghel,  Painter. 

Frans  Frauck,  Painter. 

Jan  De  "Wael,  Painter. 

Jan  Snellinx,  Painter. 

Titian,  with  his  Mistress,  who  is  leaning  on  a  casket, 

with  a  skull ;  after  Titian. 
Antonis  Comelissen,  Amateur. 
Desiderius  Erasmus. 
Sir  Anthonius  van  Dyck. 
Philippe  Le  Roy. 
Frans  Snyders,  Painter. 
Anthonius  Triest,  Bishop  of  Ghent. 
Willem  De  Vos,  Painter. 
Paulus  De  Vos,  Painter. 
Jan  van  den  "Wauwer. 

There  are  several  other  plates  attributed  to  Van 
Dyck,  but  being  doubtful  they  are  here  omitted. 


JJyck 


PAINTERS  AND  ENGRAVERS. 


Earlom 


BIBLIOGRAPHY. 

W.  H.  Carpenter, '  Pictorial  Notices :  consisting  of  a 

Memoir  of  Sir  Anthony  van  Dyck,  &c.'    Loudon, 

1844,  4to. 
Alfred  MicMels, '  Bubens  et  I'Ecole  d'Anvers.'    Paris, 

1854,  8vo. 
Georges  Duplessis, '  Eaux-fortes  de  Antoine  van  Dyck, 

reproduites  par  Amand-Duraud.'  Paris,  (1874,)  folio. 
Carl  Lemcke, '  Anton  van  Dyck.'    Leipzig,  1875,  8vo. 
Fr.  Wibiral,  'Iconographie  d' Antoine  van  Dyck,  d'apr^s 

les  recherches  de  H.  "Weber."    Leipzig,  1877,  8vo. 
Alfred  Michiels, '  Van  Dyck  et  ses  Aleves.'    Paris,  1881, 

8vo. 
Jules  Guiffrm/, '  Antoine  van  Dyck,  sa  vie  et  son  oeuvre.' 

Paris,  1882,  folio. 

DYCK,  Daniel  van  den.    See  Van  den  Dyck. 

DYCK,  Hermann,  a  Bavarian  painter,  born  at 
Wiirzbuig  in  1812,  studied  architectural  and  genre 
painting  at  Munich.  His  works  are  original  and 
of  great  humour,  and  are  neatly  and  carefully 
executed.  Tlie  satirical  designs  for  the  'Eliegende 
Blatter,'  in  reference  to  the  rage  for  monuments, 
are  incomparable.  He  was  director  of  the  Art 
Schools  at  Munich,  where  he  died  in  1874. 

DYK,  Floris  van,  (or  Dijk,)  a  Dutch  painter, 
was  born  probably  in  1677.  After  residing  some 
time  in  Italy,  he  entered  the  Guild  at  Haarlem  in 
1610,  and  became  its  dean  in  1637.  His  death 
occurred  probably  in  1661.  He  executed  historical 
pictures,  but  is  better  known  as  a  painter  of  fruit 
and  flowers,  in  which  he  excelled. 

DYK,  Philip  van,  (or  Dijk,)  called  •  The  Little 
Van  Dyck,'  a  Dutch  portrait  painter,  was  born  at 
Amsterdam  in  1680.  He  was  instructed  by  Arnold 
Boonen,  and  painted  small  portraits  in  the  style  of 
his  master,  but  was  more  successfully  employed  in 
painting  subjects  similar  to  those  of  Mieris  and 
Metsu,  representing  conversations,  ladies  at  their 
toilets,  and  gallant  assemblies.  In  1710  he  estab- 
lished himself  at  Middleburg,  but  was  afterwards 
invited  to  the  Hague,  where  he  painted  some  of 
his  best  pictures.  The  reputation  he  had  acquired 
recommended  him  to  the  notice  of  Prince  William, 
afterwards  Landgrave  of  Hesse,  who  not  only 
engaged  him  to  paint  several  pictures,  but  com- 
missioned him  to  purchase  the  choicest  works  of 
art  he  could  meet  with  in  Holland  and  Flanders, 
for  the  rich  collection  he  was  then  forming  at 
Cassel.  On  his  return  to  the  Hague  he  painted  the 
portraits  of  the  Stadtholder  and  his  family,  as  well 
as  several  pictures  for  the  cabinet  of  that  prince. 
He  died  at  the  Hague  in  1762.  The  following 
works  by  him  are  in  public  galleries : 

Berlin.  Gallery.       The  Lute-player. 

„  „  The  Drawing  Lesson. 

Brussels.         Gallery.      A  Young  "Woman  at  her  toilet. 

1726. 
Cassel.  Gallery.       The  Landgrave  Charles  of  Hesse 

and  his  Family. 
„  „  The  Penitent  Magdalen. 

Hague.  Gallery.      Judith.    1726. 

„  „  A  Young  "Woman  playing  the 

lute. 
„  „  A  Young  "Woman  at  her  toilet. 

„  „  The  Book-keeper. 

Paris.  Louvre.        Sarah  presenting  Hagar  to  Abra- 

ham. 
„  „  Abraham  sending  away  Hagar 

and  Ishmael. 

DYXHOORN,  PiETER  Arnout,  a  Dutch  marine 
painter,  was  bom  at  Rotterdam  in  1810.  He  was 
a  scholar  of  TA.  Sohouman  and  of  J.  C.  Schotel, 
and  painted  marine  subjects  and  river  scenes  in 
an  able  manner.     He  died  at  Rotterdam  in  1839. 

0  0  2 


E 

EARLE,  Augustus,  a  painter  of  historical  and 
marine  subjects,  who,  on  account  of  his  roving  dis- 
position, was  known  as  "  the  wandering  artist," 
was  the  son  of  Ralph  Earle,  the  American  portrait 
painter,  who  married  when  studying  in  London, 
and  left  his  wife  and  children  here  when  he 
returned  home.  Augustus  Earle  was  the  intimate 
friend  of  Leslie  and  of  Morse,  and  their  fellow- 
student  at  the  Royal  Academy  in  1813.  Many 
years  afterwards,  Morse  inquired  of  Leslie  for 
their  old  companion  Earle.  "  He  had  visited  every 
part  of  the  Mediterranean,"  said  Leslie,  "  roamed 
in  Africa — rambled  in  the  United  States — sketched 
in  South  America — attempted  to  go  to  the  Cape  of 
Good  Hope  in  a  worn-out  Margate  hoy,  and  was 
shipwrecked  on  Tristan  d'Acunha,  where  he  passed 
six  months  with  some  old  tars  who  hutted  there 
— at  length  a  vessel  touched  the  desolate  place 
and  released  him.  He  then  visited  Van  Diemen's 
Land,  Newr  South  "Wales,  and  New  Zealand,  where 
he  drew  from  the  naked  figure,  and  saw  the  finest 
forms  in  the  world  addicted  to  cannibalism.  Re- 
turning to  Sydney,  he,  by  way  of  variety,  proceeded 
to  the  Caroline  Islands — stopped  at  the  Ladrones — ■ 
looked  in  upon  Manilla,  and  finally  settled  himself 
at  Madras,  and  made  money  as  a  portrait  painter. 
Not  content,  he  went  to  Pondicherry,  and  there 
embarked  for  France,  but  stopped  at  the  Mauritius, 
and  after  some  few  more  calls  at  various  places, 
found  his  way  home."  Besides  a  series  of  views 
in  New  South  "Wales,  he  published  with  illustrations 
in  1832,  '  A  Narrative  of  a  nine  months'  residence 
in  New  Zealand,  in  1827  ;  together  with  a  Journal 
of  a  residence  in  Tristan  d'Acunha.'  He  exhibited 
at  the  Royal  Academy  between  the  years  1806  and 
1815,  and  again  in  1887  and  1838,  after  having 
accompanied  Captain  Fitzroy  in  the  '  Beagle '  to 
South  America.  The  following  were  among  his 
exhibited  works : 

The  Judgment  of  Midas.    1806. 

The  Battle  of  Poietiers.    1803. 

Banditti.     1811  and  1812. 

AMan-of-war's  Boats  cutting  out  a  French  Barque.  1814. 

"V"iew  of  the  Harbour  and  Town  of  Calais.    1815. 

Life  on  the  Ocean.    1837. 

Divine  Service  on  board  a  Man-of-war.    1837. 

A  Bivouac  of  Travellers  in  Australia.    1838. 

EARLE,  James,  an  American  portrait  painter, 
was  probably  a  brother  of  Ralph  Earle.  He  was 
a  native  of  Leicester,  Massachusetts,  and  died  of 
yellow  fever  at  Charleston  in  1796. 

EARLE,  Ralph,  an  American  portrait  and  his- 
torical painter,  was  born  at  Leicester,  Massa- 
chusetts, in  1761.  He  painted  in  1775  four  scenes 
in  the  battle  of  Lexington,  which  are  believed  to 
be  the  first  historical  paintings  ever  executed  by 
an  American  artist.  After  the  peace  he  came  over 
to  England  and  studied  under  "West,  but  he  returned 
to  America  in  1786,  and  died  at  Bolton,  Connecticut, 
in  1801.  He  was  of  intemperate  habits,  and  left 
his  wife  and  children  in  London  when  he  returned 
to  his  native  country.  Among  his  works  are  a 
large  picture  of  the  '  Falls  of  Niagara,'  and  por- 
traits of  King  George  III.,  Dr.  Dwight,  President 
of  Yale  College,  and  Governor  Strong. 

EARLOM,  Richard,  a  mezzotint  engraver,  was 
bom  in  London  in  1743.  He  was  a  pupil  of  Cipriani, 
and  was  the  first  artist  who  made  use  of  the  point 
in  mezzotint  work.    Ho  first  engraved  for  Boydell, 

451 


Earlom 


A   BIOGRAPHICAL   DICTIONAEY  OF 


Eastlake 


who  in  1777  brought  out  the  '  Liber  Veritatis,'  com- 
prising two  hundred  plates,  exeouted  by  Earlom 
in  the  style  of  the'  original  drawings  by  Claude 
Lorrain,  which  are  for  the  most  part  in  the  pos- 
session of  the  Duke  of  Devonshire.  He  is  especi- 
ally known  for  hia  groups  of  flowers  after  Van 
Huysum  and  Van  Os.  He  also  executed  some 
etchings,  as  well  as  some  plates  in  the  chalk 
style.  Earlom  died  in  London  in  1822.  The  fol- 
lowing are  his  principal  plates  : 

ETCHINGS. 
Portrait  of  Eembrandt ;  after  Rembrandt. 
Banditti  aad  Travellers  ;  ufter  Salvator  Rosa. 
Jacob  wrestling  with  the  Angel ;  after  the  same. 
David  and  Goliath ;  after  the  same. 
Venus  and  Adonis  ;  after  N.  Poussin. 
The  Death  of  Abel ;  after  A.  Sacchi. 
.ffineas  saving  Anchises  from  the  Buins  of  Troy  ;  after 

Tintoretto. 
The  Holy  Family  ;  after  Guercino. 
Cupid  bound ;  after  Gtndo. 

POETRAITS   IN   MEZZOTINT. 

■William  Henry,  Duke  of  Gloucester ;  after  Hamilton. 

Thomas  Newton,  Bishop  of  Bristol ;  after  West. 

Sir  Edward  Astley,  Bart. ;  after  the  same. 

George  Augustus  ISliott,  Lord  Heathfield  ;  after  Sir  J. 

Reynolds. 
James  Stuart,  Duke  of  Eichmond ;  after  Van  DycJc. 
The  Duke  of  Aremberg  on  horseback ;  after  the  same. 
Kubens's  "Wife ;  after  Rubens. 
Portrait  of  Rembrandt ;  after  Rembrandt, 
Rembrandt's  "Wife  ;  after  the  same. 
Admiral  Kempenfelt ;  after  T.  Kettle. 
James  Mac  Ardell,  engraver. 

SUBJECTS   AFTEK  VAEIOUS   MASTERS. 

The  Repose,  called  *  La  Ziug&ra. ; '  after  Correggio, 

The  "Virgin  and  Infant ;  after  Guercino. 

The  Virgin  and  Infant,  with  St.  John;  after  Carlo 
Dolci. 

Salvator  Mundi ;  after  the  same. 

The  Virgin  and  Infant ;  after  Cantarini. 

The  Infant  Jesus  sleeping ;  after  Domenichino. 

Simeon  receiving  the  Infant  Jesus  ;  after  Guido. 

Christ  curing  the  Blind  ;  after  Annibale  Can'acci, 

Galatea ;  after  Zuca  Giordano. 

The  Judgment  of  Paris  ;  after  the  same. 

The  Misers ;  after  Quentin  Massys. 

The  Holy  Family ;  after  Rubens. 

Mary  Magdalen  washing  the  Feet  of  Christ ;  after  the 
same. 

Nymphs  and  Satyrs  ;  after  the  same. 

Meleager  and  Atalanta  ;  after  the  same. 

The  Death  of  Hippolytus  ;  after  the  same. 

Rubens's  Son  and  his  Nurse ;  after  the  same. 

Elijah  restoring  to  Life  the  "Widow's  Son ;  after  Eem- 
brandt. 

The  Presentation  in  the  Temple  ;  after  the  same. 

Susannah  and  the  Elders  ;  after  the  same. 

A  Boar  attacked  by  a  Lion  ;  after  Snyders. 

The  Fruit-Market ;  after  Snyders  and  Jan  van  Bockhorst. 

The  Fish-Market ;  after  the  same. 

The  Vegetable-Market ;  after  the  same. 

A  Fruit-piece,  and  a  Flower-piece ;  after  Jan  van 
Suysum ;  two  plates  ;  extremely  fine. 

David  and  Bathsheba;  after  A.  van  der  Werffi  very 
fine. 

The  Enchantress ;  after  D.  Teniers. 

The  Singing  Master;  after  G.  Schalken. 

The  Interview  between  Augustus  and  Cleopatra ;  after 
R.  Mengs. 

The  Royal  Family  of  England  ;  after  Zoffany. 

The  Royal  Academy  ;  after  the  same. 

Angelica  and  Medora ;  after  West. 

Cupid  stung  by  a  Bee ;  after  the  same. 

Meleager  and  Atalanta ;  after  Richard  Wilson. 

Apollo  and  the  Nymphs  ;  after  the  same. 

A  Blacksmith's  Shop ;  after  Joseph  Wright. 

An  Iron  Forge ;  after  the  same. 

William  Eaelom,  his  son,  who  was  evincing 


decided  talent  as  an  artist,  was  out  ofE  in  1789,  when 
only  seventeen  years  of  age. 

EASTLAKE,  Sir  Charles  Look,  the  yoiinge-st 
son  of  George  Eastlake,  solicitor  to  the  Admiralty 
and  Jadge- Advocate  at  Plymouth,  was  born  in  that 
town,  November  17,  1793.  He  was  educated  at 
the  Plympton  Grammar  School,  where  Sir  Joshua 
Reynolds  had  previously  studied,  and  he  was  one 
of  the  first  pupils  of  Prout,  a!so  a  native  of  Ply. 
mouth,  whom  he  occasionally  accompanied  on  his 
excursions  into  the  country  to  study  nature.  "When 
fourteen  years  of  age,  he  was  sent  to  the  Charter- 
house School,  London,  but  he  left  in  1808  in  order 
to  study  art  imder  Haydon,  his  fellow-townsman. 
In  1809  he  became  a  student  in  the  Royal  Academy 
Sc^hools,  and  in  1814  visited  Paris  for  a  few  months. 
In  1815,  while  Eastlake  was  employed  painting 
portraits  in  his  native  town.  Napoleon  arrived 
there  on  board  the  '  Bellerophon,'  and  the  yoimg 
artist  took  advantage  of  every  glimpse  he  could 
obtain  of  the  ex-Emperor  to  make  studies  of  him, 
by  the  aid  of  which  he  painted  a  life-size  picture 
of  Napoleon,  standing  at  the  gangway  of  the  ship, 
attended  by  his  officers.  This  work,  which  is  now 
the  property  of  the  Marquis  of  Lansdowne,  attracted 
great  attention,  and  was  so  well  sold  as  to  enable 
the  painter  to  visit  Italy  in  1817.  He  then,  in  1819, 
proceeded  to  Greece,  on  a  commission  from  Mr. 
Harman,  his  first  patron,  to  make  sketches  of  the 
architectural  remains  and  the  scenery  of  that  cliissic 
soil.  In  some  of  these  journeys  he  was  accom- 
panied by  Brockedon,  the  painter,  and  Sir  Charles 
Barry,  the  architect.  On  his  return,  after  nearly  a 
year's  absence,  and  having  visited  Malta  and  Sicily 
in  the  course  of  his  tour,  Eastlake  painted  a  life- 
size  picture  of  '  Mercury  bringing  the  Golden  Apple 
to  Paris.'  Shortly  after  the  death  of  his  father, 
which  had  brought  hin"i  back  to  England  in  1820, 
he  returned  to  Rome,  and  became  much  occupied  in 
paintina;  subjects  illustrative  of  the  local  features, 
inhabitants,  and  customs  of  modern  Italy.  He 
resided  in  Italy  altogether  fourteen  years,  chieily  in 
Rome  and  in  Ferrara.  He  first  exhibited  at  the 
Royal  Academy  in  1823,  his  earliest  contributions 
being  scenes  in  which  public  buildings,  such  as 
the  Castle  of  St.  Angelo,  St.  Peter's,  &c.,  were  a 
principal  feature.  These  were  followed  by  subjects 
taken  from  Italian  life  in  the  neighbourhood  of 
Rome,  subjects  of  banditti  life,  &o.  Commissioned 
by  the  Duke  of  Devonshire,  lie  painted,  in  1827,  a 
picture  representing  the  story  related  by  Plutarch 
of  '  The  Spartan  Isidas,'  who,  appearing  in  battle 
naked,  and  armed  with  sword  and  spear,  was 
mistaken  for  a  god.  This  picture,  consisting 
of  numerous  figures,  and  of  medium  gallery  size, 
occupied  the  painter  nearly  two  years,  and  pro- 
duced considerable  sensation  amongst  the  artists 
and  dilettanti  at  Rome.  In  England  it  was  not 
so  generally  appreciated  ;  but  its  merit  was  ac- 
knowledged by  the  Royal  Academy,  of  which  body 
he  was  elected  an  Associate  in  1827,  the  year 
of  its  exhibition.  About  this  time,  captivated  by 
Venetian  colouring,  he  painted  some  subjects  of 
half-figures,  life-size,  sometimes  of  chivalrous 
character,  sometimes  taken  from  the  picturesque 
peasantry  of  Italy.  He  was,  in  1830,  elected  a 
Royal  Academician.  In  the  same  year  he  returned 
to  England,  and  established  himself  in  London. 
The  subjects  now  treated  by  him  were  undertaken 
chiefly  in  order  to  turn  to  account  liis  materials 
from  the  costume  and  scenery  of  modern  Greece. 
He  varied  his  studies  at  this  time  by  portrait- 


Eaton 


PAINTERS  AND  ENGRAVERS. 


Ecliter 


painting,  and  by  his  favourite  half-figures  in  the 
Venetian  style.  He  also  occasionally  treated  small 
fancy  subjects,  and  historic  and  modern  Italian 
subjects.  But  henceforth  his  time  was  devoted  to 
the  service  of  art,  by  advice  and  by  writing,  rather 
than  by  any  practical  work.  He  exhibited  but 
five  pictures  at  the  Royal  Academy  after  his  election 
as  president. 

In  the  year  1841  Eastlake  was  appointed  secre- 
tary to  the  Royal  Commission  for  decorating  the 
new  Houses  of  Parliament  and  for  the  promotion 
of  the  Fine  Arts,  and  he  conducted  the  business  of 
that  commission  until  its  dissolution  after  the  death 
of  its  president,  the  Prince  Consort.  In  1842  he 
was  made  librarian  of  the  Royal  Academy,  and  in 
the  _  following  year  he  became  keeper  of  the 
National  Gallery,  which  ofiBce,  however,  he  resigned 
in  1847.  On  the  death  of  Sir  Martin  Shee,  in  1850, 
he  was  elected  president  of  the  Royal  Academy 
and  received  the  customary  honour  of  knight- 
hood. He  also  became  a  trustee  of  the  National 
Gallery,  of  which  he  was,  in  1865,  made  director 
for  a  period  of  five  years.  This  appointment  was 
renewed  in  1860,  and  again  in  1865,  and  during  his 
tenure  of  office  he  was  instrumental  in  obtaining  for 
the  nation  many  of  its  greatest  treasures. 

His  literary  productions  were  all  connected  with 
art;  he  edited,  in  1842,  a  translation  of  Kugler's 
'  Italian  Schools  of  Painting '  (subsequently  re- 
edited  by  his  widow)  ;  but  his  chief  works  were 
his  '  Materials  for  a  History  of  Oil-Painting ' 
(1847),  and  '  Contributions  to  the  Literature  of  the 
Fine  Arts '  (1848). 

In  August,  1865,  Sir  Charles  Eastlake  left  Eng- 
land, exceedingly  unwell,  for  his  usual  annual  tour 
on  the  continent,  taken  with  a  view  of  acquiring 
further  examples  for  the  National  Gallery.  At 
Milan  he  became  seriously  ill,  but  rallying  slightly, 
pushed  on  to  Pisa,  where  he  died  December  24, 
1865.  He  was  buried  first  in  the  English  cemetery 
at  Florence,  but  was  subsequently  re-interred  at 
Kensal  Green.  The  following  are  some  of  his 
principal  paintings : 

The  Eaisiug  of  Jairus's  Daughter.    (British  Institution, 

1813.) 
Brutus  exhorting  the  Romans  to  revenge  the  Death  of 

Lucretia.    {British  Institution,  1815.) 
An  Italian  Coutadiua  and  her  Children.    {British  Insti' 

tution,  1824 :  now  in  the  South  Kensington  Museum.) 
Girl  of  Albano  leading  a  Blind  Man  to  Mass.     1825. 
Mercury  bringing  the  Golden  Apple  to  Paris.    {British 

Institution,  1820.) 
Lord  Byron's  Dream.  {Painted  at  Rome  in  1827.   Boyal 

Academy,  1829 :  now  in  the  National  Gallery.) 
Pilgrims  arriving  in  sight  of  Bome.    {Royal  Academy, 

■1828;  repeated  in  1835,  and  ai/ain  in  1836.) 
Una  delivering  the  Bed  Cross  Knight.  1830. 
Haidee,  a  Greek  Girl.    {Royal  Academy,  1831 :  now  in 

the  National  Gallery.) 
A  Peasant  'Woman  fainting  from  the  Bite  of  a  Serpent. 

{Boyal  Academy,  1831 :  now  in  the  South  Kensington 

Museum.) 
Greek  Fugitives.    {Soyal  Academy,  1S33.) 
Escape  of  the  Carrara  Family  from  the  pursuit  of  the 

Duke  of  Milan,  1389.  {Royal  Academy, 183i;  areplica, 

of  the  year  1850,  is  in  the  National  Gallery) 
An  Arab  selling  his  Captives,  Monks  endeavouring  to 

ransom  them.    1837. 
Gaston  de  Foix  before  the  Battle  of  Ravenna.    1838. 
Christ  blessing  Little  Children.    (Royal  Academy,  1840.) 
Christ  lamenting  over  Jeru-salem.     {Royal  Academy, 

1841 :  a  replica  is  in  the  National  Gallery.) 
Hagar  and  Ishmael.  {Royal  Academy,  WiZ:  his  diploma 

picture.) 
EATON,  Joseph  0.,  an  American  painter  of 
portraits  and  figure  subjects,  both  in  oil  and  in 


■water-colours,  was  born  in  1829.  He  died  at 
Yonkers  on  the  Hudson  in  1875.  Among  his 
exhibited  works  were : 

Landscape:  View  on  the  Hudson.    1868. 

Greek  Water-Carrier.    1872. 

Lady  Godiva.    1874. 

Looking  through  the  Kaleidoscope.     1875. 

His  own  Portrait.    1875.    {National  Academy  of  Desiyn.  ^ 

EBERHARD,  Konead,  a  German  historical 
painter,  better  known  as  a  sculptor,  was  one  of 
the  foremost  artists  of  the  so-called  Nazarene 
School,  which  at  one  time  gathered  round  Overbeok 
in  Rome.  He  was  born  in  1768  at  Hindelang  in 
Algau,  where  his  father  ajid  grandfather  were 
sculptors  and  carvers.  The  Elector  of  Treves  and 
Bishop  of  Augsburg,  Clement  Wenceslas,  often  had 
occasion  to  go  to  Hindelang,  where  he  made  the 
acquaintance  of  Eberhard,  and  induced  him  to 
visit  the  Academy  of  Munich  in  1798  to  work 
under  his  fellow-countryman  Boos.  In  1816 
he  was  appointed  professor  of  sculpture  at  the 
Academy.  Several  pictures  by  him  exist,  one  of 
which,  'The  Adoration  of  the  Magi,'  is  especially 
beautiful.  He  died  at  Munich  in  1859.  In  most 
of  his  works  he  was  assisted  by  his  elder  brother, 
Fbanz  Eberhard,  an  excellent  sculptor,  who  was 
born  at  Hindelang  in  1767,  and  died  of  cholera  at 
Munich  in  1836. 

EBEKLE,  Adam,  one  of  the  earliest  and  most 
gifted  pupils  of  Cornelius,  was  born  at  Aix-la- 
Chapelle  in  1805.  He  studied  painting  at  tlie 
Diisseldorf  Academy,  and  afterwards  went  with  Cor- 
nelius to  Munich.  After  commencing  his  career 
at  Diisseldorf  by  painting  'The  Entombment  of 
Christ,'  and  '  St.  Helena  with  two  Angels,'  he  exe- 
cuted the  large  fresco-painting  on  the  ceiling  of  the 
Od^on,  representing  '  Apollo  among  the  Shepherds.' 
In  1829  he  went  to  Rome,  where  he  died  in  1832. 

EBERLE,  Robert,  a  German  animal  painter, 
was  born  at  Meersburg  in  1815.  He  was  first 
instructed  by  Bidermann  at  Constance,  and  after- 
wards went  to  Munich,  where  he  studied  from 
nature  and  the  works  of  Van  de  Velde  and  Du 
Jardin.  He  especially  excelled  in  painting  sheep, 
and  there  is  a  '  Shepherdess '  by  him  in  the  Modern 
Gallerj'  at  Munich.  He  died,  through  the  discharge 
of  a  pistol,  at  Eberfing,  near  Munich,  in  1859. 

EBERLEIN,  Christian  Nioolaus,  a  German 
historical  painter,  was  born  at  Rudolstadt  in  1720. 
He  worked  in  Gottingen,  Wolfenbiittel,  and  Salz- 
dahlum,  and  in  1776  became  inspector  of  the 
gallery  in  the  last-named  town,  and  made  good 
copies  of  many  of  the  pictures  therein.  He  died 
at  Salzdahlum  in  1788.  His  son,  Chkistiak  Eber- 
hard Eberlein,  who  was  also  a  painter,  was  born 
at  Wolfenbiittel  in  1749,  and  died  at  Gottingen  in 
1804. 

EBERLEIN,  Johann  Christian,  was  born  at 
Gottingen  about  1770,  and  died  there  in  1815.  An 
'  Italian  Landscape '  by  him  is  in  the  Modern  Gallery 
at  Munich. 

EBERMAYR,  Johann  Eberhard,  a  German  his- 
torical painter,  was  born  at  Nuremberg  in  1659. 
He  studied  under  Johann  Murrer,  and  afterwards 
at  Venice.     He  died  in  his  native  city  in  1692. 

ECCARDT,  Johann  .Sgiditis.     See  Eckhakdt. 

ECHION.     See  Aetion. 

ECHTER,  Michael,  a  German  historical  and 
fresco-painter,  was  bom  in  1810.  He  studied  under 
Kaulbach,  whom  he  assisted  in  decorating  the 
staircase  of  the  New  Museum  at  Berlin.  He  died 
at  Munich  in  1879. 

453 


Eckard 


A  BIOGEAPHICAI,  DICTIONABY  OF 


Eddeliea 


ECKARD,  JoHANN  Christoph,  an  engraver,  was 
born  in  1767  at  Lauffen  on  the  Neokar,  and  after 
studying  architecture  for  a  while,  placed  himself 
under  Guibat  and  J.  G.  von  Miiller  in  the  line 
which  he  afterwards  adopted.  He  engraved  por- 
traits and  historical  pictures,  and  worked  for  some 
time  at  Diisseldorf  in  the  illustration  of  various 
works;  but  in  1809  he  obtained  an  engagement 
at  Munich  as  an  engraver  upon  lithographic  stones 
of  crests  and  ornamental  writing.  He  died  at 
Munich  after  1832. 

ECKEMANN-ALESSON,LoEENZ.  See  Ekemann- 
Alesson. 

ECKERSBERG,  Christoffeb  Vilhelm,  a  Danish 
painter  of  historical  and  genre  subjects,  sea-pieces, 
and  portraits,  was  born  at  Blaakrog,  Varnas,  in 
South  Jutland,  in  1783.  He  studied  first  in 
Aabenraa  and  in  Flensburg ;  and  in  1803  entered 
the  Academy  at  Copenhagen,  where  he  won  the 
gold  medal  in  1809  with  his  '  Death  of  Jacob.'  In 
the  following  year  he  went  to  Paris  and  entered 
David's  studio,  and  in  1813  he  visited  Rome. 
Returning  to  Copenhagen,  he  was  elected  in  1817 
a  member  of  the  Academy,  to  which  he  presented 
'  The  Death  of  Balder.'  In  the  following  year  he 
became  one  of  its  professors,  and  devoted  much 
care,  with  great  success,  to  the  improvement  of 
the  talents  of  rising  artists.  In  1827  he  was  made 
Director  of  the  Academy.  Between  the  years  1818 
and  1828  he  executed  a  series  of  historical  pictures 
relating  to  the  House  of  Oldenburg  in  the  palace  of 
Christiansborg.  He  died  at  Copenhagen  in  1853. 
Amongst  his  works  are  : 

Loke  and  Sigyn.    1810.     {Copenhagen  Gallery^ 

Portrait  of  Thorwaldsen.     1815. 

The  Israelites  crossing  the  Ked  Sea.   1815.  {Copenhagen 

Gallery.) 
Axel  and  iValburg. 
Christ  in  Gethsemane.     1824. 
A  Swedish  Fishing  B(?at.     1833. 
The  Sermon  on  the  Mount.     1834. 
Portrait  of  the  Princess  Vilhelmine.    'j 
A  Eassian  Ship,     1828.  //-'„»,.,„;,„„™ 

A  Danish  Boat^    1835.  rr^/wT 

Vessels  in  the  Sound.    1848.  trowen/.; 

Sea-piece.     1848.  J 

ECKERSBERG,  Johan  Feedebik,  a  landscape 
painter,  was  born  at  Drammen  in  Norway  in  1822. 
He  was  placed  in  a  mercantile  ofiSce  in  Christiania 
at  the  age  of  eighteen,  but  having  previously  been 
in  Holland  for  several  years,  and  visited  Amster- 
dam, he  had  there  imbibed  a  taste  for  art,  so  that 
after  two  years,  against  his  father's  wish,  he 
relinquished  his  post,  and  entered  the  technical 
drawing-school  at  Christiania.  Rapidly  developing 
his  talent  for  painting,  he  m  1824  obtained  one  of 
the  Government  stipends  for  young  artists,  and 
went  to  Diisseldorf,  where  he  studied  landscape 
painting  under  Professor  Schirmer.  He  returned 
to  Christiania  in  1848,  where  his  works  commanded 
a  very  fair  sale.  He  married  in  1850,  but  two 
years  later  he  was  obliged  to  visit  Madeira  for 
his  health,  where,  having  first  devoted  his  time  to 
portrait  painting  to  increase  his  rather  slender 
funds,  he  travelled  over  the  island,  making  sketches, 
from  which  he  afterwards  painted  his  magnificent 
series  of  pictures  of  Madeira.  He  returned  to 
Christiania  in  1854,  and  in  1859  founded  in  that 
city  an  Academy  of  Painting,  which  was  soon  after 
taken  under  Government  patronage.  Every  summer 
from  the  date  of  his  return  to  Norway  he  visited 
the  most  grand  and  pictm-esque  spots  in  his  native 
country,  making  sketches  from  which  he  after- 

454 


wards  elaborated  his  pictures.  Eckersberg  died  at 
Sandvigen,  near  Christiania,  in  1870.  His  '  Grand 
Panoramic  Scene  from  a  Norwegian  Plateau '  was 
exhibited  at  the  Paris  Exhibition  of  1867. 

ECKERT,  Heinbich  Ambros,  a  German  painter 
of  battle-pieces,  was  bom  at  Wiirzburg  in  1807, 
and  was  at  first  instructed  by  Fessel.  In  1826 
he  attended  the  Academy  at  Munich,  and  after- 
wards visited  the  Tyrol  and  France.  Between  1836 
and  1840,  in  conjunction  with  Monten  and  Schelver 
he  published  a  work  upon  the  German  federal  army, 
with  two  hundred  coloured  lithographic  plates; 
and  another  illustrating  the  return  of  the  Russian 
troops  to  their  homes.  He  died  at  Munich  in  1840, 
while  engaged  upon  a  picture  of  the  great  review 
near  that  city  before  the  Emperor  of  Russia. 
Besides  genre  subjects  and  battle-pieces  he  painted 
marine  views. 

ECKHARDT,  Georg  Ludwig,  a  German  portrait 
painter,  was  born  at  Hamburg  in  1770,  and  died  in 
1794.  He  was  an  artist  of  great  promise,  and 
wrote  the  '  Hamburgische  KUnstlernachrichten,' 
published  in  1794. 

ECKHARDT,  Johann  Maimw,  (or  Eccardt,) 
was  a  native  of  Germany,  who  visited  England 
about  the  year  1740,  and  became  a  pupil  of  Jan 
Baptist  van  Loo.  He  was  much  employed  as 
a  portrait  painter,  about  the  time  that  Sir  Joshua 
Reynolds  returned  from  Italy.  There  is  a  print 
of  Peg  Woffington,  the  actress,  engraved  by  Faher, 
and  another  of  Dr.  Conyers  Middleton,  engraved 
by  the  same  artist,  from  pictures  by  this  painter. 
He  died  at  Chelsea  in  1779. 

ECKMAN,  Eduabd,  a  Flemish  wood-engraver, 
was  born  at  Mechlin  about  the  year  1610.  He 
engraved  some  wood-cuts,  which  are  admired  for 
the  neatness  of  their  execution  and  the  correct 
drawing  of  the  small  figures.  He  appears  to  have 
taken  the  prints  of  Callot  for  his  model,  and  hag 
copied  some  of  them  in  wood-cuts  with  surprising 
delicacy  and  spirit,  particularly  the  plate  of  the 
'  Fireworks  on  the  River  Arno.'  He  also  engraved 
after  Businok  and  Abraham  Bosse.  The  work  of 
Eckman  consists  of  upwards  of  a  hundred  prints. 

ECKSTEIN,  Johann,  a  German  modeller  and 
painter,  lived  in  the  18th  century,  and  studied 
at  the  Royal  Academy  in  London,  where  he  spent 
the  greater  part  of  his  life.  He  stayed  some  time 
at  Potsdam,  and  was  practising  in  Birmingham  in 
1792.  In  1796  he  painted  'The  Soldier's  Return,' 
and  a  '  Family  Gathering.'  The  Berlin  Museum 
has  two  beautiful  reliefs,  signed  J.  E.,  which  are 
said  to  be  by  this  artist.  He  died  in  London  in,  or 
soon  after,  the  year  1798. 

ECKSTEYN,  Geobg  David,  a  German  engraver, 
resided  at  Nuremberg  about  the  year  1721.  He 
engraved  some  of  the  portraits  for  the  'Icones 
Bibliopolarum  et  Typographorum,'  published  by 
Roth-Scholtz  at  Nuremberg  in  1726-42. 

ECLECTICS.  A  name  given  to  the  Carracci 
Family. 

ECMAN,  Jean,  a  French  miniature  painter,  was 
born  about  1641.  He  was  received  into  the  Academy 
in  1675,  and  died  in  Paris  in  1677. 

BDDELIEN,  Matthias  Heinbich  Elias,  waa 
born  at  Greifswalde  in  1803,  and  in  1819  went  as 
a  journeyman  painter  to  Copenhagen,  where  he 
attended  the  Academy,  and  executed  works  in  gri- 
saille for  Christiansborg.  In  1837  he  won  the  large 
gold  medal  for  his  picture  of  '  David  amusing  Saul 
by  playing  on  the  Harp,'  and  afterwards  obtained  a 
travelling  allowance  for  a  competitive  painting  of 


Edelinck 


PAINTERS  AND  ENGRAVERS. 


Edelinck 


'  Christ  making  Himself  known  to  His  Disciples.' 
In  1839  he  went  to  Rome,  and  while  there  painted 
for  the  church  at  Kronborg  '  Christ  blessing  Little 
Children.'  After  his  return  he  executed  his  chef- 
d'ceuvre,  consisting  of  the  frescoes  in  the  chapel 
of  Christian  IV.,  in  the  cathedral  of  Roskilde ; 
but  becoming  paralysed  he  was  unable  to  com- 
plete them.  He  died  in  1852.  There  is  in  the 
Copenhagen  Gallery  a  'Faun  plucking  Grapes,' 
dated  1830. 

EDELINCK,  Gaspard  FnANgois,  the  youngest 
brother  of  Gerard  Edelinck,  was  born  at  Antwerp 
in  1652.  He  was  instructed  by  his  brothers,  Gerard 
and  Jean,  but  did  not  long  pursue  the  art  of  en- 
graving. He  died  in  Paris  in  1722,  leaving  behind 
him  no  work  of  note,  except  the  plate  of  '  The 
Deluge,'  after  Alessandro  Veronese,  which  had  been 
commenced  by  his  brother  Jean,  and  was  finished 
by  him  under  the  direction  of  Gerard  Edelinck. 

EDELINCK,  Geraed,  a  French  engraver,  was 
born  at  Antwerp  in  1640,  and  received  his  instruc- 
tion from  Cornelia  Galle.  In  1666  he  went  to 
Paris,  where  he  entered  the  studio  of  Fran9ois  de 
Poilly,  and  was  taken  into  the  service  of  Louis 
XIV.,  who  settled  a  pension  on  him,  with  apart- 
ments at  the  Gobelins.  In  1675  he  received  letters 
of  naturalization,  and  in  1677  he  was  received 
into  the  Academy,  and  was  soon  after  knighted  by 
the  King.  He  worked  entirely  with  the  graver  ; 
and  his  execution  is  at  the  same  time  both  bold 
and  finished.  His  style  is  more  delicate  than 
that  of  Bolswert  and  Pontius,  without  being  less 
picturesque.  Hia  plates,  though  exquisitely  fin- 
ished, display  nothing  of  labour  or  littleness.  The 
size  and  the  number  of  his  prints  evince  the  most 
surprising  facility.  The  pictures  of  Le  Brun,  under 
the  graver  of  Edelinck  and  Gerard  Audran,  appear 
to  have  been  the  works  of  an  accomplished  colour- 
ist,  and  assume  qualities  in  which  they  were  really 
deficient.  Edelinck  died  in  Paris  in  1707.  Eobert- 
Duraesnil,  in  his  '  Peintre-Graveur  Fran9ais,'  vii. 
169 — 336,  describes  339  engravings  by  him,  of 
which  200  are  portraits:  the  following  are  his 
principal  works. 

PORTRAITS. 

Louis  XIV.,  bust  on  a  pedestal ;  after  J.  B.  Comeille. 

Louis  XXV.,  an  equestrian  statue,  with  a  group  of  the 
eminent  men  of  his  reign ;  after  Bonet. 

Louis  XIV.  on  horseback,  with  Providence  hovering 
over  him,  and  his  Enemies  overthrown  at  his  feet; 
in  two  sheets ;  very  fine ;  after  Le  Brun. 

Louis  XIV.,  bust  ou  a  shield  borne  by  Beligion  seated 
in  a  triumphal  car  drawn  by  the  Four  Evangelists, 
called  the  '  Triumph  of  the  Church,'  or  the  '  Extirpa- 
tion of  Calvinism ; '  in  two  sheets ;  fine  and  scarce ; 
after  Le  Bi-un. 

Louis  XIV.  giving  peace  to  Europe ;  in  two  sheets ; 
afte)'  Le  Brun. 

Ijouis  XrV.,  half-length ;  after  J.  de  La  Haye. 

Louis,  Duke  of  Burgundy  ;  after  F.  de  Troy. 

Esprit  Fl^chier,  Bishop  of  Nimes  ;  after  Rigaud. 

Charles  Perrault ;  after  Tortelat. 

Paul  Fontanier  de  Pellisson. 

Jean  de  La  Fontaine  ;  after  Ricjavd, 

Jean  Kacine. 

Blaise  Pascal ;  after  L.  Q.  V. 

Pieter  van  Bouc. 

Nathanael  Dilgerus.     1683. 

Titian. 

Abraham  Teniers ;  after  a  picture  ly  himself. 

Albrecht  Diirer. 

Jean  Cousin. 

Gilles  Sadeler,  engraver. 

Abraham  Bloemaert. 

Jacques  Blanchard ;  after  a  picture  ly  himself. 

Francois  Tortebat,  Painter  to  the  King ;  after  De  Piles. 


Israel  Silvestre,  engraver ;  after  Le  Brun, 
Pierre  Simon,  engraver ;  after  P.  Ernou. 
Fran9ois  Chauveau,  engraver  ;  after  C.  Le  Fevre. 
Marten  van  den  Bogaert,  sculptor  ;  after  Eigaud. 
Hyaciuthe  Bigaud,  painter ;  after  a  picture  by  himself. 
Jules  Hardouin  Mansart,  architect ;  after  Eigaud. 
Charles  Le  Brun ;  after  N.  de  Largilliere. 
Philippe  de  Champaigne ;  after  a  picture  by  himself; 

very  fine. 
Charles  d'Hozier,  Genealogist  of  France ;  a/fer  Eigaud. 
Frederic  Leonard,  Printer  to  the  King ;  after  the  same. 
Jean  Charles  Parent ;  after  Tortebat. 
Madame  Helyot,  with  a  crucifix  ;  after  Galliot. 
Frau9ois  Michel  Le  Tellier,  Marquis  de  Louvois,  bust, 

with  Mars  and  Minerva  as  supporters  ;  after  Le  Brun. 
Andrfi  Hameau,  Doctor  of  the  Sorbonne ;  after  Vivien. 
Nicolas  de  Blampignon,  Doctor  of  the  Sorbonne ;  after 

the  same. 
Jean  Eouill^,  Count  of  Meslay ;  after  Nanteuil. 
Charles  Mouton,  Musician  to  Louis  XIV. ;  after  I)e  Troy. 

SUBJECTS   AFTER   VAEIOUS   MASTERS. 

The  Holy  Family,  with  St.  Joseph,  St.  Elizabeth,  St. 
John,  and  two  Angels  ;  after  the  picture  by  Raphael 
in  the  Louvre,  presented  to  Francis  I.  by  Pope  Leo  X. ; 
very  fine.  The  first  impressions  are  before  the  arms 
of  Colbert,  the  second  are  with  the  arms,  and  the 
third  have  the  arms  effaced,  while  the  frame  in  which 
they  were  inserted  remains. 

The  Virgin  Mary  sewing,  with  the  Infant  sleeping  in  a 
Cradle,  surrounded  by  Angels,  called  '  La  Couseuse ; ' 
after  Guido  ;  fine. 

The  Holy  Family,  with  St.  Joseph  presenting  Flowers 
to  the  Infant  Jesus ;  after  0.  Maratti. 

The  Holy  Family,  called  the '  Benedicite ; '  after  Le  Brun. 

A  Female  Saint,  holding  a  Lily,  and  Imeeling  before  the 
Virgin  and  Infant  seated  on  a  Throne,  to  whom  she 
presents  a  Book ;  after  Pietro  da  Cortona. 

The  Penitent  Magdalen  renouncing  the  Vanities  of  the 
■World ;  after  the  picture  by  Le  Brun,  now  in  the 
Louvre  at  Paris.  The  portrait  is  that  of  Madame  de 
La  Valliere.  The  first  impressions  are  without  the 
inscription,  and  are  very  scarce ;  the  next  best  are 
without  the  border. 

St.  Louis  prostrating  himself  before  a  Crucifix ;  after  Le 
Brun. 

St.  Charles  Borromeo  Imeeling ;  after  the  same. 

The  Crucifixion,  surrounded  with  Angels;  on  two 
sheets  ;  after  the  same. 

Moses  holding  the  tables  of  the  Law  ;  after  Philippe  de 
Champaigne ;  commenced  by  Nantenil,  and  finished 
after  his  death  by  Edelinck. 

Christ  and  the  Woman  of  Samaria ;  after  the  same. 

The  Virgin  at  the  foot  of  the  Cross ;  after  the  same. 

St.  Jerome  ;  after  the  same. 

St.  Ambrose  ;  half-length  ;  after  J.  B.  de  Champaigne. 

St.  Basil  and  St.  Gregory ;  half-length ;  after  the  same. 

A  Combat  of  Cavalry,  four  Horsemen  fighting  for  a 
Standard,  with  three  dead  Figures  on  the  ground ; 
after  the  celebrated  cartoon  by  Leonardo  da  yinci. 

Alexander,  accompanied  by  Hephsestion,  entering  the 
Tent  of  Darius ;  on  two  sheets  ;  after  Le  Brun.  The 
first  impressions  have  the  name  of  Goyton  at  the  bot- 
tom. This  print  completes  the  set  of  the  '  Battles  of 
Alexander '  engraved  by  Gerard  Audran  after  Le  Brun . 

Alexander  entering  the  Tent  of  Darius  ;  after  Mignard  ; 
Bdelinck's  last  work,  finished  after  his  death  by  P. 
Drevet. 

EDELINCK,  Jean,  a  brother  of  Gerard  Edelinck, 
and  probably  younger  than  the  latter,  was  born  at 
Antwerp,  but  in  what  year  is  not  known.  He 
preceded  his  brother  to  Paris,  and  there  engraved 
several  plates  in  imitation  of  his  style.  Although 
very  unequal  to  the  works  of  his  brother,  his  prints 
are  not  without  considerable  merit.  He  died  in 
Paris  in  1680.  He  engraved  several  of  the  statues  in 
the  gardens  at  Versailles,  and  there  are  also  by  him  : 
The  Portrait  of  Isbrandus  de  Diemerbroeck,  a  famous 

anatomist ;  after  Romeyn  Le  Hooghe. 
The  Deluge  ;  after  Alessandro  Turchi.    This  plate  was 
finished   after  his   death  by   his  youngest   brother, 
Gaspaxd  Franqois  Edelinck. 

4.55 


Edelinck 


A  BIOGRAPHICAL  DICTIONARY  OF 


Ildwards 


EDELINCK,  Nicolas,  the  son  of  Gdrard  Ede- 
linck, was  born  in  Paris  about  1680.  Although  he 
had  the  advantage  of  his  father's  instruction,  and  of 
studying  in  Italy,  he  never  rose  above  mediocrity. 
He  engraved  some  portraits,  and  a  few  plates  for 
the  Crozat  Collection.  He  died  in  Paris  in  1730. 
Among  other  prints  by  him  are  the  following  : 

Gerard  Edelinck  ;  after  Torteiat. 
Cardinal  Giulio  de'  Medici ;  after  Baphael. 
Count  BalJassare  Castiglione ;  after  the  same. 
Philip,  Duke  of  Orleans,  Eegent  of  France,  on  horse- 
back ;  after  J.  Banc. 
Adrian  Baiilet. 
John  Dryden  ;  after  Kneller. 
The  Virgin  and  Infant ;  after  Corremio. 
Vertumnus  and  Pomona ;  after  J.  liatw. 

EDEMA,  Gekakd,  was  bom  in  Eriesland  (or 
according  to  others,  at  Amsterdam),  in  1652.  He 
was  a  scholar  of  Allart  van  Everdingen,  and,  like 
his  master,  painted  landscapes  with  rocks  and 
waterfalls,  chiefly  from  views  in  Norway.  At  the 
age  of  eighteen  he  came  to  England,  where  he  met 
with  encouragement,  and  made  voyages  to  Norway 
and  Newfoundland,  to  collect  subjects  for  his  pic- 
tures among  those  wild  scenes  of  nature,  for  which 
he  had  a  romantic  predilection.  The  figures  in 
his  landscapes  are  generally  painted  by  Th.  Wyck. 
Although  the  pictures  by  Edema  are  painted  with 
spirit,  they  possess  little  of  the  chaste  and  simple 
colouring,  and  the  picturesque  touch,  which  dis- 
tinguish the  landscapes  of  Van  Everdingen.  He 
died  at  Richmond  in  1700.  At  Hampton  Court  are 
ft  '  River  Scene '  and  a  '  Landscape '  by  him. 

EDEMA,  NicoLAES,  born  in  Friesland  in  1666, 
went  to  Surinam  to  paint  the  landscapes,  plants, 
and  insects  of  that  country.  .  He  became  a  good 
landscape  painter,  as  his  views  are  after  nature, 
with  a  good  tone  of  colour,  and  a  spirited  touch. 
He  died  in  London  in  1722. 

EDENBERGER,  J.  N.,  a  German  miniature 
painter,  was  a  native  of  Baden-Durlach.  He 
possessed  considerable  talent,  and  was  living  in 
1773  at  the  Hague,  whence  he  came  to  England, 
but  returned  thither  in  1776. 

EDLINGER,  Johann  Geoeg,  a  portrait  painter, 
was  born  at  Graz  in  1741.  He  was  a  pupil  of 
Desmar^es,  and  became  court  painter  at  Munich, 
where  he  died  in  1819.  His  portraits  are  well 
painted,  and  show  a  leaning  towards  the  works  of 
Rembrandt,  Some  of  his  portraits  of  eminent 
Bavarians,  engraved  by  Eriedrich  John,  appeared 
in  1821  under  the  title  '  Sammlung  von  Bildnissen 
denkwiirdiger  Manner.' 

EDLINGER,  Kael  Fbanz,  a  Saxon  painter,  was 
born  at  Dresden  in  1786,  and  died  there  in  1823. 
He  painted  portraits,  especially  miniatures,  but  only 
one  historical  picture  by  him  is  known,  '  Ariadne 
in  Naxos.'  His  son,  Johann  Moeitz  Ellinger, 
who  was  born  at  Dresden  in  1823,  and  died  in  1847, 
was  a  portrait  painter  and  etcher. 

EDMONDS,  John  W.,  an  American  painter  of 
genre  subjects,  was  born  at  Hudson,  New  York, 
in  1806.  Engaged  during  the  greater  part  of  his 
life  as  a  casliier  in  a  bank,  he  devoted  his  morn- 
ings and  evenings  to  painting ;  but  this  constant 
toil  weakened  his  health  so  much  that  in  1840  he 
came  to  Europe  for  rest.  He  first  exhibited  at  the 
New  York  Academy  in  1836,  under  an  assumed 
name,  '  Sammy  the  Tailor.'  This  was  followed, 
among  other  works,  by  '  Dominie  Sampson '  in 
1837,  the  'Penny  Paper'  in  1839,  'Sparking'  in 
1840,  '  Stealing  Milk '   in  1843,   '  Vesuvius  '  and 

466 


'Florence'  in  1844,  'Bargaining'  in  1868,  and 
'The  New  Bonnet'  in  1859.  In  1838  lie  was 
elected  an  Associate  of  the  National  Academy,  and 
in  1840  an  Academician.  He  died  at  his  Residence 
on  the  Bronx  River  in  1863. 

EDMONSTONE,  Robekt,  a  Scottish  subject 
painter,  was  born  at  Kelso  in  1795.  He  pursued 
the  study  of  art  under  many  difBcidties,  but  at  last 
became  a  student  in  the  Royal  Academy,  London, 
where  he  first  exhibited  in  1818.  He  then  went  to 
the  continent,  and  studied  for  a  few  years  in  Italy. 
Returning,  he  practised  portrait  painting  in  London 
from  about  1824  to  1831,  when  he  paid  a  second 
visit  to  Italy.  He  died  at  his  native  place  in  1834, 
from  the  eSEeots  of  fever  contracted  at  Rome.  His 
forte  lay  in  works  in  which  he  introduced  children. 
Amongst  the  pictures  he  exhibited  were : 

Italian  Boys  playing  at  Cards.     1830. 

Venetian  Water-Carriers.     1833. 

Kissing  the  chains  of  St.  Peter 

The  "White  Mouse.     (His  last  work.) 

EDRIDGE,  Heney,  a  miniature  painter,  was 
born  at  Paddington  in  1769.  He  was  apprenticed 
to  Pether,  the  mezzotint  engraver  and  landscape 
painter,  but  his  chief  excellence  la}'  in  miniature 
portraits,  which  he  executed  in  black  lead  and 
Indian  ink,  and  subsequently  in  water-colours. 
In  1786  he  exhibited  at  the  Academy  '  The  Weary 
Traveller,'  and  in  1803  portraits  of  King  George 
III.  and  Queen  Charlotte.  He  was  elected  an 
Associate  of  the  Royal  Academy  in  1820,  and  died 
in  London  in  1821.  The  following  are  among  his 
works : 

Kational  Portrait  Gallery  : 
Marquis  of  Anglesey.     1808. 
Lord  Auckland.    1809. 
Eobert  Southey.    1804. 

National  Gallery  of  Scotland : 

Coast  Scene,  with  Figures. 
South  Kensington  Musevm : 

Chenies  House,  near  Brambletye. 

Rick  Yard,  Ashford. 

Farm-House,  Buckinghamshire.    1814. 

View  near  Bromley. 

Brighton  Beach. 

Pont  Neuf,  Paris. 

Portrait  of  a  Military  Officer. 
EDWARDS,  Edwabd,  an  historical  painter,  bom 
in  London  in  1738,  was  employed  by  Boydell 
to  make  drawings  from  the  old  masters  for  his 
publications,  and  by  the  Society  of  Antiquaries  for 
the  same  purpose.  He  painted  for  Boydell's 
Shakespeare  a  subject  from  the  '  Two  Gentlemen 
of  Verona  ; '  he  painted  also  arabesques,  and  pub- 
lished 52  etchings.  He  never  arrived  at  distinction, 
except  that  he  was  appointed  teacher  of  perspective 
in  the  Royal  Academy  in  1788,  which  situation  be 
held  until  his  death.  He  was  elected  an  Associate 
of  the  Royal  Academy  in  1773,  and  sent  pictures 
to  its  exhibitions  pretty  constantly  from  1771  till 
the  end  of  his  life.  He  published  in  1808  the 
'  Anecdotes  of  Painters,'  intended  as  a  supplement 
to  Walpole  ;  but  in  his  facts  he  was  too  accurate 
to  please  his  contemporaries,  and  consequently  the 
work  and  its  author  were  much  decried.  He  died 
in  1806.  A  water-colour  drawing  by  him,  entitled 
'  North  Dean,  Castle  Eden,  Durham,'  is  in  the  South 
Kensington  Museum. 

EDWARDS,  Edwin,  a  landscape  painter  in 
water-colours  and  an  etcher,  was  born  at  Framling- 
ham  in  1823.  He  was  originally  brought  up  for  the 
law  and  practised  as  a  proctor  for  many  years.  He 
commenced  water-colour  painting  after  a  journey 


JTater- 
Colour. 


Iidwards 


PAINTERS  AND  ENGEAVEES 


Egg; 


in  the  Tyrol,  and  through  meeting  the  French  artist 
Legros,  in  18G1,  was  induced  to  take  up  etching, 
on  which  his  reputation  chiefly  rests.  His  works 
appeared  at  the  Eoyal  Academy,  and  at  the  Dudley 
Gallery.  Amongst  his  best  productions  may  be 
cited  a  series  of  etchings  of  English  Inns.  He 
died  in  London  in  1879.  ..... 

EDWARDS,  George,  a  natural  history  draughts- 
man, Aras  born  at  Stratford,  in  Essex,  in  1694. 
From  1716  to  1731  he  travelled  much  in  Holland, 
Norway,  Belgium,  and  France  in  pursuit  of  his  art. 
In  1733  he  was  appointed  librarian  to  the  College 
of  Physicians.  In  1747-51  he  published  '  A  Natural 
History  of  uncommon  Birds  and  Animals,'  and 
in  1758-64  '  Gleanings  of  Natural  History.'  He 
retired  to  Plaistow,  where  he  died  in  1773. 

EDWARDS,  Sydenham,  adraughtsman of  animals 
and  floweis,  was  born  about  1768.  He  exhibited 
at  the  Royal  Academy  from  1792  to  1813.  He  pub- 
lished '  Cynogriiphia  Britannica,'  1800,  the  '  New 
Flora  Britannica,'  1812,  and  founded  the '  Botanical 
Register'  in  1815.  He  also  made  drawings  for 
Rees's  'Cyclopaedia,'  the  'Flora  Londinensis,'  the 
'Botanical  Magazine,'  and  the  '  Sportsman's  Maga- 
zine.'    He  died  at  Brompton  in  1819. 

EDWIN,  David,  an  American  engraver,  was 
born  at  Bath,  in  England,  in  1776.  He  was  the 
son  of  John  Edwin,  a  celebrated  comic  actor,  and 
was  apprenticed  to  an  engraver,  but  he  ran  away 
to  sea,  and  reached  America  in  1797.  There  he 
was  employed  by  Edward  Savage,  the  portrait 
painter,  and  soon  gained  mucli  reputation  by  his 
portraits.  After  twenty  years'  work  his  sight 
failed,  and  he  was  compelled  to  resort  to  various 
means  in  order  to  obtain  a  livelihood.  He  died  at 
Philadelphia  in  1841. 

EECKHOUT,  Jacob  Joseph,  was  bom  at  Ant- 
werp in  1793,  and  studied  first  at  the  Academy  of 
that  city.  He  painted  historical  and  genre  subjects, 
and  portraits,  and  in  1829  he  was  elected  a  member 
of  the  Academies  of  Amsterdam,  Antwerp,  Brus- 
sels, and  Rotterdam.  He  settled  at  the  Hague  in 
1831,  and  in  1839  became  director  of  the  Academy 
in  that  city,  and  after  staying  at  Mechlin  and  Brussels 
he  went  to  live  in  Paris  in  1859.  He  imitated 
Rembrandt  with  some  skill,  and  may  be  considered 
one  of  the  most  distinguished  painters  of  the 
modern  Dutch  school.  His  compositions  are  ex- 
pressive and  lively,  and  the  colouring  vigorous. 
Eeckhout  died  in  Paris  in  1861.     His  best  works 


The  Death  of  ■William  the  Silent. 
Peter  the  Great  at  Zaandam. 
The  Departure  of  the  Kecruits  of  Scheveningen. 
Collection  de  Portraits  d'Artisfces  modernes,  n&  dans 
le  royaume  des  Pays-Bas.    1822. 

EECKHOUT,  Van  den.  See  Van  den  Eeckhout. 

EECKHOUT,  Victor,  a  genre  painter,  the  son 
of  Jacob  Joseph  Eeckhout,  was  born  at  Antwerp 
in  1821.  He  studied  under  his  father,  and  went  to 
the  East.     He  died  in  1879. 

EELKAMA,  Eelke  Jelles,  a  painter  of  land- 
scapes, flowers,  and  fruit,  was  born  at  Leeuwarden 
in  1788.  On  account  of  his  deafness,  which  was 
brought  on  by  an  illness  at  the  age  of  seven,  he 
was  educated  in  the  institution  for  the  deaf  and 
dumb  at  Groningen,  where  he  was  instructed  in 
the  art  of  painting  by  G.  De  San.  In  1804,  he 
obtained  the  first  prize  of  the  Academy,  and  his 
works  were  highly  praised.  He  visited  Paris  and 
London,  travelled  in  France  and  Switzerland,  and 
afterwards  painted  at  Haarlem  and  Amsterdam.   He 


afterwards  lost  his  sight,  and  died  at  Leeuwarden 
in  1839. 

EERVRUGHT.     See  De  Momper,  JoDOCns. 

EGAN,  James,  an  Irish  mezzotint  engraver,  was 
born  at  Roscommon  in  1799.  He  was  employed 
in  the  lowest  capacities  by  S.  W.  Reynolds,  and, 
notwithstanding  great  difficulties  and  privations, 
persevered  in  the  pursuit  of  his  art.  He  died  in 
London  in  1842.  His  last  and  best  plate  is  after 
Cattermole's  'English  Hospitality  in  the  Olden 
Time.' 

E6ERT0N,  D.  T.,  a  landscape  painter,  was  one 
of  the  original  members  of  the  Society  of  British 
Artists,  where  he  exhibited  in  the  years  1824  to  1829, 
and  in  1838  to  1840.  In  the  latter  years  of  his  life 
he  travelled  much  in  America,  obtaining  thus  the 
subjects  for  several  pictures,  notably  one  of 
'Niagara.'     He  was  murdered  in  Mexico  in  1842. 

EGG,  AnousTDS  Leopold,  the  son  of  the  eminent 
gunmaker  of  Piccadilly,  was  born  in  London  in 
1816.  Though  he  took  to  the  pencil  and  brush 
whilst  at  school,  he  does  not  appear  to  have  thought 
of  adopting  the  arts  as  a  profession  till  about  the 
year  1834,  when  he  went  to  Sass's  Art  School,  and 
shortly  afterwards,  in  1835,  he  was  admitted  a 
student  at  the  Royal  Academy.  Even  thus  early 
he  had  commenced  painting  pictures  of  Italian 
subjects,  though  a  stranger  to  Italy,  as  well  as 
scenes  from  the  pages  of  Scott ;  but  his  first  work 
of  inTportance  was  '  The  Victim,'  from  '  Le  Diuble 
Boiteux'  of  Le  Sage,  which  was  exhibited  at  the 
Liverpool  Academy  of  Arts.  To  this  he  after- 
wards, in  1844,  painted  a  companion  picture.  Egg 
then  exhibited  in  London,  and  in  1836,  and  the 
following  years,  we  find  his  works  on  the  walls 
of  the  Society  of  British  Artists,  the  British  Insti- 
tution, and  the  Royal  Academy;  but  owing  to 
his  having  inherited  a  considerable  fortune  from 
his  father,  he  was  independent  of  his  art  for 
support,  and  accordingly  did  not  exhibit,  as  a  rule, 
more  than  one  work  each  year  at  the  Royal 
Academy,  to  the  exhibitions  of  which  he  sent,  in 
all,  twenty-eight  pictures.  Of  these,  seven  are 
taken  from  Shakespeare,  five  are  founded  on  scenes 
in  well-known  works  of  fiction,  and  of  the  re- 
mainder nine  are  from  familiar  incidents  in  history. 
He  was  elected  an  Associate  of  the  Royal  Academy 
in  1848,  and  an  Academician  in  1860.  His  pictures 
are  comparatively  few  for  one  who  had  won  the 
highest  honours  of  his  profession,  but  he  was  pre- 
vented from  doing  more  in  his  art  by  delicate 
health,  which  compelled  him  to  resort  to  the  mild 
climate  of  Italy  and  the  South  of  France,  and 
latterly  to  Algiers,  where  he  died  and  was  buried 
in  186.8. 

Egg's  talent  was  exercised  in  a  rather  peculiar 
field  of  study,  comprising  strictly  historical  in- 
cidents, and  passages  from  classic  fable.  In  the 
former  class  of  subjects  he  stands  quite  alone  ;  in 
the  latter,  he,  in  some  sense,  occupied  the  same 
ground  as  that  in  which  Newton  and  Leslie  fre- 
quently laboured  ;  but  his  treatment  of  the  latter 
class  of  subjects  is  more  fanciful  than  that  of 
either  of  those  artists,  whilst  in  subjects  more 
properlj*  considered  as  inventive,  a  philosophic 
spirit,  somewhat  melancholy  in  tinge,  is  observable, 
which  they  do  not  display.  His  principal  works  are : 

A  Spanish  Girl.    1838. 
Laugh  when  yon  can.     1839. 
Scene  from  "  Henry  IV."    1840. 

Scene  from  "le  Diable  Boiteux."      1844      {Wational 
Gallery. ) 

457 


Eggers 


A  BIOGRAPHICAL  DICTIONARY  OF 


Ehrenberg 


Buckingham  rebuffed.    1846. 

The  "Wooing  of  Katharina.     ("  Taming  of  the  Shrew. ') 

Lucentio  and  Bianca.   ("  Taming  of  the  Shrew.")   1847. 
Queen  Elizabeth  discovers  she  is  no  longer  young. 

Henrietta  Maria  in  distress  relieved  by  Cardinal  de 

Eetz.    1849. 
Peter  the  Great  sees  Catharine,  his  future  Empress,  for 

the  first  time.     1850. 
Pepys's  Introduction  to  Nell  Gwynne.     1851. 
The  Life  and  Death  of  Buckingham.     {Two  pictures.) 

1855. 
The  ELnighting  of  Esmond.     1858. 
Past  and  Present.    (Three  pictures.)     1858. 
The  Night  before  Naseby.     1859. 
Madame  de  Maintenon  and  Scarron.     1859. 
The  Taming  of  the  Shrew :  Dinner  scene :  Katharine 

and  Petruchio.     (His  last  picture. )     1860. 

EGGERS,  JoHANN  Karl,  a  German  historical 
painter,  born  at  Neu  Strelitz  in  1790,  was  in- 
Btruoted  by  Matthai  at  Dresden.  He  discovered 
the  old  mode  of  fresco-painting,  and  was  em- 
ployed in  the  Vatican  at  Rome,  where  he  painted 
in  the  Braooio  Nuovo.  Subsequently  he  painted 
under  the  direction  of  Cornelius  in  the  Museum 
at  Berlin.  Some  of  his  oil-paintings  are  of  con- 
siderable merit.  He  died  in  hia  native  town  in 
1863. 

EGGERT,  Franz  Xavbr,  a  German  painter  upon 
glass,  was  born  at  Hochstadt  on  the  Danube  in 
1802,  and  studied  decorative  painting  at  Augsburg 
and  Munich  ;  but  he  afterwards  devoted  himself  en- 
tirely to  glass-painting,  in  conjunction  with  Ain- 
miiller,  Hammerl,  and  Kirchmair,  and  endeavoured 
to  raise  that  art  from  its  long  decline.  He  especi- 
ally distinguished  himself  by  the  magnificence  of 
his  ornamentation.  His  best  works  are  in  the  new 
church  of  the  suburb  Au  at  Munich,  in  the 
cathedrals  of  Cologne  and  Ratisbon,  and  in  several 
churches  at  Basle,  Constance.  &c.  He  died  at 
Munich  in  1876. 

EGINTON,  Francis,  an  English  painter  upon 
glass,  was  born  in  1737.  He  was  brought  up  at 
Handsworth,  near  Birmingham,  and  from  1784  to 
1805  he  contributed  greatly  to  the  advancement  of 
the  art.  Among  his  best  works  are  to  be  noted  the 
'  Resurrection '  in  Salisbury  Cathedral  and  in  Lich- 
field Cathedral ;  the  '  Conversion  of  St.  Paul '  in  St. 
Paul's,  Birmingham;  'Christ  bearing  the  Cross' 
in  Wanstead  Church ;  and  '  Solomon  and  the  Queen 
of  Sheba '  at  Arundel  Castle.  Besides  these  there 
are  windows  by  him  in  St.  Asaph  Cathedral, 
Fonthill  Abbey,  and  Magdalen  and  All  Souls' 
Colleges  in  Oxford.  He  died  at  Handsworth  in 
1805. 

EGLEY,  William,  a  miniature  painter,  was  born 
at  Doncaster  in  1798.  His  first  employment  was 
in  a  publisher's  office  in  London,  in  the  course  of 
which  occupation  he  found  time  to  practise  paint- 
ing, of  which  he  had  been  fond  from  an  early  age. 
After  a  short  time  he  determined  to  follow  portrait 
painting  as  a  profession,  and  in  1824  two  of  his 
pictures  were  exhibited  at  the  Royal  Academy, 
one  of  them  being  the  portrait  of  Yates,  the  actor. 
From  this  time  he  was  a  very  constant  exhibitor, 
painting  a  great  many  portraits  of  members  of  well- 
known  English  families,  besides  several  foreigners 
of  distinction.  One  of  his  latest  works  was  a  por- 
trait of  Foley  the  sculptor,  which  was  exhibited  at 
the  Royal  Academy  in  1868.  His  death  occurred 
in  London  in  1870.  His  miniatures  were  very 
carefully  finished  and  pure  in  colour;  and  he  was 
especially  successful  in  his  treatment  of  children. 

458 


EGLOFFSTEIN,  Julie  von,  Countess,  oanonesa 
of  Hildesheiui,  bom  in  1792,  was  an  amateur  artist 
of  much  ability.  She  was  one  of  the  most  beau- 
tiful and  gifted  women  at  the  court  of  Weimar, 
and  many  of  Goethe's  poems  bear  witness  to  the 
lively  interest  which  he  took  in  her  artistic  develon- 
ment.  She  painted  several  portraits,  including 
those  of  the  Grand-Duchess  of  Saxe- Weimar  &nd 
of  Queen  Theresa  of  Bavaria.  Among  works  of 
different  character  are  '  Shepherds  in  the  Roman 
Campagna,'  painted  in  1835,  '  Hagar  in  the  Wilder- 
ness,' '  The  Exposure  of  Moses,'  '  Italian  Popular 
Life,'  and  others,  some  of  which  are  in  the  posses- 
sion of  the  Emperor  of  Russia  and  of  Queen 
Victoria.     She  died  in  1869. 

EGMONT,  Justus  van,  was  born  at  Leyden  in 
1602.  He  was  in  1615  a  pupil  of  Gaspar  van  den 
Hoeok,  but  was  afterwards  sent  to  Antwerp  to  be 
educated  in  the  school  of  Rubens,  whom  he  assisted 
in  several  of  his  works,  particularly  those  relating 
to  the  life  of  Mary  de'  Medici,  which  he  painted 
for  the  Luxembourg  Palace.  On  leaving  the 
academy  of  Rubens  he  went  to  Paris,  where  he 
was  appointed  painter  to  Louis  XIII.  and  after- 
wards to  Louis  XIV.,  and  executed  several  con- 
siderable works  in  conjunction  with  Simon  Vouet. 
Van  Egmont  was  one  of  the  twelve  elders  at  the 
establishment  of  the  French  Academy  of  Painting 
and  Sculpture,  in  1648.  He  died  at  Antwerp  in 
1674.  In  the  Vienna  Gallery  there  is  a  portrait 
by  him  of  the  Archduke  Leopold  Wilhelm,  and 
two  others  of  Philip  IV.  of  Spain.  The  Hague 
Gallery  has  a  portrait  of  Louis  XIV.  by  him. 
Portraits  of  Algernon  Sydney  by  him  are  in  the 
National  Portrait  Gallery,  and  at  Penshurst,  the 
latter  painted  at  Brussels  in  1663. 

EGOGNI,  Ambeogio.     See  Stbfani  da  Fossano. 

EGOROV,  Albksyei  Egorovich,  a  Russian 
painter,  was  born  in  the  steppes  of  the  Kalmyks 
about  1776,  and  died  at  St.  Petersburg  in  1861.  A 
'Holy  Family'  and  the  'Scourging  of  Christ'  by 
him  are  in  the  Hermitage  at  St.  Petersburg. 

EHEMANT,  Friedrich  Joseph,  a  German  land- 
scape painter,  was  born  at  Frankfort  in  1804,  and 
studied  under  Schirmer  at  the  Diisseldorf  Academy. 
He  died  at  Munich  in  1842. 

EHNLB,  Adeiaen  Jan,  a  Dutch  painter  of  his- 
torical and  genre  subjects,  was  born  at  the  Hague 
in  1819,  and  studied  under  C.  Krusoman.  He  died 
in  1863.  Among  his  works  are  '  Cornells  de  Witt 
at  Dordrecht'  and  '  The  Reception  of  a  Child  at  the 
Orphan  House  at  Haarlem.' 

EHRENBERG,  Willem  Schubert  van,  a  Flemish 
architectural  painter,  was  born  at  Antwerp  in  1630. 
He  was  received  into  the  Guild  of  St.  Luke  in 
1662,  under  the  name  of  Van  Aerdenberoh.  It 
has  also  been  written  Hardenberg,  Eerdenborch, 
Aerdenborch,  Aremberch,  &c.  He  probably  died 
about  1675.  He  painted  the  architecture  in 
a  picture  by  H.  van  Minderhout,  representing 
'  Caricina  before  the  King  of  Ethiopia,'  which  was 
presented  by  Van  Ehrenberg  in  1666  to  the  Guild 
of  St.  Luke,  and  is  now  in  the  Antwerp  Museum, 
and  in  another  by  Biset,  of  'William  Tell,' 
formerly  in  the  possession  of  the  Guild  of  St. 
Sebastian  at  Antwerp,  but  now  in  the  Brussels 
Gallery.  The  landscape  part  is  by  Hemelraet. 
In  the  Munich  Gallery  is  an  '  Interior  of  an  Avt- 
Collector's  Gallery,'  in  which  the  architecture  is 
by  Van  Ehrenberg,  the  figures  by  Gonzales.  Cocx 
and  Jordaens,  and  in  the  Vienna  Gallery  is  the 
'  Interior  of  a  Church '  by  him,  dated  1664.    Van 


Ehrenstral 


PAINTERS  AND  ENGRAVERS. 


Eisen 


Ehrenberg  added  the  architecture  to  the  large 
picture  in  the  Hague  Gallery  of  the  '  Interior  of  a 
Picture  Gallery,'  in  which  Gonzales  Gocx  put  the 
figures  and  accessories,  and  the  paintings  are  by 
the  hands  of  various  artists. 

EHRENSTRAL,  David  Kloecker  von.  See 
Kloecker. 

EHRET,  Georg  Diontsius,  a  German  botanical 
draughtsman  and  engraver,  was  born  at  Baden 
in  1710.  After  working  for  Jussieu  in  France,  he 
settled  in  England  in  1740,  and  supplied  the  illus- 
trations for  Trew's  '  Plantss  Select*,'  and  Brown's 
'  History  of  Jamaica.'  He  also  painted  a  large 
botanical  collection  for  the  Duchess  of  Portland. 
He  died  in  1770. 

EIBNEIl,  Feiedrich,  a  German  painter  of  archi- 
tectural subjects,  was  born  at  Hilpoltstein  in  1826. 
He  studied  after  the  works  of  Heinrich  Schonfeld, 
and  travelled  in  Bavaria,  and  afterwards  in  Ger- 
many, France,  Upper  Italy,  and  Spain,  making  a 
large  number  of  water-colour  drawings  of  the 
places  he  visited.  The  Album  for  the  Prince 
Metschersky,  with  whom  he  travelled  in  Spain  in 
1860-61,  may  be  considered  his  best  work.  He 
died  at  Munich  in  1877. 

EICHENS,  Friedrich  Eduaed,  a  German  en- 
graver, was  born  at  Berlin  in  1804.  He  studied 
engraving  first  under  Buchhorn ;  and  then  went, 
in  1827,  with  a  grant  from  the  government,  to 
Paris,  where  he  received  instruction  from  Forster, 
and  later  to  Parma,  where  he  studied  for  three 
years  under  Toschi.  He  subsequently  visited  Flor- 
ence, Rome,  Naples,  Venice,  and  Milan.  On  his 
return  in  1833  he  became  a  drawing-master  in 
a  government  school.  He  died  at  Berlin  in  1877. 
Eichens  engraved  sonle  of  Kaulbach's  frescoes  in 
the  Berlin  Museum,  and  also  his  '  Shakespeare 
Gallery.'     Among  his  prints  are  the  following : 

Mudonna,;  after  Steinbruck.     1833. 

Adoration  of  the  Kings ;  after  Raphael,     1836. 

The  Magdalen  ;  after  Domenichino.     1837. 

Madonna ;  after  Raffaellino  del  Garho.     1839. 

Porfcrait  of  Mendelssohn  ;  after  Hildehrandt.     1840. 

The  Vision  of  Ezechiel ;  after  Raphael.     1841. 

Frederick  the  Great  as  Crown  Prince;   after  Fesne. 

1846. 
'  Come  here ' ;  after  Begas.    1847. 
The  Woman  taken  in  adultery ;  after  Pordenone. 

EIGHHOBN,  Albeet,  an  architectural  and  land- 
scape painter,  was  born  at  Freienwalde-on-the-Oder 
in  1811,  and  studied  under  Tempeltei  and  Biermann 
at  Berlin.  In  1840  he  visited  Italy  and  Greece, 
where  he  made  numerous  sketches,  which  after- 
wards served  him  for  the  subjects  of  his  paintings. 
Among  his  works,  which  are  chiefly  in  the  posses- 
sion of  the  German  Emperor,  may  be  mentioned, 
'  Taygetus,'  '  The  Temple  of  Pheigalia,'  '  St.  Peter's 
at  Rome,'  'The  Temple  of  Corinth,'  'The  Cam- 
pagna,'  &c.  He  died  by  suicide  at  Potsdam  in 
1851. 

EICHHORN,  Haks,  a  printer  and  wood-engraver 
of  the  16th  century,  was  employed  by  the  Elector 
Joachim  II.     He  died  at  Frankfort  in  1683. 

EICHLER,  Gottfried,  an  historical  and  por- 
trait painter,  was  born  at  Augsburg  in  1677.  He 
studied  under  Johann  Heiss,  but  went  afterwards 
to  Rome  to  improve  under  Carlo  Maratti.  His 
'  Last  Supper,'  in  the  church  of  the  Franciscans  at 
Augsburg,  gives  ample  proof  of  his  talent.  He 
died  in  1759. 

His  son,  JoHANN  Gottfried  Eichler,  born  at 
Augsburg    in   1715,   was   a  portrait  painter  and 


engraver  in  line  and  mezzotint.  He  died  in  1770, 
leaving  a  son,  Mathias  Gottfried  Eichler,  also 
an  engraver,  who  was  born  at  Erlangen  in  1748, 
and  died  at  Augsburg  in  1818. 

EICK,  Maetin  van,  a  Dutch  painter,  was  a 
native  of  Remerswaal  in  Zealand.  Ho  flourished 
during  the  first  half  of  the  16th  century,  and  was 
a  contemporary  of  Pieter  Aartsen. 

EIGNEB,  Andreas,  who  was  born  at  Diedldorf, 
Upper  Palatinate,  in  1801,  distinguished  himself 
as  a  painter  and  a  restorer  of  old  pictures.  He 
successfully  employed  alcoholic  vapours,  and  a 
varnish  of  his  own  invention,  to  protect  paintings 
against  the  destructive  influence  of  the  atmo- 
sphere. He  was  chiefly  employed  in  the  Galleries 
of  Munich,  Augsburg,  Stuttgart,  Carlsruhe,  Basle, 
and  Solothum.     He  died  at  Augsburg  in  1870. 

EIMBECK,  Johann  Raphon  von,  was  an  early 
German  painter,  about  whom  we  have  no  details. 
There  is  by  him  in  the  cathedral  of  Halberstadt  a 
triptych,  representing  the  '  Crucifixion,'  dated  1508. 
EIMMART,  Georg  Cheistoph,  the  elder,  a  Ger- 
man painter  and  engraver,  born  at  Ratisbon  in 
1597,  painted  portraits,  landscapes,  still-life,  and 
historical  subjects.  He  died  at  Nuremberg  in  1660. 
EIMMART,  Georg  Ceristoph,  the  younger,  a 
German  draughtsman  and  engraver,  was  born  at 
Ratisbon  in  1638.  He  was  instructed  by  his  father, 
and  resided  at  Nuremberg,  where  he  died  in  1705. 
He  engraved  some  plates  for  Sandrart's  '  Academia,' 
and  some  small  etchings  of  ruins,  buildings,  and 
vases,  ornamented  with  figures,  which  have  con- 
siderable merit.  He  was  also  a  mathematician  and 
astronomer,  and  published  in  1701  '  Iconographia 
nova  contemplationum  de  Sole.' 

EIMMART,  Maeia  Clara,  a  daughter  of  Georg 
Christoph  Eimmart  the  younger,  was  a  designer 
and  engraver.  She  was  born  in  1676,  and  usually 
worked  with  her  father.  She  married  the  astrono- 
mer, J.  H.  Muller,  and  died  at  Altdorf  in  1707. 

EINSLE,  Anton,  an  Austrian  portrait  painter, 
was  born  at  Vienna  in  1801.  He  studied-  at  the 
Academy  of  that  city,  and  was  largely  patronized 
by  the  court  and  nobility.     He  died  in  1871. 

EISEN,  Charles  Dominique  Joseph,  the  son  and 
pupil  of  Fraus  Eisen,  was  horn  at  Valenciennes  in 
1720.  In  1741  he  went  to  Paris,  and  in  the  follow- 
ing year  entered  the  studio  of  Le  Bas.  His  talent 
and  his  sparkling  wit  gained  him  admission  to  the 
court,  where  he  became  painter  and  draftsman  to  the 
King,  and  drawing-master  to  Madame  de  Pompa- 
dour. He  afterwards  fell  into  disgrace,  and  in  1777 
retiredto  Brussels,  where  he  died  in  poverty  in  1778. 
His  pictures  are  not  without  merit,  but  it  is  as  a 
designer  of  illustrations  and  vignettes  for  books 
that  he  is  best  known.  The  most  remarkable  of 
these  are  the  designs  for  the  '  Fermiers  gen6raux ' 
edition  of  the  '  Contes  '  of  La  Fontaine,  published 
at  Amsterdam  in  1762  ;  Ovid's  '  Metamorphoses,' 
1767-71 ;  the  '  Henriade  '  of  Voltaire,  1770  ;  the 
'  Baisers  '  of  Dorat,  1770 ;  and  the  '  Vies  des  Peintres 
hollandais  et  flamands  '  of  Descamps,  published  in 
1751-63.  He  etched  some  few  plates  of  the  Virgin, 
a  '  St.  Jerome,'  '  St.  Ely  preaching,'  &c.  There  are 
pictures  by  him  in  the  Museums  of  Bordeaux, 
Alencon,  and  Bourg. 

EISEN,  Frans,  an  engraver,  as  well  as  a  painter 
of  historical  and  genre  suhjeots,  was  born  at 
Brussels  about  1685.  When  twenty  years  of  age 
he  went  to  Valenciennes,  and  remained  there,  paint- 
ing many  pictures  for  its  churches  and  monastic 
institutions,  until  1745,  in  which  year  he  removed 

459 


Eisenhout 


A   BIOaRAPHICAL  DICTIONARY  OF 


Eliaerts 


to  Paris.  At  the  age  of  ninety  he,  with  his  wife, 
was  admitted  into  the  Hospital  for  Incurables, 
where  he  was  still  living  in  1778.  There  are  two 
of  his  worlds  in  the  Museum  of  Valenciennes,  a 
'  Vision  of  St.  Mary  Magdalen,'  and  an  '  Astrologer.' 
He  etched  a  plate  from  the  picture  by  Rubens  of 
'  Christ  giving  the  Keys  to  St.  Peter,'  which  was  in 
the  church  of  St.  Gudule  at  Brussels. 

EISENHOUT,  Antonie,  a^  Dutch  painter  and 
engraver,  flourished  at  Rome  about  1590.  He  was 
a  native  of  Varnbourg,  and  was  still  living  in  1619. 
It  appears  that  he  has  been  miscalled  '  Eisenhart '  by 
Christ,  and  that  some  of  his  works  have  been 
ascribed  to  other  masters.  Brulliot  refers  to  some 
attributed  to  Luca  Ciamberlano  by  Bartsch,  which 
he  conjectures  should  be  given  to  Eisenhout. 

EISMANN,  JoHANN  Anton,  sometimes  errone- 
ously called  Leismann,  Lismann,  or  Luismon,  a 
German  painter  of  landscapes  and  battles,  was  born 
at  Salzburg  in  1634.  Without  the  help  of  a  master 
he  had  acquired  some  ability  in  drawing,  by  copying 
the  prints  and  pictures  to  which  he  had  access, 
when  he  resolved  to  visit  Italy  for  improvement, 
and  went  to  Venice,  where  his  natural  talent,  as- 
sisted by  the  study  of  the  works  of  the  best  masters 
of  that  school,  soon  asserted  itself.  Although  he 
painted  battle-pieces  and  portraits,  he  was  more 
celebrated  for  liis  landscapes  and  seaports,  which  he 
embellished  with  architecture,  somewhat  in  the 
style  of  Salvator  Rosa.  He  died  at  Venice  in  1698. 
There  are  in  the  Dresden  Gallery  two  '  Landscapes 
with  Ruins,'  which  are  by  him,  and  in  the  Vienna 
Gallery  is  a  '  Landscape  with  a  Combat  of  Cavalry.' 
He  adopted  liis  pupil,  Carlo  Brisegliella,  who  took 
the  name  of  Eismann,  and  painted  the  same  class 
of  subjects  as  his  master.  Hence  there  is  some 
confusion  in  the  accounts  of  both. 

EISMANN  BRISEGHELLA,  Carlo,  born  at 
Venice  in  1679,  the  pupU  and  adopted  son  of 
Johann  Anton  Eismann  —  who  at  Venice  had 
formed  a  friendship  with  his  father,  Mattia  Brise- 
ghella — painted  landscapes,  sea-pieces,  and  battles 
in  the  stylo  of  his  master.  The  Dresden  Gallery 
contains  three  cavalry  fights  and  a  battle-piece  by 
him.  After  the  death  of  Eismann  he  appears  to 
have  settled  at  Ferrara.  He  published  in  1706  an 
account  of  the  paintings  in  the  churches  of  that  city. 

EISSNER,  Joseph,  an  Austrian  engraver,  was 
born  at  Vienna  in  1788.  He  studied  under  Schmut- 
zer  and  afterwards  under  Leybold,  and  practised  on 
his  own  account  from  1814.  From  1822  he  was 
drawing-master  at  the  Academy  in  the  Neustadt  at 
Vienna,  where  he  died  in  1861.  He  etched  a  number 
of  plates,  and  engraved,  along  with  other  historical 
subjects  and  portraits,  the  following  works  : 

La  Madonna  della  Sedia ;  after  Raphael. 

The  Praying  Madonna ;  after  Sassof errata. 

Eembrandt's  Mother ;  after  Eembrandt. 

The  Fall  of  the  Angels ;  after  Luca  Giordano. 

EKELS,  Jan,  the  elder,  born  at  Amsterdam  in 
1724,  was  a  scholar  of  Dirk  Dalens,  the  younger. 
He  painted  views  of  cities  in  tlie  manner  of  Jan 
ten  Compe.  His  pictures  are  generally  of  a  small 
size,  and  are  highly  finished,  with  a  good  effect  of 
light  and  shade.     He  died  at  Amsterdam  in  1781. 

EKELS,  Jan,  the  younger,  a  Dutch  painter  of 
genre_  pieces  and  an  imitator  of  the  old  masters, 
especially  of  J.  Molenaer,  was  born  at  Amsterdam 
in  1759.  Two  pictures  by  him,  one  representing 
'A  young  Man  drawing,'  and  the  other  '  A  Peasant 
lighting  a  Pipe,'  are  in  the  Stadel  Gallery  at  Frank- 
fort.    He  died  in  1793. 

460 


EKEMANN-ALESSON,  LoRenz,  (or  Eokemann- 
Albsson,)  a  lithographic  artist,  was  born  in 
Sweden  in  1791.  He  studied  and  practised  liis 
art  at  Vienna,  Munich,  and  Augsburg,  but  was 
afterwards  appointed  by  the  King  of  Wiirtemberg 
to  be  professor  and  director  of  the  newly  estab- 
lished Lithographic  Institute  at  Stuttgart.  He 
chiefly  executed  landscapes  and  architectural  views 
after  Adam,  P.  Hess,  and  Wagenbauer ;  but  his 
best  plates  are  '  A  Forest  Scene,'  after  Waterloo  ; 
a  'Landscape,'  af  ter  Wynants ;  and  'Wiirtemberg 
Stallions,'  after  R.  Kunz.  He  produced  some  other 
animal  pieces,  and  also  painted  landscapes  with 
animals.     He  died  at  Stuttgart  in  1821. 

EKMAN,  Robert  Wilhelm,  a  genre  painter,  was 
born  at  Nystad  in  Finland  in  1808,  and  died  at 
Helsingfors  in  1873.  He  was  educated  at  the 
Stockholm  Academy  under  Sandberg ;  and  travelled 
much,  especially  in  Italy.  His  pictures  consist  of 
scenes  from  northern  life, — christenings,  peasants' 
cottages,  forest  scenes,  &c.   Amongst  them  are : 

An  old  ■Woman  with  a  Bible. 
A  Dutch  Sailor  Family. 
Eobber  Scene. 

ELBURG,  Hansje  van,  (ELBmcn,  Elburch, 
Elbdkcht,  or  Elbrucht,)  called  Hanskin,  or 
Kleyn  Hansken  ('  Little  John '),  an  historical 
painter,  was  born  at  Elburg,  near  Campen,  in 
1500.  He  represented  the  figures  in  the  maimer 
of  Frans  Floris,  and  also  excelled  in  landscapes 
and  storms  at  sea.  In  Antwerp  cathedral  is  his 
picture  of  'The  Miraculous  Draught  of  Fishes.' 
In  1536  he  was  admitted  into  the  Guild  of  St.  Luke 
at  Antwerp.     He  died  in  that  city  in  1551. 

ELDER,  Charles,  an  historical  painter,  was  bom 
in  1821.  He  exhibited  at  the  Royal  Academy 
from  1845  till  his  death,  which  took  place  in 
London  in  1851.     Amongst  his  works  are: 

Sappho.     1845. 

Florimel  imprisoned.     1346. 

The  Death  of  Mark  Anthony.     1847. 

Euth  gleaning.     1848. 

Eosalind.     1850. 

"Weary  Travellers.    1851. 

ELDER,  William,  a  Scottish  engraver,  resided 
in  London  about  the  year  1680.  He  was  one  of 
those  who  were  employed  by  the  booksellers; 
and  we  have  a  few  portraits  by  him,  among  which 
are  the  following  : 

His  own  Portrait,  with  a  fur  cap. 

The  same,  with  a  wig. 

"William  Sancroft,  Archbishop  of  Canterbury. 

John  Pearson,  Bishop  of  Chester. 

Ben  Jonson,  prefixed  to  his  '  "Works,"  1692. 

Sir  Theodore  de  Mayeme,  Physician. 

Admiral  Eussell. 

Sir  Henry  Pollexfen,  Chief  Justice  of  the  Common 

Pleas. 
John  Eay,  Naturalist. 
Eiohard  Morton,  M.D. 
George  Parker,  Astrologer. 
Charles  Snell,  "Writing-master. 

ELFORD,  Sir  William,  Bart.,  an  amateur  land- 
scape painter,  was  born  in  Devonshire  in  1747. 
From  1784  he  occasionally  exhibited  at  the  Eoynl 
Academy,  contributing  landscapes,  often  with 
effects  of  sunset  and  of  shower.  He  was  mode  a 
baronet  in  1800,  and  died  at  Totnes  in  1837. 
There  is  a  landscape  by  him  at  Windsor  Castle. 

ELIAERTS,  Jean  FRANgois,  a  Flemish  piiinter 
of  animals,  flowers,  and  fruit,  was  born  in  1761  at 
Deurne-Borgerhout,  near  Antwerp,  in  the  Academy 


Ellas 


PAINTERS  AND  ENGRAVERS. 


Elliott 


o£  which  city  he  studied.  He  passed  his  life  in 
France,  but  died  at  Antwerp  in  1848.  In  the 
Antwerp  Museum  is  a  flower-piece  by  him. 

ELIAS,  Mathif.u,  (Elyas,  or  Elie,)  was  born  at 
Peena,  near  Cassel,  in  1658.  His  parents  were 
extremely  poor,  and  he  was  employed  when  a  boy 
in  iittending  cattle,  in  which  humble  situation  he 
was  noticed  by  a  painter  of  Dunkirk, named  Philippe 
Decorbehem,  tracing  objects  on  the  ground.  The 
artist,  struck  with  the  singularity  of  the  circum- 
stance and  the  evident  disposition  of  the  boy,  pre- 
vailed on  his  mother  to  intrust  him  to  his  care. 
After  instructing  him  for  some  time  he  sent  him 
to  Paris  for  improvement,  where  he  met  with  em- 
ployment, and  resided  several  years.  On  the  death 
of  Decorbehem,  he  settled  at  Dunkirk,  and  painted 
some  altar-pieces  for  the  churches  in  that  town  and 
its  neighbourhood.     He  died  at  Dunkirk  in  1741. 

ELIZABETH,  Princess,  the  third  daughter  of 
George  III.,  was  born  in  London  in  1770.  She 
married,  in  1818,  Frederick  William  Louis,  Land- 
grave of  Hesse-Hombiirg,  and  died  at  Frankfort 
in  1840.  She  was  much  attached  to  the  arts  of 
design,  and  several  of  the  productions  of  her  pencil 
were  published,  accompanied  by  the  poetical 
efEusions  of  the  minor  bards  of  the  day,  under  the 
following  titles : 

The  Birth  and  Triumph  of  Cupid ;  a  poem,  by  Sir  James 

Bland  Surges,  Bart.    1796. 
Cupid  turned  Yolunteer ;  with  poetical  illustrations  by 

Thomas  Park.     1804. 
The  Power  and  Progress  of  Genius.     1806. 
Six  Poems  illustrative  of  engravings  by  H.  E.  H.  the 

Princess  Elizabeth.     1813. 

ELKAN,  David  Levy,  a  lithographer  and  de- 
signer of  arabesques,  born  at  Cologne  in  1808, 
studied  at  Diisseldorf,  and  became  known  by  his 
imitations  and  compositions  in  the  style  of  the 
middle  ages.     He  died  in  his  native  city  in  1866. 

ELLENEIEDER,  Maeie,  the  best  German  female 
painter  of  the  first  half  of  the  19th  century, 
was  born  at  Constance  in  1791.  She  learned  the 
rudiments  of  art  from  the  miniature  painter  Einsle, 
and  in  1813  went  to  Munich,  and  studied  under 
Langer  in  the  Academy  there  until  1820.  After 
having  twice  visited  Rome,  she  became  acquainted 
with  Overbeok,  whose  art-teaching  she  afterwards 
followed.  Soon  after  her  return  from  Rome  she 
painted  the  '  Virgin  and  Child,'  which  is  considered 
her  best  work.  Subsequently  she  painted  altar- 
pieces  and  portraits,  and  etched  twenty-four  plates 
after  Langer,  Overbeck,  Rembrandt,  and  Titian. 
She  died  at  Constance  in  1863.  A  '  St.  Felicitas  ' 
by  her  is  in  the  possession  of  the  Queen. 

ELLIGER,  Anthokie,  the  son  and  pupil  of  the 
younger  Ottomar  Elliger,  was  born  at  Amsterdam 
in  1701,  and  died  at  Ede  in  1781.  He  painted 
historical,  mythological,  and  allegorical  pictures 
upon  ceilings  and  walls.  His  daughter,  Christina 
Makia  Elligeb,  was  a  portrait  painter. 

ELLIGER,  Ottomab,  the  elder,  born  at  Gothen- 
burg in  1633,  was  the  son  of  a  physician,  who, 
finding  in  him  a  strong  inclination  for  art,  sent  him 
to  Antwerp,  at  that  time  the  residence  of  so  many 
able  artists,  where  he  became  a  scholar  of  Daniel 
Seghers.  He  painted  flowers  and  fruit  in  the 
highly-finished  style  of  his  master,  and  attained 
sufiicient  ability  to  be  invited  to  the  court  of 
Berlin,  where  he  was  appointed  painter  to  William 
Frederick,  Elector  of  Brandenburg.  The  pictures 
of  this  artist  are  almost  entirely  confined  to 
Germany,  where  they  are  held  in  considerable  esti- 


mation. Examples  are  in  the  Dresden  Gallery  and 
in  the  Stadel  Gallery  at  Frankfort.  He  died  at 
Berlin  in  1679. 

ELLIGER,  Ottomar,  the  younger,  the  son  of 
Ottomar  Elliger  the  elder,  was  born  at  Hamburg  in 
1666.  After  being  instructed  in  the  first  elements 
of  the  art  by  his  father,  he  was  sent  to  Amsterdam, 
where  he  became  a  scholar  of  Michiel  van  Musscher, 
a  painter  of  small  portraits  and  conversations,  under 
whom  he  studied  a  short  time,  but  being  ambitious 
of  distinguishing  himself  in  a  higher  walk  of  art, 
and  the  works  of  Gerard  de  Lairesse  being  then  in 
high  reputation,  he  entered  the  school  of  that 
eminent  master,  whose  instruction  enabled  him  in 
a  few  years  to  dispense  with  further  assistance. 
Elliger  painted  historical  subjects  in  the  style  of 
De  Lairesse,  which  were  judiciously  composed 
and  correctly  drawn.  Like  his  instructor,  he  was 
particularly  attentive  to  propriety  of  costume,  and 
style  of  architecture.  He  was  employed  by  the 
Elector  of  Mayence,  for  whom  he  painted  the 
'  Death  of  Alexander,'  and  the  '  Marriage  of  Peleus 
and  Thetis.'  His  principal  works  are  at  Amster- 
dam, where  he  died-  in  1732.  In  the  Vienna 
Gallery  is  a  '  Woman  with  Fruit ; '  in  the  Cassel 
Gallery  are  '  The  Feast  of  Cleopatra,'  and  '  The 
Daughter  of  Herodias  dancing  ; '  and  in  the  Bor- 
deaux Museum  is  an  '  Allegory,'  all  of  which  are 
by  him. 

ELLINGER,  Abbot  of  Tegernsee  (1017—1048), 
is  stated  to  have  illustrated  a  manuscript  of  Pliny 
the  Elder  with  figures  of  the  animals  described  in 
the  text ;  and  in  like  manner  the  writings  of  other 
authors.  In  the  Munich  Library  there  is  an  Evan- 
geliarium  with  paintings  by  him. 

ELLIOT,  William,  an  engraver,  was  born  at 
Hampton  Court  in  1727.  He  engraved  several 
landjcapes,  which  were  admired  for  their  taste 
and  freedom,  and  of  which  the  best  are  from  the 
paintings  of  the  brothers  Smith,  of  Chichester. 
He  died  in  London  in  1766.  We  have  by  him 
the  following  plates : 

A  Landscape  with  Cattle ;  after  Bosa  de  Tivoli. 

A  View  near  Maestricht,  with  Cattle ;  after  A .  Cuyp. 

A  Landscape  with  the  Flight  into  Egypt ;  after  Poelen- 
horch. 

A  large  Landscape ;  after  G.  Smith. 

A  set  of  four  Landscapes ;  after  G.  and  T.  Smith. 

A. set  of  six  plates  of  Horses;  after  T.  Smith. 

Two    Landscapes,   Spring   and   Summer;    after    Van 
Goyen. 

Portrait  of  Helena  Forman,  the  second  wife  of  Bubens ; 
after  Bubens. 

ELLIOT,  William,  a  marine  painter,  flourished 
in  the  latter  part  of  the  18th  century.  Amongst 
his  works  are  two  pictures  of  the  'British  Fleet' 
(one  dated  1790)  at  Hampton  Court,  and  '  The 
Loss  of  the  Andromeda.' 

ELLIOTT,  Charles  Lcring,  an  American  por- 
trait painter,  was  born  at  Scipio,  New  York,  in 
1812.  He  began  life  as  a  clerk  at  Syracuse,  hut 
devoted  all  his  leisure  time  to  drawing  and  paint- 
ing, and  about  1834  went  to  New  York,  where  he 
became  a  pupil  of  Trumbull.  After  practising  for 
about  ten  years  in  the  western  parts  of  the  State  he 
settled  in  New  York,  and  is  said  to  have  painted 
more  than  seven  hundred  portraits  of  eminent 
people.  His  likenesses  are  remarkable  for  their 
vigour  and  truth;  indeed,  that  of  Fletcher  Harper 
was  sent  to  the  Paris  International  Exhibition  of 
1867  as  a  typical  example  of  American  portraiture. 
Among  his  best  portraits  are  also  those  of  Fitz- 
Halleck  Greene,  the  poet,  James  Fenimore  Cooper, 

461 


Elliott 


A  BIOGRAPHICAL  DICTIONARY  OF 


Blsheimer 


Matthew  Vaesar,  the  painters  Church  and  Dnrand, 
Governor  Morgan,  and  Colonel  Colt.  _  There  are 
among  other  works  by  him,  '  Don  Quixote,'  '  Fal- 
Btaff,'  '  Andrew  van  Corlear  the  Trumpeter,'^  and 
'The  Head  of  Sl^aneateles  Lake,'  which  is  said  to 
have  been  the  only  landscape  he  ever  painted. 
Elliott  died  at  Albany  in  1868. 

ELLIOTT,  Captain  Robert,  R.  N.,  an  amateur 
marine  painter,  lived  in  the  latter  part  of  the  18th 
and  the  beginning  of  the  19th  century.  He  made 
many  sketches  during  his  travels,  from  which 
Prout  and  Stanfield  made  drawings,  and  which 
were  published  in  1830.  Amongst  the  works  he 
exhibited  at  the  Royal  Academy  between  1784 
and  1789  were : 

The  Fleet  iu  Port  Eoyal  Harbour.     1785. 

View  of  the  City  of  Quebec.    1786. 

Breaking  the  French  Line,  Lord  Eodney's  Action. 
1787. 

Fire  at  Kingston,  Jamaica.     1788. 

ELLIS,  JosErH  ¥.■  a  marine  painter,  born  in 
Ireland  about  1780,  came  to  London  about  1818, 
and  exhibited  a  few  pictures  at  the  Royal  Academy 
and  the  British  Institution.  He  is,  however,  chiefly 
to  be  remembered  by  his  clever  imitations  of 
Canaletto's  works,  which  were  palmed  off  on  the 
public  as  originals  by  an  unscrupulous  picture- 
dealer,  into  whose  hands,  through  misfortunes,  he 
fell.     He  died  at  Richmond,  in  Surrey,  in  1848. 

ELLIS,  William,  a  landscape  engraver,  was  born 
in  London  in  1747.  He  executed  some  plates  in 
conjunction  with  William  Woollett,  whose  pupil  he 
liad  been ;  and  there  are  several  charming  prints, 
mostly  landscapes,  by  him  from  the  designs  of 
Paul  Sandby  and  Thomas  Hearne,  as  well  as  five 
views  of  the  '  Battle  of  the  Nile,'  in  aquatint,  after 
William  Anderson,  published  in  1800.  The  year  of 
his  death  is  unknown. 

ELLYS,  John,  a  portrait  painter,  was  born  in 
1701.  He  studied  under  Thornhill  and  Schmutz, 
and  was  a  follower  of  Van  der  Banck,  to  whose 
house  and  connection  he  succeeded.  Besides  hav- 
ing a  large  practice,  he  held  the  two  crown  appoint- 
ments of  tapestry-weaver  and  keeper  of  the  lions. 
In  1755  he  was  a  member  of  the  committee  for 
the  foundation  of  an  Academy.  Amongst  his 
portraits  are  : 

Lord  'Whitworth,  the  diplomatist.     {At  KnoU  Park.) 

Figg,  "  the  mighty  combatant." 

ELMER,  Stephen,  a  painter  of  dead  game  and 
objects  of  still-life,  was  elected  an  Associate  of 
the  Royal  Academy  in  1772,  the  year  of  his  first 
exhibition,  and  resided  principally  at  Farnbam  in 
Surrey,  where  he  died  in  1796.  He  represented 
subjects  of  still-life  with  great  fidelity,  and  with  a 
very  spirited  pencil.  His  son  practised  in  Ireland 
at  the  close  of  the  century. 

ELMORE,  Alfeed,  an  historical  and  genre 
painter,  was  born  at  Clonakilty,  in  the  county  of 
Cork,  on  the  day  of  the  battle  of  Waterloo,  June 
18th,  1815.  His  father  was  a  retired  army  surgeon, 
who  when  his  son  was  about  twelve  years  of  age 
removed  to  London,  where  young  Elmore  began 
his  career  by  drawing  from  the  antique  in  the 
British  Museum.  In  1832  he  entered  the  schools 
of  the  Royal  Academy,  and  in  1834  exhibited 
there  his  first  picture,  a  'Subject  from  an  Old 
Play.'  After  this  he  went  abroad,  visiting  Paris, 
Munich,  Venice,  Bologna,  Florence,  and  ultimately 
Rome,  where  he  remained  for  two  years.  He 
returned  home  in  1844,  and  in  that  year  exhibited 
.  hia  '  Rienzi  in  the  Forum,'  which  attracted  much 

462 


notice,  and  with  '  The  Origin  of  the  Guelph  and 
Qhibeline  Quarrel  in  Florence,'  exhibited  in  1845, 
secured  his  election  as  an  Associate  in  the  latter 
year.  His  next  popular  picture  was  '  The  Inven- 
tion of  the  Stocking  Loom,'  exhibited  in  1847, 
and  engraved  for  the  Art  Union  of  London.  In 
1857  Elmore  was  elected  a  Royal  Academician,  and 
painted  as  his  diploma  work  a  subject  from  the 
"  Two  Gentlemen  of  Verona."  But  the  best  picture 
which  he  ever  painted  was  that  which  he  exhibited 
in  1860  of  '  The  Tuileries,  20th  June,  1792,'  repre- 
senting the  terrible  scene  of  Marie  Antoinette  as- 
sailed in  her  own  palace  by  the  revolutionary  mob. 
One  of  the  most  impressive  pictures  which  he  ex- 
hibited after  this  was  '  Within  the  Convent  Walls,' 
in  the  Academy  Exhibition  of  1864.  He  painted 
chiefly  pictures  of  romantic  incident,  the  subjects  of 
which  were  occasionally  drawn  from  his  own  fancy, 
but  oftener  derived  from  fiction  or  poetry.  His 
greatest  successes,  however,  were  won  in  historical 
painting.  Elmore  died  at  Kensington,  January 
'24th,  1881,  and  was  buried  in  Kensal  Green  Ceme- 
tery. Besides  the  .pictures  above  mentioned,  the 
following  are  his  principal  works : 

The  Martyrdom  of  St.  Thomas  a  Becket.  1840.  Painted 
for  Daniel  O'ConTiellf  and  now  in  St.  Andrew's  Roman 

Catholic  Church,  Dublin. 
The  Novice.     1843. 
The  Fainting  of  Hero.     1846. 
The  Deathbed  of  Eobert,  King  of  Naples.     1848. 
Religious  Controversy  in  the  time  of  Louis  XIV.  1849. 
Griselda.     1850. 

The  Emperor  Charles  V.  at  Yuste.    1856. 
An  Incident  in  the  life  of  Dante.    1858. 
Marie  Antoinette  in  the  Temple.     1861. 
The  Invention  of  the  Combing  Machine.    1862. 
Lucrezia  Borgia.     1863. 
On  the  Brink.     1865. 
After  the  Expulsion.     1873. 
Mary,  Queen  of    Scots,  and  Darnley,  at   Jedburgh. 

1877. 
Lenore.    1871. 

ELSASSER,  Fkiedbich  August,  a  painter  of 
landscapes  and  architectural  views,  was  born  at 
Berlin  in  1810,  and  studied  at  the  Academy  of  that 
city  under  Blechen,  whose  influence  on  art  was  at 
that  time  very  great.  In  1831  he  went  to  Italy, 
and  in  1834  and  1835  he  visited  Sicily.  Among 
his  choicest  works  are  :  '  The  Forest  of  Calabria, 
'  The  Interior  of  a  Church  at  Palermo,'  '  A  View  of 
the  Ruins  at  Rome,'  &o.  The  King  of  Prussia 
sent  him  the  Order  of  the  Red  Eagle,  and  granted 
him  a  pension  for  life,  which  he  did  not  long  enjoy, 
as  he  died  at  Rome  in  1845.  His  brothers,  Heineich 
and  Julius  Elsassee,  were  also  landscape  painters. 
The  latter  was  born  at  Berlin  in  1816,  and  died  at 
Rome  in  1859. 

ELSEVIER,  Aeenout,  a  Dutch  painter  of  knd- 
scapes  and  conflagrations,  was  born  about  1576  at 
Douai,  but  his  parents  removed  to  Leyden  in  1580. 
He  died  after  1629. 

His  son,  Louis  Elseviee,  who  was  also  a  painter, 
was  born  at  Leyden  in  1615,  and  died  at  Delft  in 
1675.  ^ 

ELSHEIMER,  Adam,  (Elshaimee,  or  Elzheimer,) 
a  German  painter,  was  probably  born  at  Frankfort 
in  1674,  but  the  dates  of  his  career  are  differently 
reported.  He  was  the  son  of  a  tailor,  and  was 
placed  at  an  early  age  under  the  care  of  Philipp 
Uffienbaoh,  who,  though  a  reputable  artist,  was 
soon  surpassed  by  his  disciple.  Finding  no 
further  means  of  improvement  in  his  own  country, 
Elsheimer  went  to  Rome,  where  he  studied  the 
,  works  of  the  great  masters,  and  in  a  short  time 


Elsheimer 


PAINTERS  AND  ENGRAVERS. 


Emmanuel 


his  pictures,  which  were  very  distinct  from  the 
works  of  all  of  his  contemporaries,  were  held  in 
general  estimation.  He  was  fond  of  landscapea 
with  figures  of  such  importance  that  the  land- 
scape interest  is  subordinated  to  that  of  the  in- 
cident represented.  His  pictures  were  small  and 
finished  with  the  greatest  perfection  and  detail, 
a  quality  then  entirely  new  in  Italy,  especially 
when  studied  with  extreme  fidelity  to  nature.  His 
power  over  light  and  shade  was  nearly  as  great  as 
tliat  of  Rembrandt,  who,  in  the  next  generation, 
followed  out  the  same  characteristic  of  intense 
chiaro-scuro.  Elsheimer  delighted  in  torchlight, 
moonlight,  and  the  dusk  of  evening,  all  of  which 
efEects  he  represented  with  greater  excellence  than 
had  before  been  accomplished.  He  possessed  so 
extraordinary  a  memory,  that  it  was  sufBcient  for 
him  to  have  looked  at  an  object  or  scene  once 
to  draw  it  with  the  most  surprising  precision. 
The  extreme  patience  and  labour  with  which  he 
finished  his  pictures  was  such,  that  the  prices  he 
received  for  them  never  suflSciently  repaid  him  for 
the  time  spent  upon  them.  If  the  unfortunate 
painter  had  been  paid  for  them  a  fourth  part  of 
what  they  have  since  produced,  he  might  have 
lived  in  affluence  instead  of  the  state  of  indigence 
and  distress  in  which  he  passed  the  greater  part 
of  his  life.  As  it  was,  he  was  cast  into  prison, 
although  a  man  of  irreproachable  habits,  and  this 
preyed  upon  his  mind.  His  only  benefactor  was 
Count  Goudt,  who  purchased  some  of  his  choicest 
pictures,  and  has  engraved  seven  of  them  in  a 
highly-finished  manner,  well  adapted  to  their  style. 
Elsheimer  is  perhaps  better  known  by  these  en- 
gravings than  by  his  own  pictures.  '  Ceres  drink- 
ing from  the  Witch's  Goblet,'  '  Jupiter  and  Mer- 
cury in  the  home  of  Baucis,'  '  The  Flight  into 
Egypt,'  '  Tobit  and  the  Angel  going  home,'  are 
among  the  number.  The  copperplate  of  the  last 
named  fell  into  the  hands  of  Rembrandt,  and  was 
partly  erased  and  altered  by  him  into  another 
subject.  The  elder  Teniers,  as  well  as  Rembrandt, 
studied  carefully  the  works  of  Elsheimer.  He  died 
in  Rome  in  1620.  The  following  works  by  him 
are  in  public  galleries  : 

Gassel.  Gallery.      Meeting  of  Ellas  and  Obadiah. 

Dresden.        Gallerj/.      Flight  into  Egypt. 
Dulwich.         College.       Susannah  and  the  Elders. 
Florence.        Xlffizi.  His  own  Portrait. 

„  „  Ajjostles. 

„  „  Saints. 

„  „  Two  Landscapes. 

Frankfort.      Stadel.        Paul  and  Barnabas  at  Lystra. 

„  „  Bacchus  and  the  Nymphs  of  Nysa, 

Hague.  Museum.      Two  Italian  Landscapes. 

London.     JVat.  Gallery.  Martyrdom  of  St.  Lawrence. 
Madrid.  Gallery.       Ceres  in  the  house  of  Becubus. 

Munich.         Gallery.       Martyrdom  of  St.  Lawrence. 

„  „  Triumph  of  Christianity. 

„  „  Burning  of  Troy. 

„  „  Flight  into  Egypt. 

„  „  St.  John  the  Baptist  preaching. 

Paris.  Louvre.      The  Fhght  into  Egypt. 

„  „  The  Good  Samaritan. 

Petersburg.  Hermitage.  St.  John  the  Baptist  in  the  Desert. 

„  „  A  Forest. 

Eome.         Sciarra  Pal.  Return  of  the  Prodigal  Son. 
Vienna.  Gallery.       Rest  on  the  Flight  into  Egypt. 

ELSHEIMER,  Johann,  a  brother  of  Adam 
Elsheimer,  was  born  at  Frankfort  in  1693,  and  died 
previous  to  1636.  About  1632  he  painted  'The 
Story  of  Virginia,'  now  on  the  Imperial  Staircase 
in  the  Romer  at  Frankfort. 

ELSHOLTZ,  LuDWiG,  a  German  painter  of 
genre  subjects  and  battles,  bora  at  Berlin  in  1805, 


studied  in  the  Academy  of  his  native  city,  and 
afterwards  in  the  studio  of  Franz  Kriiger,  the 
painter  of  horses.  His  best  work  is  '  The  Battle  of 
Leipsic,'  painted  in  1833,  and  now  in  the  posses- 
sion of  the  German  Emperor.  He  died  at  Berlin 
in  1850.  In  the  Berlin  National  Gallery  is  '  The 
Beginning  of  the  Fight,'  dated  1834. 

ELST,  PiETEB  VAN  DEE.     See  Van  deb  Elst. 

ELSTER,  Gottfried  Rudolf,  an  historical 
painter  who  worked  for  some  time  at  Dusseldorf, 
executed  a  number  of  religious  pictures,  among 
which  are  a  'Holy  Family,'  in  the  possession  of  the 
Prince  of  Hohenzollern,  and  some  cartoons  for  the 
Zionskirche  at  Berlin.    He  died  in  that  city  in  1872. 

ELSTRACKE,  Reginald,  an  engraver  who 
flourished  in  England  about  the  year  1620,  worked 
chiefly  for  the  booksellers,  and  his  plates  are  almost 
entirely  confined  to  portraits.  These  are  more 
sought  after  for  their  scarcity  and  tlieir  connection 
with  English  history,  than  for  their  merit  as  en- 
gravings. He  also  engraved  the  title-page  and 
several  of  the  portraits  for  Holland's  '  Baziliulogia. 
A  Booke  of  Kings.  Beeing  the  true  and  liuely 
Effigies  of  all  our  English  Kings  from  the  Con- 
quest vntill  this  present.'  The  following  portraits 
are  by  him : 

James  I. 

Queen  Elizabeth. 

Mary,  Queen  of  Scots.    One  of  his  lest  prints. 

The  same,  with  Lord  Damley. 

Thomas  Howard,  Earl  of  Suffolk. 

Robert  Devereux,  Earl  of  Essex. 

Gervase  Babiugton,  Bishop  of  Worcester. 

Sir  Julius  Csesar,  Master  of  the  Rolls. 

Sir  Thomas  More. 

Sir  Philip  Sidney. 

Thomas  Sutton,  founder  of  the  Charter  House. 

Edmund,  Lord  Sheffield. 

John,  Lord  Harrington. 

William  KnoUys,  Viscount  Wallingford. 

William  Cecil,  Lord  Burghley. 

Gustavus  Adolphus,  King  of  Sweden. 

Richard  Whittington. 

ELTZ,  Johann  Feiedeioh  von,  bom  in  1632,  was 
one  of  the  first  artists  who  worked  in  mezzotint. 
His  works  are  now  rare  ;  examples  of  them  are  an 
'  Ecce  Homo,'  after  Albrecht  Diirer,  and  a  portrait 
of  Johann  Philipp  von  Schonborn,  Elector  of 
Mayence,  after  Th.  0.  von  Furstenberg.  He  died 
at  Mayence  in  1686. 

ELVEN,  Tetae  van.    See  Tetae  van  Elven. 

ELYAS,  Mathieu.    See  Elias. 

ELZHEIMER,  Adam.    See  Elsheimer. 

EMBDE,  Von  dee.    See  Von  dee  Embde. 

EMELRAET,  Philippus  Augustus.  See 
Hemeleaet. 

EMES,  John,  a  water-colour  landscape  painter, 
practised  about  the  end  of  the  18th  century,  and  ex- 
hibited at  the  Royal  Academy  in  1790  and  1791. 
He  also  engraved  Jeffereys'  'Destruction  of  the 
Spanish  Batteries  before  Gibraltar.' 

EMLEB,  Bonaventuea,  an  Austrian  artist,  was 
born  in  1831,  and  studied  at  the  Academy  of 
Vienna.  He  became  celebrated  by  his  illustrations 
to  the  'Divina  Commedia'  of  Dante,  and  died  in 
1862. 

EMMANUEL,  a  Greek  priest  and  painter,  is  the 
author  of  a  picture  in  the  Byzantine  style  in  the 
National  Gallery,  London.  It  represents  '  St. 
Cosmo  and  St.  Damian  receiving  the  Divine  Bless- 
ing,' and  is  signed  \iip  'D/i/iavovijX  lepEiof  tov  T^avt 
('  the  hand  of  Emmanuel,  priest  of  Tzane ').  It  is 
suggested,  in  the  catalogue,  that  this  Emmanuel 

463 


Emmanuello 


A  BIOGRAPHICAL  DICTIONARY  OF 


Engleheart 


may  be  identical  with  the  Emmanuel  mentioned 
by  Limzi,  wlio  lived  at  Venice  in  the  17th  century, 
and  executed  a  painting  dated  1660. 

EMMANUELLO  da  COMO,  Era.     See  Coiio. 

BMMETT,  William,  an  engraver  who  flourished 
about  tlie  year  1710,  among  other  prints  engraved 
a  large  view  of  the  interior  of  St.  Paul's  Cathedral, 
which  is  executed  in  a  neat,  clear  style ;  as  well 
as  three  exterior  views  of  the  same  editice. 

EMPIS,  Cathebine  Edm^ie  Simonis.  See  Simonis- 
Empis. 

EMPOLI,  Jacopo  da.    See  Chimenti. 

ENDER,  JoHANN  Nepomuk,  an  Austrian  historical 
and  portrait  painter,  was  born  at  Vienna  in  1793. 
In  1829  he  became  a  professor  in  the  Academy  of 
his  native  city,  where  he  died  in  1854.  He  is  dis- 
tinguished for  his  oil-paintings  and  water-colour 
drawings,  and  a  '  Madonna  and  Child  '  by  him  is  in 
the  Vienna  Gallery.  His  son,  Eduard  Ender,  is  a 
well-known  Viennese  painter  of  historical  and 
genre  subjects. 

ENDER,  Thomas,  an  Austrian  landscape  painter, 
the  twin  brother  of  Johann  Nepomuk  Ender,  was 
born  at  Vienna  in  1793.  From  the  age  of  twelve 
he  studied  in  the  Academy  of  Vienna,  where,  in 

1816,  he  obtained  the  grand  prize  for  painting. 
In  1886  he  was  appointed  a  tutor,  and  afterwards 
professor  of  landscape  in  the  Academy.  Through 
the  patronage  of  the  Archduke  John  and  Prince 
Metternich,  he  accompanied,  as  draughtsman,  the 
scientific  expedition  sent  by  Austria  to  Brazil  in 

1817,  and  made  a  collection  of  seven  hundred  draw- 
ings, which  are  now  at  Vienna.  Three  views  by 
him  are  in  the  Vienna  Gallery.  He  died  in  Vienna 
in  1875.  In  the  Berlin  National  Gallery  is  his 
'  Italian  Wood  Chapel.' 

ENDLICH,  Philip,  a  Dutch  engraver,  was  born 
at  Amsterdam  about  the  j'ear  1700.  He  was  a 
pupil  of  Bernard  Pioart,  and  was  chiefly  occupied 
on  portraits,  among  which  are  the  following : 

Heudrib,  Count  of  Moeus. 

John  Taylor,  a  celebrated  oculist.     1735. 

Juan  Felipe  d'Almerja,  Governor  of  the  Isle  of  St. 
Martin. 

Jan  Gosewyn  E.  Alstein,  ecclesiastic  of  Amsterdam. 
1738. 

Jan  Noordbeck ;  the  same. 

Pieter  Hollebeck ;  the  same. 

Leonard  Beels ;  the  same. 

ENDRES,  Beenhabd,  was  born  at  Owingen,  in 
Baden,  in  1805,  and  studied  genre  and  historical 
painting  at  the  Academy  of  Munich.  Two  of  his 
woiks  are  in  the  Gallery  at  Carlsruhe,  the  portrait 
of  Pope  Julius  II.,  after  Raphael,  and  'Christ 
bearing  the  Cross.'    He  died  in  1874. 

ENDTER,  Sdsanna  Maeia.     See  Sandraet. 

ENGEL,  Karl,  a  German  painter,  was  born  in 
1817  at  Londorf,  and  died  in  1870  at  Rodelsheim. 
The  Darmstadt  Gallery  has  a  '  View  of  the  Studio 
of  the  Sculptor  SchoU,'  by  him. 

ENGELBRECHT,  Christian  and  Martin,  two 
printsellers  and  engravers,  who  resided  at  Augs- 
burg, flourished  about  the  year  1721.  Christian 
Engelbrecht,  conjointly  with  J.  A.  Pfeffel,  engraved 
some  ornamental  works  for  goldsmiths,  after  A. 
Morrison  ;  and  some  views  for  the  '  History  of 
Architecture,'  published  in  1721  by  J.  Hernhard. 
Martin  Engelbrecht  engraved  some  plates  after 
Rugendas  and  other  masters,  and  some  illustrations 
for  Ovid's  '  Metamorphoses.' 

ENGELBRECHTSEN,  Cornilis,  (or  Engel- 
BERTS,)  the  son  of  a  wood-engraver,  was  bom  at 
Leyden  in  1468.    The  pictures  of  Jan  van  Eyck, 

464  '     ' 


the  alleged  inventor  of  oil-painting,  being  at 
that  time  the  object  of  curiosity  and  admiration, 
Engelbrechtsen  applied  liirnself  to  study  the  works 
of  that  master,  and  is  said  by  Van  Mander  to  have 
been  the  first  artist  of  his  country  that  painted  in 
oil.  The  paintings  by  this  master  which  escaped 
the  troubles  of  that  country  were  preserved  with 
great  care  in  the  church  of  Our  Lady  at  Leyden. 
They  represented  the  'Crucifixion,'  the  'Descent 
from  the  Cross,'  "Abraham  sacrificing  Isaac,'  with 
some  small  pictures  of  the  'Life  of  the  Virgin': 
these  were  well  composed,  and  of  a  less 
Gothic  style  of  design  than  was  usual  at 
the  early  period  at  which  he  lived.  They 
sometimes  bear  the  accompanying  mark. 
His  principal  work  was  an  altar-piece, 
painted  for  the  Epitaph  of  the  family  of  Lock- 
horst,  in  the  church  of  St.  Peter  at  Leyden,  and 
composed  of  a  great  number  of  figures  represent- 
ing the  'Adoration  of  the  Lamb.'  The  National 
Gallery  has  a  '  Madonna  and  Child  '  by  him.  The 
Antwerp  Museum  has  two  double  pictures  by  him: 
the  one,  '  St.  Leonard  delivering  prisoners,'  and 
'St.  George;'  the  other,  scenes  from  the  life  of 
St.  Hubert.  A  '  Crucifixion '  by  him  is  in  the 
Munich  Gallery.  Engelbrechtsen  died  at  Leyden 
in  1633.  He  is  thought  to  be  identical  with  the 
"Cornells  de  Hollandere"  who  was  free  of  the 
Guild  of  St.  Luke  at  Antwerp  in  1492.  ' 

ENGELMANN,  Gottfried,  a  German  litho- 
grapher, who  also  painted  in  water-colours,  was 
born  at  Miihlhausen  in  1788,  and  died  there  in 
1839.  He  was  a,  pupil  of  Sennefelder,  the  inventor 
of  lithography,  and  of  C.  von  Mannlich,  and  ha 
introduced  the  art  into  France. 

ENGELRAMS,  Coenelis,  (or  Enghelrams,)  a 
Flemish  painter,  born  at  Mechlin  in  1537,  excelled 
in  painting  historical  subjects  in  distemper.  His 
best  work,  representing  the  '  Seven  Works  of 
Mercy,'  is  in  the  cathedral  of  St.  Rombout  at 
Mechlin.  There  are  several  of  his  pictures  in 
Germany,  where  he  passed  some  years.  At  Ham- 
burg, in  the  church  of  St.  Catharine,  is  a  large 
altar-piece  by  him  of  the  '  Conversion  of  St.  Paul.' 
He  died  at  Mechlin  in  1583. 

ENGERTH,  Erasmus,  an  Austrian  artist,  who 
was  born  at  Vienna  in  1796,  studied  at  the 
Academy  of  his  native  city,  and  afterwards  in 
Italy.  On  his  return  home  he  painted  portraits 
and  historical  pictures,  and  also  made  successful 
copies  from  the  great  masters,  but  he  subsequently 
devoted  himself  exclusively  to  the  art  of  restoring 
paintings.  He  was  keeper  of  the  picture  gallery 
of  the  Belvedere,  and  died  at  Vienna  in  1871. 

BNGHELSZEN,  Coenelis.    See  Verspronk. 

ENGLEHEART,  Francis,  a  line-engraver,  bom 
in  London  in  1775,  was  a  nephew  of  George 
Engleheart,  the  miniature  painter.  He  learned 
the  art  as  an  apprentice  to  Joseph  Collyer,  and 
as  an  assistant  to  James  Heath.  His  first  inde- 
pendent works  were  the  illustrations  to  Akenside, 
after  Stothard,  whose '  Canterbury  Pilgrims'  he  had 
a  large  share  in  engraving,  and  the  illustrations 
to  Homer  after  Cook.  He  also  engraved  some  of 
Smirke's  drawings  for  '  Don  Quixote,'  and  several 
plates  for  the  '  Literary  Souvenir,'  '  Amulet,' 
'  Gem,'  and  other  Annuals,  among  which  is  the  Inst 
portrait  of  Lord  Byron,  after  W.  E.  West.  He 
died  in  1849.  Besides  the  works  already  named,, 
his  best  plates  are : 

Duncan  Gray ;  after  Sir  David  Wilkie. 

The  Only  Daughter ;  after  the  same. 


Engleheart 


PAINTERS  AND  ENGRAVERS. 


Erraute 


The  Castle ;  after  Cook. 

Sir  Calepiue  rescuing  Serena ;  after  Hilton. 

BNGLEHEART,  George,  a  miniature  painter, 
exhibited  at  the  Royal  Academy  in  the  latter  part 
of  the  18th  century,  and  in  1790  was  appointed 
miniature  painter  to  George  III.  The  date  of  his 
death  is  uncertain ;  but  he  is  known  to  have 
exhibited  up  to  1812. 

ENGLEHBART,  J.  D.,  a  miniature  painter, 
flourished  in  the  first  quarter  of  the  19th  century. 
He  exhibited  at  the  Royal  Academy  between  the 
years  1802  and  1828. 

ENGLBHEART,  Timothy  Stansfeld,  a  line- 
engraver,  a  son  of  Francis  Bngleheart,  was  born 
in  London  in  1803,  and  died  there  in  1879.  He 
engraved  several  plates  for  the  '  Literary  Souvenir,' 
'  Forget  me  not,'  and  other  Annuals. 

ENGLISH,  JosiAS,  was  an  amateur  engraver, 
who  resided  at  Mortlake,  where  he  died  in  1718. 
He  executed  an  etching  of  '  Christ  with  the  Two 
Disciples  at  Emmaus,'  after  Titian,  and  in  1664  a 
set  of  small  upright  plates  of  the  '  Gods  and  Demi- 
gods.' His  best  work  is  a  spirited  etching  of  a 
half-length  of  a  'Man  regaling,'  after  F.  Cleyn. 

ENG  STROM,  Wilhelm  Oscae,  a  Swedish  animal 
painter,  was  born  in  1831,  and  died  at  Diisseldorf 
in  1877. 

ENHDBER,  Kael  von,  a  genre  painter,  was  born 
at  Hof,  in  Voigtland,  in  1811.  He  was  the  son  of 
a  civil  officer,  who  when  his  son  was  eighteen 
months  old  removed  to  Nordlingen.  After  study- 
ing at  the  Munich  Academy,  he  was  at  first 
an  animal  painter;  he  then  worked  at  represent- 
ations of  the  Thirty  Years'  War  ;  and  only  through 
the  study  of  the  works  of  Metsu  and  Terborch 
did  he  discover  his  true  talent.  He  was  admitted  a 
member  of  the  Munich  Academy  in  1858,  and  died 
at  Munich  in  1867.  He  excelled  in  characterizing 
middle-class  home  life,  with  its  pleasures  and 
troubles,  and  was  gifted  with  natural  humour, 
which  was  the  foundation  of  his  delicate  deline- 
ation of  character.  To  be  mentioned  amongst  his 
works  are : 

Berlin.  Gallery.    Eeturn  of  the  Munich  Guards- 

man.   1844. 

Darmstadt.       Gallery.     Sessions  Day  in  Bavaria. 

Munich.  Gallery.    A    Grandfather    watching    his 

Grandson    at    play    with    toy 
Soldiers. 
„  „  A  Carver  in  his  Workshop. 

ENNIS,  W.,  an  Irish  historical  and  portrait 
painter,  was  born  in  the  first  half  of  the  18th  cen- 
tury. He  studied  at  Dublin  under  Robert  West, 
and  afterwards  in  Italy,  and  subsequently  became 
a  master  in  the  DubUn  Art  School.  He  died, 
through  a  fall  from  his  horse,  in  the  county  of 
Wioklow,  in  1771. 

ENS,  GiosEEFO.    See  Heins. 

ENSLEN,  JoHANN  Kael,  a  German  landscape 
painter,  who  was  born  in  1769  and  died  in  1849, 
was  well  known  in  his  time  for  his  panoramas, 
which  were  the  first  introduced  into  Germany. 

ENSLEN,  Kael  Geoeg,  an  Austrian  painter, 
born  at  Vienna  in  1792,  studied  in  the  Academy  of 
Berlin.  He  travelled  in  Italy,  Sweden,  Norway, 
and  Denmark,  and  his  panoramas  give  proof  of  a 
knowledge  of  excellent  linear  and  aerial  perspec- 
tive. He  died  at  Lille  in  1866.  There  is  a  view 
of  the  '  Bay  of  Naples '  by  him  in  water-colours  in 
the  Lille  Museum. 

ENSO,  GiosEFFO.     See  Heins. 

ENSOM,    William,   a    line-engraver,    died    at 

H  H 


Wandsworth  in  1832.  He  engraved  '  Christ  bless- 
ing the  Bread,'  after  Carlo  Dolci,  'St.  John  in  the 
Wilderness,'  after  Carlo  Cignani,  and  several  plates 
for  the  Annuals,  of  which  the  best  are  those  in  the 
'Bijou'  of  George  IV.  and  Lady  Wallscourt,  after 
Sir  Thomas  Lawrence. 

BPINAT,  Fleuey,  a  painter  of  historical  sub- 
jects and  landscapes,  born  at  Montbrison  in  1764, 
imitated  his  master  David,  with  whom  he  went  to 
Rome.     He  died  at  Pierre-Seise  in  1830. 

EPISCOPIUS,  Joannes.    See  De  Bisschop. 

ERASMUS,  Desideeius,  the  eminent  scholar, 
born  at  Rotterdam  in  1467,  painted  in  1484  a  picture 
representing  '  Christ  on  the  Cross,  with  Mary  and 
St.  John. '  This  work,  which  is  little  known,  is  in 
the  style  of  the  old  Dutch  masters,  and  is  in  the 
convent  of  Emaus,  called  Steyne,  near  Gouda.  He 
died  at  Basle  in  1536. 

ERBETTE,  Filippo  dall'.     See  Mazzuola. 

ERCOLE  Di  GIULIO.     See  Geandi. 

ERCOLE  DI  ROBERTO.     See  Geandi. 

ERCOLINO  Di  GUIDO  RENI,  (or  Eecole  di 
Maeia).    See  San  Giovanni. 

EREDI,  Benedetto,  an  Italian  engraver,  was 
born  at  Florence  in  1750.  He  engraved,  in  con- 
junction with  J.  B.  Cecchi,  nine  plates  of  the 
Monument  of  Dante,  with  his  portrait.  There  are 
also  by  him  the  following  plates : 

poeteaits. 
Luca  Cambiaso,  Genoese  painter ;   after  a  picture  by 

Jiimi&elf. 
Federigo  Zucohero  ;  after  himself. 
Angelo  Bronzino  ;  Florentine  painter. 
Annibale  Carracci. 

SUBJECTS. 
The  Transfiguration ;  after  Saphael. 
The  Adulteress  before  Christ ;  after  Angelo  Bronzino. 
The  Death  of  Lucretia  ;  after  Luca  Giordano. 

EREMITA  DI  MONTE   SENARIO.     See   Ste- 

FANESOHI. 

ERHARD,  JoHANN  Cheistoph,  who  was  born  at 
Nuremberg  in  1796,  was  instructed  by  Zwinger  and 
Gabler,  and  afterwards  went  to  Vienna  and  Rome. 
Among  the  hundred  and  eighty-five  plates  which  he 
etched  are  several  landscapes  and  views  of  con- 
siderable merit.  He  committed  suicide  at  Rome  in 
1822. 

ERLINGER,  Geoeg,  a  printer  and  wood-engraver, 
was  working  at  Augsburg  in  1516,  and  at  Bamberg 
from  1519  till  his  death  in  1542.  Among  his  wood- 
cuts, which  are  very  scarce,  is  one  of  '  Christ  on 
the  Cross.' 

ERMELS,  JoHANN  Feanz,  a  German  painter  and 
engraver,  a  pupil  of  Holtznian,  was  born  near 
Cologne  in  1641.  He  resided  at  Nuremberg,  and 
painted  for  the  church  of  St.  Sebald  in  that  city 
a  picture  of  the  '  Resurrection ' ;  he  was  more  suc- 
cessful, however,  as  u,  painter  of  landscapes,  in 
which  he  imitated  the  style  of  Jan  Both.  He  died 
at  Nuremberg  in  1699.  In  the  Stadel  Gallery  at 
Frankfort  is  a  'Landscape'  by  him,  with  figures 
by  J.  H.  Roos ;  and  in  the  Vienna  Gallery  is  a 
'  Landscape  with  Fishermen '  by  him.  A  '  Land- 
scape '  is  also  in  the  Milan  Gallery.  There  are  by 
him  a  few  etchings  of  landscapes,  after  Waterloo, 
Breenbergh,  &c.,  executed  with  spirit  and  taste. 

ERRANTE,  Giuseppe,  born  at  Trapani,  in  Sicily, 
in  1760,  studied  at  Palermo  and  Rome,  and  was 
employed  in  the  Caserta  Palace,  Naples.  On 
account  of  his  political  opinions  he  was  obliged  to 
remove  to  Milan,  and  afterwards  established  him- 
self at  Rome  in  1810.     Besides  historical  subjects, 

465 


Errar 


A  BIOGRAPHICAL  DICTIONARY  OF 


Espinoea 


he  painted  portraits,  in  which  he  was  especially 
successful.     He  died  at  Rome  in  1821. 

ERRAR,  (or  Eeeard,)  Johan,  an  artist,  who 
flourished  at  Li6ge  about  1670,  etched  landscapes 
after  Waterloo. 

ERRARD,  Charles,  a  French  painter  and  archi- 
tect, was  born  at  Nantes  about  1601,  and  is  better 
known  as  one  of  the  chief  founders  and  directors 
of  the  Academy  at  Paris  than  as  a  painter  and 
engraver.  He  studied  in  Italy,  where  he  also  spent 
the  greater  part  of  his  life.  In  1635  he  was  admitted 
a  member  of  the  Academy  of  St.  Luke,  and  in  1665 
was  made  director  of  the  French  Academy  at  Rome, 
where  he  died  in  1689. 

ERRI,  Cammillo,  of  Modena,  is  known  only  by 
a  picture  of  '  St.  John  the  Baptist  Preaching,'  with 
the  date  1577,  in  the  Modena  Gallery. 

BRSKINE,  Henry  David,  Earl  of  Buchan. 
See  BuoHAN. 

ERTINGER,  Franz,  a  German  engraver,  is  said 
by  some  to  have  been  bom  at  Colmar,  by  others 
at  Wyl  in  Swabia,  in  the  year  1640.  He  resided 
chiefly  at  Paris,  where  he  engraved  several  plates, 
which  are  not  without  merit,  and  where  he  died  in 
1700.     His  best  prints  are  the  following : 

PORTRAITS. 
J.  F.  (3e  Beughem,  Bishop  of  Antwerp. 
Niccolo  Macchiavelli. 
Gabriel  du  Pinau. 

VARIOUS   SnBJEOTS. 

The  History  of  Achilles,  in  eight  Plates ;  after  BvJiens  ; 

the  same  subjects  have  been  since  engraved  by  Baron. 
Twelve  Prints  from  the  Metamorphoses  of  Ovid ;  after 

the  miniatures  of  Joseph  Werner. 
Ten  Plates  of  the  History  of  the  Counts  of  Toulouse ; 

after  EaymoTid  de  La  Fage. 
The  Marriage  at  Cana  in  Galilee  ;  after  the  same. 
A  set  of  Friezes  of  Bacchanalian  subjects ;  after  the  same. 
Several  Yiews  of  Towns ;  after  Van  der  Meulen  ;  some 

of  them  in  the  manner  of  Callot. 

ERVEST,  Jakob,  a  scholar  of  Adam  Elsheimer, 
painted  marine  subjects,  and  naval  combats. 

ES,  Jacob  van,  (or  Essen,)  a  Flemish  painter, 
was  born  at  Antwerp  in  1606.  He  was  very  suc- 
cessful in  the  art  of  reproducing  still-Ufe,  but 
more  especially  fish,  which  he  painted  with  an 
almost  deceptive  similarity  to  nature.  His  master- 
pieces are  two  '  Pish  Markets,'  in  the  Vienna 
Gallery,  with  figures  by  Jordaens.  The  Madrid 
Gallery  also  has  two  pictures  of  fish  and  a  fruit 
and  flower  piece  by  Van  Es.  The  Stadel  Gallery 
at  Frankfort  has  a  fish-piece  by  him.  In  the  Ant- 
werp Museum  is  a  good  example  of  his  still-life 
subjects,  formerly  in  the  Episcopal  Palace,  and  in 
the  Lille  Museum  is  a  picture  of  'Oysters  and 
Fruit,'  which  was  formerly  in  the  Abbey  of  Cysoing. 
He  died  at  Antwerp  in  1665-66.- 

ESBRAT,  Noel  Raymond,  a  landscape  and 
animal  painter,  was  born  in  Paris  in  1809,  and 
died  there  in  1856.  He  was  a  pupil  of  Guillon- 
Lethiere  and  of  Watelet,  and  from  1844  sent 
pictures  to  various  exhibitions. 

ESCALANTE,  Juan  Antonio,  a  Spanish  painter, 
born  at  Cordova  in  1630,  was  a  scholar  of  Francisco 
Rizi,  but  he  adopted  the  style  of  Tintoretto,  as 
well  in  colouring  as  in  composition.  Several  of 
his  works  in  the  churches  of  Madrid  are  highly 
commended  by  Palomino.  In  the  church  of  San 
Miguel  is  a  graceful  picture  of  'St.  Catharine'; 
and  in  the  church  of  the  Espiritu  Santo  is  an 
altar-piece  of  the  '  Dead  Christ,'  with  other  figures, 
painted  in  the  style  of  Titian.    A  similar  picture 

466  ^ 


in  the  Dresden  Gallery  is  ascribed  to  him.  The 
Hague  Gallery  has  a  '  Gipsy  Woman  telling  an 
OfiBcer's  fortune.'  In  the  Madrid  Gallery  are  two 
works  by  him,  'A  Holy  Family,'  and  'The  Infant 
Christ  and  St.  John ; '  and  in  the  Hermitage,  St. 
Petersburg,  '  St.  Joseph  and  the  Infant  Christ.'  He 
died  at  Madrid  in  1670. 

ESCALANTE,  Juan  de  Sevilla  Romero  y.  See 
Sevilla. 

ESCHINI,  Angelo  Maria,  a  painter  and  engraver, 
flourished  at  Modena  in  the  17tli  century :  by  him 
more  than  one  excellent  plate  representing  the 
'  Virgin '  is  known. 

ESCLAVO,  El.     See  Pareja. 

ESKILSSON,  Peter,  a  Swedish  genre  painter, 
was  born  in  1820,  in  the  Billeberga  parish,  Schonen. 
He  was  at  first  an  under-officer  in  the  Gota  artillery 
regiment,  and  then  a  book-keeper  at  Goteborg; 
but  by  the  assistance  of  a  friend  he  was  enabled  in 
1853  to  go  to  Diisseldorf,  where  he  studied  under 
Tidemand.  In  1869  he  was  compelled  for  a  time 
to  become  a  photographer  at  Stockholm,  but  he 
afterwards  illustrated  Bellman,  depicting  the 
Swedish  popular  life  with  great  humour.  He 
became  an  associate  of  the  Academy  in  1866,  and 
died  at  Bremo,  near  Sigtuna,  in  1872. 

ESPAGNOLETTO.    See  Ribera. 

ESPASA,  Juan  de,  or  Juan  el  Espanol.  See 
Giovanni  di  Pietro. 

ESPINAL,  Juan  de,  a  Spanish  historical  painter, 
was  a  native  of  Seville.  He  was  the  son  and  pupil 
of  Gregorio  Espinal,  who  was  also  a  painter,  hut 
he  afterwards  entered  the  school  of  Domingo 
Martinez,  whose  daughter  he  married.  He  was 
chosen  director  of  the  School  of  Design  which 
Cean  Bermudez  and  other  lovers  of  art  established 
at  Seville.  Cean  Bermudez  says  that  he  possessed 
more  genius  than  any  of  his  contemporaries,  and 
but  for  his  bad  training  and  indolence  would  have 
been  the  best  painter  whom  Seville  had  produced 
since  the  time  of  Murillo.  A  visit  to  Madrid  late 
in  life  made  apparent  his  misspent  time,  and  he 
returned  saddened  and  abashed  to  Seville,  where 
he  died  in  1783.  His  chief  works  were  scenes 
from  the  life  of  St.  Jerome,  painted  for  the  monas- 
tery of  San  Geronimo  de  Buenavista,  and  now  in 
the  Seville  Museum,  and  some  frescoes  in  the 
collegiate  church  of  San  Salvador. 

ESPIN6S,  Benito,  a  Spanish  flower  painter,  the 
son  of  Josef  Bspin6s,  was  a  native  of  Valencia. 
He  was  appointed  director  of  the  Royal  Academy 
of  San  Carlos  in  Valencia  in  1787,  and  died  about 
1817.  Nine  of  his  flower-pieces  are  in  the  Madrid 
Gallery,  whilst  others  are  in  the  Museum  of 
Valencia,  and  in  the  Escorial. 

ESPIN6S,  Josef,  a  Spanish  painter  and  engraver, 
born  at  Valencia  in  1721,  studied  painting  under 
Luis  Martinez  and  Evaristo  Munoz.  He  painted 
for  the  convent  of  the  Servites  of  the  Foot  of 
the  Cross,  in  Valencia,  pictures  of  'Our  Lady  of 
Sorrows '  and  of  the  founders  of  that  order.  He 
engraved  in  line  several  prints  of  saints,  and  died 
at  Valencia  in  1784,  leaving  a  choice  collection  of 
prints,  drawings,  and  books. 

ESPINOSA,  Alonso  and  Andres  de,  Spanish 
historical  painters,  who  dwelt  at  Burgos  in  the 
early  part  of  the  16th  century,  were  brothers,  who 
usually  worked  together.  In  1524,  together  with 
Cristobal  de  Herrera,  they  gilded  and  decorated 
with  paintings  the  Lady  chapel  of  the  cathedral  at 
Palencia. 

ESPINOSA,  Geronimo  Rodriguez  de,  a  Spanish 


Espinosa 


PAINTERS  AND   ENGRAVBES. 


Estrada 


Dresden. 
Madrid. 


Valencia. 


painter,  born  at  Valladolid  in  1562,  was  the  father 
of  Jacinto  Geronimo  de  Espinosa.  He  married 
in  1596  Aldonza  Lle6,  at  the  Valencian  town  of 
Cocentayna,  where  he  resided  for  many  years. 
In  1600  he  painted  pictures  of  '  St.  Lawrence'  and 
'  St.  Hippolitus,'  and  in  the  following  year  '  SS. 
Sebastian  and  Koch,'  for  the  church  of  Cocentayna. 
Those  worlds  were  afterwards  displaced,  and  passed 
into  the  hands  of  one  Andreas  Cister,  a  scrivener. 
In  1604-7  he  executed,  in  conjunction  with  a  certain 
Jayme  Terol,  a  scholar  of  Fray  Nicolas  Borras, 
the  pictures  for  the  high  altar  of  St.  John  the 
Baptist's  Church,  at  the  town  of  Muro.  Finally 
taking  up  his  abode  at  Valencia,  he  died  there 
about  16.30. 

ESPINOSA,  Jacinto  Geronimo  de,  a  son  and 
scholar  of  Geronimo  Rodriguez  de  Espinosa,  was 
born  at  Cocentayna,  in  Valencia,  in  1600.  He 
studied  also  under  Francisco  Ribalta,  and  went 
afterwards  to  Italy,  where  he  acquired  a  boldness 
of  design  and  a  vigour  of  colouring  that  resemble 
the  style  of  Gueroino.  His  best  pictures  are  in  the 
churches  at  Valencia,  particularly  in  San  Esteban, 
and  in  the  chapel  of  San  Luis  Bertran  in  Santo 
Domingo.  The  principal  altar-piece  in  the  church 
of  the  Carmehtes  is  by  this  master,  representing 
the  'Transfiguration.'  He  died  at  Valencia  in  1680. 
Among  his  works  are  the  following : 

Gallery.    St.  Francis  of  Assisi. 
Gallery.    Mary  Magdalen  praying. 
„  Christ  at  the  column. 

„  St.  John  the  Baptist.- 

Museum.    Christ  appearing  to  St.  Ignatius 
Loyola. 
„  „  The    Communion    of    St.    Mary 

Magdalen. 
„  „  St.  Louis  Bertrand  on  his  bier. 

ESPINOSA,  Juan  de,  born  at  Puente  de  la 
Reyna,  in  Navarre,  was  employed  in  1653  to  paint 
twenty-four  scenes  from  the  life  of  St.  Millan, 
for  the  monastery  of  St.  Millan  de  la  Cogolla.  He 
executed  twelve  with  some  skill,  and  after  his 
death  the  work  was  completed  by  Fray  Juan  Rizi. 

ESPINOSA,  Juan  de,  a  Spanish  painter  of  fruit 
pieces,  flourished  towards  the  end  of  the  17th  and 
the  beginning  of  the  18th  century.  Nothing  is 
known  of  his  life.  Two  examples  of  his  art  are  in 
the  Madrid  Gallery. 

ESPINOSA,  Miguel  de,  of  Saragossa,  a  painter 
of  good  repute,  was  invited  in  1654  by  the 
Benedictine  fathers,  to  paint  for  their  monastery 
of  St.  Millan  de  la  Cogolla.  Amongst  his  works 
executed  at  the  expense  of  the  brotherhood  were 
pictures  of  the  'Miracle  of  the  Water  turned 
into  Wine,'  and  the  '  Miracle  of  the  Loaves  and 
Fishes.' 

ESQUAETE,  Pablo,  a  Spanish  painter  of  the 
latter  part  of  the  16th  century,  who  studied  at 
Valencia,  but  afterwards  went  to  Venice  and  be- 
came a  disciple  of  Titian.  He  had  a  great  talent 
for  portrait  painting,  and  perhaps  excelled  in  other 
departments,  as  the  Duke  of  Villa  Hermosa  em- 
ployed him  to  ornament  his  palace  and  country 
residence. 

ESSELENS,  Jacob,  a  painter  of  Amsterdam  in 
the  17th  century,  is  said  to  have  been  a  pupil  of 
Rembrandt,  but  his  works  do  not  corroborate  the 
assertion.  His  pictures  represent  villages  on  the 
banks  of  rivers,  woody  landscapes,  buildings  with 
magnificent  fountains,  stag-hunts,  and  shipping 
pieces,  painted  in  a  clear  tone  of  colour,  and  with 
figures  spiritedly  touched.  The  dates  of  his  birth 
E  u  2 


and  death  are  not  recorded.  A  picture  of  '  Figures 
by  a  River,'  signed  with  his  name,  is  in  the 
Rotterdam  Museum ;  a  '  Fishing  Piece  '  is  in  the 
Copenhagen  Gallery ;  and  in  the  Glasgow  Corpora- 
tion Galleries  is  a  '  Rendezvous  of  a  Hunting 
Party.' 

ESSEN,  Hans  von.    See  Ladenspeldee. 

ESSEN,  Jacob  van.    See  Bs. 

ESSENBECK,  J.  van,  was  born  at  Rotterdam  in 
1627,  and  died  in  1678  ;  but  no  further  details  of 
his  life  are  recorded.  In  the  Glasgow  Corporation 
Galleries  is  a  '  Hawking  Party '  attributed  to  him. 

ESSEX,  Richard  Hamilton,  an  architectural 
water-colour  painter,  was  born  in  1802.  He 
became  in  1823  an  associate  of  the  Water-Colour 
Society,  where  he  exhibited  till  1836.  His  works 
also  appeared  at  the  Royal  Academy.  He  died 
at  Bow  in  1855. 

ESSEX,  William,  a  clever  copyist  in  enamel 
of  landscape  and  figure  subjects,  both  by  old  and 
modern  masters,  first  exhibited  at  the  Royal  Aca- 
demy in  1818,  and  for  the  last  time  in  1862,  having 
been  appointed  miniature  painter  to  the  Queen  in 
1839.  Towards  the  end  of  his  life  he  painted  a 
few  miniature  enamels  from  the  life.  His  death 
occurred  at  Brighton,  in  1869,  at  the  age  of  85.  His 
son,  William  B.  Essex,  who  was  a  portrait  painter, 
died  at  Birmingham  in  1852,  aged  29. 

ESTEBAN,  RoDElGO,  was  painter  to  Sancho  the 
Brave,  King  of  Castile.  No  work  of  his  is  known 
to  exist,  but  an  account  of  a  payment  of  one 
hundred  maravedis  from  the  privy  purse  in  1291- 
92  is  to  be  found  in  a  MS.  book  of  accounts  in  the 
Royal  Library  at  Madrid. 

BSTENSE,  Baldassare,  of  Reggio,  who  was 
born  about  1443,  has  been  supposed  to  have  been 
an  illegitimate  scion  of  the  house  of  Bate,  since  no 
mention  of  his  father's  name  ever  occurs  in  con- 
temporary records,  whilst  he  was  called  '  Estensis,' 
and  received  unusual  promotion  and  rewards  from 
the  Dukes  of  Ferrara.  He  was  a  pupil  of  Cosimo 
Tura,  and  was  also  a  medallist.  In  1469  he  painted 
the  likeness  of  Borso  I. ,  and  was  ordered  to  present 
it  in  person  to  the  Duke  of  Milan.  From  1471  to 
1504  he  was  a  salaried  oflBcer  at  the  court  of 
Ferrara,  living  first  in  Castel  Nuovo,  for  which  he 
painted  a  canvas  that  has  perished,  and  after- 
wards in  Castel  Tedaldo,  of  which  he  was  the 
governor.  In  1483  he  painted  the  portrait  of  Tito 
Strozzi,  now  in  the  Costabili  Gallery  at  Ferrara. 
His  will,  dated  1500,  is  in  the  archives  of  Ferrara, 
but  the  exact  date  of  his  death  is  unknown. 

ESTORGES,  J.,  a  French  engraver  of  the  17th 
century,  who  etched  a  plate  in  the  style  of  Pietro 
del  Po  representing  'Christ  on  the  Mount  of 
Olives.' 

ESTRADA,  Jos^  Mabia,  an  historical  and  genre 
painter  of  Valencia,  who  died  at  Madrid  in  1873. 
He  has  left,  among  other  pictures,  '  Diana  observ- 
ing the  sleeping  Bndymion,'  '  An  Eating-house,' 
and  the  portrait  of  Count  Villalobos. 

ESTRADA,  Juan  and  Ignaoio,  were  two  brothers, 
who  worked  together  as  painters,  though  Ignacio 
was  also  a  sculptor.  They  were  born  at  Badajoz, 
Juan  in  1717,  and  Ignacio  in  1724,  and  were 
instructed  by  their  father,  Manuel  Estrada,  but 
Juan  received  three  years'  further  tuition  from 
Pablo  Pernicharo,  at  Madrid.  Many  of  their  pic- 
tures are  still  to  be  seen  in  the  churches  of  Valencia, 
Ignacio  having  furnished  the  designs,  and  Juan 
carried  out  the  execution.  Juan  died  at  Badajoz 
in  1792,  and  Ignacio  in  1790. 

407 


Utheuard 


A  BIOGRAPHICAL  DICTIONARY  01? 


Etty 


ETHENARD  y  ABARCA,  Ebancisco  Antonio, 
a  painter  and  engraver,  the  son  of  a  German 
father,  was  born  at  Madrid.  He  served  in  the 
German  body-guard  under  Charles  II.,  and  until  it 
was  disbanded  in  1701  by  Philip  V.,  upon  which 
he  devoted  himself  entirely  to  the  above  branches 
of  art,  which  he  had  already  pursued  as  an  amateur. 
He  died  at  Madrid  in  1710.  He  published  a  '  Philo- 
sophy of  War'  in  1676,  and  'The  Italian  and 
Spanish  Fencing-Master '  in  1697,  and  both  of  these 
he  illustrated  with  engravings. 

ETLINGER,  Georg,  was  a  German  engraver  on 
wood,  who  resided  at  Bamberg.  There  is  by  him 
a  wood-cut  representing  Bishop  Blaize,  enclosed 
in  a  border  ornamented  with  symbols  of  the  Gospel, 
and  executed  with  great  spirit. 

ETTY,  William,  the  eminent  painter,  was  bom 
at  York,  March  10,1787.  "Like  Rembrandt  and 
Constable,"  writes  Etty,  in  an  autobiography  pub- 
lished in  the  '  Art  Journal '  in  1849,  "  my  father 
also  was  a  miller."  In  1798  he  was  apprenticed 
to  Robert  Peck,  a  letter-press  printer  at  Hull,  as 
a  compositor,  "  to  which  business,"  he  says,  "  I 
served  seven  full  years  faithfully  and  truly,  and 
worked  at  it  three  weeks  as  journeyman ;  but 
I  had  such  a  busy  desire  to  be  a  painter,  that 
the  last  years  of  my  servitude  dragged  on  most 
heavily.  I  counted  the  years,  days,  weeks,  and 
hours,  till  liberty  should  break  my  chains  and  set 
my  struggling  spirit  free."  In  1806  he  was  invited 
to  London  by  his  uncle,  William  Etty,  of  the  firm 
of  Bodley,  Etty,  and  Bodley,  of  Lombard  Street. 
William  Etty  was  himself  "  a  beautiful  draughtsman 
in  pen  and  ink,"  and  saw  promise  in  the  crude  per- 
formances of  his  young  kinsman,  and  besides  help- 
ing him  during  life,  left  him  a  sufficient  sum  after 
his  death  to  enable  him  to  pursue  his  studies. 
Arrived  in  town,  he  tells  us  : — "  I  drew  from  prints 
or  from  nature,  or  from  anything  I  could  ;  I  was 
made  at  home  at  my  uncle's,  I  was  furnished  with 
cash  by  my  brother.  My  first  academy  was  in  a 
plaster-cast  shop,  kept  by  Gianelli,  in  that  lane 
near  to  Smithfield,  immortalised  by  Dr.  Johnson's 
visit  to  see  '  The  Ghost '  there."  He  soon  received 
a  letter  of  introduction  to  Opie,  who  introduced 
him  to  Fuseli,  by  whom  he  was  admitted  as  a  pro- 
bationer in  Somerset  House.  He  entered  the  schools 
of  the  Royal  Academy  in  the  same  week  as  Collins  ; 
and  Hilton  and  Haydon  were  amongst  his  fellow- 
students.  By  his  uncle's  generosity,  who  paid  one 
,  hundred  guineas  for  him,  Etty,  in  July,  1808,  be- 
came an  in-door  pupil  of  Sir  Thomas  Lawrence, 
then  residing  in  Greek  Street,  Soho.  Lawrence 
frequently  employed  him  to  make  copies  of  his 
portraits,  but  had  little  leisure  to  give  substantial 
assistance  to  his  pupil  in  his  studies.  When  hia 
year  of  study  under  Lawrence  was  expired,  Etty 
painted  from  nature,  and  copied  the  old  masters 
in  the  British  Gallery  :  this,  he  says,  he  found 
easy,  after  copying  Lawrence.  He  was  also  a 
constant  student  in  the  Life  School  of  the  Royal 
Academy,  where  his  industry  was  indefatigable, 
yet  he  never  gained  a  medal.  He  ventured  at  one 
time  to  send  six  picturestothe  Academy  exhibition, 
but  all  were  rejected  ;  this  happened  year  after  year 
at  the  Academy,  and  at  the  British  Gallery,  but  by 
discovering  his  defects,  and  by  great  industry 
in  endeavouring  to  correct  them,  he  at  last  con- 
quered his  bad  fortune.  In  1811  he  was  comforted 
by  finding  one  of  his  pictures,  'Telemachus  rescuing 
Antiope,'  hung  at  the  Royal  Academy,  and  from 
that  tame  forward  he  always  obtained  an  entrance 

468 


for  some  of  his  works  at  the  Academy  or  the 
British  Institution.  He  painted  portraits  also  at 
this  time,  but  chiefly  occupied  himself  on  classical 
subjects.  In  1816  he  visited  Paris  and  Florence, 
but  returned  home  in  less  than  three  months.  In 
1822  he  went  to  Italy,  visiting  Venice,  Florence, 
Rome,  and  Naples,  but  it  was  in  Venice  that  he 
found  the  greatest  attractions : — "  Venice,  the 
birth-place  and  cradle  of  colour,  the  hope  and  idol 
of  my  professional  life."  He  studied  in  the  aca- 
demy there,  and  was  elected  one  of  its  honorary 
members.  He  returned  to  London  early  in  1824, 
and  in  the  same  year  exhibited  '  Pandora  formed 
by  Vulcan,  and  crowned  by  the  Seasons,'  which  was 
bought  by  Lawrence,  and  secured  his  election  as 
an  Associate  of  the  Royal  Academy.  He  became 
an  Academician  in  1828,  and  it  was  then  suggested 
to  him  that  he  should  discontinue  his  practice  in 
the  Life  School,  where  he  had  been  accustomed  for 
years  to  attend  every  evening  during  the  session  to 
paint  studies  in  oil  from  the  living  models,  as  it 
was  considered  incompatible  with  the  dignity  of  an 
Academician  to  continue  to  take  his  place  amongst 
the  students  ;  but  he  said  he  would  rather  decline 
the  honour  of  membership  than  give  up  his  studies. 
He  resided  in  London  from  1826  till  1848,  when, 
owing  to  failing  health,  he  retired  to  his  native  city 
York,  where  he  died  November  13,  1849.  An  ex- 
hibition of  Etty's  works  was  held  in  the  summer  of 
1849  at  the  Society  of  Arts,  and  his  '  Life '  by 
Alexander  Gilchrist  was  published  in  1865.  In 
his  autobiography  Etty  has  himself  pointed  out 
what  he  considered  his  greatest  works.  "My 
aim  in  all  my  great  pictures  has  been  to  paint 
some  great  moral  on  the  heart :  '  The  Combat,' 
the  beauty  of  mercy  ;  the  three  '  Judith '  pictures, 
patriotism,  and  self-devotion  to  her  country,  her 
people,  and  her  God  ;  '  Benaiah,  David's  chief  cap- 
tain,' valour ;  'Ulysses  and  the  Syrens,'  the  import- 
ance of  resisting  sensual  delights,  or  an  Homeric 
paraphrase  on  the  '  Wages  of  Sin  is  Death  ' ;  the 
three  pictures  of  '  Joan  of  Arc,'  Religion,  Valour, 
Loyalty  and  Patriotism,  like  the  modern  Judith ; 
these,  in  all,  make  nine  colossal  pictures,  as  it  was 
my  desire  to  paint  three  times  three."  Besides  the 
above-mentioned  the  following  are  his  principal 
works ; 

Sappho.    1811. 

The  Coral  Finders.     1820. 

Cleopatra's  Arrival  at  Cicilia.     1821. 

The  Judgment  of  Paris. 

Venus  attired  by  the  Graces. 

The  "Wise  and  Foolish  Virgins. 

Hylas  and  the  Nymphs. 

The  Dance  described  in  Homer's  Shield. 

The  Prodigal  Son. 

The  Bevy  of  Fair  Women.     (Milton.) 

The  Bridge  of  Sighs,  Venice. 

The  Destruction  of  the  Temple  of  Vice. 

The  Eape  of  Proserpine. 

La  Fleur  de  Lis. 

Adam  and  Eve  at  their  Morning  Orisons. 

The  Prodigal  in  the  depth  of  his  Misery. 

The  Prodigal's  return  to  his  Father  and  Mother. 

The  Origin  of  Marriage.    (Milton.)    Stafford  House. 

Pandora. 

The  Parting  of  Hero  and  Leander. 

The  Death  of  Hero  and  Leander. 

Diana  and  Endymion. 

The  Graces :  Psyche  and  Cupid. 

Amoret  freed  by  Britomart  from  the  power  of  the 

Enchantress. 
Zephyr  and  Aurora. 
Eobinson   Crusoe  returning  thanks  to  God   for   his^ 

deliverance. 


Etzdorf 


PAINTERS  AND  ENGRAVEES. 


Evans 


In  the  National  Gallery. 
The  Imprudence  of  Oandaules,  King  of  Lydia.    1830. 
Window  in  Venice,  during  a  Festa.    1831. 
Youth  on  the  Prow  and  Pleasure  at  the  Helm.    1832. 
The  Lute-Player.    1833. 
The  Dangerous  Playmate.    1833. 
Study  of  a  Man  in  Persian  Costume.    1834. 
Christ  appearing  to  Mary  Magdalen  after  His  Resurrec- 
tion.   1834. 
II  Duetto.    1838. 

Female  Bathers  surprised  by  a  Swan.    1841. 
The  Magdalen.    1842. 

The  Bather  '  at  the  doubtful  breeze  alarmed.'    1844. 
Study  for  a  Head  of  Christ. 

In  the  South  Kensington  Museum, 
Head  of  a  Cardinal.     1844. 
Cupid  sheltering  Psyche.    1823. 
The  Deluge  (a  nude  female  figure).    1815. 

In  the  National  Gallery  of  Scotland,. 
Series  of  three  pictures  illustrating  the  Dehrerance  of 

Bethulia  by  Judith.     1827-31. 
Benaiah,  one  of  David's  Mighty  Men. 
The  Combat — Womau   pleading  for  the  Vanquished. 

1825.     Exhibited  in  1844. 

In  tlie  Royal  Institution^  Manchester. 
Ulysses  and  the  Sirens. 

ETZDORF,  Christian  Friedbich,  a  landscape 
painter,  and  the  younger  brother  of  Johann  Chris- 
tian Etzdorf,  was  born  at  Posneck,  in  the  duchy  of 
Saxe-Meiningen,  in  1807.  He  was  educated  in  art  at 
the  Munich  Academy,  and  at  first  practised  porcelain 
painting,  but  afterwards  devoted  himself  to  land- 
scapes, in  which  he  followed  much  the  same  style 
as  his  brother,  producing  forest  scenes,  rooky 
valleys,  and  winter  pieces.  After  his  brother's 
death  he  returned  for  a  while  to  Posneck,  but 
afterwards  took  to  the  business  of  tanning,  and 
settled  first  in  Kissingen  and  finally  in  Wiirzburg, 
where  he  died  in  1858.  Besides  his  paintings  he 
has  left  eighteen  etchings  of  landscapes,  mostly 
after  his  brother,  and  one  lithograph. 

ETZDORF,  Johann  Christian  Michel,  a  German 
landscape  painter,  was  born  at  Posneck,  in  the 
duchy  of  Saxe-Meiningen,  in  1801.  He  studied 
landscape  painting  in  Munich  and  its  environs,  and 
displayed  an  especial  talent  in  representing  gloomy 
forests,  taking  as  his  models  the  works  of  Ruisdael 
and  Van  Everdingen.  He  visited  Norway,  the 
North  Cape,  Sweden,  Iceland,  and  England.  One 
of  his  best  paintings  is  in  the  Modern  Gallery  at 
Munich ;  it  represents  a  '  Forge  by  the  side  of  a 
Waterfall.'     He  died  at  Munich  in  1851. 

EUMARUS,  of  Athens,  the  foremost  of  the  early 
Greek  painters,  flourished  about  B.C.  540-500.  He 
appears  to  have  introduced  a  degree  of  chiaro- 
scuro into  his  pictures,  which  would  seem  to  have 
been  not  all  monochrome.  It  is  stated  that  he  was 
also  the  first  to  distinguish  the  male  from  the  female 
figure,  and  to  denote  age  and  disposition  in  the 
depicting  of  his  characters. 

EUPHRANOR,  who  was  bom  on  the  Isthmus  of 
Corinth,  but  resided  at  Athens,  is  stated  to  have 
lived  from  B.C.  375  to  335,  and  to  have  studied 
painting  in  the  school  of  Aristeides.  His  chief 
works  were  in  a  porch  in  the  Cerameicus  at  Athens. 
On  the  one  side  were  the  '  Twelve  Gods,'  and  on 
the  opposite  side,  'Theseus,  with  Democracy  and 
Demos,'  in  which  picture  Theseus  was  represented 
as  the  founder  of  the  equal  polity  of  Athens.  In 
the  same  place  was  his  picture  of  the  '  Battle  be- 
tween the  Athenian  and  Boeotian  Cavalry  at 
Mantineia,'  containing  portraits  of  Epaminondas 
and  of  Gryllus,  the  son  of  Xenophon.    He  also 


excelled  as  a  statuary,  both  in  marble  and  metala. 
He  gave  a  peculiar  dignity  to  his  heroes,  and  Pliny 
extols  him  for  an  exact  symmetry  in  his  pro- 
portions. His  picture  of  Theseus  so  satisfied  him 
that  in  comparing  it  with  one  of  the  same  hero 
painted  by  Parrhasius,  he  exultingly  observed,  that 
"  the  Theseus  of  Parrhasius  appeared  to  have  been 
fed  on  roses,  and  his  with  flesh." 

EUPOMPUS,  who  flourished  about  B.C.  400-380, 
founded  the  school  of  Sicyon  upon  his  own  princi- 
ples as  opposed  to  the  softness  of  the  Ionian  school. 
The  'Victor  in  the  Gymnastic  Combat'  is  one  of 
his  best  works.  Pamphilus,  the  master  of  Apelles, 
was  his  pupil. 

EUSEBIO  Di  SAN  GIORGIO,  a  painter  of  Perugia 
in  the  early  part  of  the  16th  century,  was  a  scholar 
of  Perugino,  and  painted  for  churches.  His  works 
are  imitations  or  copies  after  Raphael.  A  fresco 
of  the  Archangel  Michael,  formerly  in  the  Palazzo 
Gualtieri  at  Orvieto,  and  now  in  the  Leipsio 
Museum,  and  which  has  been  ascribed  to  Signor- 
elli,  is  probably  by  Eusebio. 

EUXENIDAS,  an  ancient  Theban  painter,  who 
flourished  about  B.C.  400  or  380,  was  the  master  of 
Aristeides,  but  little  else  is  recorded  respecting 
him. 

EVANS,  George,  a  portrait  painter,  who  flourished 
about  the  middle  of  the  18th  century,  was  a  mem- 
ber of  the  Incorporated  Society  of  Artists,  where 
he  exhibited.     He  died  before  1770. 

EVANS,  Richard,  a  copyist,  was  employed  for 
some  time  by  Sir  Thomas  Lawrence  to  fill  in  the 
background  and  draperies  of  his  pictures.  He  for 
many  years  resided  in  Rome,  where  he  copied  pic- 
tures by  the  old  masters,  besides  painting  some 
original  portraits,  and  also  attempting  fresco- 
painting.  He  died  at  Southampton  in  1871,  aged 
87.  The  copies  in  the  South  Kensington  Museum 
of  the  Raphael  arabesques  are  by  him ;  as  are  also 
the  following  portraits  in  the  National  Portrait 
Gallery : 

Sir  Thomas  Lawrence ;  after  Lawrence. 
Lord  Thurlow ;  after  the  same. 
Thomas  Taylor,  the  Platonist. 

EVANS,  William,  known  as  "Evans  of  Eton," 
a  landscape  painter  in  water-colours,  was  born 
at  Eton  in  1798,  and  succeeded  his  father  as 
professor  of  drawing  at  Eton  College  in  1818.  In 
1828  he  was  elected  an  associate,  and  in  1830  a 
member,  of  the  Water-Colour  Society,  where  he 
continued  to  exhibit  till  1875.  In  his  later  years 
he  suffered  much,  from  a  fractured  jaw,  and  died 
at  Eton  in  1877.     Amongst  his  best  works  are  : 

Llanberis.     1828. 

Barmouth.     1828. 

Ferry  on  the  Tay. 

Burnham  Beeches. 

Doune  Castle. 

The  Gleam  of  Hope. 

Mill  at  Droxford.    (South  Kensinffton  Museum.') 

EVANS,  William,  an  engraver  and  draughts- 
man, who  flourished  in  the  early  years  of  the  19th 
century,  assisted  Benjamin  Smith,  and  made  draw- 
ings for  Cadell's  and  Boydell's  publications.  He 
drew  for  Cadell's  '  Gallery  of  Contemporary  Por- 
traits '  (1822),  and  engraved  some  plates  for  the 
Dilettanti  Society's  '  Specimens  of  Antient  Sculp- 
ture.' His  portrait  of  James  Barry,  R.A.  (drawn 
in  chalk  for  the  'Gallery  of  Contemporary  Por- 
traits ')  is  in  the  National  Portrait  Gallery. 

EVANS,  William,  a  landscape  painter  in  water- 
colours,  known  as  "  Evans  of  Bristol,"  was  born 

469 


Evelyn 


A  BIOGRAPHICAL  DICTIONAEY  OF 


in  1811.  He  lived  for  many  years  at  an  isolated 
spot  in  North  Wales,  where  he  had  abundant 
opportunity  of  depicting  the  rough  mountain 
scenery  in  which  he  excelled.  He  became  in 
1845  an  Associate  of  the  Water-Colour  Society, 
and  after  1852  he  spent  much  time  in  Italy.  He 
died  in  London  in  1858. 

EVELYN,  John,  who  was  born  at  Wotton,  in 
Surrey,  in  1620,  was  an  English  gentleman  who 
claims  a  place  among  the  amateur  artists  of  his 
country,  as  the  engraver  of  five  small  plates  of  his 
journey  from  Eome  to  Naples,  which  were 
etched  in  Paris  in  the  year  1649.  They  bear 
the  annexed  monogram.  He  etched  likewise 
a  view  of  his  own  seat  at  Wotton,  and  another 
of  Putney.  Evelyn  was  the  author  of  one  of  the 
earliest  English  publications  on  the  subject  of 
engraving,  entitled  '  Sculptura,'  published  in  1662. 
He  died  in  London  in  1706. 

BVENOE,  an  eminent  painter  of  Ephesus,  who 
flourished  about  B.C.  420,  was  the  father  and 
instructor  of  Parrhasius. 

EVERDINGEN,  Allart  van,  the  younger 
brother  of  Cesar  van  Bverdingen,  was  born  at 
Alkinaar  in  1612.  He  studied  successively  under 
Eoeland  Savery  and  Pieter  Molyn,  both  of  whom  he 
greatly  surpassed,  and  excelled  in  painting  rocky 
landscapes.  The  talents  of  Van  Everdingen  were 
not,  however,  confined  to  subjects  of  that  descrip- 
tion ;  he  painted  sea-pieces  and  storms  with  sur- 
prising efEect,  and  represented  the  tempest-tossed 
waves  with  awful  and  terrific  fidelity.  In  a  voyage 
which  he  made  to  the  Baltic,  he  was  shipwrecked 
on  the  coast  of  Norway,  where  he  was  under  the 
necessity  of  remaining  some  time,  until  the  vessel 
was  repaired.  He  employed  this  interval  in  making 
sketches  of  the  romantic  wilds  of  that  uncultivated 
country,  which  furnished  him  with  admirable  sub- 
jects for  his  pictures,  in  which  the  grand  forms  of 
his  rocks,  and  the  picturesque  efEect  of  his  water- 
falls, are  drawn  with  a  taste,  and  painted  with 
a  spirit,  that  entitled  him  to  the  appellation  of 
'The  Salvator  Eosa  of  the  North.'  His  colouring 
is  simple  and  pure,  his  touch  broad  and  facile,  and 
it  is  evident  that  every  object  in  his  pictures  was 
studied  immediately  from  nature.  The  small 
figures  with  which  he  embellished  his  landscapes 
are  correctly  drawn,  and  very  neatly  touched.  The 
admirers  of  etchings  are  indebted  to  this  excellent 
artist  for  a  number  of  plates  executed  in  a  free  and 
masterly  style.  His  prints  of  landscapes  amount 
to  about  a  hundred,  of  which  eight  of  the  largest 
and  most  finished  are  very  fine.  He  also  engraved 
a  set  of  fifty-seven  small  prints  for  Gottsched's 
translation  of  '  Reynard  the  Fox,'  published  in 
1752.  He  sometimes  signed  his  plates  with  his 
name,  sometimes  with  the  initials  J.-  V-  -x-v-r 
SI.,  and  at  other  times  with  the  annexed  Aj/ 
He  died  at  Amsterdam  in  ■^  ^^ 


monogram. 
1676. 

Amsterdam.   Museum* 
Berlin.  Gallery. 

Cassel.  Gallery. 

Copenhagen.  Gallery. 

"  » 

Darmstadt.      Gallery. 

Dresden.  Gallery. 

"  I, 

470 


Norwegian  Landscape. 
Landscape. 
Norwegian  Waterfall. 
Norwegian  Hilly  Landscape. 
A  Castle  by  a  River. 
Woody  Landscape. 
Eocky  Landscape.     1648. 
fiiver  and  Eocks.     1647. 
.And  three  others. 
Waterfall. 
A  Eocky  Valley. 
Stag-hunt.     1643. 
Four  Landscapes. 


Frankfort.  Stadellnst. 

Stormy  Sea. 

7)                         yf 

Landscape  with  Mill. 

»j                         )» 

Northern  Landscape. 

Lille.                Museiwi. 

Cascade.     1660. 

London.       Bute  Coll. 

View  in  Norway. 

Munich.          Gallery. 

Landscape  with  Waterfall. 

J)                      )» 

Stormy  Sea-coast. 

Paris.               Louvre. 

Landscape. 

»                        )» 

Landscape. 

Petersburg.  Hermitage 

View  in  Norway.     1647. 

ff                                       )3 

View  in  Norway. 

!1                                        }) 

The  Mouth  of  the  Scheldt 

Rotterdam.    Museum. 

Two  Waterfalls. 

Vienna.           Gallery. 

Eocky  Landscape. 

Ewbank 


1656. 


BVEEDINGEN,  Cesar  van,  born  at  Alkmaar 
in  1606,  was  a  scholar  of  Jan  van  Bronkhorst.  He 
painted  historical  subjects  and  portraits,  and  was 
also  an  eminent  architect.  In  1632  he  became  a 
member  of  the  Guild  at  his  native  place,  and  in 
1651  of  that  at  Haarlem.  One  of  his  most 
esteemed  works  was  in  the  principal  church  of 
Alkmaar,  representing  the  "Triumph  of  David.' 
He  gained  great  reputation  by  a  picture  he  painted 
of  the  Portraits  of  the  Company  of  Archers,  for 
their  hall  of  assembly.  He  died  in  1679. 
His  works  are  signed  with  the  initials  ^fp 
C.  V.  JH.fOT  with  the  monogram  annexed,  ^i-^ 
An  important  work  by  him  (signed  with  his  mono- 
gram and  dated  1652)  is  in  the  Hague  Gallery.  It 
represents  '  Diogenes  in  the  market-place  of  Haar- 
lem seeking  an  honest  man,'  and  contains  portraits 
of  the  Steyn  family  of  Haarlem. 

EVERDINGEN,  Jan  van,  the  youngest  of  the 
three  brothers  of  the  name,  was  bom  in  1625,  and 
died  in  1656.  He  was  instructed  by  his  brother 
Cesar,  but  painted  only  for  amusement,  being  by 
profession  an  advocate. 

EVERSDYCK,  Cohnblis  Willkmsz,  was  a  por- 
trait painter  of  Goes,  who  died  there  in  1649.  In 
the  Rotterdam  Museum  are  three  pictures  by  him, 
representing  Officers  and  Members  of  the  Company 
of  Archers,  called  "  Edele  Voetboog,"  at  Goes ;  two 
of  which  are  dated  1616  and  1624. 

EVERSDYCK,  Willbm,  the  son  of  Cornelia 
Eversdyclj,  flourished  at  Goes  about  the  year  1660. 
He  was  a  portrait  painter,  and  several  of  his  por- 
traits were  engraved  by  Houbraken.  A  picture  of 
OfiBcers  and  Members  of  the  Company  of  Archers, 
caUed  "  Edele  Voetboog,"  at  Goes,  by  him,  is  in 
the  Rotterdam  Museum. 

EVRARD,  Perpbte,  a  painter  of  portraits  and 
miniatures,  was  born  at  Dinant  about  the  middle 
of  the  17th  century,  and  was  employed  at  several 
foreign  courts.     He  died  at  the  Hague  in  1727. 

BWBANK,  John  Wilson,  a  landscape  painter, 
was  born  at  Darlington  in  1799.  Intended  for  the 
Roman  Catholic  priesthood,  he  was  sent  to  Ushaw 
College,  but,  absconding,  he  apprenticed  himself 
to  a  house-painter  in  Newcastle,  whence  he  was 
taken  to  Edinburgh  by  Coulson,  a  decorator  of 
considerable  ability :  he  afterwards  received  in- 
struction from  Alexander  Nasmyth.  He  became 
one  of  the  foundation  members  of  the  Royal 
Scottish  Academy  in  1826,  and  about  that  time 
produced  some  works  of  a  larger  character,  such 
as  '  George  IV.  at  Edinburgh  Castle,'  '  The  Entry 
of  Alexander  the  Great  into  Babylon,'  '  Hannibal 
crossing  the  Alps,'  'View  of  Edinburgh  from 
Inchkeith,'  &c.  He  passed  the  last  ten  or  twelve 
years  of  his  life  in  Sunderland,  where  through 
intemperance  he  fell  into  great  misery  and  want, 
and  died  in  1847.  His  sea  and  shore  views  were 
admirable  in   their   simplicity,  while  their  aerial 


Ewoutzoon 


PAINTERS  AND  ENGRAVERS. 


Eyck 


effect  has  seldom  been  surpassed.  A  '  Canal  Scene 
with  Shipping'  is  in  the  National  Gallery  of 
Scotland. 

EWOUTZOON,  Jan,  a  Dutch  wood-engraver, 
who  flourished  at  Amsterdam  in  the  first  half  of 
the  16th  century,  executed  many  of  the  designs 
of  Cornelis  Teunisse  or  Antoniszoon,  of  which 
'Mucins  Scaevola,'  a  'Woman  mounted  upon  an 
Ass,'  and  an  '  Allegory  upon  the  Flight  of  Time,' 
bear  his  signature,  and  the  two  last  the  dates  1536 
and  1537. 

BXIMENO,  Joaquin,  a  Spanish  artist,  born  at 
Valencia  in  1674,  painted  fruit,  flowers,  birds, 
fish,  and  objects  of  still-life,  which  he  repre- 
sented with  great  fidelity.  He  died  in  1764.  His 
works  are  classed  by  Cean  Bermudez  with  those 
of  his  father,  who  bore  the  same  Christian  name, 
and  in  conjunction  with  whom  he  painted.  Their 
pictures  were  much  esteemed  by  amateurs  of  the 
time,  and  four  of  large  size  are  in  the  church  of 
Our  Lady  of  the  Pillar  at  Valencia. 

EXSHAW,  Charles,  an  historical  painter  and 
engraver,  was  bom  at  Dublin  in  the  early  part  of 
the  18th  century.  He  studied  at  Rome,  Amsterdam, 
and  probably  in  Paris,  and  engraved  portraits  of 
the  Van  Loo  family,  but  about  1758  he  came  to 
London  and  endeavoured  to  start  a  drawing  aca- 
demy. He  died  in  1771.  His  prints  are  chiefly 
imitations  of  the  works  of  Rembrandt,  and  are  not 
without  merit.  Among  other  plates  the  following 
are  by  him  : 

A  Bust  of  an  old  Han,  with  a  round  hat ;  after  Sem- 

Irandt.     1758. 
A  Head  of  an  old  Man,  with  a  beard :  after  the  same. 

1758. 
Joseph  and  Pofciphar's  "Wife ;  after  the  same. 
St.  Peter's  Bark  in  the  Storm  ;  after  the  same. 
A  Girl  cai-rying  a  Basket  of  Cherries,  with  two  Boys, 

each  having  a  Gun ;  after  Rubens. 

EYBEL,  Adolf,  aGerman  painterof  historical  and 
genre  subjects  and  of  portraits,  was  born  at  Berlin 
in  1808.  He  studied  at  the  Berlin  Academy,  and 
under  Professor  Kolbe,  as  well  as  in  Paris  under 
Delaroche.  One  of  his  most  noted  pictures  repre- 
sents '  Richard  Coeur-de-Lion  with  his  Court  listen- 
ing to  Blondel's  Song.'  He  died  at  Berlin  in  1882. 
The  following  works  by  him  may  also  be  men- 
tioned : 

A  Gleaner. 

The  Battle  of  Fehrbellin. 

Scene  from  Sir  "Walter  Scott's  '  'Woodstock.' 

Scene  from  '  Faust.' 

A  Wine  Party. 

EYBL,  Feanz,  an  Austrian  portrait  and  genre 
painter,  was  born  at  Vienna  in  1806,  studied  in  the 
Academy  of  his  native  city,  and  became  a  member 
of  it  in  1843.  He  died  in  1880.  He  was  for  some 
time  custodian  of  the  Belvedere  Gallery,  which 
possesses  two  characteristic  works  by  him : 

An    old   Austrian  Peasant    'Woman  leaving  Church. 

1847. 
An  old  Beggar,  in  a  mountainous  landscape.    1856. 

EYCK,  Gaspae  van,  a  Flemish  painter  of  marine 
subjects  and  sea-fights,  was  bom  at  Antwerp  about 
the  commencement  of  the  17th  century,  and  was 
received  into  the  Guild  of  St.  Luke  in  1632.  He 
died  in  1673.  Three  pictures  by  him  are  in  the 
Madrid  Gallery. 

EYCK,  Hubert  van,  the  elder  of  the  two  brothers 
Van  Eyck,  was  bom  at  Maaseyck,  in  the  duchy  of 
Limburg,  according  to  Van  Mander,  about  the  year 
1366.  Very  little  is  known  of  his  history.  It  appears 


probable  that  he  and  his  younger  brother  Jan,  who 
was  his  pupil  and  assistant,  were  both  employed 
together  at  Ghent  in  the  service  of  Philip  of  Bur- 
gundy, then  Count  of  Charolois,  about  the  year  1410, 
the  date  wfhich  Vasari  assigns  as  that  of  the  invention 
of  oil-painting.  Their  names,  however,  are  not  re- 
corded in  the  register  of  the  Guild  of  St.  Luke  until 
1421,  when,  on  the  death  of  Michelle  de  France,  the 
wife  of  Philip  of  Burgundy,  they  were  admitted 
into  the  Guild  writhout  payment  as  a  tribute  to  her 
memory,  they  having  been  "  her  favourite  painters." 
Hubert  van  Eyck  appears  to  have  lived  at  Ghent 
until  his  death  in  1426.  Only  a  part  of  one  great 
picture,  '  The  Adoration  of  the  Mystic  Lamb,'  in 
the  Cathedral  of  St.  Bavon  at  Ghent,  is  known 
for  certain  to  be  by  his  hand,  but  this  is  sufScient 
to  testify  to  his  powers.  He  received  the  commis- 
sion for  this  work  from  Jodocus  Vydt,  a  burgo- 
master of  Ghent,  but  did  not  live  to  carry  it  out. 
He  was  buried  in  the  chapel  in  which  this  great 
altar-piece  was  afterwards  placed,  and  his  arm 
was  preserved  as  a  relic  in  the  cathedral  of  St. 
Bavon  until  the  16th  century,  when  it  disappeared. 

M.M.H. 
EYCK,  Jan  van,  who  was  bom  after  1380, 
is  believed  to  have  been  about  twenty  years 
younger  than  his  brother  Hubert,  Van  Mander's 
statement  to  this  effect  being  confirmed  by  their 
two  portraits  on  one  of  the  wings  of  the  altar- 
piece  in  St.  Bavon.  In  these  portraits  Hubert 
looks  almost  an  old  man,  and  Jan  quite  young. 
Jan,  like  his  brother,  was  bom  at  Maaseyck,  in 
Limburg.  This  district  seems  to  have  had  an  early 
repute  as  a  seat  of  art,  and  one  Pol  van  Limburg 
is  referred  to  in  the  archives  of  France  as  having 
been  in  the  service  of  Jean  de  Berri  from  1400  to 
1416.  According  to  tradition  the  Van  Eycks  sprang 
from  an  artistic  family,  but  nothing  is  known  of 
their  father.  It  is  probable  that  it  was  while  Jan 
was  acting  as  assistant  to  his  brother  in  Ghent 
that  the  celebrated  invention  of  oil-painting  was 
made  by  them,  or  rather,  it  should  be  said,  that  the 
unsatisfactory  methods  of  oil-painting  previously 
known  were  brought  to  perfection.  It  is  difficult 
to  determine  exactly  in  what  the  Van  Eyck  dis- 
covery really  consisted,  for  it  is  certain  that  a  pro- 
cess of  mixing  oil  with  colour  was  known  at  an 
earlier  date.  It  was  even  described  by  the  monk 
Theophilus  in  the  11th  century  in  his  treatise, 
'Incipit  tractatus  Lombardicus  qualiter  temper- 
antur  colores,'  and  bas-reliefs  and  statues  were 
constantly  painted  with  oil-colours  in  the  Nether- 
lands long  before  the  I6th  century.  But  the  process 
invented  by  the  Van  Eycks  must  evidently  have 
solved  some  difficulty  that  had  hitherto  prevented 
the  successful  application  of  oil-colour  in  painting, 
for  their  discovery  was  at  once  eagerly  welcomed 
by  artists,  and  the  greatest  anxiety  evinced  by  the 
artists  of  Italy,  as  well  as  by  those  of  the  Nether- 
lands, to  learn  the  secret  of  their  success.  Vasari 
gives  a  graphic  account  of  the  manner  of  the  dis- 
covery, which  in  his  first  edition  he  attributes 
solely  to  Jan,  the  name  of  Hubert  not  having  then 
been  known  to  him  ;  but  he  just  mentions  Hubert 
in  the  next  edition,  and  other  early  writers  agree 
in  ascribing  the  discovery  to  both  brothers,  Hubert 
being  at  the  time  about  forty  years  of  age,  and  Jan 
about  twenty,  working  in  his  brother's  workshop. 
With  regard  to  the  discovery  itself,  it  seems  to 
have  consisted  firstly  in  a  varnish  that  was  drying 
without  being  dark,  and  secondly  in  a  liquid  and 
colourless  medium  that  could  be  mixed  with  the 

471 


Eyck 


A   BIOGRAPHICAL  DICTIONARY  OP 


Eyck 


colours,  and  so  do  away  with  the  necessity  of  using 
the  old  coloured  viscous  varnish  at  all. 

Soon  after  his  admission  into  the  Guild  of  Painters 
at  Ghent,  Jan  van  Eyck  entered  the  service  of  thei 
infamous  John  of  Bavaria,  the  warlike  bishop  of 
Li^ge,  called  for  his  cruelties  '  Jean  sans  Piti^,' 
and  went  with  him  to  the  Hague  after  his  seizure 
of  Holland.  M.  A.  Pinohart,  the  learned  keeper 
of  the  records  at  Brussels,  has  at  least  discovered 
that  the  name  of  "  Jean  the  painter,"  described  as 
"  our  gracious  Lord's  painter,"  occurs  occasionally 
in  the  accounts  of  Hendrik  Noothaft,  treasurer  of 
Holland  from  Sept.  23,  1422,  to  Sept.  11,  1424,  and 
this  "  Jean  the  painter  "  is  believed  to  have  been 
Jan  van  Eyck. 

In  the  autumn  of  1424,  shortly  before  the 
death  of  John  of  Bavaria,  Jan  van  Eyck  left 
his  service  and  returned  to  that  of  Philip  the 
Good,  Duke  of  Burgundy  and  Count  of  Flanders,  to 
whom  he  was. appointed  court  painter  and  '  varlet 
de  chambre,'  with  a  •  salary  of  one  hundred  livres 
per  annum,  and  all  the  "honours,  prerogatives, 
franchises,  liberties,  rights,  profits,  and  emoluments 
thereunto  appertaining,"  on  the  19th  of  May,  1425. 
(See  Laborde'a  '  Les  Dues  de  Bourgogne,'  a  work 
which  has  made  known  many  particulars  of  Jan 
van  Eyck's  history.)  In  this  honourable  position 
he  was  treated  with  great  distinction  by  the  Duke, 
who  employed  hira  on  various  secret  missions 
and  journeys,  for  which  he  had  special  payment. 
What  these  secret  journeys  and  pilgrimages  were 
about  we  are  not  told,  but  it  is  surmised  that  they 
were  probably  for  the  purpose  of  taking  the  por- 
traits of  various  princesses  to  whom  Philip,  who 
was  now  a  widower,  thought  of  ofiering  his  hand. 

One  such  journey  we  know  he  undertook  openly 
in  1428,  when  he  went  to  Portugal  with  the 
ambassador  who  was  to  negotiate  the  marriage 
between  Philip  and  the  young  Infanta.  His  por-  • 
trait  of  the  young  lady  was  sent  off  to  Flanders 
immediately,  and  it  may  be  supposed  pleased  the 
Duke,  for  the  wedding  was  celebrated  by  proxy 
in  July,  1429,  and  Jan  van  Eyck  returned  with 
the  bride  to  Flanders,  arriving  at  Sluys,  after  long 
detention  by  the  weather,  on  Christmas  Day,  1429. 

From  this  time  Jan  van  Eyck  would  seem  to 
have  settled  in  Bruges,  where  he  bought  a  house 
in  1430,  and  probably  married  about  the  same  time, 
though  the  first  notice  we  have  of  this  event  is  in 
1434,  when  the  Duke  stood  godfather  for  his  infant 
daughter. 

After  his  settlement  in  Bruges,  Jan  van  Eyck 
took  up  the  work  which  his  brother  Hubert  had 
left  unfinished  at  his  death,  on  the  great  altar- 
piece  of  the  '  Adoration  of  the  Mystic  Lamb.' 
The  three  upper  central  panels  of  this  magnificent 
altar-piece,  consisting  of  the  figures  of  the  Father, 
the  Virgin  Mary,  and  St.  John  the  Baptist,  and  the 
two  outer  wings,  figures  of  Adam  and  Eve,  are  all 
that  can  be  ascribed  with  certainty  to  Hubert ;  but 
probably  the  whole  conception  of  the  subject  was 
his,  though  the  marvellous  execution  of  the  central 
portion,  representing  the  '  Mystic  Lamb  adored  by 
the  Church,'  and  the  other  wings,  belongs  to  Jan. 
This  celebrated  altar-piece,  which  must  be  regarded 
as  one  of^  the  most  magnificent  productions  of 
early  Flemish  art,  and  which  marks  an  epoch  in  the 
history  of  painting,  was  finished  by  Jan  in  1432, 
six  years  after  his  brother's  death,  and  was  set  up 
in  the  presence  of  an  admiring  multitude  in  the 
Vydt  family  chapel  in  St.  Bavon  in  Ghent,  where 
the  central  portions  still  remain,  the  panels  of  Adam 

472  >       i-  4 


and  Eve  being  now  at  Brussels,  and  the  other 
panels  at  Berlin.  Next  in  importance  to  the 
altar-piece  at  St.  Bavon  stands  a  work,  now  in 
the  Madrid  Gallery,  representing  '  The  Triumph  of 
the  Church.'  The  style,  subject,  and  execution 
of  this  painting  are  so  similar  to  those  of  the 
'Adoration  of  the  Mystic  Lamb,'  that  Crowe  and 
Cavalcaselle  assign  it  unhesitatingly  to  Jan,  though 
Passavant  ('Die  Christliche  Kunst  in  Spanien'), 
who  was  the  first  to  make  it  known,  was  in  favour 
of  its  being  by  Hubert.  Other  pictures  by  Jan  van 
Eyck  are  the  'Virgin  and  Child,'  usually  known 
as  the  'Virgin  and  the  Donor, '^  in  the  Louvre, 
painted  for  the  chancellor  RoUin ;  the  '  Virgin  and 
St.  Donat,'  called  also  the  '  Pala  Madonna,'  in 
the  Bruges  Academy ;  the  '  Virgin  and  Child,'  at 
Ince  Hall,  near  Liverpool ;  the  careful  drawing  of 
'St.  Barbara,'  in  the  Antwerp  Museum;  '  Salvator 
Mundi,'  and  the  portrait  known  as  the  'Man  with 
the  Pinks,'  in  the  Berlin  Gallery ;  the  'Virgin  and 
St.  Barbara,'  in  the  possession  of  the  Marquis  of 
Exeter,  known  as  the  '  Burghley  House  Madonna ' ; 
a  portrait  of  his  wife,  in  the  Bruges  Academy;  two 
portraits  of  men,  in  the  Vienna  Gallery ;  the '  Virgin, 
with  SS.  Catharine  and  George,'  in  the  Dresden 
Gallery ;  and  the  three  paintings  in  the  National 
Gallery,  of  which  the  portraits  of  Giovanni  Arnol- 
fini  of  Lucca  and  his  wife  is  one  of  the  most 
perfect  works  of  the  master.  "No  other  picture," 
says  Kugler,  "  shows  so  high  a  development  of  his 
powers."  It  is  in  truth  a  marvellous  work  in  its 
splendour  of  colour,  knowledge  of  light  and  shade, 
and  minute  rendering  of  detail.  It  is  signed 
Johannes  de  Eyck  fuit  hie,  with  the  date  1434. 
Its  remarkable  history  is  given  in  the  National 
Gallery  catalogue. 

The  date  of  Jan  van  Eyck's  death  was  formerly 
as  uncertain  as  that  of  his  birth,  but  it  now  seems 
tolerably  well  proved  that  it  took  place  at  Bruges 
on  the  9th  of  July,  1440  (see  Weale's  '  Notes  sur 
Jean  van  Eyck').  The  last  record  of  him  in  the 
ducal  accounts  is  a  payment  in  1448-49,  to  enable 
Lyennie,  daughter  of  Jan  van  Eyck,  to  enter  the 
convent  of  Maaseyck. 

The  Van  Byoks  must  be  regarded  as  the  founders 
of  a  new  school  of  painting  in  Flanders,  a  school 
in  which  realism  took  the  place  of  mysticism,  and 
tradition  gave  way  before  knowledge.  They  in- 
troduced also  a  true  feeling  for  landscape,*  and 
landscape  backgrounds  and  minutely-renderid  land- 
scape foregrounds  are  among  the  chief  charms  of 
their  pictures.  They  left  a  large  number  of  pupils 
and  followers,  who  carried  on  very  faithfully  the 
traditions  of  their  art,  until  about  the  beginning  of 
the  16th  century. 

BIBLIOGRAPHY. 

Crowe  and  Cavalcaselle, '  Early  Flemish  Painters,'  1872. 
Michieh,  '  Histoire  de  la  Peintiire  Flamande  et  Hol- 

landaise,'  1845-49. 
Lahorde, '  Les  Dues  de  Bourgogne,'  1849-52. 
Weale, '  Notes  sur  Jean  van  Eyck,'  1861. 
Eastlake,  'Materials  for  a  History  of   Oil  Painting,' 

1847. 
Eisenmann, '  Die  Briider  van  Eyck,'  1877.   (In  Dohme's 

'  Kunst  und  Kiinstler.'')  M.M.H. 

EYCK,  Lambebt  van.  The  name  of  Lambert 
van  Eyck  occurs  in  the  accounts  of  the  Duke  of 
Burgundy,  and  it  is  generally  supposed  that  he  was 
a  brother  of  Hubert  and  Jan,  and  also  a  painter ;  in 
fact,  a  reference  recently  observed  in  the  archives 
of  Lille  seems  to  confirm  this  supposition  ;  but  no 
work  of  his  is  known  to  remain.  M.M.H. 


Eyck 


PAINTERS  AND  ENGRAVERS. 


Faber 


EYCK,  Margaret  van.  It  is  known  that  the 
Van  Eyck  brothers  had  a  sister  named  Jilargaret, 
who  is  said  by  old  writers  to  have  been  an  excellent 
painter;  but  no  works  can  with  any  certainty  be 
assigned  to  her,  though  her  name  is  often  to  be 
met  with  in  catalogues.  She  died  before  Jan,  and 
was  buried,  like  her  brother  Hubert,  in  St.  Bavon 
at  Ghent.  j[ jIH. 

EYCK,NicoLAAa  van,  who  was  born  at  Antwerp 
in  1627,  and  died  in  1677,  painted  cavalry  en- 
counters and  camp  scenes.  In  the  Vienna  Gallery 
is  a  picture  by  him  of  'Troops  quartered  in  a 
Village,'  and  in  the  Lille  Museum  is  an  equestrian 
portrait.  He  is  presumed  to  have  been  a  brother 
of  Gaspar  van  Eyck. 

EYCKEN,  Jean  Baptiste  van,  a  Belgian  his- 
torical painter,  was  born  at  Brussels  in  1809,  and 
studied  under  Navez,  obtaining  the  first  prize 
at  the  Brussels  Academy  in  1835.  He  died  at 
Schaerbeek,  near  Brussels,  in  1853.  Amongst  his 
works  are  the  following : 

Abundance.    (/» the  possession  of  the  Queen.) 
St.  Sebastian. 
The  Crown  of  Thorns. 

Parmegiano  at  the  Sacking  of  Eome.    (Brussels  Mu- 
seum.) 
Descent  from  the  Cross.    (Brussels  Museum.) 
Tobit  restoring  his  Father's  Sight. 
St.  Cecilia. 

EYCKENS.     See  Ykens. 

EYDEN,  Jeremias  van  der.  See  Van  deb 
Etden. 

EYK,  Abraham  van  der.    See  Van  der  Byk. 

EYNDEN,  Frans  van,  born  at  Nymegen  in 
1694,  studied  under  Elias  van  Nymegen  at  Hotter- 
dam.  Aided  by  the  counsels  of  Chevalier  Van  der 
Werf,  he  painted  Arcadian  scenes,  which  he  exe- 
cuted in  the  manner  of  Jan  van  Huysum,  but  not 
with  equal  perfection.  His  skies  and  distances  are 
serene  and  delicate,  and  the  clouds  illumined  by 
the  sun  are  pleasingly  reflected  in  the  waters.  His 
scenes  are  skilfully  varied,  and  the  different  kinds 
of  trees  characterized  with  a  neat  and  masterly 
touch ;  his  figures  also  are  well  painted,  and  dis- 
posed with  judgment.  He  seldom  signed  his  pic- 
tures, unless  required  to  do  so  by  the  purchaser. 
He  died  at  Nymegen  in  1742. 

EYNDEN,  Jacobus  van,  a  nephew  of  Frans  van 
Eynden,  born  at  Nymegen  in  1733,  studied  art 
under  his  father,  and  painted  principally  water- 
colour  pictures  of  flowers,  fruit,  animals,  and 
views  of  towns.     He,  however,  devoted  a   large 

Sortion  of  his  time  to  science.  He  died  at 
ymegen  in  1824. 

EYNDEN,  RoBLAND  van,  the  younger  brother  of 
Jacobus  van  Eynden,  was  bom  at  Nymegen  in 
1747,  and  died  at  Dordrecht  in  1819.  Like  his 
brother  he  devoted  but  a  portion  of  his  time  to 
painting,  and  is  principally  known  by  his  works 
on  art  and  artists,  of  which  the  most  important  is 
the  '  Geschiedenis  der  Vaderlandsohe  Schilder- 
kunst,'  written  in  conjunction  witlK  Van  der 
Willigen,  and  published  in  1816-1842.  ' 

EYNHOUDTS,  Bemoldus,  or  Eombout,  a  Flemish 
painter  and  engraver,  was  born  at  Antwerp  in  1605, 
and  died  there  in  1679.  He  was  a  pupil  of  Adam 
van  Oort,  and  painted  portraits ;  but  he  is  better 
known  as  an  engraver.  He  executed  several  plates 
after  Rubens,  Cornells  Schut,  and  other  painters  of 
the  Flemish  school ;  and  some  of  the  prints  for 
the  Teniers  Gallery.  They  are  engraved  in  a  slight, 
dark  style ;  and  his  drawing,  though  not  very  cor- 


rect, is  bold  and  masterly.    Among  other  prints  by 
him  are  the  following : 

SUBJECTS  AFTER  EUBENS. 
The  Adoration  of  the  Magi. 
The  Resurrection. 
The  Virgin  and  Child,  with  St.  Bonaventure  and  Eubens 

as  St.  George. 
St.  Gregory,  surrounded  with  emblematical  figures. 
The  Four  Doctors  of  the  Church,  with  St.  Clara  holding 

the  Sacrament. 
St.  Christopher. 

The  Virgin  with  the  Infant  Christ,  seated  in  a  bower. 
St.  Peter  and  St.  Paul. 
The  Judgment  of  Cambyses. 
Peace  and  Prosperity. 

SUBJECTS  AETER  VARIOUS   MASTERS. 
The  Assumption  of  the  Virgin ;  after  Gornelis  Schut, 
The  Trinity  ;  after  the  same. 
The  Martyrdom  of  St.  George ;  after  the  same. 
St.  Anne ;  after  the  same. 
The  Risen  Saviour ;  after  the  elder  Palma. 
St  John  the  Baptist ;  after  the  same. 
The  Dead  Christ ;  after  the  younger  Palma, 
The  Ascension ;  after  the  same, 

EYRE,  James,  a  landscape  painter,  was  born  at 
Derby  m  1802.  and  received  instruction  from 
Creswick  and  De  Wint.  He  died  in  1829. 
■  EZPBLETA,  — ,  a  painter  of  Aragon,  who  ex- 
celled in  miniatures  and  illumination,  was  bom  at 
Alagon,  and  died,  aged  60,  about  the  middle  of  the 
16th  cfentury,  at  Saragossa,  where  he  illuminated 
with  great  delicacy  many  choir-books  for  the 
cathedral. 

EZQUERRA,  Geronimo  Antonio  de,  who  was 
a  scholar  of  Antonio  Palomino,  flourished  in  the 
early  years  of  the  18th  century.  A  specimen  of 
his  skill  in  landscape  is  in  the  Madrid  Gallery; 
it  represents  '  Neptune  with  Tritons  and  Nereids,' 
on  a  wooded  sea-shore.  He  produced  a  series  of 
Saints  for  the  church  of  San  Felipe  Neri  at  Madrid, 
and  various  works  for  the  palace  of  Buenretiro. 


F 


FABEE,  FRiD^Rlc  Theodoee,  a  Belgian  land- 
scape and  genre  painter,  born  at  Brussels  in  1782, 
was  first  instructed  by  his  father,  but  in  1799  ho 
went  to  Antwerp,  and  studied  under  Ommeganck. 
He  afterwards  established  at  Brussels  a  china 
manufactory,  and  abandoned  painting  on  canvas 
for  painting  on  porcelain.  He  also  etched  upwards 
of  a  hundred  plates  of  landscapes  and  animals, 
some  after  his  own  designs,  and  others  after  Om- 
meganck, De  Roy,  and  Van  Assche.  He  died  in 
1844. 

FABER,  JoHAN,  the  elder,  was  one  of  the  first 
artists  who  worked  in  mezzotint.  He  was  born 
at  the  Hague  about  the  year  1660,  and  came  to 
London  about  1687,  where  he  executed  a  consider- 
able number  of  plates  after  his  own  designs.  He 
died  at  Bristol  in  1721.  The  following  are  his  best 
works : 

The  Portraits  of  the  Founders  of  Colleges  at  Oxford 

and  Cambridge. 
The  Heads  of  the  Philosophers ;  after  Buhens. 
Dr.  John  TVallis,  the  mathematician ;  after  Kneller. 
Humphrey  Lloyd,  of  Denbigh,  antiquary.    1717. 

FABER,  JoHAN,  the  younger,  who  was  bom 
in  Holland  in  1684,  was  instructed  by  his  father, 
Johan  Faber  the  elder,  and  by  J.  van  der  Banck. 
He  greatly  surpassed  his  father  as   a  mezzotint 

473 


A  BIOGEAPIIICAL  DICTIONAEY  OF 


Faber 

engraver,  and  was  esteemed  the  ablest  artist  of  his 
time  in  that  branch  of  art,  after  John  Smith.  He 
died  in  London  in  1756.  Among  his  165  plates, 
which  are  executed  in  a  bold  and  free  manner, 
there  are : 

The  Beauties  of  Hampton  Court ;  after  Kneller. 

The  Forty-eight  Portraits  of  the  Members  of  the  Kit- 
Cat  Club  ;  after  the  same. 

Charles  II.  in  his  robes,  seated ;  after  Ldy.     1750. 

Edmund  Halley  ;  after  Murray.     1722. 

A  Man  playing  the  Guitar  ;  after  F.  Hah.     1754. 

Ignatius  Loyola  ;  after  Titian.     1756. 

The  Children  of  Frederick,  Prince  of  "Wales;  after 
Du  Pan.  J      T3      J 

Caroline,  Queen  of  George  II. ;  after  J.  van  der  JSancle. 

Sir  Isaac  Newton  ;  after  the  same.     1726. 

Michael  Eysbraok,  sculptor ;  after  the  same. 

Enoch  Seeman,  painter  ;  after  the  same. 

George  Lambert,  landscape  painter ;  after  the  same. 

FABBR,  JoHANN,  a  landscape  painter,  was  born 
at  Hamburg  in  1778,  and  died  in  the  same  city  in 
1846.  He  worked  originally  at  historical  subjects, 
and  painted  the  altar-piece,  '  SufEer  Little  Children 
to  come  unto  Me,'  for  St.  Catharine's  Church  at 
Hamburg.  On  his  journey  to  Italy  in  company 
with  J.  A.  Koch  and  Eeinhardt,  he  was  induced  to 
adopt  landscape  painting,  in  which  line  he  is  best 
known.  The  Beriin  Gallery  contains  a  '  View  of 
the  Capuchin  Monastery,  near  Naples,'  by  him 
(1830). 

FABBE,  JoHANN  Theodok  Eusebius,  a  landscape 
painter,  was  born  at  Gottleube  in  1772,  and  died 
at  Dresden  in  1852.  There  are  two  landscapes  by 
him  in  the  Dresden  Gallery,  one  in  the  Harz 
mountains,  and  the  other  in  the  Tyrol. 

FABBE,  PlEKHB,  a  French  engraver,  who  resided 
at  Lyons  about  the  year  1621.  He  was  chiefly 
employed  by  the  booksellers,  for  whom  he  engraved 
several  plates,  in  a  neat  stj-le,  but  without  much 
taste. 

FABEE  DU  FAUE,  Cheistian  Wilhelm  von, 
a  German  painter,  was  born  at  Stuttgart  in  1780. 
He  first  devoted  himself  to  painting,  but  subse- 
quently became  a  soldier,  and  as  a  lieutenant 
served  in  the  Eussian  campaign,  which  he  after- 
wards illustrated  by  his  sketches  in  a  work  en- 
titled, '  Blatter  aus  meinem  Portefeuille  im  Lauf e 
des  Feldzugs  1812,'  published  in  1831-44.  His 
most  noteworthy  paintings  are,  '  The  Passage  of 
the  Beresina,'  a  work  of  great  merit,  and  'The 
Coffee-House  at  Wilna.'  He  died  at  Stuttgart  in 
1867. 

FABIO,  Pio,  a  painter  of  Udine,  studied  at 
Eome,  and  in  1678  became  a  member  of  the 
Academy  of  St.  Luke.  He  afterwards  returned  to 
his  native  place,  where  he  painted  several  altar- 
pieces. 

FABIUS,  called  Pictob,  a  Roman  artist,  de- 
scended from  the  celebrated  family  of  the  Fabii, 
painted  principally  at  Eome,  and  in  B.C.  304 
decorated  the  Temple  of  Salus  on  the  Quirinal 
Hill,  with  a  representation  probably  of  the  battle 
gained  by  Bubulus  over  the  Samnites.  His  paint- 
ings were  preserved  until  the  reign  of  the  Emperor 
Claudius,  when  the  above  temple  was  destroyed 
by  fire.  They  were  probably  held  in  little  estima- 
tion, as  Pliny,  to  whom  tliey  must  have  been  known, 
neither  acquaints  us  with  the  subjects,  nor  com- 
mends the  execution.  The  art  of  painting  in  its 
rude  and  early  forms  was  general  in  Italy,  but  was 
founded  on  the  Etruscan  style,  which  never  ad- 
vanced beyond  a  fiat  polychromatic  treatment.  In 
the  fine  arts  Eome  owes  all  to  >jreece,  and  in  paint- 
474 


Fabri 


ing  never  acquired  the  individuality  which  she  did 
in  the  other  arts.  That  painting  was  then  little 
respected  by  the  Eomans,  and  that  the  title  of 
'  pictor '  was  not  considered  as  an  honourable  dis-  • 
tinotion,  but  rather  intended  to  stigmatize  the 
illustrious  character  who  had  degraded  his  dignity 
by  the  practice  of  an  art  which  was  held  in  no 
consideration,  may  be  inferred  from  a  passage  of 
Cicero,  in  the  first  book  of  his  '  Tusculan  Disputa- 
tions ' :  "An  censemus  si  Fabio  nobilissimo  homini 
laudatum  esset  quod  pingeret,  non  multos  etiam 
apud  DOS  Polycletos  et  Parrhasios  fuisse."  No 
tradition  of  Eoman  painting  exists  earlier  than  the 
time  of  Fabius,  nor  does  his  example  appear  to  have 
been  followed  by  any  of  his  contemporaries ;  for 
an  interval  of  nearly  a  hundred  and  fifty  years 
occurs  before  any  mention  is  made  of  another 
Eoman  painter. 

FABEE,  FKANgois  Xavier,  a  French  painter  of 
historical  subjects,  portraits,  and  landscapes,  was 
born  at  Montpellier  in  1766.  He  studied  under 
Jean  Coustou  and  under  David,  and  obtained  the 
'  grand  prix  '  in  1787.  He  was  at  Eome  in  1793, 
and  afterwards  went  to  Naples  and  to  Florence, 
where  he  resided  for  some  years,  becoming  a 
professor  in  the  academy,  and  marrying  secretly 
(it  is  said)  the  Countess  of  Albany,  after  the  death 
of  Alfieri.  He  returned,  to  Montpellier  in  1826, 
and  there  founded  the  Bcole  des  Beaux-Arts,  of 
which  he  became  director.  He  was  created  a 
baron  in  1830.  He  died  in  1837  at  Montpellier, 
bequeathing  to  that  city  the  collections  of  pictures, 
engravings,  cameos,  and  books  which  form  the 
Museum  which  bears  his  name.  Amongst  his  chief 
works  are : 

Philoctetes  at  Lemnos. 

Saul  pursued  by  the  Shade  of  Samuel. 

The  Judgment  of  Paris. 

The  Death  of  Milo. 

Portrait  of  Alfieri.    ( Uffizi,  Florence.) 

Portrait  of  the  Countess  of  Albany.     (Uffizi,  Florence.) 

Neoptolemus  and  Ulysses  taking  from  Philoctetes  the 

arrows  of  Hercules.     (Louvre.) 
The  Death  of  Abel.    {Musee  Fabre,  Montpellier.) 
The  Holy  Family.     {Musee  Fabre,  Montpellier.) 
The  Death  of  Narcissus.     (Musee  Fabre,  Montpellier^ 
The  Family  of  the  Kings  of  Etruria,  Dukes  of  Parma. 

1804.     {Madrid  Gallery.) 

FABEE,  Pierre,  an  engraver,  was  a  native  of 
Lyons,  where  he  worked  about  1620.  He  executed 
the  engravings  for  some  works  published  at  Lyons, 
representing  the  decorations  erected  in  that  city 
for  the  reception  of  Louis  XIII.  in  1622. 

FABEI,  Aloisio,  an  engraver,  was  born  at 
Eome  in  1778,  and  died  there  in  1835.  Amongst 
his  many  works  may  be  mentioned  four  plates  after 
Eaphael's  frescoes  in  the  Vatican,  in  continuation 
of  a  set  of  engravings  commenced  by  Volpato 
and  Morghen,  '  Constantine  presenting  Eome  to 
the  Pope,'  '  The  Oath  of  Leo  III.,'  '  The  Coronation 
of  Charlemagne,'  and  '  Charlemagne's  Victory  over 
the  Saracens';  and  eleven  plates  after  the  paintings 
of  Michelangelo  in  the  Sistine  Chapel,  in  continua- 
tion of  a  set  of  engravings  commenced  by  Cunego : 
these  represent  '  David  and  Goliath,'  the  '  Brazen 
Serpent,' 'Judith  and  Holophernes,'  the  prophets 
Isaiah,  Daniel,  Jonah,  and  Zaohariali,  and  the 
Cumsean,  Delphic,  Libyan,  and  Persian  Sibyls. 
He  also  engraved  'The  Magi,'  after  Andrea  del 
Sarto. 

FABEI,  Giovanni,  an  Italian  engraver,  who 
worked  at  Bologna  in  the  middle  of  the  18th 
century,  and  died  probably  about  1790,  executed 


Fabriano 


PAINTERS  AND  ENGRAVERS. 


Faccini 


in  a  neat  but  formal   style,  among 


some  plates 
■which  are  : 

St.  Mary  Magdalen  ;  ajter  FasinelH. 
Virgin  and  Child  ;  after  Guido  Eeni. 
St.  Jerome ;  after  Garracci. 

FABEIANOj  Allegretto  (or  Gkitto)  da.  See 
Nuzi. 

FABRIANO,  Antonio  da,  flourished  in  the  15th 
century,  but  the  dates  of  his  birth  and  death  are 
alike  uncertain.  A  '  Coronation  of  the  Virgin '  in 
the  Casa  Morichi  is  attributed  to  him  ;  and  also  a 
'  St.  Jerome,'  with  the  date  1451,  in  the  Pornari 
Gallery  at  Fabriano.  He  was  a  feeble  assistant  of 
Gentile  da  Fabriano. 

FABRIANO,  Francesco  di  Gentile  da.  It  is 
uncertain  whether  this  artist  was  the  son  or  merely 
pupil  of  Gentile.  He  lived  in  the  15th  century,  and 
his  paintings  are  of  no  very  great  merit.  The  fol- 
lowing works  by  him  may,  however,  be  mentioned  : 

Fermo.       S.  Domenico.    Aye  Maria. 

Borne.  Vatican.    The  Virgin  and  Child. 

FABRIANO,  Gentile  da.    See  Massi,  Gentile. 

FABRIQUB,  Nicolas  la.     See  La  Fabkiqub. 

FABEITIUS,  Beenhard,  a  Dutch  portrait 
painter,  who  flourished  from  about  1650  to  1672, 
was  a  disciple  of  Rembrandt,  whose  eminence 
he  sometimes  almost  reached.  His  paintings, 
however,  are  not  all  executed  with  the  same  care, 
some  of  them  being  faulty  in  drawing  and  colour- 
ing, whilst  others  are  bold  and  broad  in  style.  The 
following  works  may  be  noted  : 

Brunswick.       Gallery.    St.  Peter  in  the  house  of  Cor- 
nelius.   1659. 
Brussels.       Camierlyn't  ^  ,.  ,,      ,__„ 
Collection.l^°^^^-    1658. 
„  „  Joan  of  Arc.     1657. 

Copenhagen.    Gallery.    The  Presentation  in  the  Temple. 

1668. 
Frankfort.  Stadel  Inst.    Portrait  of  a  Young  Man.    1650. 
„  „  The  Birth  of  St.  John  the  Baptist. 

1669. 
Vienna.  Academy.    Head  of  a  Man. 

FABEITIUS,  Kaeel,  a  Dutch  painter,  bom  at 
Delft  about  1624,  was  a  pupil  of  Rembrandt.  He 
painted  portraits  and  perspective  views,  and  had 
acquired  considerable  reputation,  when  he  was 
killed  by  the  blowing  up  of  the  powder  magazine 
at  Delft  in  1664.  A  fine '  Head  of  a  Man,'  by  him, 
in  the  Rotterdam  Museum,  was  for  a  long  time 
ascribed  to  Rembrandt.  Fabritius  was  the  in- 
structor of  Jan  ver  Meer  of  Delft.  Besides  the 
above  work  by  him  there  are : 

Amsterdam.     Museum.    Herodias  with  the  Head  of  St. 
John  the  Baptist.     {Ascribed 
in  the  catalogue  to  Drost.) 
Berlin.  Gallery.    Head  of  a  Man. 

Cologne.  Wallraf-^ 

Bichartz  >A  Portrait. 
Museum.} 

FABRITIUS,  KiLiAN,  was  a  German  landscape 
painter,  who  from  1633  to  1680  worked  at  the 
court  of  the  Elector  John  George  II.  of  Saxony. 
Many  of  his  paintings  are  to  be  met  with  at 
Darmstadt,  where  there  is  in  the  Museum  a  Land- 
scape by  him.  At  Stockholm  there  is  '  The  Expul- 
sion of  Hagar,'  painted  in  1650 ;  and  in  the  Vienna 
Gallery  is  a  'Pastoral  Landscape.'  The  following 
etchings,  which  are  very  rare,  are  also  by  him : 

Christ  at  the  House  of  Nicodemns. 

The  Holy  Family.    1633. 

A  Hunting  Scene,  with  the  Elector  John  George  II. 

FABRIZZI,  Antonio  Maria,  was  bom  at  Perugia 


in  1594.  He  went  to  Rome  when  he  was  very 
young ;  and  is  said  by  Pasooli  to  have  commenced 
his  studies  under  Annibale  Carracci,  of  whose  in- 
struction he  was  deprived  by  the  death  of  that  great 
master,  when  he  was  only  fifteen  years  of  age  ;  and 
it  does  not  appear  that  he  sought  the  aid  of  any 
other  instructor.  His  works  evince  ingenuity  in 
composition,  and  great  freedom  of  hand.  He  died 
at  Perugia  in  1649. 

FABULLUS.    See  Amulids. 

FACCENDA,  Francesco,  who  worked  at  Perugia 
from  1760  to  1770,  executed  the  plates  of  emblems 
for  the  edition  of  Cesare  Eipa's  '  Iconologia,' 
published  at  Perugia  in  1764-67. 

FACCHETTI,  Pietro,  a  painter  and  engraver, 
born  at  Mantua  in  1535,  was  instructed  by  Girolamo 
and  Ippolito  Costa.  He  visited  Rome  in  the  pontifi- 
cate of  Gregory  XIIL,  and  died  in  that  city  in  1613. 
Although  his  first  essays  in  historical  painting  were 
not  without  merit,  he  abandoned  that  line  for  the 
painting  of  portraits  ;  and  his  portraits  of  some  of 
the  nobility  were  so  much  admired,  that  there  was 
scarcely  a  person  of  distinction  at  Eome,  of  either 
sex,  whose  likeness  he  did  not  paint.  His  pictures 
had  not  only  the  merit  of  perfect  resemblance,  but 
were  designed  in  a  grand  style,  and  admirably 
coloured.  Facchetti  was  also  an  engraver,  and 
there  are  two  etchings  by  him,  which  are  distin- 
guished for  their  skilful  and  pure  design  ;  they 
represent  a  '  Holy  Family '  after  Raphael,  and 
'  Christ  bearing  the  Cross.' 

FACCHINETTI,  Giuseppe,  a  native  of  Ferrara, 
fiourished  in  the  18th  century.  He  was  instructed 
by  A.  F.  Ferrari,  and  was  one  of  the  pupils  who 
chiefly  helped  to  build  up  the  name  of  the  school 
to  which  he  belonged.  He  painted  in  a  vigorous 
and  yet  tender  style,  and  achieved  most  of  his 
success  in  historical,  architectural,  and  perspective 
paintings.  His  works  are  to  be  found  in  Santa 
Caterina  da  Siena  at  Ferrara,  and  in  other  churches 
in  that  neighbourhood. 

FACCI,  Francesco,  a  painter  of  Verona,  was  a 
pupil  of  P.  Eicoi.     He  died  in  1621. 

FACCINI,  Bartolommeo,  a  native  of  Ferrara, 
painted  portraits  and  architectural  pieces  in  the 
style  of  Girolamo  da  Carpi.  He  was  killed  by 
falling  from  a  scaffold  in  1577.  There  is  a  picture 
attributed  to  this  artist  in  the  Museum  at  Lille : 
it  represents  the  '  Martyrdom  of  St.  Agnes.'  In 
many  of  his  works  he  was  assisted  by  his  brother, 
Girolamo  Faccini. 

FACCINI,  PiBTRO,  (or  Pacini,)  was  born  at 
Bologna  in  1560.  He  did  not  display  any  genius, 
or  disposition  for  art,  until  he  had  arrived  at  the 
age  of  maturity  ;  and  it  is  told  by  Malvasia,  that 
being  in  the  habit  of  visiting  the  academy  of  the 
Carracci,  though  not  for  the  purpose  of  study,  one 
of  the  pupils  drew  a  caricature  of  him,  which 
excited  the  mirth  and  ridicule  of  his  fellow- 
students.  On  the  drawing  being  shown  to  Faccini, 
he  took  a  piece  of  charcoal,  and,  without  any  pre- 
vious instruction  or  practice,  sketched  a  satirical 
likeness  of  the  person  who  had  ridiculed  him, 
which  astonished  every  one  present,  particularly 
Annibale  Carracci,  who  persuaded  him  to  study 
art,  and  took  him  under  his  particular  tuition.  His 
assiduity  was  so  great  that  he  practised  drawing 
from  the  skeleton  at  night,  and  it  is  related  that 
on  one  of  these  occasions  Annibale,  for  a  prac- 
tical joke,  slily  pulled  the  cord  and  caused  the 
skeleton  to  move,  which  so  ofEended  Faccini  that 
he  left  their  school.      He  met  immediately  with 

475 


Faclieris 

employment  and  applause  from  the  public,  and 
even  established  an  academy  in  opposition  to 
that  of  the  Carracci,  which  for  a  short  time  was 
respectably  frequented.  The  delusion  did  not, 
however,  last  long :  it  was  soon  discovered  that 
Faccini's  design  was  neither  correct  nor  tasteful, 
that  his  figures  were  uncouth  and  disproportioned, 
and  the  character  of  his  heads  without  expression 
or  beauty.  His  colouring  was  admirable,  resembling 
the  freshness  of  Tintoretto,  and  this  caused  Anni- 
bale  to  declare,  on  seeing  his  picture  of  the  '  Mar- 
tyrdom of  St.  Lawrence,'  in  San  Giovanni  in  Monte, 
that  in  his  carnations  be  seemed  to  have  worked 
human  flesh  into  his  colours.  He  died  in  1602. 
The  principal  works  of  Faccini  are : 

Bologna.      Pinacoteca.    The  Marriage  of  St.  Catharine. 
„  „  The  Guardian  Saints  of  Bologna. 

„  „  The  Virgin  and  Child. 

"  *  Monie"^  }  ™^  Martyrdom  of  St.  Lawrence. 

„  8.  Domenico.    The    Virgin    appearing    to    St. 
Francis. 

„  S.  Paolo.    The  Crucifixion  of  St.  Andrew. 

„  jS.  Mattia.    The  Adoration  of  the  Magi. 

Dresden.  Gallery/.    The  Marriage  of  St.  Catharine. 

^,  „             The  Virgin  and  Child  with  Saints. 

Modena.  Estense  Gall.    Study  of  a  Man. 

He  etched   also  some  plates,  which  are  signed 

•with  the  annexed  monogram   aJ^  .«. 

St.  Francis  of  Assisi. 

Two  Blind  Beggars ;  after  Anniiale  Carracci, 

A  Boy  in  a  Chimney  Corner. 

A  Dog  in  a  landscape. 

FACHEEIS,  Agostino,  a  painter  of  Bergamo,  is 
noticed  by  Tassi  in  his  '  Lives  of  the  Bergamese 
Painters,'  where  he  describes  a  picture  by  him  in 
the  Church  of  the  Trinity  at  Borgo  Sant'  Antonio, 
representing  '  St.  Augustine  with  two  Angels,'  and 
dated  1528. 

FACINI,  PiETEO.     See  Faccini. 

FACIUS,  Georg  Sigmund  and  Johann  Gott- 
lieb, who  were  brothers  and  engravers,  were  born 
at  Ratisbon,  about  1750.  Both  studied  at  Brussels, 
where  their  father  held  the  oflBce  of  Russian  consul. 
In  the  year  1776  they  proceeded  to  London,  in  order 
to  work  for  Alderman  Boydell,  and  for  whom  they 
completed  a  great  number  of  plates.  They  worked 
chiefly  as  etchers,  and  the  impressions  from  their 
plates  are  either  black  or  brown,  or  in  colours. 
They  were  both  living  in  1802.  Among  their  best 
works  are  : 

Benjamin  West  and  his  Family ;  after  West.    1777. 
Apollo  and  the  Muses ;  after  C.  Maratti.    1784. 
Apollo  with  the  Muses  on  Parnassus  ;  after  L.  Gutten- 

brunn.    1794. 
Hector  and  Paris  ;  after  Angelica  Kavfmann. 
Abraham  entertaining  the  three  Angels  ;  after  Murillo. 
The  Young  BuU ;  after  Paulus  Potter. 

FACKLER,  Joseph,  born  at  Salzburg  in  1698, 
painted  a  picture  of  '  St.  Rupert,'  in  the  church  of 
St.  Peter  in  his  native  city.     He  died  in  1745. 

FACTOR,  Pedeo  Nicolas,  a  Spanish  painter, 
was  born  at  Valencia  in  1520.  The  early  part 
of  his  life  was  devoted  to  study,  and  he  is 
said  to  have  distinguished  himself  as  a  poet  as 
well  as  a  painter.  In  1537  he  entered  the  Fran- 
ciscaii  monastery  of  Santa  Maria  de  Jesus,  where 
he  painted  many  of  his  pictures,  the  best  of  which 
is  Ba,id  to  have  been  '  St.  Michael  triumphing  over 
Lucifer.'  None  of  his  works  are  known  to  exist, 
but  Cean  Bermudez  says  that  they  displayed  con- 
eiderable  skill  in  drawing,  although  somewhat  poor 


A   BIOGRAPHICAL  DICTIONARY  OF 


Fagivoli 


in  colouring.  He  also  painted  miniatures  for  the 
choir-books  of  his  convent.  Factor  died  at  Valen- 
cia in  1583,  and  in  1786  was  declared  by  Pope 
Pius  VI.  a  "  beato,"  or  saint  of  the  second  order. 
Spain  has  produced  many  devout  artists,  but  to 
Factor  alone  have  the  honours  of  canonization  been 
accorded. 

FADING,  II.     See  Aleni. 

FAENZA,  Giovanni  Battista  da,  called  Beetucci 
(the  Monkey),  who  painted  in  the  style  of  Perugino 
and  Pinturicchio,  flourished  in  the  early  part  of 
the  16th  century  at  Faenza.  In  the  Pinacoteca 
of  that  city  there  are  various  works  ascribed  to 
him,  of  which  the  most  remarkable  is  a  '  Majesty,' 
signed  by  him  and  bearing  the  date  1506.  Crowe 
and  Cavalcaselle  also  claim  for  Bertucci  an  '  Adora- 
tion of  the  Magi '  in  the  Berlin  Gallery,  there 
ascribed  to  Pinturicchio,  and  a  'Glorification  of 
the  Virgin '  in  the  National  Gallery,  given  in  the 
catalogue  to  Lo  Spagna,  who  was  a  pupil  of 
Perugino. 

FAENZA,  Jaoopone  da.    See  Beetucci. 

FAENZA,  Maeco  da.     See  Maechettl 

FAENZA,  Maeco  Antonio  da,  called  also  Marco 
Antonio  Rocchetti,  an  Italian  painter  of  the  earlier 
part  of  the  17th  century,  is  probably  the  artist  men- 
tioned by  Vasari  with  the  surname  Pigurino,  who 
was  one  of  the  best  disciples  of  Giulio  Romano. 
His  early  paintings  are  of  a  small  size,  often  repre- 
senting scenes  in  the  life  of  St.  Sebastian.  The 
following  works  are  also  by  him  : 

Faenza.    Pinacoteca.    The  Madonna  of  the  Angels. 
„  S.  Bocco.    St.  Roch.    1634. 

FAENZA,  Ottaviano  da,  an  Italian  painter  of 
the  14tli  century,  who  was  instructed  by  Giotto, 
spent  the  greater  part  of  his  life  at  Faenza, 
where  he  died.  There  are  several  paintings  at- 
tributed to  him  to  be  found  in  the  neighbourhood 
of  Faenza,  and  at  Bologna. 

FAENZA,  Pace  da,  an  Italian  painter,  who 
flourished  during  the  14th  century,  was  a  pupil 
of  Giotto,  and  is  said  to  have  executed  some 
decorations  in  fresco  on  the  exterior  of  San  Gio- 
vanni at  Bologna.  He  had  a  particular  talent  for 
representing  small  figures.  About  the  year  1574 
the  following  works  by  him  existed  at  Forli : 

The  Holy  Cross. 

A  small  picture  in  tempera,  representing  the  Passion. 

Four  Scenes  from  the  Life  of  the  Virgin. 

FAENZONE,  Feeeatj.    See  Fanzone. 

FAES,  PlETER,  a  painter  of  flowers  and  fruit 
in  the  manner  of  Van  Huysum,  was  born  at  Meir, 
near  Hoogstraten,  in  the  province  of  Antwerp,  in 
1760.  His  pictures  are  tastefully  composed  and 
delicately  pencilled,  but  are  somewhat  deficient  in 
vigour  and  chiaroscuro.  Many  of  his  works  were 
transferred  from  Laeken  to  Vienna.  He  died  at 
Antwerp  in  1814. 

FAES,  PiETEE  VAN  DEE.    See  Van  dee  Faes. 

FAGAN,  Robert,  a  portrait  painter,  who  resided 
for  some  time  in  Rome,  flourished  towards  the  close 
of  the  18th  century. 

FAGE,  Nicolas  de  la.     See  De  La  Fage. 

FAGE,  Raymond  de  la.    See  De  La  Fage. 

FAGERPLAN,  Axel  Johan,  a  Swedish  artist, 
bom  in  West  Gothland  in  1788,  was  an  historical 
and  fruit  painter  of  some  renown.    He  died  in  1865. 

FAGIVOLI,  Girolamo,  an  engraver  who  worked 
at  Bologna  about  1560,  published  several  prints 
after  Correggio,  Cecchino  de'  Salviati,  and  Francesco 
Mazzuola. 


Fahlkrantz 


PAINTERS  AND  ENGEAVEES. 


Faithorne 


FAHLKEANTZ,  Kakl  Johann,  a  Swedish  land- 
scape painter,  was  born  in  Dalecarlia  in  1774.  He 
was  instructed  by  P.  Ljung,  a  sculptor  and  painter, 
and  depicted  Northern  scenery  with  a  masterly 
touch,  his  twilight  and  moonlight  scenes  being 
particularly  effective.  He  died  in  1861.  The 
following  are  among  his  best  known  works  : 
The  Legend  of  Frithiof . 

Several  Views  of  Stockholm,  Christiania,  and  Sparre- 
holm,  the  Fortress  of  Bohns,  the  Hills  of  Smedje- 
bakken,  Cape  Framnas,  the  Balestrand,  and  the 
"Waterfall  of  Donare. 

FAIRAM,  John.    See  Faybam. 

FAIRFIELD,  Charles,  a  painter  who  died  at 
Brompton  in  1804,  at  the  age  of  about  forty-five,  is 
chiefly  known  by  his'- excellent  copies  of  Dutch 
paintings. 

FAIRHOLT,  Frederick  William,  a  draughts- 
man, was  born  in  1818,  in  London,  where  his  father, 
a  native  of  Prussia,  had  settled  as  a  tobacco  manu- 
facturer. His  first  attempts  in  art  were  as  a  drawing- 
master  and  scene-painter.  He  was  next  employed 
by  Charles  Knight  in  making  designs  for  the 
'Pictorial  History  of  England,'  'Pictorial  Shake- 
speare,' and  other  works.  From  the  commencement 
of  the  '  Art  Journal,'  in  1839,  he  was  a  constant 
contributor,  both  as  author  and  as  artist,  and  about 
the  same  time  he  seems  to  have  begun  to  take  an 
interest  in  antiquities.  He  wrote  several  books  on 
the  pageants  and  costume  of  mediaeval  England, 
of  which  the  best  are  '  Costume  in  England,'  1846, 
'A  Dictionary  of  Terms  in  Art,'  1854,  and  'Ram- 
bles of  an  Archaeologist,'  1871,  and  he  left  to  the 
Society  of  Antiquaries  a  collection  of  works  on 
these  subjects.     He  died  in  London  in  1866. 

FAIRLAND,  Thomas,  an  engraver  and  litho- 
graphic artist,  was  born  in  1804  After  having 
studied  under  Fuseli  in  the  Academy,  where  he 
gained  a  silver  medal  for  drawing  from  the  an- 
tique, he  became  a  pupil  of  Charles  Heath,  but 
he  afterwards  gave  up  line-engraving  for  litho- 
graphic drawing,  and  eventually  devoted  himself 
to  portraiture,  in  which  he  was  very  successful. 
His  I'eproductions  of  the  works  of  Landseer  and 
Hunt,  as  well  as  '  The  Reoniit ;  or,  Who'll  serve 
the  King  ? '  and  '  Left  Leg  foremost,'  obtained 
great  popularity.  He  executed  many  private  por- 
traits for  the  Queen,  whose  personal  regard  he 
enjoyed  until  his  death  in  1852.  Among  other 
lithographs  by  him  may  be  mentioned : 

The  Poacher's  Confederate  ;  after  MancocJc. 

The  Bat-catcher ;  after  A.  Cooper. 

The  Deserter. 

Mrs.  Chisholm;  after  A.  C.  Hayter. 

FAIRLBSS,  Thomas  Kerr,  a  landscape  painter, 
v/as  bom  at  Hexham  in  1823.  He  first  practised 
wood-engraving  under  Nicholson  of  Newcastle,  and 
then  came  to  London,  exhibiting  landscapes  at  the 
Royal  Academy  from  1848  to  1851.  He  died  at 
Hexham  in  1853. 

FAIRMAN,  Richard,  David,  and  Gideon,  were 
engravers  of  Philadelphia,  who  died  respectively  in 
the  years  1821,  1815,  and  1827. 

FAISTENAUER,  Andreas.    See  Feistenaubk. 

FAISTENBERGER.     See  Feistenbergbr. 

FAITHORNE,  William,  the  elder,  an  eminent 
engraver,  was  born  in  London  in  1616.  He  was 
a  pupil  of  Robert  Peake,  a  painter  and  print- 
seller,  who  was  afterwards  knighted  by  Charles  I., 
and  under  him  he  worked  three  or  four  years,  until 
the  breaking  out  of  the  Civil  War,  when  Peake 
took  up  arms  for  the  king,  and  Faithorne  was 


persuaded  by  his  master  to  accompany  him  into 
the  service.  At  the  taking  of  Basing  House, 
where  Peake  had  the  rank  of  lieutenant-colonel, 
Faithorne  was  made  a  prisoner,  and  was  for  some 
time  confined  in  Aldersgate,  during  which  period 
he  resumed  his  profession,  and,  among  other  plates, 
engraved  a  small  head  of  Villiers,  Duke  of  Buck- 
ingham. With  much  difiSculty  the  solicitation  of 
his  friends  procured  his  release,  on  condition  that 
he  loft  the  country.  He  retired  to  France,  where 
he  became  acquainted  with  Robert  Nanteuil,  under 
whose  instruction  he  made  great  improvement. 
After  the  year  1650,  he  was  permitted  to  return  to 
England,  and  he  established  himself  as  an  engraver 
and  printseller  near  Temple  Bar,  where  he  carried 
on  a  considerable  trade  in  Italian,  Dutch,  and 
English  prints.  In  1680,  however,  he  quitted  his 
shop,  and  retired  to  a  more  private  life  in  Printing- 
house  Yard,  Blackfriars,  where  he  continued  to 
engrave,  and  to  draw  portraits  in  crayons,  an  art 
which  he  had  learned  in  Paris.  He  died  in 
1691. 

The  works  of  this  excellent  engraver  consist 
chiefly  of  portraits,  in  which  he  specially  excelled. 
Many  of  them  are  of  an  admirable  execution,  clear, 
brilliant,  and  full  of  colour.  Previous  to  his  journey 
to  Paris,  he  had  adopted  the  Flemish  and  Dutch 
mode  of  engraving;  but  on  his  return  from  France 
his  style  was  greatly  improved.  In  his  historical 
prints  he  shows  a  deficiency  and  incorrectness  of 
drawing ;  and  it  is  not,  certainly,  from  these  that 
a  just  estimate  can  be  formed  of  his  great  ability. 
His  plates  are  extremely  numerous,  some  of  them 
exceedingly  scarce,  and  very  valuable.  Wlien  he  did 
not  fix  his  name  to  them,  he  marked  them  with  a 

cipher  composed  of  two  Fs.  "^  fly  The  follow- 
ing are  considered  to  be  his  best  portraits;  a  more 
complete  list  of  his  works  will  be  found  in  Horace 
Walpole's  Catalogue  of  Engravers. 

Sir  'William  Paston,  Bart. ;  1659 ;  extremely  fine. 
Lady  Paston ;  after  Van  Dyck  ;  1649  ;  very  fine. 
Margaret  Smith,  afterwards  Lady  Herbert;   after  the 

sa/me, 
Montagu  Bertie,  Earl  of  Lindsey ;  after  the  same. 
"William  Sanderson ;  after  Zoust.     1658. 
Anne  Bridges,  Countess  of  Exeter ;  after  Van  DycTc. 
Samuel  Collins,  M.D. ;  W.  Faithorne  ad  vivum  del.  et 


John  Kersey,  mathematician  ;  after  Zoust.    1672. 

John  La  Motte,  Citizen  of  London. 

John,  Viscount  Mordaunt. 

Thomas,  Earl  of  Elgin.    1662. 

Mary,  Lady  Langham. 

Henry  Cary,  Earl  of  Monmouth. 

Thomas  Killigrew,  with  a  Dog ;  after  W.  Sheppard. 

Thomas  Stanley ;  after  Lely. 

Robert  Bayfield ;  set.  25 ;  with  a  large  hat.    1654. 

Robert  Bayfield ;  set.  27  ;  without  a  hat. 

Francis  Rous,  Provost  of  Eton.    1656. 

Sir  Henry  Spelman. 

Thomas  Hobbes. 

Samuel  Leigh.    1661. 

Queen  Henrietta  Maria,  with  a  Veil ;  in  the  manner  of 

Mellan. 
Thomas  Mace;  after  Cooke;  prefixed  to  his  'Musicks 

Monument,'  1676. 
Sir  Orlando  Bridgman. 
Sir  John  Fortescue. 
Robert  Boyle ;  oval. 
Blias  Ashmole ;  bust,  in  a  niche. 
William  Oughtred;  in  the  style  of  Hollar. 
William  Harvey. 
Henry  Lawes. 
John  Milton;  drawn  and  engraved  from  life  in  1670, 

as  a  frontispiece  to  Milton's  '  History  of  Britain.' 

477 


Faithorne 


A   BIOGRAPHICAL  DICTIONARY   OF 


Falcone 


John  'Wallis,  D.D.,  prefixed  to  his  '  Mechanica.' 

Sir  Francis  Englefield,  Bart. ;  oval ;  extremely  scarce. 

Oliver  Cromwell,  whole  length,  in  armour,  a  large 
emblematical  Print,  with  various  devices  and  mottos ; 
very  scarce. 

SUBJECTS   AFTEH   VAEIOUS    MASTEBS. 

The  Holy  Family ;  after  Simon  Vouet. 

The  Dead  Christ ;  after  Van  Dyck. 

Christ  praying  in  the  Garden. 

The  Last  Supper.  ,      ,    .        •.    , 

The  Scourging  of  Christ ;  after  Diepenbeeck,  mscribed 
Ffiithm'ne  sculp.  Antwerp,  1657. 

The  Marriage  at  Cana  in  Galilee. 

[The  four  last  prints  were  engraved  for  Taylor's  '  Life 
of  Christ.'] 

FAITHOENE,  William,  the  younger,  a  son  of 
William  Faithorne  the  elder,  was  born  in  1656. 
He  was  instructed  in  the  elementary  principles  of 
design  by  his  father,  but  practised  a  different  branch 
of  engraving,  being  chiefly  engaged  in  scraping 
portraits  in  mezzotint.  His  merit  in  that  line  would 
have  secured  to  him  both  profit  and  reputation ;  but 
neglecting  his  business,  he  fell  into  distress,  which 
occasioned  his  father  much  sorrow.  He  died  not 
earlier  than  1701.  The  following  are  esteemed  his 
best  portraits : 

Thomas  Flatman,  poet  and  painter. 

Mary,  Princess  of  Orange  ;  after  Sanneman. 

Sir  William  Eeade,  oculist  to  Queen  Mary. 

Queen  Anne,  when  Princess  of  Denmark. 

George,  Prince  of  Denmark. 

Frederick,  Duke  of  Schomberg ;  after  Dahl. 

John  Dryden ;  after  Clostennann. 

Sir  Richard  Haddock ;  after  the  same. 

John  Moore,  Bishop  of  Ely. 

Sophia,  Electress  of  Hanover. 

Sophia  Dorothea,  Princess  of  Hanover. 

Charles  XII.  of  Sweden ;  after  Ehrenstrahl. 

Mrs.  Plowden ;  o/i«'  Clostermann. 

FALBE,  Joachim  Martin,  a  portrait  painter, 
born  at  Berlin  in  1739,  was  instructed  by  Harper 
and  A.  Pesne.  Several  etchings  after  Rembrandt, 
or  in  the  style  of  that  master,  which  are  attributed 
to  him,  and  some  of  vyhich  are  signed  with  Falbe's 
monogram,  are  in  existence.  In  1764  he  was 
elected  a  member  of  the  Academy  at  Berlin,  in 
which  city  he  died  in  1782. 

FALCH,  JoHANN,  an  animal  painter,  was  born  at 
Augsburg  in  1687,  and  died  in  1727.  In  the 
Hermitage  at  St.  Petersburg  are  two  pictures  by 
him  of  insects  and  reptiles. 

FALCIERI,  BlAQlo,  was  born  at  Brentonico  in 
1628,  and  studied  at  Verona  under  Locatelli,  and  at 
Venice  under  Cavaliere  Pietro  Liberi.  Among  his 
works  there  is  in  the  church  of  the  Dominicans  at 
Verona,  a  large  picture  of  '  The  Council  of  Trent ' ; 
in  the  upper  part  of  which  he  has  represented  '  St. 
Thomas  vanquishing  the  heretics.'  There  exists 
also  an  etching  by  him,  executed  with  great  spirit, 
representing  '  St.  Jerome  in  the  Wilderness.'  He 
died  in  1703. 

FALCINI,  DoMENico,  an  Italian  engraver, 
flourished  at  Siena  in  the  latter  part  of  the  16th 
century.  There  are  by  him  some  woodcuts  after 
Raphael  and  other  masters,  which  are  executed  on 
three  separate  blocks,  one  for  the  outline,  another 
for  the  half-tint,  and  the  third  for  the  dark 
shadows.  He  also  engraved  on  metal. 
He  marked  his  prints  with  the  annexed 
cipher,  but  he  has  left  one  plate  with 
monogram  composed  of  the  letters  D.F.F. 

FALCK,  Jekemias,  a  designer  and  engraver,  was 
born  at  Dantzio  about  1619.  He  passed  some  time 
in  Paris,  and  from  the  resemblance  of  his  style 

478 


netal.        JU 
nexed     "1  TT 
^rith  a    vJ    L  ; 


to  that  of  Cornells  Bloemaert,  would  appear  to 
have  studied  the  engravings  of  that  master.  On 
leaving  France  he  went  in  succession  to  Copen- 
hagen, Stockholm,  and  Amsterdam,  where  he 
executed  several  plates  for  the  celebrated  cabinet 
of  Reynst.  Subsequently  he  worked  at  Hamburg, 
and  it  is  probable  that  he  died  there  about  1663. 
His  plates  are  distinguished  for  the  splendour  of 
their  effect,  and  he  engraved  with  equal  success 
portraits  and  historical  subjects,  both  of  which 
have  great  merit.  The  following  are  among  his 
best  works : 

POETEAITS. 
Louis  XIII.  of  France ;  after  Justus  van  Egmtmt.   1643. 

This  is  considered  Ms  be.«;t  work. 
Christina,  Queen  of  Sweden ;  after  D.  Beck. 
Peter  Gembichi,  Bishop  of  Croatia ;  after  the  same. 
Leonard,  Count  of  Torstenson  ;  after  the  same.    1649. 
Axel,  Count  of  Oxenstjern ;  after  the  same.    1653. 
Adolphus  John,  Prince  Palatine  ;  after  the  same. 
Charles  Gnstavns,  Prince  of  Sweden ;  aftei-  the  same. 
Nell  Gwynne ;  after  Lely. 
Karl  Gustav  Wrangel ;  after  D.  Klocker. 

SUBJECTS   AFTER   VARIOUS   MASTERS. 
The  Large  Crucifixion ;  after  Van  Dyck. 
Christ  with  the  Crown  of  Thorns ;  after  the  same. 
The  Concert ;  after  Giorgione. 

Esau  selling  his  Birthright ;  after  Tintoretto.    1663. 
Hunters  with  Hares ;  c^er  the  same 
The  House  of  Pleasure  ;  after  Buhens. 
Pallas  with  the  Shield  and  Lance;  after  A.  Bloemaert. 

1656. 
St.  John  preaching  in  the  "Wilderness;  after  the  same. 

1661. 
Satyr  and  Ceres ;  after  F.  Snayers. 
The  Virgin  with  the  Infant  uttering  Blessings ;  after 

Justus  van  Bgmont. 
The  Virgin  with  the  Infant ;  after  J.  Stella, 
Semiramis  ;  after  Guercino. 
The  Cyclops ;  after  Michelangelo  da  Caravaggio. 

FALCKEISEN,  Theodob,  a  Swiss  designer  and 
engraver,  born  at  Basle  in  1766,  was  instructed 
by  Holzhall  and  Karl  Guttenberg.  Amongst  his 
works  is  an  excellent  plate  after  Benjamin  West's 
'  Death  of  General  Wolfe.' 

FALCKENBURG,  Fbiedbich  von,  a  German 
landscape  and  historical  painter,  etched  a  few  por- 
traits, and  other  subjects,  in  a  slight,  scratchy  style ; 
they  are  marked  F.  V.F.  He  lived  at  Nm-emberg, 
and  died  in  1623. 

FALCO,  Agnolo.  The  name  of  this  artist  is 
affixed  to  a  rude,  coarse  etching,  representing  a 
landscape,  into  which  is  introduced  the  story  of 
Apollo  and  Daphne.  Though  it  is  incorrectly  drawn 
and  very  indifferently  executed,  it  appears  to  have 
been  the  work  of  a  painter,  and  is  from  his  own 
design. 

FALCO,  Juan  Conchillos.  See  Conchillos 
Falco. 

FALCONE,  Aniello,  called  L'Oeacolo  delle 
Battaglie,  was  horn  at  Naples  in  1600,  and  was 
a  scholar  of  Giuseppe  Ribera,  called  Spagnoletto. 
He  spent  some  years  in  France,  where  may  still  be 
met  with  several  of  his  paintings,  which  are  rare 
and  highly  valued.  He  distinguished  himself  as 
a  painter  of  battles  and  skirmishes  of  cavalry, 
which  he  composed  and  designed  with  great  fire 
and  animation.  He  was  equally  correct  in  the 
drawing  of  his  figures  and  horses,  and  their  various 
movements  are  expressed  vpith  the  most  character- 
istic propriety.  His  touch  is  bold  and  free,  and 
his  colouring  vigorous  and  effective.  He  was 
not  less  successful  in  his  easel  pictures  than  in 
those  of  a  larger  size  ;   and  his  best  works  were 


Falconet 


PAINTERS  AND  ENGRAVERS. 


Falot 


esteemed  little  inferior  to  the  admirable  productions 
of  Borgognone.  Aniello  Falcone  was  the  founder 
of  a  large  school  in  his  native  city,  and  was  one  of 
the  masters  of  Salvator  Bosa.  He  died  at  Naples 
in  1665.     Among  his  paintings  are  the  following : 

Madrid.     Gallery.    A  Fight  between  Eomans  and  Bar- 
barians. 
„  „  A  Fight  between  Turkish  and  Chris- 

tian Cavalry.     1631. 
Paris.       Zouvre.       AFightbetweenTurksandChristians. 

Falcone  was  also  an  etcher,  and  there  are  by  him 
twenty  prints,  in  which  he  shows  lively  imagina- 
tion and  bold  and  intelligent  design ;  they  some- 
what resemble  the  works  of  Parniigiano,  and  are 
executed  with  a  light  and  spirited  point.  Among 
his  etchings  may  be  mentioned : 

A  battle  between  naked  Men  on  foot  and  on  horseback. 

1618. 
Apollo  and  Marsyas ;  after  Parmegyiano. 
Four  plates  of  Apostles:   James  the  Less,  James  the 

Greater,  John  the  Evangelist,  and  Matthew. 
A  young  Woman  sleeping  and  suckling  a  Child. 
The  Adoration  of  the  Magi ;  after  Raphael. 

FALCONET,  Pieere  ,  Etibnne,  was  the  son  of 
the  eminent  sculptor,  Btienne  Maurice  Falconet, 
who  executed  the  equestrian  statue  of  Peter  the 
Great  at  St.  Petersburg.  He  was  bom  in  Paris  in 
1741,  and  about  1766  came  to  London,  where 
he  became  a  member  of  the  Incorporated  Society 
of  Artists,  and  painted  a  great  number  of  portraits 
until  1773,  about  which  time  he  returned  to  Paris, 
where  he  died  in  1791.  Among  his  works  may  be 
mentioned  the  portraits  of  twelve  of  the  foremost 
artists  in  London,  the  decorations  in  the  Chinese 
Temple  at  the  seat  of  the  Baroness  De  Grey  in 
Bedfordshire,  and  several  extravagant  historical 
pieces.  Earlom  and  others  have  engraved  some  of 
his  works. 

FALCONETTO,  Giovanni  Antonio,  was  born 
at  Verona  in  the  15th  century.  He  was  instructed 
by  his  father,  Jaeopo  Falconetto,  and  excelled  in 
painting  animals  and  fruit.  Many  of  his  works  are 
in  Verona  and  its  environs.     He  died  at  Roveredo. 

FALCONETTO,  Giovanni  Maria,  the  brother 
of  Giovanni  Antonio  Falconetto,  born  in  1458 
at  Verona,  was  both  a  painter  and  an  architect,  and 
seems  to  have  devoted  himself  more  during  his 
long  life  to  the  latter  profession  than  to  the 
former.  He  learned  the  elements  of  painting  from 
his  father,  Jaeopo  Falconetto,  and  is  said  to  have 
spent  twelve  years  of  his  early  life  in  Rome,  measur- 
ing and  studying  the  ancient  edifices  of  that  city. 
He  was  a  follower  of  Liberale  and  an  imitator  of 
Melozzo  da  Forli,  and  he  painted  largely  in  the 
churches  of  Verona.  In  1493  he  decorated,  in 
monochrome,  the  cupola  of  the  chapel  of  San 
Biagio  in  SS.  Nazzaro  e  Celso,  and  displayed  a 
profound  knowledge  of  perspective  effect  in  his 
arrangement  of  its  various  subjects.  His  finest 
works  are  the  religious  allegories  which  he  executed 
from  1509  to  1516,  in  the  church  of  San  Pietro 
Martire  at  Verona.  Of  his  panel  pictures  there 
remain  a  '  Virgin  and  Child,  between  SS. 
Augustine  and  Joseph,'  painted  in  1523,  at  San 
Giuseppe,  Verona ;  an  '  Annunciation,'  above  the 
altar  of  the  Emilii  Chapel  in  San  Zeno,  Verona ; 
an  'Augustus  and  the  Sibyl,'  in  the  Museum  of 
that  city ;  and  an  '  Assumption  of  the  Virgin,'  in 
the  Berlin  Gallery.  The  latter  years  of  his  life 
were  devoted  to  architecture,  and  his  death  occurred 
at  Padua  in  1534. 


FALDA,  Giovanni  Battista,  an  Italian  archi- 
tect and  etcher,  was  born  at  Valduggia,  in  the 
Milanese,  in  1648.  It  is  not  said  by  whom  he  was 
instructed ;  but  his  style  bears  a  great  resemblance 
to  that  of  Israel  Silvestre.  He  was  at  Rome  from 
1669  to  1691,  and  there  are  by  him  several  designs 
and  engravings  of  the  churches,  gardens,  fountains, 
and  public  buildings  of  that  city,  distinguished  for 
their  godd  perspective,  and  embellished  with  figures 
neatly  drawn.  The  date  of  his  death  is  not  known. 
The  following  are  among  his  best  works : 

Two  Views  of  the  Piazza  Navona. 

Two  Views  in  Eome ;  the  Basilica  of  St.  Peter's,  and  the 

Fountain  of  St.  Peter's. 
A  large  plate  of  St.  Peter's,  and  the  Buildings  round  it. 
A  View  of  the  Interior  of  St.  Peter's,  on  the  occasion  of 

the  Canonization  of  St.  Francis  of  Sales. 
A  View  of  the  Castle  of  St.  Angelo ;  after  Bernini. 
The  Fountains  of  Eome  ;  31  plates. 
The  Gardens  of  Eome ;  19  plates. 

FALDONI,  Antonio,  an  Italian  painter  and 
engraver,  born  at  Ascoli,  in  the  Marca  di  Trevisano, 
about  the  year  1687,  first  studied  landscape  paint- 
ing under  Antonio  Luciano ;  but  his  pictures  are 
little  known.  He  afterwards  applied  himself  to 
engraving,  and  imitated  first  the  stj'le  of  Gilles 
Sadeler,  and  afterwards  that  of  Mellan,  in  which 
he  was  very  successful ;  and  several  of  his  prints 
are  deservedly  admired.  He  engraved  a  set  of 
portraits  of  the  Doges  of  Venice,  and  the  Pro- 
curators of  St.  Mark ;  besides  which,  there  are  the 
following  prints  by  him : 

portraits. 
Marco  Eicci,  painter ;  after  Eosalba  Carriera. 
Antonio  Maria  Zanetti,  engraver ;  after  the  same. 
Luca  Carlevariis,  painter  and  engraver. 
Sebastiano  Eicci,  painter. 

SUBJECTS   after   VARIOUS   MASTERS. 
A  Holy  Family,  with  Angels ;  after  Seiasiiano  Ricci. 
The  Conception ;  after  the  same. 
The  Nativity ;  after  Pietro  da  Curtona. 
David  playing  on  the  harp  before  Saul ;  after  Gf.  Ca- 

merata. 
David  flying  from  the  wrath  of  Saul ;  after  the  same. 
Part  of  the  Drawings  by  Parmigiano  for  the  collection 

published  by  Zanetti. 

FALENS,  Charles  van.    See  Valens. 

FALERI,  DoMENioo,  was  a  painter  of  the  school  of 
Siena,  where  he  was  Isorn  in  1595.  In  the  church 
of  the  Hospital  of  Monagnese  in  Siena  is  a  picture 
of  the  '  Nativity,'  and  other  pictures  are  in  a  Bene- 
dictine priory  in  the  neighbourhood.  He  died  in 
1640. 

FALGANI,  Gaspare,  an  Italian  landscape  painter, 
was  bom  at  Florence  in  the  beginning  of  the  17th 
century.  He  was  a  pupil  of  Valeric  Marucelli, 
and  devoted  himself  entirely  to  landscape  painting, 
of  which  specimens  are  to  be  found  in  various 
Italian  galleries. 

FALLARO,  Jacopo,  an  Italian  painter  of  the 
16th  century,  was  a  contemporary  with  Titian. 
According  to  Vasari,  there  is  in  the  church  of  the 
Jesuits  at  Venice,  on  the  door  of  the  organ,  a  paint- 
ing by  this  artist  of  '  Giovanni  Colombini  receiving 
from  the  Pope  the  cloak  of  the  Order.' 

FALOCCO,  Nicool6,  a  painter  and  native  o£ 
Ortina,  who  flourished  about  1740,  was  instructed 
by  Francesco  Solimena,  whose  works  he  copied 
with  great  success. 

FALOT,  Nicolas,  a  French  historical  painter, 
flourished  between  the  years  1576  and  1627.  The 
dates  of  his  birth  and  death  are  unknown. 

479 


Falzagalloni 


A   BIOGRAPHICAL   DICTIONARY   OF 


Farinati 


FALZAGALLONI.     See  Feebaea,  Stefano  da. 
FANCELLI,  PiETEO,  was  born  at  Bologna  in 
1764,  and  painted  in  oil  and  tempera  in  the  Vene- 
tian  style  for  churches   and  castles,   as   well   as 
scenes  for  theatres.     He  died  in  1850. 

FANO,  Baetolommbo  and  Pompeo  da,  father  and 
son,  whowere  both  painters,  flourished  at  Fano  about 
the  year  1530.  According  to  Lanzi,  they  painted  in 
conjunction  for  the  church  of  San  Michele,  in  that 
city,  a  picture  of  the  '  Raising  of  Lazarus,'  dated 
1634,  on  which  he  remarks  that  it  is  surprising 
to  observe  how  little  they  had  attended  to  the 
reformation  and  improvement  which  had  almost 
generally  been  adopted  by  other  artists  of  their 
time.  It  is  painted  in  the  Gothic  style  of  the 
middle  of  the  pi-eoeding  century.  Pompeo,  how- 
ever, after  the  death  of  his  father,  attempted  the 
more  modern  taste,  and  painted  some  pictures 
which  gained  for  him  considerable  reputation. 
Pompeo  da  Fano  was  the  first  instructor  of  Taddeo 
Zucchero. 

FANOLI,  Michele,  an  Italian,  lithographer  and 
engraver,  who  was  born  at  Cittadella  about  1807, 
studied  in  the  Venice  Academy,  and  under  Cicog- 
nara.  He  spent  many  years  in  Paris,  whence  in 
1860  he  was  recalled  by  the  Italian  government  to 
found  a  school  of  lithography  at  Milan,  which  he 
directed  till  his  death  in  that  city  in  1876.  He 
died  poor,  leaving  a  collection  of  sketches  to  the 
Venice  Academy.    Amongst  his  reproductions  are : 

Orpheus ;  after  Jalabert. 

The  Holy  Women  at  the  Tomb  ;  after  LamLelU. 

Our  Lord  and  SS.  Peter  and  John  ;    after  the  same. 

TViU  of  the  Wisp  ;  aftei-  Gendron. 

The  Two  Foscari ;  after  Grigoletti. 

The  Festival  of  the  Virgin ;  after  Galteri. 

FANSAGA,  CosiMO,  (or  Fanzaga,)  a  painter, 
sculptor,  and  architect,  was  born  at  Bergamo  in 
1591,  and  was  a  scholar  of  Pietro  Bernini  at  Rome. 
Most  of  his  works  were  executed  at  Naples,  where 
he  erected  a  number  of  edifices,  and  in  some  in- 
stances decorated  them  with  statues  and  pictures 
of  his  own  production.     He  died  in  1678. 

FANSHAWE,  Cathaeine  Maeia,  an  amateur 
etcher,  was  born  in  London  about  1775,  and  died 
about  1834.  She  etched  a  few  historical  and  figure 
subjects  with  considerable  ability. 

FANTETTI,  Cesaee,  a.  designer  and  etcher, 
was  born  at  Florence  about  the  year  1660.  He 
resided  chiefly  at  Rome,  where  he  engraved  several 
plates,  after  his  own  designs  and  those  of  other 
masters.  Conjointly  with  Pietro  Aquila,  he  en- 
graved the  plates  from  the  paintings  by  Raphael 
1°  ™e  Vatican,  called  Raphael's  Bible,  thirty-seven 
of  the  series  being  executed  by  Fantetti,  and  the 
remamder  by  Aquila.  He  also  engraved  the  f  ol- 
lowmg  prints : 

Agrippina  with  the  Ashes  of  her  Husband  :  after  Franc 

liosa. 
^'""st  praying  in  the  Garden ;  after  L.  Carracci. 
A    Chanty,    with    three    Children ;    after    Annihale 

Carraen. 
Latona  insulted  by  Niobe ;  after  the  same. 
Flora  surrounded  by  Cupids  ;  after  Giro  Ferri 
The  Death  of  St.  Anne  ;  after  Andrea  Sacchi. 
Some  Friezes,  and  other  subjects,  from  various  Italian 
masters. 

FANTI,  Eecole  Gaetano,  born  at  Bologna  in 
lfa87  was  a  pupil  of  M.  A.  Chiarini.  He  first 
pamted  in  Italy  stage  decorations,  but  afterwards 
went  to  Vienna,  where  he  was  made  Superintendent 
•  ™„  Liechtenstein  Gallery.  He  died  at  Vienna 
in  1759. 

480 


FANTI,  ViNCENZO,  the  son  of  Eroole  Gaetano 
Fanti,  studied  first  under  Altomonte,  and  then  went 
to  Rome  and  Turin,  and  eventually  in  1744  to 
Vienna,  where  he  succeeded  his  father  as  Super- 
intendent of  the  Liechtenstein  Gallery.  The  dates 
of  his  birth  and  death  are  not  known.  His  portrait 
is  in  the  Ufiizi,  Florence. 

FANTONE,  Francesca,  a  painter  of  the  Bolog- 
nese  School,  who  flourished  in  1760,  was  the  niece 
and  pupil  of.Gian  Gioseffio  dal  Sole,  but  she  after- 
wards studied  under  Cavazzoni.     She  died  about 
1772. 
FANTUZZI,  Antonio.    See  Teento,  Antonio  da, 
FANZAGA,  CosiMo.    See  Fansaga. 
FANZONE,  Fbeeau,  (or  Faenzonb,)  was  bom  at 
Faenza  in  1562,  and,  according  to  the  Abbate  Titi, 
studied  at  Rome  under  the  Cavaliere  Vanni,  where 
he   painted   several  frescoes  in  San  Giovanni  in 
Laterano,   the    Scala    Santa,  and   the   church  of 
Santa  Maria  Maggiore.     There  are,  however,  some 
pictures  at  Ravenna,    particularly   a  'Deposition 
from  the  Cross,'  in  the  church  of  the  Dominicans, 
and  a  '  Probatica,'  at  the  Confratemita  di  San  Gio- 
vanni, which  partake  so  much  of  the  fine  style  of 
Lodovico  Carracci,  that  Fanzone  has  been  supposed 
to  have  been  educated  in  his  academy.     His  de- 
sign is  grand  and  correct,  with  great  amenity  in 
his  colouring,  and  a  fine  impasto.    He  died  in  1645. 
FA  PRESTO.     See  Gioedano,  Luca. 
FARELLI,  Giaoomo,  a  Neapolitan  painter,  was 
born  in  1624,  and  brought  up  under  Andrea  Vac- 
caro,  whose  style  he  at  first  followed,  but  he  after- 
wards imitated  with  more  success  that  of  Guido. 
He  died  in  1706.     Of  his  productions  there  remam 
in  Santa  Maria  Maggiore  at  Naples,  '  The  Fall  of 
the  Angels,'  and  '  The  Ascension '  ;  others  are  in 
SS.  Apostoli  and  Redenzione  dei  Cattivi. 

FARFUSOLA,  Bartolommeo,  a  painter  born  at 
Verona,  flourished  in  the  year  1640.  He  has  left 
several  pictures  in  the  churches  of  Verona,  among 
others  a  'St.  Ursula'  in  the  church  dedicated  to 
that  saint. 
FARGDE.  See  La  Paegde. 
FARINA,  PiBE  Francesco,  an  Italian  painter 
who  lived  in  the  latter  half  of  the  17th  century, 
and  was  employed  in  decorating  the  palace  of 
Carlsruhe  and  several  churches  of  Bologna. 

FARINATI,  Giovanni  Battista,  called  by 
Vasari  Battista  da  Verona,  and  by  others  in 
error  Battista  Zelotti  and  Battista  Fontana, 
was  born  at  Verona  in  1532,  and  is  said  to  have 
been  instructed  by  Paolo,  his  uncle,  or,  according 
to  others,  by  Antonio  Badile.  He  was  the  fellow- 
student  and  friend  of  Paolo  Veronese,  with  whom 
he  co-operated  in  several  important  works  in  the 
public  edifices  at  Venice,  as  well  as  in  the  Villa 
Soranza  at  Castelf  ranco.  He  is  numbered  by  Vasari 
among  the  disciples  of  Titian.  His  picture  of  the 
'  Holy  Family,'  in  the  Lochis- Carrara  Gallery  at 
Bergamo,  is  painted  entirely  in  the  style  of  that 
master,  and  it  is  to  his  studies  in  that  school  that  he 
was  indebted  for  the  warmth  and  harmony  of  his 
colouring.  His  style  is  marked  by  its  grandeur, 
though  inferior  in  grace  to  that  of  Paolo  Veronese. 
As  a  fresco-painter  he  possessed  especial  ability. 
He  died  in  1592.  The  following  paintings  are  by 
him: 

Venice.     FaUzzo  Eeale.     The  Virtues  and  Study. 
Vicenza.  Monte  d.  Pieta.    The  Decoration  of  the  Fa9ade. 

„  Cathedral.      The  Conversion  of  St.  Paul. 

J)  „  The   Miraculous    Draught  of 

Fishes. 


Farinati 


PAINTERS   AND  ENGRAVERS. 


Faiufflni 


FARINATI,  Okazio,  the  son  and  disciple  of 
Paolo  Parinati,  was  an  historical  painter  and 
etcher  who  was  living  at  Verona  in  1607.  During 
his  short  career  he  gave  proof  of  uncommon 
ability,  and  promised  to  reach  an  elevated  rank 
among  the  artists  of  his  country,  when  he  died 
in  the  prime  of  life.  He  etched  a  few  plates 
from  the  designs  of  his  father,  which  are  fre- 
quently confounded  with  those  of  the  latter.  There 
exist  the  following  paintings  by  him : 

Verona.         S.  Paolo.         The  Descent  from  the  Gross 
(a  copy  after  his  father). 
I,  S,  Maria  del  1  oi.   t  i  ann 

Faradiso.   j  St.  James.    1607. 

„  „  Pope  Gregory.    1607. 

„  S.  Stefano.        Descent    of   the    Holy  Ghost 

(considered  his  lest  work). 

Both  father  and  son  signed  their  paintings  with 
a  snail,  and  their  prints,  in  addition  to  the  snail, 
with  their  initials  or  full  names. 

Orazio  Parinati's  best  plates  are  : 

The  Descent  from   the  Cross;  after  Paolo  Farinati. 

1593. 
The  Finding  of  the  Cross,  with  St.  Francis  and  other 

figures  ;  after  the  same. 
The  Destruction  of  Pharaoh's  Host;  after  the  same. 

1599. 
The  Holy  Family,  with  St.  John. 

FARINATI,  Paolo,  of  the  family  of  the  Uberti, 
was  bom  at  Verona  in  1622.  He  was  a  pupil  of 
Niccol6  Giolfino  and  A.  Badile,  but  studied  also 
the  works  of  Parmigiano,  and  soon  surpassed  his 
instructors.  To  judge  from  the  large  style  of  his 
design,  it  would  be  thought  that  he  had  been 
brought  up  in  the  school  of  Giulio  Romano ;  and 
it  is  certain  that  he  studied  for  some  time  at  Mantua 
the  works  of  that  master.  His  death  occurred  in 
1 606.    Among  his  works  there  are  : 


Berlin.  Gallery. 

Bordeaux.  Museum. 

Mantua.  Cathedral. 

Modena.  Estense  Gall. 

Petersburg.    Sermitage. 

Venice,        S8.  CosiTno  e 

Damiano. 

Verona.  S.  Giorgio. 


8.  M.  in  Organo. 


A  Presentation  in  the  Temple. 
Venus  seated,  and  two  Loves. 
St.  Martin. 
Angels    playing    a    Trumpet 

(water-colour). 
Adoration  of  the  Magi. 
Presentation  in  the  Temple 

i  The  Four  Evangelists. 

The    Multiplication     of     the 
Loaves  (painted  in  his  19th 
year). 
The  Murder  of  the  Innocents. 
The  Emperor  Constantine  or- 
dering a  number  of  Children 
to  be  murdered. 
„  „  Christ  walking  on  the  Sea. 

„  „  St.  Gregory  feeding  the  Poor. 

„  S.GiovanniinFonte.    The  Baptism  of  Christ. 
„  Gallery.    Christ  before  the  People. 

„     8S.  Nazzaro  e  Celso.    Frescoes. 
Vienna.  Gallery.    A  Heathen  Sacrifice. 

There  are  several  etchings  by  Paolo  Parinati 
executed  in  a  free,  bold,  and  masterly  style.  Like 
his  paintings  he  frequently  marked  them 
with  the  accompanying  device  of  a  snail ; 
but  he  sometimes  signed  them  with  his  name,  or 
with  the  initials  P.  F.  or  P.  V.  F.  The  following 
are  from  his  own  designs : 

St.  John.    1567. 

St.  Jerome  kneeling,  leaning  on  a  Bank. 
Mary  Magdalen  seated,  with  a  Book  and  a  Crucifiz. 
The  Virgin,  with  the  Infant  Jesus  and  St.  John. 
Angels  holding  the  Instruments  of  the  Passion. 
Venus  and  Cupid.    1566. 
A  Charity,  with  three  Children. 
Venus  and  Oupid  at  the  Forge  of  Vulcan. 
I  I 


PARINGTON,  Geobgk,  a  painter  of  historical 
subjects,  was  born  in  1754  at  Warrington,  of  which 
place  his  father  was  rector.  He  was  educated 
under  West,  and  in  1780  obtained  the  gold  medal 
at  the  Royal  Academy  for  his  '  Macbeth.'  This 
promising  artist  afterwards  went  to  the  Bast 
Indies,  where  he  would  undoubtedly  have  acquired 
both  fame  and  fortune,  had  he  not  died  in  the 
prime  of  life  in  1788. 

PARINGTON,  Joseph,  a  landscape  painter,  the 
elder  brother  of  George  Parington,  was  born  in 
1747  at  Leigh,  in  Lancashire.  He  was  a  scholar 
of  Richard  Wilson,  and  from  1778  to  1813  he 
exhibited  constantly  at  the  Royal  Academy,  where 
he  was  elected  an  Associate  in  1783,  and  an 
Academician  in  1785.  He  was  also  a  member  of 
the  Incorporated  Society  of  Artists.  His  works 
are  chiefly  views  of  the  scenery  of  Westmoreland 
and  Cumberland,  which  have  been  engraved  by 
Byrne,  Pouncey,  Medland,  and  others.  In  1794 
he  published  seventy-six  views  of  tlie  river  Thames. 
He  died  in  1821.  The  South  Kensington  Museum 
possesses  two  water-colour  drawings  by  him. 

PARJAT,  BenoIt,  a  French  engraver,  was  bom 
at  Lyons  in  1646.  He  was  taught  the  elements 
of  the  art  by  Guillaume  Chasteau,  whose  manner 
he  at  first  adopted  ;  but  he  afterwards  went  to 
Rome,  and  acquired  a  greater  command  of  the 
graver,  and  a  better  style  of  design,  though  he 
is  not  always  correct.  He  died  in  Rome  about 
1720.  There  are  by  him  some  portraits,  and 
various  subjects  from  the  Italian  masters  ;  the 
following  are  the  most  esteemed : 

POETEAITS. 
Cardinal  Federigo  Coccia ;  after  L.  David. 
Cardinal  Comaro ;  after  the  same.    1697. 
Cardinal  Tommaso  Ferrari ;  after  the  same.    1695. 

SUBJECTS  AFTER  VARIOUS  MASTERS. 
The  Holy  Family,  with  St.  John ;  after  Allani. 
The  Holy  Family,  with  St.  John  presenting  a  Cross ; 

after  Pietro  da  Cortona. 
The  Marriage,  or,  according  to  others,  the  Coronation,  of 

St.  Catharine ;  after  Agostino  Carracci. 
The  Virgin  and  Infant  Jesns,  with  St.  John  presenting 

some  fruit ;  after  Annihale  Carracci. 
The  Temptation  of  St.  Anthony ;  after  the  same. 
The  Communion  of  St.  Jerome  ;  after  Domenichino. 
The  Death  of  St.  Francis  Xavier ;  after  G.  B.  Gaulli. 
The  Marriage  of  the  Virgin  ;  after  C.  Maratti. 
The  Nativity  of  Christ ;  after  the  same. 
The  Race  of  Atalanta ;  after  P.  Zocatelli. 

FARNBOROUGH,  Amelia  Long,  Baroness,  who 
was  bom  in  1772,  and  died  in  1837,  was  a  very  clever 
amateur  water-colour  painter.  She  exhibited  as 
an  honorary  exhibitor  many  drawings  at  the  Royal 
Academy.  She  was  a  daughter  of  Sir  Abraham 
Hume,  Bart.,  and  in  1793  married  Sir  Charles  Long, 
afterwards  Lord  Famborough. 

FARRER,  Nicholas,  a  portrait  painter,  born  at 
Sunderland  in  1750,  was  a  pupil  of  Pine,  and  a 
friend  of  Sir  Joshua  Reynolds  and  Northcote.  His 
portraits,  without  being  imitations,  bear  a  strong 
resemblance  to  Sir  Joshua's  manner,  and  have 
sometimes  been  mistaken  for  that  master's  work. 
He  painted  the  portraits  of  the  Duke  of  Rich- 
mond and  family.     He  died  in  1805. 

FARUFPINI,  Fedeeioo,  a  native  of  Sesto,  who 
was  distinguished  as  a  painter  and  engraver, 
studied  at  Rome.  His  altar-pieces  and  other  his- 
torical subjects  are  original  in  conception,  but  of 
especial  merit  is  his  '  Maochiavelli  and  Borgia,' 
which  he  both  painted  and  engraved,  and  forwhich 
he  obtained  a  medal  in  1866.    He  died  at  Milan. 

481 


Fasolo 


A   BIOGRAPHICAL   DICTIONARY  OF 


Fava 


FASOLO,  Bernardino,  the  son  of  Lorenzo 
Fasolo,  was  living  in  the  16th  century  at  Pavia. 
He  is  known  to  have  been  a  member  of  the 
council  of  the  Guild  of  Genoa  in  1520,  but  no 
dates  can  be  given  of  his  birth  or  death.  The 
following  pictures  are  by  him : 

Berlin.  Gallery.    A  Holy  Family. 

Dresden.         Gallery.    Portrait  of  a  Venetian  Lady. 

Paris.  Louvre.     Virgin  and  Child.     1518. 

FASOLO,  GiovANANTONio,  who  was  born_  at 
Vicenza  in  15:28,  first  studied  under  Battista 
Zelotti  ,■  but  the  brilliant  reputation  of  Paolo  Vero- 
nese induced  him  to  enter  the  school  of  that  dis- 
tinguished master,  under  whom  he  became  a  good 
historical  painter.  In  the  church  of  San  Rocco  at 
Vicenza  is  a  fine  picture  by  Fasolo,  representing  the 
'  Pool  of  Bethesda,'  a  grand  composition,  executed 
in  a  style  that  would  not  have  disgraced  Paolo 
Veronese  ;  in  the  church  of  the  Padri  Servi  is 
another  fine  picture  by  this  master,  the  '  Adora- 
tion of  the  Magi.'  In  the  residence  of  the  Prefect 
of  that  town  there  are  also  by  him  three  pictures 
of  subjects  from  Roman  history,  representing 
'  Mutius  Scsevola  before  Porsena,' '  Horatius  defend- 
ing the  Bridge,'  and  '  Marcus  Curtius  leaping  into 
the  Gulf.'     He  died  in  1572. 

FASOLO,  Lorenzo,  called  Lorenzo  di  Pavia, 
was  a  Lombard  painter  living  in  the  early  part  of 
the  16th  century,  who  went  from  Pavia  to  Genoa, 
and  was  one  of  the  artists  employed  by  Lodovico 
Sforza  in  1490  in  the  decorations  of  the  Porta 
Giovia  Palace  at  Milan.  His  chief  work  is  an 
altar-piece  representing  '  The  Deposition  from  the 
Cross,'  which  he  painted  in  1508,  for  the  nuns  of 
Santa  Chiara,  at  Chiavari,  where  it  still  remains. 
The  Louvre  has  by  him  '  The  Family  of  the  Vir- 
gin,' dated  1513.     His  death  occurred  before  1520. 

FASSETTI,  Giovanni  Battista,  born  at  Reggio 
in  1684  of  poor  parents,  entered  the  studio  of 
Giuseppe  Dallamano  as  a  colour  mixer,  and  it  was 
not  till  he  was  eighteen  years  of  age  that  he  made 
his  first  attempt  at  art.  He  entered  the  studio  of 
Francesco  da  Bibiena,  and  became  one  of  the  best 
decorative  painters  of  his  day.    He  died  after  1772. 

FASSIN,  Nicolas  Henri  Joseph  de,  »  Belgian 
landscape  painter,  was  born  at  Li^ge  in  1728. 
Early  in  life  he  served  in  the  French  army,  and  it 
was  not  until  he  was  thirty-four  years  of  age  that 
he  commenced  the  study  of  art  in  the  Academy 
at  Antwerp.  He  afterwards  visited  Italy  and 
Switzerland,  and  resided  for  some  time  at  Geneva. 
•  He  painted  a  landscape  for  the  Empress  of  Russia, 
for  which  he  was  handsomely  rewarded,  and  many 
others  are  to  be  found  at  Li%e,  and  in  Germany 
and  England.  He  died  in  his  native  city  in  1811. 
His  biography,  with  a  list  of  his  pictures,  was 
published  by  Van  Hust  in  1837. 

FATIO,  Antoinb  L^on  Morel.  See  Morel- 
Fatio. 

FATTORE  IL.    See  Penni. 

FAUCCI,  Carlo,  an  Italian  engraver,  was  bom 
at  Florence  in  1729.  He  was  a  pupil  of  Carlo 
Gregori,  and  engraved  portraits  and  historical 
pieces  with  ability.  On  leaving  that  artist,  he 
engraved  several  plates  for  the  collection  of  the 
gallery  of  the  Marquis  Gerini,  and  afterwards 
visited  England,  where  he  engraved  some  plates 
for  Boydell.  He  died  at  Florence  in  1784.  Among 
others,  the  following  prints  are  by  him : 

The  Birth  of  the  Virgin ;  after  Pietro  da  Cm-tona. 
The  Adoration  of  the  Shepherds ;  after  the  same. 
482 


The  Martyrdom  of  St.  Andrew ;  after  Carlo  Dolei. 
The  Coronation  of  the  Virgin  ;  after  Muheiis. 
A  Bacchanalian  subject ;  after  tlie  same. 
Cupid ;  after  Guido. 

Raimondo  FAUCX3I,  his  nephew,  assisted  him  in  the 
execution  of  many  of  his  plates. 

FAUCHERY,  Aughstin,  a  French  painter  and 
engraver,  was  bom  in  Paris  in  1800,  and  was  in- 
structed by  Gu6rin  and  Regnault.  One  of  his  best 
engravings  is  a  plate  of  '  Mona  Lisa,'  after  Leonardo 
da  Vinci.     He  died  in  Paris  in  1843. 

FAUCHIER,  Laurent,  a  French  portrait  painter, 
was  a  pupil  of  Pierre  Mignard.  He  flourished  in 
the  second  half  of  the  17th  century. 

FAUCDS,  George.    See  Focus. 

FAULKNER,  Benjamin  Ravtlinson,  a  portrait 
painter,  was  bom  at  Manchester  in  1787,  and  until 
1813  pursued  a  commercial  life  at  Gibraltar.  Then 
returning  to  England  on  account  of  an  attack  of 
the  plague,  he  devoted  himself  to  art,  receiving  his 
first  instruction  from  his  brother.  After  some 
study  in  London,  he  began  exhibiting  at  the  Royal 
Academy  in  1821 ;  but  his  practice  was  chiefly  in 
Manchester.  He  died  at  Fulham  in  1849.  Amongst 
his  works  are : 

John  Dalton, the  chemist.  1841.  {Royal  Society, London^ 
John  McCulloch,  the  geologist.  (Royal  Society,  Lotidon!) 
Eev.  Dr.  Eafdes.    (Lancashire  Independent  College.) 

FAULKNER,  Joshua  Wilson,  a  portrait  painter, 
the  brother  of  Benjamin  Faulkner,  was  born  in  the 
latter  part  of  the  18th  century.  He  was  a  native  of 
Manchester,  where  he  spent  the  greater  part  of 
his  life,  but  he  exhibited  at  the  Liverpool  Institution, 
and  occasionally  at  the  Royal  Academy.  He  died 
soon  after  1820.  There  is  a  portrait  of  Sir  John 
Ross,  the  Arctic  discoverer,  by  him. 

FAUR,  Christian  "Wilhelm  von  Faber  du.  Sea 
Paber  du  Faub. 

FAURAY,  Antoine  de.     See  Favrat. 

FAURE,  Eugene,  a  French  painter  of  allegories, 
mythological  subjects,  and  portraits,  was  born  at 
Seyssinet,  near  Grenoble,  in  1822.  He  studied 
under  David  d'Angers  and  Rude,  and  his  first  work, 
a  landscape,  now  in  the  Grenoble  Museum,  appeared 
at  the  Salon  in  1847.  He  died  in  Paris  in  1879. 
The  following  are  his  chief  works : 

Dreams  of  Youth.    1857. 
First  Steps  in  Love.    1861. 
Confidence.    1863. 
Eve.    1864. 
La  Source.    1878. 

PAVA,  Giangiacomo,  commonly  known  as  Mac- 
rino  d'Alba,  was  a  painter  of  the  old  Lombard 
school,  who  worked  from  about  1496  to  1508. 
One  of  his  best  pictures,  a '  Madonna  and  Child,'  is 
in  a  chapel  of  the  Certosa,  near  Pavia.  The  Sladel 
Institute  at  Frankfort  possesses  a  'Madonna'  by 
him,  with  side-pictures  from  the  history  of  St. 
Joachim  and  St.  Anne. 

FAVA,  Pietro  da.  Count,  a  Bolognese  nobleman, 
who  distinguished  himself  not  only  as  a  patron  of 
art,  but  also  as  an  amateur,  was  born  at  Bologna  in 
1667.  He  studied  art  under  L  Pasinelli,  and  was 
the  protector  and  friend  of  Donato  Creti  and  Ercole 
Graziani.  He  chiefly  studied  the  works  of  the 
Carracci,  whose  style  he  preferred  to  every  other. 
In  the  church  of  San  Tommaso  dal  Mercato  at 
Bologna  is  an  altar-piece  by  him  of  the  'Virgin 
and  Infant,  with  St.  Albert,  St.  Paul,  and  other 
Saints ' ;  and  at  Ancona,  in  the  cathedral,  are  the 
'Adoration  of  the  Magi,'  and  the  'Resurrection.' 


Favanne 


PAINTERS  AND  ENGRAVERS. 


Fehling 


He  was  a  member  of  the  Clementine  Academy, 
and  died  in  1744. 

FAVANNE,  Henei  de,  (or  Favannbs,)  a  painter 
of  historical  subjects,  was  bom  in  London  in  1668, 
and  was  instructed  by  Ren6  Houasse.  He  travelled 
through  England,  and  afterwards  lived  ten  years 
in  Spain.  He  then  went  to  Paris,  where  he  was 
elected  rector  of  the  Academy,  and  died  in  1752. 

FAVANNE,  Jacques  de,  (or  Favannes,)  the 
son  of  Henri  de  Favanne,  was  at  first  an  en- 
graver, and  was  instructed  by  H.  F.  Thomassin, 
but  he  afterwards  took  to  painting,  and  executed 
principally  sea-pieces.  He  was  residing  in  Paris 
about  1760.  He  is  mentioned  by  Basan  as  the  en- 
graver of  a  plate  after  Watteau  of  '  The  Pleasures 
of  Summer.' 

FAVRAY,  Chevalier  Antoinb  de,  (or  Paueat,) 
bom  in  1706,  was  a  pupil  of  Jean  Francois  deTroy, 
the  younger,  whom  he  accompanied  to  Rome  wljen 
the  latter  was  appointed  Director  of  the  Academy 
in  that  city.  At  Malta,  in  the  service  of  the 
BJiights  of  the  Order,  he  executed  several  repre- 
sentations of  Maltese  manners  and  customs,  one 
of  which  in  the  Louvre  served  for  his  reception 
into  the  Academy  in  1762.  A  picture  of  the 
'  Annual  Thanksgiving  of  the  Knights  of  St. 
John,  in  the  church  of  their  patron,  saint,  for 
their  deliverance  from  the  Turks,'  was  sent  with 
the  above  to  Paris.  In  1762  he  went  with  the 
French  ambassador,  the  Chevalier  de  Vergennes,  to 
Constantinople,  where  he  remained  till  1771,  when, 
on  war  breaking  out  between  Turkey  and  Russia, 
he  returned  to  Malta.  From  this  time  all  further 
details  of  his  life  are  unknown,  though  he  seems  to 
have  been  alive  in  1789,  and  probably  in  1791.  In 
the  La  Caze  collection  in  the  Louvre  is  a  picture  of 
'  Maltese  Ladies  paying  a  visit.'  His  portrait  is  in 
the  UfBzi,  Florence. 

FAXARDO,  Juan  Antonio,  a  Spanish  painter, 
was  a  native  of  Seville,  to  whom  Alonzo  Miguel  de 
Tobar  was  sent  when  a  boy  to  learn  painting. 

FAY,  Joseph,  a  German  painter,  born  at  Cologne 
in  1813,  attended  from  1833  to  1841  the  Academy 
at  Dusseldorf,  and  afterwards  studied  at  Munich, 
and  at  Paris  under  Paul  Delaroohe.  He  first 
painted  historical  subjects,  and  had  a  happy  talent 
in  representing  scenes  from  the  life  and  manners 
of  the  old  Germans,  but  not  meeting  with  sufficient 
encouragement,  he  changed  his  style  for  genre 
painting,  for  which  purpose  he  visited  Italy.  He 
died  at  Dusseldorf  in  1875.  The  following  are 
among  his  best  works : 

Samson  and  Delilah.     1839.    {Cologne  Museum) 

Cleopatra. 

A  large  Frieze.     (Elberfeld  Court-house.'^     This    has 

perished,  but  some  cartoons  of  it  still  exist. 
Thisbe  listening. 
Bomeo  and  Juliet.    1846. 
Gretchen  in  Prison.     1847. 

FAYERMANN,    Anne    Charlotte.    See  Bae- 

THOLOMEW. 

FAYRAM,  John,  a  portrait  and  landscape  painter, 
practised  in  London  about  the  year  1740.  There 
are  by  him  some  slight,  coarse  etchings  of  views 
in  the  neighbourhood  of  Chelsea  and  Battersea, 
and  also  one  of  the  Hermitage  in  Kew  Gardens. 

FEARNLEY,  Thomas,  a  landscape  painter  of 
English  parentage,  was  bom  at  Fredrichshall  in 
Norway  in  1802.  After  spending  a  short  time  in 
his  uncle's  business,  he  entered  the  Copenhagen 
Academy,  and  was  patronized  by  the  Crown 
Prince  Oscar,  for  whom  he  painted   a  '  View  of 


Copenhagen.'  In  1828  he  set  out  on  his  traveh 
through  Europe,  and  did  not  return  to  Norway  till 
1836.  He  afterwards  spent  some  time  in  England, 
and  exhibited  at  the  British  Institution  a  'Nor- 
wegian Cascade.'  He  died  at  Munich  in  1842. 
Amongst  his  most  noticeable  works  are  : 

The  Blue  Grotto  of  Capri. 

The  Glacier  of  the  Grindelwald  (repeated  several  times). 

Labrofos  "Waterfall.     (Chi-istiania  National  Gallery.) 

FEARY,  John,  a  landscape  painter,  exhibited 
at  the  Royal  Academy  from  1772  to  1788.  He 
obtained  a  premium  at  the  Society  of  Ai-ts  in  1775. 

FEBRE,  Valentin  le.     See  Le  FisEE. 

FEBURE,  Claude  le.    See  Lefebuee. 

FEBQRE,  FEANgois  le.     See  Lb  Fevee. 

FECHHELM,  Cheistian  Gottlieb,  a  portrait  and 
historical  painter,  bom  at  Dresden  in  1732,  studied 
under  Mengs,  Manjocky,  and  Hutin,  first  portrait 
painting,  and  then  miniature.  In  the  Seven  Years' 
War  Maria  Theresa  commissioned  him  to  paint  the 
portraits  of  the  generals  engaged  in  that  campaign 
for  the  Military  School  at  Vienna.  He  died  at 
Dresden  in  1816.  His  son,  Kael  Cheistian,  who 
was  born  at  Dresden  in  1770,  and  died  in  1826, 
was  likewise  a  painter. 

FECHHELM,  Kael  Feiedbich,  who  was  bom 
at  Dresden  about  1723,  studied  under  MUUer  at 
Prague,  and  was  engaged  at  Berlin,  in  the  palace 
and  other  public  places,  in  painting  frescoes  and 
architectural  decorations..  He  died  in  1785.  There 
are  some  views  of  BerHn  etched  by  him 

FECHNER,  Eduaed  Clemens,  who  was  bom  at 
Gross-Sarchen,  near  Moscow,  in  1799,  was  a  portrait 
painter  and  an  etcher,  who  studied  in  1814  at 
Dresden  under  Grassi  and  Retsch.  In  1820  he 
went  to  Munich,  where  he  improved  his  style  under 
Stieler.  He  worked  some  time  for  the  Duke  of 
Leuchtenberg,  and  visited  Paris  in  1826.  He  ex- 
celled in  painting  portraits  of  ladies  and  children ; 
he  also  executed  eleven  etchings  in  a  spirited 
manner.     He  died  in  Paris  in  1861. 

FEDDES.Pietee,  called  Pieteevan  Haelingen, 
from  the  place  of  his  birth,  was  bom  in  1588,  and 
distinguished  himself  as  a  painter  on  glass.  He 
also  etched  portraits,  conversation  and  historical 
pieces,  with  a  broad  and  spirited  point.  There  are 
by  him  119  plates,  among  which  the  most  important 
are  the  following : 

Johannes  Bogerman,  the  President  of  the  Synod  at 
Dordrecht.    1620. 

Martinus  Hamconius. 

Charity,  or  Love. 

Fifty-two  portraits  of  the  Princes  and  Dnbee  of  Fries- 
land,  for  Hamconins's  Frisia  (Franeker,  1620). 

The  Portraits  in  Winsemius's  Cronycken  van  Vriesland 
(Franeker,  1622). 

His  plates  are  signed  P.  Harlingensis,  although 
not  always  in  full.     He  died  in  1634. 

FEDERIGHETTO  di  DALMATIA,  U.  See 
Bbncovich. 

FEGATELLI,  Giuseppe  Maeia,  a  native  of  Bo- 
logna, and  pupil  of  C.  Gennari,  flourished  in  the 
latter  half  of  the  17th  century,  and  painted  pictures 
forthe  churches  of  his  native  city. 

FEHLING,  Heikeich  Cheistoph,  a  German 
painter,  bom  at  Sangerhausen,  in  Thuringia,  in 
1653,  was  instructed  by  Bottschildt,  to  whom  he 
was  related.  After  having  lived  several  years  in 
Italy,  he  was  appointed  court-painter  to  the  Elector 
John  George  IV.,  and  became  director  of  the 
Academy  and  inspector  of  the  Art  Galleries  at 
Dresden,  where  he  died  in  1725.     In  the  Dresden 

483 


Fei 


A   BIOGEAPHICAL   DICTIONAEY  OF 


Felsing 


Gallery  is  a  portrait  by  liim  of  Colonel  Kaspar  von 
Klengel,  and  a  number  of  painted  ceilings  remain 
as  specimens  of  his  art  in  the  palaces  of  that  city. 

PEI,  Alessandro  di  Vinoenzio,  called  Alessan- 
DBO  DEL  Barbiere,  an  historical  painter,  was  born 
dt  Florence  in  1643,  and  was  a  pupil  first  of 
Ghirlandajo,  afterwards  of  Piero  Francia,  and 
lastly  of  Maso  da  San  Frediano.  His  invention 
was  fertile  and  prompt,  adapted  to  the  great  works 
which  he  executed  in  fresco,  and  embellished  with 
architecture  in  a  grand  style.  He  was  fond  of 
introducing  buildings  and  grotesque  figures  into 
his  paintings.  His  works  are  to  be  found  in  the 
churches  and  public  edifices  at  Florence,  Pistoja, 
and  Messina.  One  of  his  most  esteemed  pictures 
is  the  '  Flagellation,'  in  the  church  of  Santa  Oroce  at 
Florence,  in  which  city  he  died  in  1592. 

FEID,  .Joseph,  an  Austrian  landscape  painter,  was 
born  at  Vienna  in  1807.  He  possessed  a  great 
talent  in  depicting  foliage  and  forest  life,  and  died 
at  Weidling,  near  Vienna,  in  1870.  The  following 
works  by  him  are  in  the  Vienna  Gallery  : 

A  Scene  in  a  AVood,  with  Nymphs  bathing.    1828. 
A  Study  of  the  Schneeberg. 
A  Forest  Landscape,  with  a  large  Oak.     1841. 
A  Landscape  with  an  approaching  Storm. 

FEIGL,  Johann,  an  engraver,  who  flourished  at 
Vienna  in  the  last  quarter  of  the  18th  century,  was 
a  pupil  of  Schmutzer  and  of  W^ille.  His  best  known 
work  is,  '  An  old  Woman  washing  the  Head  of  a 
Boy,'  after  G.  Dou,  1776. 

FEISTENAUER;  Andreas,  (or  Faistexauer,) 
a  native  of  Rosenheim,  in  Bavaria,  studied  at  Vienna 
under  Stoll.  He  afterwards  went  to  Munich,  where 
he  painted  several  pictures  for  the  churches,  and 
in  1658  was  appointed  court-painter  to  tha  Elector 
of  Bavaria.     The  date  of  his  death  is  not  known, 

FEISTENBEEGEEj  Anton,  was  born  at  Inns- 
bruck, in  the  Tyrol,  in  1678.  He  had  no  abler 
instructor  than  an  obscure  artist,  named  Bouritzsch, 
who  lived  at  Salzburg,  or  Passau ;  but  he  had  an 
opportunity  of  studying  some  of  the  works  of 
Gaspard  Poussin,  by  which  he  formed  for  himself 
so  grand  a  style  of  painting  landscape,  that  on 
seeing  his  pictures,  it  would  be  supposed  that  he 
had  visited  Rome.  His  landscapes  are  embellished 
with  architectural  ruins,  and  refreshed  with  water- 
falls ;  the  forms  of  his  trees  are  grand  and  pic- 
turesque, and  his  foliage  is  light  and  spirited.  He 
was  invited  to  Vienna  by  the  Emperor  of  Germany, 
by  whom  he  was  employed  for  several  years,  and 
many  of  his  best  works  are  in  the  Imperial  and 
Liechtenstein  Galleries  in  that  city.  Other  land- 
scapes by  him  are  in  the  Dresden  Gallery  and  at 
AVeimar.  He  was  not  successful  in  drawing  the 
figure,  but  was  assisted  in  that  branch  by  Hans 
Graf  and  Van  Bredael.  He  died  at  Vienna  in 
1736. 

FEISTENBEEGBE,  Joseph,  born  at  Innsbruck 
in  1684,  was  the  brother  of  Anton  Feistenberger, 
by  whom  he  was  instructed,  and  whom  he  assisted 
in  some  of  his  works.  There  are  two  landscapes 
by  this  artist  in  the  Vienna  Gallery.  He  died  at 
Vienna  in  1735. 

FEKE,  Egbert,  one  of  the  earliest  American 
colonial  painters,  was  descended  from  u,  Dutch 
faniily,  who  settled  at  Oyster  Bay,  Long  Island. 
It  is  said  that  having  been  taken  prisoner  and 
carried  to  Spain,  he  there  learned  to  paint,  and  on 
his  return  home  settled  at  Newport,  Ehode  Island, 
where,  among  other  portraits,  he  painted  that  of 
the  beautiful  wife  of  Governor  Wanton,  now  in 

484 


the  Redwood  Library.  He  worked  also  at  New 
York,  and  in  1746  at  Philadelphia,  where  his  por- 
traits were  considered  the  best  after  those  of  West. 
He  subsequently  went  to  Bermuda  for  his  health, 
and  died  there  at  the  age  of  about  forty- four. 

FELICE,  SiMONE,  was  an  Italian  engraver  of  the 
17th  century,  who,  in  conjunction  with  Giovanni 
Battista  Falda,  engraved  a  collection  of  prints, 
entitled  '  Le  Giardini  di  Roma.'  Felice's  plates 
are  very  neatly  executed,  with  small  figures, 
spiritedly  designed,  and  are  in  no  way  inferior 
to  the  productions  of  Falda. 

FELICIATI,  Lorenzo,  an  Italian  painter,  was 
born  at  Siena  in  1732,  and  died  in  1779.  Several 
pictures  by  this  ai-tist  are  to  be  found  in  the 
churches  of  Siena  and  its  neighbourhood. 

FELIPE,  Fray,  was  a  Spanish  miniature  painter 
of  the  early  part  of  the  16th  century,  who,  in  conr 
junction  with  Bernardino  Oanderron  and  Alonso 
Vazquez,  between  1514  and  1518  decorated  a  missal 
for  the  cathedral  of  Toledo. 

FELLINI,  GiDLio  Cesare,  bom  about  1600,  was 
a  pupil  of  Gabriele  Ferrantini  and  of  Annibale 
Carracci.  He  excelled  in  painting  horses  and 
figures,  and  was  assisted  by  his  son  Maroantonio 
Fellini. 

FELLNEE,  Ferdinand,  a  designer  and  painter, 
was  bom  at  Frankfort  in  1799.  After  receiving 
a  high-class  education  he  went  to  Munich  to  study 
art,  and  remained  there  from  1825  to  1831,  but  later 
on  he  established  himself  at  Stuttgart  and  pub- 
lished a  number  of  illustrations.  As  a  painter  his 
works  are  less  meritorious.  He  died  at  Stuttgart 
in  1869.  Some  of  the  most  remarkable  of  his 
designs  for  books  are : 

The  Illustrations  of  the  '  Seven  Swahians.' 
Sixteen  Illustrations  of  *  Don  Quixote.* 
The  Illustrations  of  '  Faust.' 
Five  Illustrations  of  '  "Wilhelm  Tell, 
Illustrations  of  '  Wallenstein,' '  The  Maid  of 

'  Macbeth,'  '  Eomeo  and  Juliet,'  BUrger's 

'  Oberon,' '  Robert,' '  Gudrun,'  &c. 

His  paintings  bear  the  accompanying 
monogram,  and  among  them  are  the 
following : 

Burgberg. 


Orleans,' 
'  Lenore,' 

Church.  The  Holy  Family  (partly 

painted  ty  Pilgram). 
Frankfort.     Emperor's  Saloon.    Conrad  I. 

„  „  Frederic  the  Beautiful. 

FELLOWES,  James,  a  portrait  painter,  prac- 
tised in  the  first  half  of  the  18th  century.  He 
was  reputed  to  be  the  painter  of  a  picture,  once 
well  known,  of  '  The  Last  Supper,'  at  St.  Mary's, 
Whitechapel. 

FELSENTHAL,  Wolfgang,  Edler  von.  See 
Kopp. 

FELSING,  Georg  Jakob,  a  German  line-engraver, 
was  born  at  Darmstadt  in  1802.  He  was  first  in- 
structed by  his  father,  Johann  Konrad  Felsing,  but 
he  afterwards  visited  Italy  and  studied  at  Milan 
under  Longhi,  and  at  Florence  the  style  of  Eaffa- 
ello  Morghen.  After  residing  some  time  at  Naples 
he  revisited  Florence,  and  became  a  professor  in 
the  Academy  of  that  city,  and  a  member  of  the 
Academy  of  Milan.  He  returned  to  Darmstadt  in 
1832,  when  he  was  elected  professor,  and  appointed 
engraver  to  the  Court.  During  a  stay  in  Paris 
he  was  influenced  by  the  style  of  Desnoyers,  and 
at  Munich  by  the  principles  of  the  artists  there. 
Felsing's  plates  show  the  talent  of  a  great  artist, 
and  he  worked  with  the  graver  in  a  clear  and 
vigorous  manner.     He  was  also  a  member  of  the 


Felsing 


PAINTERS  AND  ENGRAVERS. 


Ferg 


Academies  of  St.  Petersburg,  Berlin,  and  Vienna, 
and  of  the  Institute  of  France.  He  died  at  Darm- 
stadt in  1883.     His  most  important  works  are: 

Christ  on  the  Mount  of   Olives;    after  Carlo  Sold. 

1828. 
The  Madonna  enthroned  ;  after  Andrea  del  Sarto.    1830. 
The  Marriage  of  St.  Catharine ;  after  Corregyio.    1831. 
The  Violinist ;  after  Raphael.    1833. 
Girl  at  the  Fountain ;  after  Bendemann.    1835. 
The  Virgin  with  the  Infant,  St.  Elizabeth,  and  St. 

John ;  after  Overbeck.    1839. 
St.  Genevieve  in  the  Forest ;  after  Steinbriick. 
The  Saviour ;  after  Leonardo  da  Vinci.    1844. 
Christ  with  the  Doctors  ;  after  the  same.    1847. 
Hagar  and  Ishmael ;  after  Kohler.    1848. 
Moses  in  the  Bulrushes ;  after  the  same.    1849-52. 
The  Lorelei ;  after  Kohler  the  yownqer.    1854. 
The  Betrayal  of  Christ ;  after  Hofmann.    1861. 
St.  Cecilia ;  after  the  same. 
Christ  with  the  Cross ;  after  Crespi. 

FELSING,  JoHANN  KoNRAD,  a  German  engrater, 
was  born  at  Giessen  in  1766,  and  learned  the 
elements  of  his  art  in  Darmstadt.  He  engraved 
many  portraits  in  the  dotted  manner,  but  was 
more  particularly  distinguished  by  his  topogra- 
phical works,  of  which  the  last  and  best  was  the 
military  plan  of  Mayence.  He  died  at  Darmstadt 
in  1819.  He  was  the  father  of  Johann  Heinrich 
Felsing,  a  celebrated  copper-plate  printer,  who 
died  in  1875,  and  of  Georg  Jakob  Felsing,  the 
eminent  engraver. 

FP3LTRE,  MoRTO  da.     See  Luzzi. 

FELTRINI,  Andrea,  called  also  Andrea  di 
CosiMO,  was  a  Florentine  painter  who  excelled  in 
^  grotesques.  Hewasbornabout  1490,  and  died  about 
1654.  His  works  are  to  be  met  with  at  Florence 
on  the  fronts  of  houses,  on  walls,  and  on  ceilings. 
He  is  called  by  the  first  name,  from  his  having 
been  a  scholar  of  Morto  da  Feltre,  and  by  the 
second  from  his  having  studied  art  under  Cosimo 
Eoselli. 

FEMINIA,  Gabriel,  a  Spanish  painter,  who 
flourished  at  the  commencement  of  the  18th  cen- 
tury. He  had  the  reputation  of  being  the  best 
landscape  painter  of  his  time  in  Spain. 

FENDI,  Peter,  a  German  genre  and  water- 
colour  painter,  engraver,  lithographer,  and  de- 
signer, was  bom  in  1796  at  Vienna,  in  the  academy 
of  which  city  he  studied.  In  1818  he  became 
draughtsman  to  the  Cabinet  of  Antiquities,  and 
in  1821  he  went  to  Venice,  and  obt.ained  a  gold 
medal  for  his  picture  of  '  The  Grotto.'  He  pro- 
duced pictures  on  various  subjects  of  German 
history  and  poetry,  and  also  designed  illustrations 
for  Dibdin's  '  Bibliographical  Tour  in  France  and 
Germany,'  and  for  Hormayr's  '  History  of  Vienna.' 
He  died  in  1842.  His  '  Young  Girl  watching  a 
Lottery '  is  in  the  Vienna  Gallery,  and  his  '  Bride ' 
appeared  at  the  London  International  Exhibition 
of  1862. 

FENIS,  Barthelemi,  was  an  engraver  who 
worked  at  Modena  from  1653  to  1669,  and  etched 
several  plates  in  the  style  of  Gallot. 

FENNITZER,  Georg,  who  worked  at  Nuremberg 
towards  the  end  of  the  17th  century,  was  an  en- 
graver in  chiaroscuro,  especially  of  portraits.  His 
plates  are  signed  O.  F.,  (?.  Fenn.,  G.  Feni.,  or  O. 
Feniiz.    Among  his  portraits  are  : 

Matthaus  Miiller. 

Johann  Conrad  Gotz.     1690. 

Petrus  Ihselburg. 

Andreas  Bergmann.     1693. 

FENNITZER,  Michael,  who  was  evidently  a 
relation  of  Georg  Fennitzer,  was  born   at  Nurem- 


berg in  1641,  and  died  there  at  the  close  of  the  cen- 
tury. He  also  was  an  engraver  in  mezzotint,  and 
his  best  plates  are  '  The  Last  Supper,'  after  Adam 
Kraft's  relief  in  the  Church  of  St.  Sebaldus  at 
Nuremberg,  and  two  or  three  portraits  of  local 
celebrities.  He  marked  his  productions  with  either 
his  entire  name  or  his  initials. 

FENOLLO,  Paolo,  an  Italian  painter,  is  known 
by  a  '  Bacchic  Scene  '  in  the  Madrid  Gallery. 

FENTZBL,  Gregor,  an  engraver,  was  a  native 
of  Nuremberg,  who  worked  in  that  city  about 
1650.  He  engraved  the  '  Battle  of  King  Alphonso 
and  the  Moors,'  after  Antonio  Tempesta,  and  the 
portrait  of  General  Don  Balthasar  Marradas,  after 
F.  Cleyn,  as  well  as  portraits  and  other  illustrations 
in  the  style  of  Jan  Sadeler,  mostly  for  the  books 
of  Paulus  Fiirstof  Nuremberg. 

FERA,  Bernardino,  who  flourished  about  1700, 
was  a  pupil  of  Solimena,  and  was  known  for  his 
frescoes  and  distempers. 

FERABOSCO,  Girolamo.     See  Ferraborco. 

FERABOSCO,  Martino,  a  native  of  Italy,  who 
resided  at  Rome,  engraved  the  plates  for  the  work 
entitled  '  Architettura  della  Basilica  di  San  Pietro 
in  Vaticano,'  published  at  Rome  in  1620. 

FERABOSCO,  Pietro,  an  Italian  painter,  who 
flourished  about  1616,  spent  the  greater  part  of 
his  life  in  Portugal,  where  his  works  are  mostly 
to  be  found. 

FERDINAND,  Louis  Elle,  the  elder,  a  French 
painter  of  portraits,  and  an  engraver,  was  born  in 
Paris  about  1612.  He  was  the  son  and  pupil  of 
the  painter  Ferdinand  Bile,  a  native  of  Mechlin, 
who  settled  in  France,  and  was  one  of  the  in- 
structors of  Nicolas  Poussin.  Ferdinand  Elle  was 
known  best  by  his  baptismal  name  alone,  and  for 
this  reason  his  sons,  Louis  and  Pierre,  appear  to 
have  adopted  it  as  a  surname.  Independently  of 
his  talent  as  a  painter,  he  etched  several  plates,  in 
a  spirited  and  tasteful  style,  and  the  prints  for  a 
book,  entitled  '  Le  Livre  original  de  la  Portraiture,' 
printed  at  Paris  in  1644.  He  was  one  of  the 
foundation  members  of  the  Academy  in  1648,  and 
died  in  Paris  in  1682.  There  are  also  by  him  the 
following  plates : 

Portrait  of  a  Lady ;  after  Van  Dyck. 
Nicolas  Poussin ;  V.  E.piTunt, 
A  set  of  six  Friezes ;  after  L.  Testelin. 
A  set  of  six  groups  of  Children  ;  after  the  same. 
Several  allegorical   and   mythological  subjects;   after 
Primaticeio. 

FERDINAND,  Loms  Elle,  the  younger,  the 
son  and  pupil  of  Louis  Elle  Ferdinand  the  elder, 
was  born  in  Paris  in  1648.  He  painted  portraits 
with  great  reputation,  and  became  a  member  of 
the  French  Academy,  his  reception  pictures  being 
a  portrait  of  Samuel  Bernard,  the  miniature  painter, 
now  in  the  Louvre,  and  a  portrait  of  Regnaudin, 
now  in  the  Ecole  des  Beaux-Arts.  In  the  National 
Portrait  Gallery  is  a  likeness  by  him  of  Dr.  Thomas 
Burnet,  dated  1675.  He  died  at  Reims  in  1717. 
His  brother,  Pierre  Elle  Ferdinand,  etched  a  few 
plates,  including  'St.  Potentiana,'  after  Correggio, 
and  died  in  Paris  in  1665. 

FERDINANDI,  Francesco,  (or  Fernandi,) 
called  Imperiali,  an  Italian  painter,  worked  at 
Rome  in  1730.  There  are  two  works  by  him  at 
Rome,  one  is  the  '  Martyrdom  of  St.  Bustache,'  in 
the  church  dedicated  to  that  saint,  and  the  other 
is  the  '  Death  of  St.  Romuald.' 

FBRG,  Franz  de  Paula,  a  painter  and  etcher, 
was  born  at  Vienna  in  1689.    He  was  instructed  first 

485 


Fergioae 


A  BIOGRAPHICAL  DICTIONARY  OF 


Fernandez 


by  his  father,  Panorazius  Ferg,  and  afterwards  by 
J.  Orient  in  landscape  painting,  and  by  Hans  Grat 
in  the  drawing  of  figures.  His  reputation  soon 
spread  through  Germany,  and  he  was  invited  to 
tlie  court  of  Dresden,  where  he  passed  some  years. 
In  1718  he  went  from  Brunswick  to  London,  where 
he  passed  twenty  years,  and  might  have  lived  m 
affluence  and  respectability,  had  not  an  imprudent 
marriage  involved  him  in  difficulties,  and  kept  hira 
in  continual  indigence.  He  is  reported  to  have 
been  found  dead  in  the  street,  near  the  door  of  his 
lodging,  in  1740.  The  landscapes  of  Ferg  are  of 
very  agreeable  scenery,  enriched  with  architectural 
ruins  in  a  very  picturesque  style,  and  bear  some 
resemblance  to  the  works  of  Poelenborch:  his 
scenes  from  common  life  resemble  those  of  Ostade. 
His  compositions,  which  are  happily  arranged,  show 
great  diligence  in  the  execution,  and  bear  the  an- 
nexed monogram  "tA/p  The  following  are  among 
his  paintings :         J*\ 

Brunswick.     Gallery.  The  Tour  Seasons. 

„  „  A  Market  Scene. 

„  „  A  Rural  Feast. 

Cassel.  Gallery.  Sea  View. 

Dresden.         Gallery.  Six    Landscapes  with    ruins  and 

figures. 

Florence.  UJizi.  Two  small  Landscapes. 

Hampton  Ct.  Palace.  Small  Landscape. 

Vienna.  Gallery.  A  Fair. 

There  is  a  set  of  eight  neat  and"  spirited  etchings 
by  Ferg  of  ruins  and  figures,  called  '  Capricci  fatti 
per  F.  P.  F.' 

FERGIONE,  Bernardino,  a  painter  of  marine 
views  and  sea-ports,  is  stated  by  Lanzi  to  have 
flourished  at  Rome  about  the  year  1718.  Claude 
Joseph  Vernet  studied  in  Fergione's  atelier  on  his 
arrival  in  Rome  in  1732. 

FERGUSON,  James,  the  Scottish  astronomer, 
born  near  Keith,  in  Banffshire,  in  1710,  was  a  self- 
taught  man.  Though  better  known  as  an  astro- 
nomer, he  gained  a  living  in  Edinburgh  and  in 
England,  for  several  years,  by  drawing  miniature 
portraits  in  black  lead.     He  died  in  1776. 

FERGUSON,  William  Gow,  was  a  native  of 
Scotland,  who  after  learning  the  first  rudiments  of 
art  in  his  own  country,  passed  some  years  on  the 
continent.  On  his  return  to  his  native  country, 
he  acquired  some  reputation  in  painting  dead  game 
and  still-life.  He  died  in  London  about  the  year 
1695.  Some  of  his  smaller  pictures  are  so  excellent 
that  they  are  frequently  attributed  to  Weenix,  to 
whose  works  they  bear  strong  resemblance.  In 
the  Berlin  Gallery  is  a  picture  of  still-life,  a  dead 
partridge,  and  in  the  National  Gallery  of  Scotland 
is  one  of  '  Sculptured  Ruins  and  Figures.' 
,  FERNANDEZ,  Alexeo,  (or  Hernandez,)  was  a 
Spanish  artist  of  considerable  skill,  who  at  the 
beginning  of  the  16th  century  painted  for  the 
convent  of  St.  Jerome  at  Cordova  several  altar- 
pieces  from  the  lives  of  Christ  and  the  patron  Saint, 
which  were  considered  equal  in  execution  to  any 
contemporary  productions.  In  1508  he  was  em- 
ployed to  paint  and  gild  the  noble  reredos  of  the 
high-altar  of  Seville  Cathedral,  designed  at  the 
close  of  the  previous  century  by  the  Flemish  archi- 
tect Dancart.  Fernandez  remained  at  Seville  until 
1525.  A  '  Madonna  with  Angels,'  in  the  church  of 
Santa  Ana  in  Seville,  is  by  his  hand. 

FERNANDEZ,    Antonio    Arias.      See    Akias 
Fernandez. 

FERNANDEZ,  Francisco,  who  was    born    at 
Madrid  in  1606,  and  brought  up  in  the  school  of 
486 


Vinoenzo  Carducho,  was  one  of  the  most  ingenious 
artists  of  his  time,  and  his  talent  gained  great 
reputation  for  him  at  an  early  age.  He  was  em- 
ployed by  Philip  IV.  in  the  palaces  at  Madrid,  and 
in  the  convent  of  La  Victoria  are  pictures  by  him 
of  the  'Death  of  St.  Francis  of  Paola,'  and  'St. 
Joachim  and  St.  Anne.'  He  also  etched  five  spirited 
plates  of  allegories  for  Carducho's  '  Dialogoe  de  la 
Pintura,'  1633.  He  was  killed  in  a  quarrel  by 
Francisco  de  Baras  in  1646. 

FERNANDEZ,  Juan  Antonio  Ribeka  t.  See 
Ribera. 

FERNANDEZ,  Luis,  (the  elder  of  the  name,) 
was  a  painter  in  tempera  of  Seville,  who  about  the 
year  1580  was  the  instructor  of  the  elder  Herrera, 
Juan  and  Augustin  del  Castillo,  and  Francisco 
Pacheco. 

FERNANDEZ,  Luis,  a  Spanish  historical  painter, 
both  in  oil  and  in  fresco,  born  at  Madrid  in  1694, 
was  a  pupil  of  Eugenic  Caxes.  There  are  by 
him  in  the  cross-walk  of  the  convent  of  La  Merced 
Calzada  scenes  from  the  life  of  St.  Ramon,  painted 
in  1625,  and  in  Santa  Cruz  were  several  frescoes 
and  oil  paintings,  which  perished,  however,  by  fire 
in  the  17th  century.  His  works,  executed  in  the 
style  of  his  master,  are  distinguished  for  correct- 
ness of  design  and  beauty  of  colouring.  He  died 
at  Madrid  in  1654. 

FERNANDEZ,  Vasco,  commonly  known  as 
Gran  Vasco,  or  Grao  Vasco,  ('  Vasco  the  Great,') 
was  a  Portuguese  painter,  who  has  been  variously 
cited  as  'Ferdinand  de  Vizeu,'  'Gran  Vasco  de 
Vizeu,'  '  Fernandez  Vasco  de  Cazal,'  or  simply 
'  Vasco  Pereira,'  or '  Vasco  Fernandez.'  If  reliance 
can  be  placed  on  Portuguese  testimony,  or  rather 
assertion,  he  was  the  greatest  painter  that  ever 
lived  ;  not  only  are  his  pictures  the  raosfexcellent, 
but  the  most  numerous.  All  in  Portugal  that  have 
not  secured  a  name  are  by  Gran  Vasco.  Zani 
notices  Vasco  Pereira,  a  Portuguese  painter,  who 
worked  in  1594  ;  and  Cean  Bermudez  has  given  an 
account  of  him  among  the  Spanish  artists.  Count 
Raczynski,  who  was  desirous  of  identifying  Vasco 
Pereira  with  Gran  Vasco,  and  who  examined  a 
small  picture  by  the  former,  with  the  date  1575, 
abandoned  that  idea,  and  left  the  elucidation  of  the 
subject  to  his  friend  M.  J.  Berardo.  The  conclu- 
sions at  which  the  latter  arrived  in  1844,  and  which 
do  not  appear  to  have  been  subsequently  shaken, 
were  that  Gran  Vasco  is  identical  with  a  certain 
Vasco  Fernandez,  whose  baptismal  register  shows 
him  to  have  been  the  son  of  a  painter  named 
Francisco  Fernandez,  and  to  have  been  born  in 
1552,  and  baptized  in  the  church  of  Vizeu,  though 
it  is  uncertain  whether  he  was  born  within  that 
town  or  in  a  mill  in  its  vicinity.  He  flourished 
during  the  reign  of  Dom  Sebastian.  One  of  his 
paintings  probably  is  the  '  Christ  on  the  Cross'  in 
the  Miserioordia  at  Oporto,  which  is  ascribed  to 
Holbein. 

FERNANDEZ  dk  CASTRO,  Antonio,  was  a 
canon  of  Cordova,  who  painted  two  pictures  of 
'  St.  Ferdinand,'  and  the  '  Virgin  of  the  Immaculate 
Conception,'  for  the  chapter-room  of  his  cathedral. 
He  died  in  1739. 

FERNANDEZ  db  GUADALUPE,  Pedro,  a 
Spanish  artist,  painted  in  1509-12  a  number  of 
wooden  figures  for  Seville  Cathedral,  and  in  1527 
executed  for  the  same  edifice  a  '  Descent  from  the 
Cross,'  with  the  body  of  the  Saviour  lying  upon  the 
knees  of  Mary,  as  well  as  some  other  pictures,  one 
of  which  represented  the '  Repentance  of  St,  Peter.' 


Fernandez 


PAINTERS  AND  ENGEAVEES. 


Ferrado 


FERNANDEZ  de  LAREDO,  Juan,  one  of  the 
best  fresco  painters  of  his  time,  was  bom  at 
Madrid  in  1632,  and  studied  under  Francisco  Eizi, 
wliom  be  assisted  in  his  works  at  the  Eetiro.  He 
painted  many  pictures  for  the  churches  at  Madrid, 
where  he  was  killed  by  a  fall  in  his  own  studio  in 
1692. 

FERNANDEZ  NAVARRETE,  Juan,  commonly 
called  El  Mudo,  from  having  been  deaf  and  dumb, 
was  bom  at  Logrono  about  1526.  An  acute  malady 
at  the  age  of  three  years  deprived  him  of  the  sense 
of  hearing,  and  consequently  of  the  power  of  learn- 
ing to  speak.  He  received  his  first  instruction  in 
art  from  Fray  Vicente  de  Santo  Domingo,  a  monk 
of  the  order  of  St.  Jerome,  but  subsequently  went 
to  Italy  and  studied  at  Venice  under  Titian.  His 
sojourn  in  Italy  lasted  for  at  least  twenty  years,  and 
whilst  there  he  availed  himself  of  the  opportunity 
of  visiting  the  studios  of  the  most  renowned  masters. 
Although  there  is  no  account  of  any  production  of 
importance  by  him  during  his  stay  in  that  country, 
yet  it  is  certain  that  he  obtained  a  great  reputation 
among  the  artists,  which  no  doubt  was  augmented 
by  the  circumstance  of  his  infirmity.  The  fame  of 
El  Mudo,  by  which  name  he  was  known  in  Italy, 
reached  Philip  II.,  who  was  commencing  the  decor- 
ations of  the  Escorial,  and  he  was  commanded  to 
attend  at  Madrid  for  the  purpose  of  being  em- 
ployed on  that  work.  He  arrived  there  in  1568, 
and  was  appointed  painter  to  the  king,  with  an 
annual  pension  of  200  ducats,  in  addition  to  the 
price  of  his  works.  He  had  scarcely  commenced 
his  labours,  when  a,  serious  malady  compelled  him 
to  retire  to  the  country  for  the  benefit  of  air,  and 
he  remained  for  three  years  in  his  native  place, 
Logrofio,  on  leave  of  absence,  but  receiving  his 
pension  as  painter  to  the  king.  In  1571  he 
returned  to  the  Escorial,  bringing  with  him  four 
large  pictures  which  had  been  commanded,  and  for 
which  he  received  600  ducats.  These  were  an 
'Assumption,'  the  'Martyrdom  of  St.  James  the 
Great,'  a  '  St.  Philip,'  and  a  '  St.  Jerome.'  It  is 
believed  that  in  the  first  the  face  of  the  Virgin  was 
the  portrait  of  his  mother,  Catalina  Ximenes,  who 
in  her  youth  had  been  very  beautiful.  In  ad- 
dition to  these  four  pictures  he  painted  for  the 
Escorial  '  The  Nativity,'  '  Christ  at  the  Pillar,'  a 
'  Holy  Family,'  and  '  St.  John  writing  the  Apoca- 
lypse ' :  these  he  finished  in  1575,  and  for  them  he 
received  800  ducats.  These  eight  pictures  were 
Navarrete's  principal  works  :  unhappily  three  of 
them,  the  '  Assumption,'  '  St.  Philip,'  and '  St.  John,' 
were  destroyed  by  fire  ;  the  other  five  were  saved 
and  placed  in  the  principal  cloister  of  the  monastery. 
Besides  their  unquestionable  merit,  each  picture  is 
remarkable  for  some  peculiar  circumstance.  Thus 
the  '  Martyrdom  of  St.  James '  and  the  '  St.  Jerome' 
are  most  minutely  finished ;  a  manner  which  he 
did  not  continue  in  his  other  compositions.  The 
'  Christ  at  the  Pillar,'  seen  in  front,  is  an  admirable 
head,  which,  by  its  meekness  and  beauty,  contrasts 
marvellously  with  the  ignoble  features  of  the 
flagellators.  In  the  '  Holy  Family '  the  heads  are 
equally  beautiful  and  expressive;  but,  by  a  strange 
caprice,  the  painter  has  placed  on  one  side  of  the 
fore-ground  of  the  picture  a  partridge,  and  on  the 
other,  a  dog  and  cat  contending  for  a  bone,  with 
such  comical  contortions  that  it  is  impossible  to 
regard  them  without  laughing.  In  '  The  Nativity,' 
El  Mudo  essayed  to  vanquish  a  formidable  difiSculty 
in  painting.  He  has  introduced  three  lights  in  the 
picture :  the  effluence  from  the  holy  Infant ;  that 


which  proceeds  from  the  glory  above,  and  which 
extends  over  the  whole  composition ;  and  that 
emitted  from  the  torch  which  Joseph  holds  in  his 
hand.  The  group  of  shepherds  is  the  best  part  of 
the  picture.  It  is  related  that  Pellegrino  Tib;ddi, 
on  seeing  it,  cried  out  in  raptures,  "Oh  I  gli  belli 
pastori ! ' '  This  exclamation  gave  its  name  to  tho 
picture,  and  it  continues  to  be  known  as  'The 
Beautiful  Shepherds.'  In  1576  El  Mudo  painted 
his  famous  picture  of  'Abraham  and  the  three 
Angels,'  for  which  he  received  600  ducats,  and  about 
this  time  he  entered  into  a  contract  with  the  prior, 
inspector,  and  treasurer  of  the  Escorial,  to  paint 
thirty-two  pictures,  which  he  engaged  to  deliver 
within  four  years.  Twenty-seven  of  these  pictures 
were  to  be  seven  feet  and  a  half  in  height  and 
seven  feet  and  a  quarter  in  breadth,  and  the  other 
five  thirteen  feet  high  and  nine  feet  broad.  In  the 
contract,  which  is  preserved  in  the  archives  of  the 
monastery,  all  the  details  are  specified :  for  example, 
the  canvas  of  each  is  to  be  of  one  piece  without 
seam ;  the  work  is  to  be  entirely  by  the  hand  of  Juan 
Fernandez  Navarrete,  and  to  be  done  either  at  the 
convent,  at  Madrid,  or  at  Logrono ;  the  figures  are  to 
be  just  six  feet  and  a  quarter  in  height ;  if  the  siime 
Saint  is  repeated  several  times  in  the  pictures  he  is 
always  to  have  the  same  visage  and  the  same  vest- 
ments ;  the  painter  is  not  to  put  in  the  pictures 
either  cat,  or  dog,  or  any  immodest  figure.  He 
did  not,  however,  live  to  complete  this  vast  under- 
taking; he  painted  in  1577  and  1578  the  eight 
which' represent  the  Apostles,  the  Evangelists,  St. 
Paul,  and  St.  Barnabas ;  the  rest  were  finished  in 
the  following  years  by  Alonso  Sanchez  Coello  and 
Luis  de  Caravajal.  El  Mudo's  health  had  always 
been  delicate,  and  he  died  at  Toledo  in  1679.  In 
the  Madrid  Gallery  there  are  by  him  a  '  Baptism  of 
Christ,'  '  St,  Peter,'  and  '  St.  Paul.' 

FEENANDI,  Francesco.    See  Feedinakdi. 

FERNELEY,  J.  E.,  an  English  animal  painter, 
was  bom  in  1781,  and  died  in  1860.  He  exhibited 
hunting  pictures  at  the  Royal  Academy  from  1818 
to  1849. 

FERRABOSCO,  Gieolamo,  (Febabosco,  or  Foea- 
BOSCO,)  a  native  of  Padua,  painted  at  Venice  from 
1631  to  1659.  He  was  a  contemporary  of  Boschini, 
who  gives  to  this  master,  and  to  the  Cavaliere 
Liberi,  the  first  rank  among  the  Venetian  painters 
of  the  time.  He  was  more  employed  for  private 
collections  than  for  the  churches,  and  was  much 
engaged  in  portrait  painting,  in  which  he  particu- 
larly excelled.  Ferrabosco  possessed  a  noble  and 
penetrating  genius,  and  united  suavity  with  finish, 
and  elegance  with  force  ;  his  works  were  studied 
in  every  part,  particularly  in  the  heads.  He  was 
still  living  in  1660.  In  the  Dresden  Gallery  is  a 
picture  of  '  A  Young  Woman  snatched  from  the 
hand  of  Death.' 

FERRACUTI,  Giovanni  Domenico,  who,  accord- 
ing to  Lanzi,  was  a  native  of  Macerata,  flourished 
about  the  middle  of  the  17th  century.  He  chiefly 
painted  landscapes,  particularly  •  winter-pieces, 
which  were  much  esteemed  in  his  time. 

FERRADO,  Cristobal,  a  Spanish  painter,  was 
born  at  Anieva,  in  the  principality  of  the  Asturias, 
in  1620.  He  had  acquired  some  ability  from  the 
instruction  of  an  unknown  artist,  and  afterwards 
developed  into  an  accomplished  painter  from  his 
own  unaided  practice.  In  1640  he  became  a  monk 
of  the  order  of  Santa  Maria  de  las  Cuevas,  near 
Seville.  He  continued,  however,  to  exercise  his 
art,  and  painted  some  pictures  for  the  altars  of  his 

487 


Ferrajuoli 


A  BIOGRAPHICAL  DICTIONARY  OF 


Ferrari 


monastery.  Several  of  his  productions  are  in  the 
cloister  of  San  Miguel  at  Seville,  and  others  have 
been  removed  to  the  Alcazar.  Towards  the  end  of 
his  life  he  was  made  rector  of  the  Carthusian 
Monastery  of  Cazaller.    He  died  at  Seville  in  1673. 

TERRA JUOLI,  Nunzio,  called  Nunzio  degli 
Afflitti,  was  born  at  Nocera  de'  Pagani,  in  the 
N  eapolitan  territory,  in  1 660.  After  studying  some 
time  under  Luca  Giordano,  he  went  to  Bologna, 
where  he  became  a  scholar  of  Giuseppe  dal  Sole. 
His  first  efforts  were  in  historical  painting ;  but  his 
genius  decidedly  led  him  to  landscape  in  oil  and 
fresco.     He  died  at  Bologna  in  1735. 

FERRAMOLA,  Floeiano,  or  Fioeavante,  a 
native  of  Brescia,  born  at  the  end  of  the  15th 
century,  painted  both  in  oil  and  fresco,  and  was 
influenced  by  Foppa,  Costa,  and  Francia.  Rossi 
relates  of  him  that  when  Brescia  was  sacked 
by  Gaston  de  Foix  in  1512,  he  remained  calmly 
working  at  his  easel,  and  being  there  found  by  a 
gang  of  plunderers  who  demanded  ransom,  he, 
without  discontinuing  his  labours,  told  them  to 
help  themselves,  which  they  quickly  did,  and  left 
his  studio  an  empty  wreck.  Happily  for  the  artist 
his  talents  gained  for  him  the  protection  of  Gaston 
de  Foix,  who  ordered  him  to  paint  his  portrait,  and 
indemnified  him  for  his  losses.  He  was  much  em- 
ployed as  a  fresco  painter  at  Brescia,  though  very 
little  by  him  now  remains  there.  The  church  of 
Santa  Maria  at  Lovere  still  preserves  in  its  nave 
frescoes  of  the  Twelve  Apostles  and  Saints  by  him, 
as  also  parts  of  an  organ  screen  executed  in 
1518.  He  is  known  to  have  contracted  in  1516 
to  paint  the  organ  shutters,  and  in  1527  to  decor- 
ate the  chapel  of  the  Cross  in  the  cathedral  of 
Brescia,  and  to  have  died  before  its  completion  in 
1628.  Of  the  last-named  work  only  one  fresco 
remains  in  its  place.  The  following  paintings  by 
him  still  exist : 

Brescia.     Casa  Borgondio.  The  Birth  of  Adonis. 

„  „  The  Death  of  Iphigeneia. 

„    8.  Giov.  Evangelista.  The  Trinity,  with  Saints. 

„  Tosi  Collection.  Christ  on  the  Cross. 

Lucca.  iS.  Frediano.  Altar-piece. 

FERRAND,  Jacques  Philippe,  who  was  born  at 
Joigny  in  Burgundy  in  1653,  was  a  miniaturist 
and  painter  in  enamel.  He  was  the  son  of  a  phy- 
sician to  Louis  XIII.,  and  studied  under  Mignard 
and  Samuel  Bernard.  In  1690  he  was  received 
into  the  Academy,  on  which  occasion  he  painted  a 
portrait  of  Louie  XIV.  He  excelled  in  his  art,  and 
published  in  1721  a  work  entitled,  '  L'Art  du  feu, 
ou  maniSre  de  peindre  en  ^mail.'  He  travelled  in 
Italy,  England,  and  Germany,  and  died  in  Paris  in 
1732. 

FERRANDINI,  Claudio,  an  engraver,  worked  in 
Paris  and  Toulon  in  the  latter  part  of  the  18th 
century.  He  engraved  landscapes,  sea-pieces,  and 
views  after  Claude,  Fontaine,  J.  Vernet,  S.  R.Vialy, 
Teniers,  &c.     He  died  about  1790. 

,  FERRANTE,  Giovanni  Francesco,  who  was 
born  at  Bologna  about  1600,  was  a  pupil  of  Gessi. 
He  executed  several  works  in  oil  and  fresco  at 
Bologna  and  at  Piacenza,  where  he  died  in  1652. 

FERRANTI,  Decio  and  Agosto,  father  and  son, 
were  painters  who  flourished  about  1600.  Both  of 
them  painted  miniatures  exquisitely,  and  in  the 
cathedral  of  Vigevano  is  an  Evangeliarium  and  a 
Missal  richly  embellished  by  them. 

FBRRANTINI,  Gabriele,  called  Gabriele 
DAGLl  OcCHiALi,  from  his  wearing  spectacles,  was 
born  at  Bologna  about  1660,  and  was  instructed 

488 


in  the  school  of  Dionysius  Calvaert.  He  painted 
historical  subjects,  both  in  oil  and  fresco,  in  a 
pleasing  and  tasteful  manner.  Several  of  his 
works  are  in  the  churches  at  Bologna,  of  which 
the  following  are  the  most  esteemed :  in  San 
Benedetto,  '  St.  Francis  of  Paola '  ;  in  San  Mattia, 
a  fine  picture  of  '  St.  Jerome '  ;  in  La  Carita,  '  St. 
Francis  receiving  the  Stigmata ' ;  and  in  the 
church  of  the  Servites,  the  'Descent  from  the 
Cross  '  and  the  '  Birth  of  the  Virgin.' 

FERRANTINI,  Ippolito,  a  brother  of  Gabriele 
Ferrantini,  was  instructed  by  the  Carracci,  whom 
he  imitated  with  success.  He  was  a  member  of  the 
Accademia  degli  Incaminati.  In  the  church  of  San 
Mattia  in  Bologna  is  a  picture  representing  'St. 
Michael. ' 

FERRARA,  Bono  da,  (or  Bono  Feeeaeese,)  lived 
in  the  16th  century,  and  seems  to  have  been  the 
pupil  of  both  PisaBO  and  Squarcione.  He  was 
employed  by  the  Dukes  of  Ferrara  to'  decorate 
their  castles  at  Migliaro  and  Belfiore,  in  1450  and 
1452.  He  also  painted  a  '  St.  Christopher '  in 
the  chapel  of  the  Eremitani  at  Padua,  and  he  is 
said  to  have  assisted  in  the  decorations  of  the 
Cathedral  of  Siena  in  1461.  The  National  Gallery 
possesses  a  '  St.  Jerome  in  the  Desert,'  by  him, 
and  in  the  Galleries  of  Dresden  and  Munich  are  also 
paintings  assigned  to  this  artist.  His  style  par- 
takes of  that  of  his  master  Squarcione,  and  also 
of  that  of  his  fellow-pupil  Mantegna.  Of  his  birth 
or  death  no  dates  can  be  given. 

FERRARA,  Cosme  da.     See  Tuea. 

FERRARA,  Eecole  da.     See  Geandi. 

FERRARA,  Stefano  da,  called  Falzagaiioni, 
was  a  Ferrarese,  who  lived  in  the  latter  half  of  the 
16tli  century,  and  is  described  by  Vasari  as  having 
been  the  friend  of  Mantegna.  He  filled  the  chapel 
of  the  Santo  at  Padua  with  frescoes,  which  were 
destroyed  in  1600,  in  consequence  of  the  renova- 
tion of  the  edifice  by  Andrea  Briosco.  In  the 
Brera,  Milan,  are  two  Madonnas  with  Saints,  that 
are  assigned  to  him  ;  and  in  San  Giovanni  in  Monte, 
Bologna,  is  a '  Madonna  and  Child,  with  two  Angels,' 
considered  to  be  by  this  artist.  The  dates  of  his 
birth  and  deatli  are  uncertain. 

FERRARESINO,   II.     See  Beelinghieri,  Ca- 

MILLO. 

FERRARI,  Antonio  Felice,  the  son  of  Fran- 
cesco Ferrari,  was  born  at  Ferrara  in  1668.  He 
was  a  painter  of  architecture,  and  distinguished 
himself  by  the  grandeur  of  his  style  in  the  paint- 
ings for  the  palaces  at  Ferrara,  Venice,  Padua,  and 
Ravenna     He  died  in  1720. 

FERRARI,  Beenaedino,  who  was  bom  at 
Vigevano  about  1540,  painted  at  that  place  the 
chapels  of  San  Jaoopo  and  San  Filippo.  He 
imitated  the  style  of  Gaudenzio  Ferrari. 

FERRARI,  Difendente,  a  contemporary  of 
Macrino,  was  a  painter  of  numerous  pictures,  chief 
of  which  are  a  '  PietA, '  in  the  cathedral  of  Chivasso, 
altar-pieces  in  the  cathedral  of  Ivrea  (1619-1521), 
and  a  '  Nativity,  with  Saints '  (1531)  in  the  church 
of  Ranverso. 

FERRARI,  Feancesco,  born  at  Castello  della 
Fratta,  near  Rovigo,  in  1634,  was  a  painter  of  his- 
torical subjects,  architecture,  and  landscapes.  He 
was  first  employed  in  figure-painting,  but  after- 
wards studied  decoration  and  scenery  under 
Gabriele  Rossi.  He  painted  for  the  Marchess  degli 
Obizzi,  among  other  works,  the  theatre  at  San 
Lorenzo  in  1660.  Subsequently  he  was  engaged 
upon  theatre-decorations  at  Vienna,  and  painted  in 


Ferrari 


PAINTERS  AND  ENGRAVERS. 


Ferrari 


San  Francesco,  the  Gesi,  San  Giorgio,  and  the 
Bucci  Mansion  at  Ferrara,  and  San  Petronio  at 
Bologna,  where  he  executed  'The  Martyrdom  of 
St.  Sebastian.'     He  died  in  1708. 

FERRARI,  Francesco  Bianchi,  called  II  Feaei, 
an  excellent  artist,  bom  in  1447,  executed  many 
paintings  at  Modena,  but  a  great  number  of  his 
productions  have  perished.  A  fine  picture  by  him 
in  the  Louvre  at  Paris,  representing  '  The  Madonna 
enthroned,  with  Saints  and  Angels,'  bears  so 
striking  a  resemblance  to  Correggio's  '  St.  Francis ' 
in  the  Dresden  Gallery,  that  it  has  much  strength- 
ened the  supposition  that  Correggio  was  Ferrari's 
pupil.     He  died  in  1510. 

FERRARI,  Gaudenzio,  called  by  Vasari  Gau- 
DENZio  Milanese,  a  painter  and  sculptor  of  the 
Lombard  school,  was  born  at  Valduggia,  near 
Novara,  most  probably  in  the  year  1484.  Nothing 
is  known  of  his  early  years,  or  as  to  who  was  his 
first  master,  though  he  seems  at  one  time  to  have 
been  a  pupil  of  Luini.  That  he  was  instructed  in 
the  principles  of  art  by  Girolamo  Giovenone  at 
Vercelli  is  a  supposition  devoid  of  foundation,  but 
he  studied  under  Stefano  Scotto,  a  painter  of  ara- 
besques, at  Milan.  His  greatest  advance  was,  how- 
ever, derived  from  an  attentive  study  of  the  works 
of  Leonardo  da  Vinci.  There  is  no  proof  that  he 
was  acquainted  with  Perugino  or  Raphael,  or  that 
he  was  at  Rome,  and  painted  in  conjunction  with 
the  latter  in  the  Famesina  and  in  the  Vatican  in 
1519  and  1520.  This  devotion  to  the  study  of  such 
models  developed  his  great  talent  so  rapidly  as  to 
cause  him  so  early  as  in  1504  to  be  appointed  for 
the  execution  of  a  considerable  work  in  the  Gappella 
del  Sacro  Monte  at  Varallo,  representing  the  'Sacri- 
fice of  Christ.'  In  1608  he  was  at  Vercelli.  In 
1510  he  painted  for  the  commune  of  Arena  a 
picture  in  six  compartments,  the  subject  of  the 
principal  one  being  '  The  Virgin  adoring  the  In- 
fant.' This,  and  others  of  his  early  works,  was 
signed  'Gaudenzio  di  Vincio.'  At  Varallo  he 
displayed  great  activity,  and  executed  a  con- 
siderable number  of  paintings  and  sculptures. 
He  was  also  the  instructor  of  many  artists,  as, 
Andrea  Solario,  Bernardino  Lanini,  Firmo  Stello, 
Cesare  Luini,  and  Antonio  Zanotti.  From  1527 
until  his  death  at  Milan,  where  he  left  unfinished 
a  'Last  Supper'  in  Santa  Maria  della  Passione, 
he  painted  in  oil  and  fresco  in  several  churches 
in  that  city  and  its  neighbourhood.  There  exists 
a  great  number  of  frescoes  by  Gaudenzio,  which 
are  scarcely  inferior  to  those  of  his  pupil  Luini, 
with  whom  he  painted  from  1532  to  1535  in  San 
Cristoforo  at  Vercelli.  The  latest  mention  of 
him  is  in  1545,  and  it  is  probable  that  he  died 
at  Milan  in  1549  or  1550.  The  different  styles 
of  the  great  masters  after  whom  he  studied 
are  very  discernible  in  his  works,  while  here  and 
there  he  becomes  fantastical  and  odd.  He  un- 
doubtedly possessed  an  extraordinary  fertility  of 
invention,  together  with  an  elevation  of  style,  and 
these  characteristics  have  caused  him  to  be  con- 
sidered one  of  the  first  painters  of  his  time.  His 
works  are  not  so  distinguishable  for  a  correct 
delineation  of  muscular  anatomy  as  for  a  choice 
of  difficult  and  uncommon  attitudes,  which  are 
bold  and  striking  where  the  subject  admits.  The 
following  is  a  list  of  several  of  his  works  : 


Arona. 
Berlin. 

Busto  Arsizio, ) 
near  Milan,   j 


Church.    Madonna  and  Child. 
Gallery.    The  Annunciation. 

Church.    Several  frescoes. 


Oaiinobbio,  Lago  1  church.    Christ  bearing  the  Cross. 

Maggiore.      J 
Como.  Cathedral.    Marriage  of   Mary  and  Jo- 

seph. 
^  „  The  Flight  into  Egypt   (in 

tempera). 
Dresden.  Gallen/.    The  Holy  Family. 

London.         Mr.  Holford.    The  Virgin  and  Angels  ador- 
ing the  Infant. 
Mr.  Solly.    Visitation  of  the  Virgin, 
jlilan.  Brera.    Martyrdom  of  St.  Catharine. 

„        Scenes  in  the  Life  of   the 
Virgin ;  in  fresco.  {Formerly 
in  Santa  Maria  della  Pace.) 
„  „        Adoration  of  the  Magi. 

1^  „        An  Angel  with  a  Harp. 

,,  „        An  Angel  with  a  Lute. 

„        Presentation  in  the  Temple. 
"  iS".  Amhrogio.    The  Dead  Christ. 

„         S.  M.  delle  Grazie.    The  Flagellation  of  Christ. 
„  „  The  Crucifixion.    1542. 

!,        S.M.  della  Passione.  The  Last  Supper.  Unfinished. 

1543. 
„      S.  M.presso  S.  Celso.    Baptism  of  Christ. 
Novara.  Cathedral.     An  Altar-piece.     1524. 

„  S.  Gaudenzio.     The  Virgin  enthroned,  sur- 

rounded by  Saints. 
Paris.  Louvre.    The    Apostle    Paul.     1543. 

{F(ynnerly  in  Santa  Maria 
delle  Grazie,  Milan.) 
Eome.  Sciarra  Pal.    The  Old    and    New   Testa- 

ments. 
Saronuo,  near   Pilgrimage  1  A  Glory  of  Angels ;  in  the 

Milan.  dhurch.    j     cupola.    1535. 

Turin.  Gallery.    Christ  bewailed. 

„  „  St.  Peter. 

„  „  St.  Joachim  dnven  from  the 

Temple. 
„  „  Meeting  of  the  Virgin  and 

St.  Elizabeth. 
VaraUo.  ^^^f  «-^f  JThe  Sacrificeof  Christ.  1504. 

„  Collegiata.    Marriage  of  St.  Catharine. 

„  „         The  Procession  of  the  Magi. 

„        S.  M.delle  Grazie.    Pieta.    1504. 

„  „  Scenes  in  the  Life  of  Christ. 

„  S.  M.  di  Loretto.    Adoration  of  the  Infant ;   in 

the  style  of  JRaphael. 
Vercelli.  S.  Cristoforo.  The  Birth  of  Mary,  The  An- 
nunciation, The  Visitation, 
The  Adoration  of  the  Magi 
and  the  Shepherds,  The 
Crucifixion,  The  Ascension 
of  the  Virgin,  Madonna 
with  Angels  and  Saints. 
1532-15i;4. 

„  S.  Paolo.    The  Last  Supper. 

FERRARI,  Giovanni  Andeea,  Geegoeio,  Lo- 
EENZO,  and  Obazio  del     See  Dei  Feeeari. 

FERRARI,  Leonaedo,  called  Lonaedino,  was  a 
native  of  Bologna,  and  a  scholar  of  Lucio  Massari. 
Although  he  is  chiefly  noticed  by  Malvasia  as  a 
painter  of  drolleries  and  carnival  festivals,  he 
acquired  no  little  reputation  by  his  historical  works, 
of  which  there  are  several  in  the  churches  at 
Bologna.  In  SS.  Gervasio  e  Protasio  is  a  picture 
of  the  '  Virgin  of  the  Rosary,  with  Mary  Magda- 
len, and  other  Saints ' ;  in  San  Francesco,  the 
'  Death  of  St.  Joseph '  ;  and  in  La  Madonna  della 
Neve,  '  St.  Anthony  of  Padua. 

FERRARI,  LuoA,  called  LucA  da  Reggio,  was 
born  at  Reggio  in  1603.  He  had  the  advantage  of 
studying  under  Guide  Reni ;  and  in  the  airs  of  Lis 
heads,  and  the  elegant  movement  of  his  figures, 
he  approaches  the  graceful  style  of  his  instructor. 
One  of  his  most  esteemed  works  is  a  '  Pieta,'  in 
the  church  of  Sant'  Antonio  at  Padua  ;  it  is  full  of 
character  and  expression,  and  admirably  coloured. 
In  compositions  which  require  a  multiplicity  of 
figures  he   is  less   successful,  as   appears  in   his 

489 


Ferrari 


A  BIOGEAPHICAL  DICTIONARY  OF 


Feselen 


picture  of '  The  Plague,'  at  the  Dominicans,  painted 
in  1630.  He  was  the  instructor  of  Minorello  and 
Cirello,  the  former  of  whom  is  often  confounded 
with  Luca,  from  the  great  resemblance  of  his  works 
to  those  of  his  master.  Luca  da  Reggio  died  at 
Padua  in  1652.  In  the  Estense  Gallery  at  Modena 
are  a  '  Magdalen,'  '  The  Death  of  Cleopatra,'  and 
'  Tom/ris,  Queen  of  the  Massagetae,  placing  the 
head  of  Cyrus,  King  of  the  Persians,  in  a,  bottle 
filled  with  blood,'  and  in  the  Bordeaux  Museum  is 
'  Painting  crowned  by  Fame.' 

FERRARI,  PiETRO,  a  native  of  Parma,  was 
instructed  by  Giuseppe  Baldrighi.  He  was  a  pro- 
fessor of  the  Academy  of  his  native  city,  and 
imitated  the  old  masters  of  that  school  rather  than 
his  instructor.     He  died  in  1787. 

FERRARO,  Fbanoesco  del  Biancho.    See  Bi- 

ANOHI. 

FERRER,  Garcia,  the  Licentiate,  an  ecclesiastic 
and  painter  of  some  reputation  at  Valencia,  exe- 
cuted some  pictures  for  the  altar  of  San  Vicente 
Ferrer  in  the  convent  of  San  Domingo,  and  practised 
his  art  at  Madrid.  Cean  Bermudez  mentions  a 
'  Crucifixion '  by  him,  dated  1632,  then  in  the 
possession  of  Don  Mariano  Ferrer,  secretary  of 
the  Academy  of  San  Carlos. 

FERRERS,  Benjamin,  a  portrait  painter,  flour- 
ished about  the  middle  of  the  18th  century.  He 
was  deaf  and  dumb.  Amongst  his  works  are 
portraits  of  Bishop  Iloadly  and  Bishop  Beveridge  ; 
the  latter  is  in  the  Bodleian  Library,  Oxford. 

FERRETTI,  Giovanni  Domenico,  called  Gio- 
vanni DoMENico  DA  Imola,  was  born  at  Florence  in 
1692.  He  was  a  scholar  of  Giovanni  GiosefEo  dal 
Sole,  and  painted  historical  subjects,  both  in  oil 
and  fresco,  with  considerable  success.  His  works 
are  principally  in  the  palaces  and  churches  of 
Imola,  Leghorn,  Siena,  Florence,  and  Pisa.  He 
also  painted  the  cupola  of  the  Filippini,  at  Pistoja. 
One  of  his  best  pictures  is  '  The  Martyrdom  of  St. 
Bartholomew,'  in  the  church  dedicated  to  that 
apostle  at  Pisa. 

FERRI,  CiHO,  an  Italian  historical  painter,  was 
born  at  Rome  in  1634.  He  was  the  most  dis- 
tinguished scholar  of  Pietro  da  Cortona,  with 
whom  he  executed  many  paintings,  and  whose 
style  he  imitated  with  a  servility  that  renders  it 
sometimes  difficult  to  distinguish  his  works  from 
those  of  his  instructor,  from  which  they  only  differ 
in  their  inferiority.  He  was  patronized  and  em- 
ployed by  Prince  Borghese  and  Pope  Alexander 
VII.,  for  whom  he  executed  several  works.  The 
Grand-Duke  Cosmo  III.  invited  him  to  Florence 
to  finish  the  great  fresco  works  which  were  left 
imperfect  by  Pietro  da  Cortona,  and  in  this  he 
was  so  successful,  that  they  appeared  to  be  the 
production  of  one  hand.  Ferri  died  in  1689.  The 
following  are  his  most  important  paintings  : 
Amsterdam.  Museum,  Marriage  of  the  Virgin. 
Bergamo.        S.  Maria  1  Scenes    from    the    Bible.     His 

Maggiore.  J     largest  toork. 
Copenhagen.    Gallery.    David  refusing  the  Armour. 
Darmstadt.       Gallery.     The  Eape  of  Helen. 
Dresden.  Gallery.    Dido  and  ^neas. 

!>  „         Dido  dying  on  the  funeral  pile. 

Florence.        Titti  Pal.    Frescoes  {commenced  hy  Pietro  da 
Cortona). 
»  Uffizi.    Christ  on  the  Cross. 

i»  „        Alexander  on  his  couch  reading 

Homer. 
Hampton  Court.    Pal.    Triumph  of  Bacchus. 
Modena.    Estense  Gall.    Coriolanus  besought  by  his  family 
not  to  besiege  Kome. 

"  ^  n  A  Roman  "Warrior. 

490 


Nuremberg.   Zandauer 
BrOderhaus. 


Petersburg.  Hermitage. 

Kome.  S.  Ambrogio 

della  Massima. 

„  8.  Agnese. 

„  Vatican. 


Munich.  Gallery.    The  Eest  on  the  Flight  to  Egypt. 

Madonna  and  Child. 

I  The  Holy  Family. 

Bebekah    and    Elieser    at    the 
"Well. 

Vision  of  St.  Catharine  of  Siena. 

St.  Ambrose  healing  a  sick  per- 
son.    His  best -work. 

The    Cupola    (finished   by  Cor- 
bellini). 

Designs  for  the  mosaics  in  the 
cupola  of   the  right  nave  in 
St.  Peter's. 
Vienna.  Gallery.    Christ  appearing  to  Mary  Mag- 

dalen. 

FERRI,  Gesualdo,  bom  at  San  Miniato  in  1728, 
was  still  living  in  1776.  He  was  a  pupil  of  Pompeo 
Batoni,  and  his  works  are  to  be  found  in  Florence 
and  other  places.  Among  them  is  an  '  Exaltation ' 
in  the  Carmine  Church  in  Florence. 

FERRIBRE,  F.  and  L.,  father  and  son,  of  Swiss 
extraction,  were  miniature  painters,  who  practised 
in  London.  The  former  exhibited  at  the  Royal 
Academy  from  1793  to  1822,  and  the  latter  from 
1817  to  1828. 

FERRONI,  GiROLAMO,  a  painter  and  etcher,  was 
born  at  Milan  in  1687.  It  is  not  stated  who  was 
his  first  instructor  in  art ;  but  at  an  early  period  of 
his  life  he  painted  the  '  Death  of  St.  Joseph,'  for 
the  church  of  Sant'  Eustorgio,  at  Milan ;  and  after- 
wards visited  Rome,  where  he  entered  the  school  of 
Carlo  Maratti.  He  died  about  1730.  There  are 
some  spirited  and  tasteful  etchings  by  this  artist, 
after  C.  Maratti,  including  the  following : 

Joshua  stopping  the  course  of  the  Sun. 

Deborah  celebrating  the  Victory  over  Sisera. 

Jael  slaying  Sisera. 

The  Chastity  of  Joseph. 

Judith  with  the  Head  of  Holofernes. 

St.  Charles  Borromeo ;  after  S.  Cantarini. 

FERRUCCI,  NicoDEMO,  was  a  native  of  Fiesole, 
and  the  favourite  disciple  and  friend  of  Domenico 
Passignano,  whose  spirited  style  and  facility  of 
execution  he  emulated.  He  accompanied  that 
master  to  Rome,  and  assisted  him  in  his  most  im- 
portant undertakings.  He  chiefly  excelled  as  a 
fresco  painter ;  and  many  of  his  works  are  in  the 
public  edifices  at  Florence  and  Fiesole,  as  well 
as  in  the  neighbourhood  of  Rome.  He  died  in 
1650. 

FERT:i^,  M.  db  la.    See  De  la  FektiS. 

FESEL,  Christoph,  born  at  Ochsenfurt  in  1737, 
distinguished  himself  as  a  painter  of  historical  sub- 
jects and  portraits.  After  having  studied  some 
time  under  Mengs  and  Battoni  at  Rome,  he  returned 
to  Germany,  and  painted  a  number  of  easel-pictures 
for  churches,  besides  frescoes.  All  his  works  are 
of  a  bright  colouring.  He  was  professor  at  the 
Academy  of  St.  Luke  at  Rome,  and  died  at  Wiirz- 
burg,  where  he  was  court-painter  and  inspector  of 
the  Gallery,  in  1805. 

FESELEN,  Melchior,  an  historical  painter,  of 
Passau,  lived  at  the  same  time  as  Altdorfer,  whose 
works  he  imitated  with  assiduity.  Though  he  was 
inferior  to  that  artist,  his  paintings  are  rich  in 
composition,  with  a  great  number  of  ijgures  highly 
finished,  and  in  a  style  quite  peculiar  to  himself. 
He  died  at  Ingolstadt  in  1538.  Among  his  paint- 
ings (marked  with  the  annexed  monogram)  A/C* 
there  are  :  J^^  ' 


there  are : 

Darmstadt. 
Munich. 


Gallery.    The  Crucifixion. 
Gallery.    The  Siege  of  Kome  by  Porsena. 
1529. 


Fessard 


PAINTERS  AND  ENGBAVERS. 


Peuerbach 


Munich.  Gallery.    Csesar    conquering    the   town 

Alesia  in  Gaul.    1533. 
Nuremberg.       Museum.    The  Adoration   of    the   Magi. 

1531. 
Ratisbon.  Hist.  Soc.    St.  Mary  of  Egypt. 

FESSARD,  Etienne,  a  French  engraver,  was 
born  in  Paris  in  1714.  He  was  a  pupil  of  Bdme 
Jeaurat,  and  proved  an  artist  of  sufficient  merit  to 
be  appointed  one  of  the  engravers  to  the  king. 
He  died  in  Paris  in  1774.  He  executed  a  con- 
siderable number  of  plates,  among  which  are  the 
following : 

PORTRAITS. 

Hortensia  Mancini,  Duchess  of  Mazarin;  after  Fer- 
dinand. 

Marie  Madeleine  de  Lavergne,  Countess  de  La  Fayette ; 
c^ter  the  same. 

J.  P.  de  Bougainville,  of  the  French  Academy ;  after 
C.  N.  Cochin. 

The  Marquis  de  Mirabeau ;  after  Van  Loo. 

The  Duke  de  Ohoiseul ;  after  the  same. 

SUBJECTS    AFTER   VARIOUS  MASTERS. 

Diana  and  Actseon;  after   Giacomo  Bassano;  for  the 

Orozat  Collection. 
The  Virgin  enthroned,  with    SS.  Francis,  John,   and 

Catharine  ;  after  Correggio. 
The  Holy  Family,  with  St.  Charles  Borromeo ;    after 

Scarsellino. 
The  Four  Liberal  Arts,  personified  by  Children;  four 

plates ;  after  G.  van  Loo. 
Jupiter  and  Antiope ;  after  the  same.    1758. 
Herininia  armed  as  Clorinda ;  after  J.  B.  Fierre. 
The  Birth  of  Venus ;  after  F.  de  Troy. 
Jupiter  and  Leda ;  after  the  same. 
The  Triumph  of  Galatea ;  after  Bouchardon  ;  etched  by 

Count  de  Cayltia,  and  finished  by  Fessard. 
The  Triumph  of  Bacchus ;  after  the  same  ;  etched  by 

Count  de  Gaylus,  and  finished  by  Fessard. 
The  Nativity ;  after  Boucher. 
A  Flemish  Festival ;  after  Rubens.    1762. 
Psyche  abandoned  by  Cupid ;  after  Le  Moine. 

FETI,  DoMENico,  born  at  Rome  in  1589,  was 
a  scholar  of  Lodovico  Cardi,  called  Cigoli.  While 
still  very  young  he  went  to  Mantua  with  Cardinal 
Ferdinando  Gronzaga,  afterwards  Duke  of  Mantua, 
by  whom  he  was  much  patronized,  and  who  sub- 
sequently appointed  him  his  principal  painter.  In 
this  city  he  studied  the  works  of  Giulio  Romano, 
and  at  "Venice,  to  which  city  he  went  afterwards, 
the  masters  of  the  Venetian  school.  He  represented 
scenes  from  the  Bible  and  from  mythology,  as  well 
as  from  life  ;  but  his  oil  paintings  are  superior  to 
his  frescoes.  This  able  artist  was  unfortunately 
addicted  to  intemperance  and  excess,  to  which  he 
fell  a  victim,  at  Venice,  in  1624.  The  following 
are  among  his  principal  works : 

Berlin.  Gallery.  Elijah  in  the  Wilderness. 

Brunswick.        Museum.  The  Expulsion  of  Hagar. 

„  „         The  Return  of  the  Prodigal. 

Dresden.  Gallery.  The  Martyrdom  of  St.  Agnes. 

„  „         David  with  the  Head  of  Goliath. 

„  „         The  Return  of  the  Prodigal. 

„  „  Young  Tobias  pulling  the  Fish 

out  of  the  Water. 

„  „         Several  Parables. 

Edinburgh.     Nat.  Gall.  The  Beheading  of  St.  John  the 

Baptist. 
Florence.      Corsini  Pal.  Christ  praying  in  the  Garden. 

,j  „         Christ  presented  to  the  People 

by  Pontius  Pilate. 

,j  „         The  Crowning  with  Thorns. 

^,  „         The  Entombment. 

„  Fitti  Fal.  The  Labourers  in  the  Vineyard. 

^  „         The  Lost  Coin. 

„  Uffizi.  Artemisia. 

Frankfort.  Stadel.  The  Visitation. 

„      The  Flight  into  Egypt. 


Hampton  Court.  Palace 
Mantua.  Academy. 

„  Cathedral, 

Modena.      Estense  Gall. 
Munich.  Gallery. 


Paris. 


Louvre. 


Petersburg.    Hermitage. 


Venice. 
Vienna. 


Academy. 
Gallery. 


David  with  the  Head  of  Goliath. 

The  Miracle  of  the  Loaves. 

Frescot  s. 

The  Virgin  enthroned. 

Herminia. 

St.  Peter. 

Tancred  lying  wounded  in   tho 
arms  of  his  Esquire. 

Nero. 

Rural  Life. 

Melancholy. 

The  Guardian  Angel. 

The  Adoration  of  the  Shepherds. 

Portrait  of  a  Comedian. 

David. 

The  Conception. 

The  Young  Tobias  healing  his 
Father. 

Daedalus  and  Icarus. 

Melancholy. 

A  Market-place. 

The  Flight  into  Egypt. 
„  „  The  dead  Leander. 

„  „  Moses  and  the  burning  Bush. 

„  „         The  Marriage  of  St.  Catharine. 

„  „         The  Triumph  of  Galatea. 

„  „         St.  Margaret. 

FBUERBACH,  Anselm,  a  German  historical 
painter,  the  son  of  a  well-known  arch»ologist, 
was  born  at  Spires  in  1829,  and  after  his  father's 
removal  to  Freiburg,  he  went,  when  seventeen 
years  of  age,  to  Diisseldorf,  and  there  first  studied 
art  under  the  tuition  of  Schadow.  But  the  religious 
sentiment  of  that  school  being  little  to  his  taste,  he 
left  Diisseldorf  in  1848,  and  went  to  Munich, 
where,  as  a  pupil  of  Genelli,  he  first  disclosed  that 
classical  taste  which  afterwards  gave  him  his  high 
position  in  the  ranks  of  art.  In  1850  he  betook 
himself  to  the  Antwerp  Academy,  and  in  the  fol- 
lowing year  to  Paris,  where  he  first  worked  under 
Couture,  but  afterwards  quite  independently.  He 
did  not,  however,  remain  long  in  that  city,  for. in 
1853  we  find  him  removing  to  Carlsruhe,  in  1854 
to  Venice,  and  in  1855  to  Rome. 

The  earliest  of  Feuerbach's  productions  of 
which  we  find  mention  is  his  'Sea  Nymph,' 
painted  while  studying  under  Genelli  at  Munich. 
Then  in  1852,  at  Paris,  he  executed  his  grace- 
ful and  natural  '  Hafis  at  the  Fountain '  ; 
at  Carlsruhe,  in  1853,  his  'Death  of  Pietro 
Aretino,'  which  proved  a  most  striking  picture 
through  the  strong  individualities  of  the  characters, 
and  the  grandeur  and  comprehensiveness  of  the 
design.  At  Venice  he  copied  Titian's  '  Ascension,' 
and  also  painted  poetical  subjects,  in  which  he  de- 
veloped a  further  advance  in  the  direction  of  his 
previous  picture.  At  Rome,  in  1857,  appeared  his 
'  Dante  with  the  noble  Ladies  of  Ravenna,'  now 
in  the  Carlsruhe  Gallery,  a  production  characterized 
by  loftiness  of  conception  together  with  depth  of 
thought ;  in  1861,  his  '  Iphigenia  in  Tauris,'  and 
'  Francesca  da  Rimini ' ;  and  in  1862,  a  magnificent 
and  solemn  '  Pieta.'  At  Vienna  he  painted  upon 
the  ceiling  of  the  Museum  of  Modelling  a  powerful 
original  design  of  '  The  Titans.'  His  death  occurred 
at  Venice  in  1880.  Among  his  other  works  are  the 
following : 

Medea. 

Orpheus  and  Eurydice. 

Petrarch  and  Laura, 

Ariosto  in  the  Park  of  Ferrara. 

The  Boy  Musicians.    1865. 

The  Banquet  of  Plato.     1869. 

Medea  going  into  Exile.    1870. 

The  Judgment  of  Paris.    1871. 

The  Battle  of  the  Amazons.    1872. 

491 


Feurlein 


A   BIOGRAPHICAL   DICTIONARY  OF 


Ficatelli 


Iphigenia.   (Stuttgart  Gallery.) 

Borneo  and  Juliet. 

Melancholy. 

The  Fall  of  the  Titans. 

FEURLEIN,  JoHANN  Peter,  who  was  born  at 
Boxberg  in  1668,  was  instructed  in  painting  by 
Oswald  Onghers,  and  visited  Vienna  and  Venice. 
He  died  at  Anspach  in  1728.  He  was  an  excellent 
painter  of  portraits  and  historical  pieces,  among 
which  may  be  mentioned : 

The  portrait  o£  the  Emperor  Joseph  I. 
The  paintings  in  the  Castles   of  the  Duke  of   Saxe- 
Hildburghausen  and  the  Margrave  of  Anspach. 

FifeVRE,  Robert  lb.    See  Lefevrb. 

F!feVRE,  Claude  lb.    See  Lefeburb. 

FIiVEE,  FRAN501S  LE.     See  Le  FftvRE. 

FlfeVEE,  Roland  lb.    See  LefJivee. 

FfcVRE,  Valentin  lb.     See  Le  Febbe. 

FEYERABEND,  Sigmund,  born  in  1527  or  1528, 
was  a  bookseller  at  Frankfort.  To  him  are  at- 
tributed the  woodcuts  from  the  designs  of  Virgil 
Solis  in  a  German  Bible  printed  at  Frankfort  in 
1561,  and  the  portraits  of  the  Doges  of  Venice 
in  Kellner's  '  Chronica,'  also  printed  at  Frankfort 
in  1574.  He  died  after  the  year  1585.  He  signed 
his  cuts  with  8F  or  a  monogram.  Several  of  his 
relations  also  were  wood-engravers,  and  one  of 
them,  M.  Fbyerabend,  who  worked  about  1578, 
executed  several  figures  after  Melchior  Lorch. 

FIACCO,  Orlando,  (or  Flaoco,)  a  native  of 
Verona,  who  flourished  about  1560,  was  instructed 
by  Francesco  Torbido,  called  II  Moro.  His  style 
much  resembles  that  of  Badile.  Vasari  praises  his 
portraits,  and  Lanzi  says  that  his  forms  resemble 
those  of  Caravaggio.  There  are  by  him  at  Verona, 
in  San  Nazario,  a  '  Crucifixion '  and  an '  Ecce  Homo.' 

FIALETTI,  Odoardo,  was  born  at  Bologna  in 
1573.  After  studying  for  some  time  under  Gio- 
vanni Battista  Cremonini,  at  Bologna,  he  went  to 
Rome,  and  afterwards  to  Venice,  where  he  entered 
the  school  of  Tintoretto.  He  died  at  Venice  in 
1638.  His  principal  paintings  are  in  San  Marco 
and  Sant'  Andrea  at  Murano.  Boschini  mentions 
thirty-eight  pictures  by  this  painter,  in  the  different 
churches  at  Venice.  At  Hampton  Court  Palace 
are  '  Senators  of  Venice  in  the  Senate  House,'  and 
'  Four  Doges  of  Venice,'  both  of  which  were 
brought  direct  from  Venice  by  Sir  Henry  Wotton, 
and  by  him  bequeathed  to  Charles  I.  He  also 
etched  243  plates  from  his  own  designs,  and  after 
other  masters.     These   are  usually  marked  with 

the  cipher  /X\  i  and  among  them  are  the  following : 


6 


A  long  frieze,  with  Tritons,  Sirens,  &c. 

Venus  and  Cupid,  Diana  hunting,  the  god  Pan,  and  a 

Man  holding  a  Vase  ;  after  Pordenone, 
The  Pastimes  of  Love,  twenty  plates,  entitled  '  Soherzi 

d'Amore.'    1617. 
A  set  of  plates  of  the  Costumes  of  different  Nations, 

and  of  the  different  Religious  Orders.    1626. 
The  Marriage  at  Cana ;  after  Tintoretto. 
St.  Sebastian  ;  after  the  same. 
Designs  of  all  the  parts  of  the  Human  Body. 
Designs  for  Sieges. 
A  Book  on  Fortification  and  Instructions  for  Fighting, 

in  forty-three  plates.    1628. 

FIAMMINGHINO,  Giambattista,  Giovanni 
Maueo,  and  Marco.     See  Rovere. 

FIAMMINGO  (FiAMiNQO,  Fiammingho,  or  Flam- 
MiNGo).  This  is  a,  general  name  given  by  the 
;  Italians  to  Flemish  artists,  hut  they  are  so  numerous 

492 


that  it  is  difficult  to  distinguish  the  Fiamminghi  in 
the  Italian  writers.  Zani  names  no  less  than 
sixty-four. 

FIAMMINGO,  Anselmo,  who  flourished  about 
1680,  was  instructed  by  Luoa  Giordano.  He  was 
a  most  successful  copyist  of  his  master. 

FIAMMINGO,  Arrigo,   probably  a    native   of 
Mechlin,  was  born  about  1523.     His  family  name 
is  not  known  ;  but  he   is   called   by  the  Italians 
Fiammingo  (Fleming),  on  account  of  his  nationality. 
He  visited  Rome  in  the  time  of  Gregory  XIII.,  and 
was  employed  by  that  pontifi'  in  the  Vatican.    In 
the  Sistine  Chapel  of  the  basilica  of  Santa  Maria 
Maggiore    there    is    a   '  Resurrection    of   Christ ' 
restored  by  him  from  the  original  of   Domenioo 
Ghirlandajo,  but  it  has  lost  all  trace  of  the  style 
of  that  master.     In  La  Madonna  degli  Angeli  is 
a  picture   by  this  master    of  'Christ  and  Mary 
Magdalen  in  the  house  of  the  Pharisee,'  a  grand 
composition,  of  many  figures  ;    and  in  the  same 
church  is  a  fine  picture  of  '  St.  Michael  discomfiting 
the  rebel  Angels,'  designed  in  a  grand  and  noble 
style.    Many  other  works  of  this  painter,  in  oil  and 
fresco,  are  in  the  public  edifices  at  Rome,  where 
he  died  in  1601. 
FIAMMINGO,  CoRNELlo.     See  Cort. 
FIAMMINGO,  DiONisio.     See  Calvaert. 
FIAMMINGO,  Enrico,  first  studied  under  Giu- 
seppe Ribera,  called  Spagnoletto,  but  was  after- 
wards a  scholar  of  Guido.     There  are  some  works 
by  this  artist,  in  the  style  of  Guido,  in  the  church 
of  San  Barbaziano,  at  Bologna. 
FIAMMINGO,  Giovanni  Mauro.    See  Roveeb. 
FIAMMINGO,  Gualtieri  and  Giorgio.     These 
two  -artists  painted  for  the  churches  of  Florence  a 
great  number   of  windows  after  the  designs  of 
Vasari.     It  is  supposed  that  these  glass-painters, 
mentioned  by  Vasari,  are  identical  with  Dirk  and 
Wouter  Crabeth  of  Gouda. 

FIAMMINGOj  Guglielmo,  a  scholar  of  Fran- 
cesco Albani,  painted  in  the  style  of  that  master  at 
Bologna  about  1660.  His  productions  are  remark- 
able for  the  landscapes. 
FIAMMINGO,  Paolo.  See  Feanceschi. 
FIAMMINGO,  Robeeto.  See  Robert  le  Longe. 
FIASELLA,  DoMEKico,  called  II  Saezana  (or 
Saeazana),  was  born  at  Sarzana,  in  the  Genoese 
state,  about  1589.  After  passing  some  time  in  the 
school  of  Giovanni  Battista  Paggi,  he  went  to 
Rome,  where  he  studied  attentively  the  works  of 
Raphael.  During  a  residence  of  ten  years  at ; 
Rome  he  was  employed  in  several  works  conjointly  i 
with  Passignano  and  the  Cavaliere  d'Arpino.  On 
his  return  to  Genoa  he  painted  a  great  number 
of  pictures  for  the  churches  in  that  city.  His 
powers  were  best  adapted  to  the  depicting  of  tragic 
scenes.  As  a  colourist  he  is  superior  to  the  gener- 
ality of  the  Genoese  painters.  He  distinguished 
himself  also  as  a  portrait  painter,  and  died  in 
1669.     His  principal  works  are : 

Genoa.  jS.  Sebastiano.  St.  Anthony  finding  the  dead 

body  of  St.  Paul  the  Hermit. 
„  S.  Agostino.  St.  Thomas  of  Villanuova. 

Piaceuza.  S.  Vincerao.  St.  Bernard  (in  the  manner  of 
Raphael). 

Sarzana.  Cathedral.  The  Murder  of  the  Innocents. 

FICAROLO,  II  Muto  di.    See  Sarti. 

FICATELLI,  Stbfano,  who  was  born  at  Cento 
about  1630,  and  died  at  the  beginning  of  the  18th 
century,  was  a  pupil  of  Guercino.  He  executed 
some  pictures  for  the  churches  in  Ferrara,  but  his 
chief  works  are  his  copies  after  Guercino. 


richerelli 


PAINTERS  AND  ENGBAVEES. 


Fielding 


FICHERELLI,  Felice,  called  Felice  Eiposo, 
born  at  San  Gimignano  in  1605,  was  a  pupil  of 
Jacopo  da  Bmpoli.  He  acquired  the  name  of  Felice 
Eiposo  from  his  singular  taciturnity,  for  which  he 
was  not  more  remarkable  than  for  his  uncommon 
indolence.  This  inertness  is  more  to  be  regretted, 
as  the  few  works  he  has  left  are  distinguished  by 
an  elegance  of  design,  a  '  morbidezza,'  a  truth  to 
nature,  and  a  harmony  of  colour  that  charm. 
Such  is  his  picture  of  '  Adam  and  Eve  driven  from 
Paradise,'  in  the  Einuccini  Palace,  and  his  '  St. 
Anthony,'  in  the  church  of  Santa  Maria  Nuova,  at 
Florence.  His  copies  after  Perugino,  Andrea  del 
Sarto,  and  others,  have  been  mistaken  for  the  works 
of  those  masters.  He  died  in  1660.  In  the  Dres- 
den Gallery  is  a  '  Lucretia  and  Tarquinius '  by  him. 

FICQDET,  Etienne,  a  French  engraver,  was 
born  in  Paris  in  1719,  and  was  instructed  by  G.  F. 
Schmidt  and  Le  Bas.  He  acquired  great  reputa- 
tion by  a  set  of  small  portraits  which  he  engraved 
of  distinguished  literary  characters  of  France. 
They  are  executed  with  extraordinary  neatness 
and  delicacy,  and  are  very  correctly  drawn.  One 
of  his  best  plates  is  a  portrait  of  Madame  de 
Maintenon,  after  Mignard,  now  become  very  scarce. 
He  engraved  also  several  of  the  plates  for 
Descamps'  'Vie  des  Peintres  Flamands  et  Hol- 
landais,'  of  which  those  of  Eubens  and  Van  Dyck 
are  very  highly  finished.  He  died  in  Paris  in 
1794.     The  following  are  among  his  best  prints : 

Fran9ois6  d'Aubign^ ;  after  P.  Mignard. 

3.  de  La  Fontaine  ;  after  Riyaud. 

J.  F.  Eegnard ;  after  the  same. 

3.  3.  Eousseau ;  after  De  La  Tour.    1763. 

F.  M.  Aiouet  de  Voltaire  ;  after  the  same.    1762. 

Pierre  Corneille  ;  after  Le  Brun. 

3.  de  Cr^billon  ;  after  Aved. 

3.  B.  P.  de  Moliere  ;  after  Coypel. 

BenS  Descartes  ;  after  F.  Hals. 

M.  Montaigne  ;  after  Bumonstier.    1772. 

De  La  Mothe  Le  Vayer  ;  after  Nanteuil. 

F.  de   La  Mothe  Vinilon  ;  after  Vivien. 

3.  3 .  Tad^ ;  after  Richard. 

P.  P.  Eubens  ;  after  Van  Dyck. 

Anton  Van  Dyck ;  after  the  sxme. 

FICTOOES,  Jan.    See  Victooes. 

FIDANI,  Oeazio,  a  native  of  Florence,  was  born 
about  1610,  and  died  shortly  after  1642.  He  was 
a  pupil  of  Giovanni  Biliverti,  whose  style  he  imi- 
tated. Several  of  his  pictures  are  to  be  found  in 
Florence,  among  which  may  be  named  '  The  Four 
Doctors '  and  'The  Four  Evangelists '  in  the  church 
of  the  Chartreuse.  The  Corsini  Gallery  possesses 
two  portraits. 

FIDANZA,  FiLiPPO,  born  at  Sabina  in  1720,  was 
instructed  in  painting  by  Marco  Benefial  at  Eome. 
Subsequently  he  studied  and  imitated  the  great 
masters,  and  many  works  by  him  of  that  descrip- 
tion are  still  to  be  met  with  at  Eome.  He  died 
in  1790. 

FIDANZA,  Francesco,  the  son  of  Filippo 
Fidanza,  was  bom  at  Milan  in  1749.  He  studied 
under  Vemet  and  Lacroix,  and  excelled  in  land- 
scape painting.  For  Eugene  Beauharnais  he 
painted  the  Italian  Harbours,  two  of  which, 
Ancona  and  Malamocoo,  with  a  landscape,  are  in 
the  Brera  at  Milan.     He  died  at  Milan  in  1819. 

FIDANZA,  Gbegoeio,  brother  of  Francesco 
Fidanza,  was  a  disciple  of  Claude  Lorrain  and 
Salvator  Bosa,  whom  he  imitated  with  success  in 
his  landscapes.     He  died  in  1820. 

FIDANZA,  Paolo,  an  Italian  painter  and  en- 
graver, of  Eome,  was  born  at  Camerino  in  1731. 


and  studied  after  the  great  masters  at  Eome,  from 
whose  paintings  he  executed  a  series  of  heads. 
There  are  by  him  several  plates  after  Eaphael, 
Annibale  Carracci,  and  Guide  Eeni,  but  very  indif- 
ferently executed ;  among  them  are  the  following : 

Mount  Parnassus ;  after  Raphael. 
The  Mass  of  Bolsena ;  a,fter  the  same. 
The  Descent  from  the  Cross;  after  Annilale  Carracci. 
St.  Peter  and  St.  Paul  appearing  to  St.  Francis ;  after 
the  same. 

FIEBIGEE,  Jdlitis,  a  Saxon  landscape  painter, 
was  born  at  Bautzen  in  1813,  and  died  at  Dresden 
in  1883.  There  is  a  landscape  by  this  painter  in 
the  Dresden  Gallery. 

FIEDLER,  JoHANN  Christian,  born  at  Pirna  in 
1697,  was  a  painter  of  portraits,  who  studied  in 
Paris  under  Eigaud  and  Largilliere.  As  court- 
painter  at  Darmstadt,  where  he  died  in  1768,  he 
executed  the  portraits  of  a  number  of  distinguished 
personages.  Among  his  productions  in  the  Gallery 
of  that  town  are  'The  Burial  of  Christ,'  'The 
Seasons,'  some  portraits,  among  which  is  the  artist 
himself,  and  some  fruit  and  fish  pieces. 

FIELDING,  Anthony  Vandyke  Copley,  an 
eminent  water-colour  landscape  painter,  was  born 
in  1787.  He  was  the  second  son  of  Theodore 
Nathan  Fielding,  and  studied  under  John  Varley. 
In  1810  he  became  an  Associate  of  the  Water- 
Colour  Society,  to  the  exhibitions  of  which  he  was 
a  very  large  contributor.  He  became  a  full  mem- 
ber of  the  Society  in  1813,  treasurer  in  1817,  secre- 
tary in  1818,  and  was  president  from  1831  until  his 
death.  He  was  awarded  a  gold  medal  at  the  Paris 
Salon  of  1824.  The  public  appreciation  of  his  art, 
and  a  large  teaching  connection,  enabled  him  to 
amass  a  considerable  fortune,  and  in  his  later 
years  he  retired  to  Brighton.  He  died  at  Worth- 
ing in  1855.  His  works  are  clever,  although  the 
rapidity  with  which  they  were  executed — he  fre- 
quently exhibited  more  than  forty  in  one  year  at  the 
Water-Colour  Society — renders  them  slight.  He  is 
seen  at  his  best  in  his  sea-pieces  and  aerial  effects. 
He  occasionally  painted  in  oil,  and  some  of  his 
works  in  this  medium  appeared  at  the  Eoyal  Aca- 
demy. There  is  a  large  collection  of  his  water- 
colour  drawings  in  the  South  Kensington  Museum. 

FIELDING,  John,  an  engraver,  was  born  about 
1758.  He  studied  under  Bartolozzi  and  Eyland, 
for  the  latter  of  whom  he  worked  much,  so  that 
few  plates  bear  his  own  name ;  of  these  are  '  Jacob 
and  Eachael,'  after  Stothard,  and  '  Moses  saved  by 
Pharaoh's  Daughter.' 

FIELDING,  Newton,  a  water-colour  painter 
and  an  engraver,  was  the  youngest  son  of 
Theodore  Nathan  Fielding.  He  painted  animals, 
but  he  is  chiefly  known  as  an  engraver  and  litho- 
grapher. His  practice  was  large  in  France,  where 
he  had  a  considerable  reputation.   He  died  in  1856. 

FIELDING,  Thales,  a  water-colour  painter, 
bom  in  1793,  was  a  younger  son  of  Theodore 
Nathan  Fielding.  He  painted  landscapes,  with 
cattle  and  figures,  and  became  drawing-master  at 
the  Woolwich  Military  Academy.  He  died  in 
London  in  1837.  At  the  South  Kensington  Museum 
is  a  water-colour  drawing,  '  Greenwich  Hill,'  by 
him. 

FIELDING,  Theodore  Heney  Adolphtjs,  a 
water-colour  painter,  the  eldest  son  of  Theodore 
Nathan  Fielding,  was  born  in  1781.  He  exhibited 
occasionally  at  the  Eoyal  Academy,  and  became 
drawing  master  at  Addiscombe  Military  College, 

493 


Fielding 


A  BIOGRAPHICAL  DICTIONARY  OF 


Fiesole 


He  also  wrote  several  works  on  the  theory  and 
practice  of  painting,  engraving,  and  perspective. 
He  died  at  Croydon  in  1851.  At  the  South 
Kensington  Museum  is  a  water-colour  drawing  of 
'  Manorbeer  Castle '  by  him.  His  wife  was  a 
member  of  the  Water-Colour  Society,  and  from 
1821  till  1835  exhibited  drawings  of  flowers, 
birds,  insects,  &c.  at  its  exhibitions. 

FIELDING-,  Thbodoeb  Nathan,  aportrait  painter, 
had  considerable  practice  in  the  latter  half  of  the 
18th  century  in  Yorkshire  and  Lancashire.  He 
was  the  father  of  the  four  water-colour  painters, 
Theodore,  Copley,  Thales,  and  Newton  Fielding. 

FIELIUS,  Jan.    See  Fiucus. 

FIESOLE,  Fra  Benedetto  da,  called  also 
Benedetto  da  Mdgello,  who  was  born  at  the 
village  of  Vicchio,  in  the  province  of  Mugello,  was 
a  brother — probably  younger — of  the  celebrated 
Fra  Angelioo,  and  with  him  entered  the  convent  of 
San  Domenico  at  Fiesole,  in  1407,  taking  the  name 
of  '  Frater  Benedictus,'  by  which  he  is  usually 
known.  For  three  years  previous  to  his  death, 
which  occurred  in  1448,  beheld  the  post  of  superior 
of  that  convent.  Fra  Benedetto  was  a  miniaturist 
of  talent.  He  illuminated  the  choral  books  of  San 
Marco,  Florence,  and  also  books  in  the  convent  of 
San  Domenico,  Fiesole.  He  is  supposed  also  to  have 
assisted  Fra  Angelico  in  his  frescoes  in  San  Marco. 

FIESOLE,  Frate  Giovanni  da,  commonly,  from 
the  piety  of  his  life  and  works,  called  Fea  Angelico, 
was  born  at  Vicchio,  in  the  province  of  Mugello,  in 
1387.  His  father's  Christian  name  was  Pietro,  his 
surname  is  unrecorded.  He  was  christened  Guido, 
and  both  he  and  his  brother  Benedetto  entered  the 
Dominican  convent  of  Fiesole,  near  Florence,  in 
1407,  when  Guido  took  the  name  of  Giovanni.  His 
earliest  works  were  illuminations  for  manuscripts. 
The  first  years  of  his  monastic  life  were  spent 
— owing  to  the  brotherhood  being  driven  from 
Florence  by  the  Archbishop  for  their  allegiance  to 
Gregory  XII. — at  Foligno  and  at  Cortona,  where 
many  of  his  works  still  remain,  notably  in  the 
church  of  the  Jesuits.  He  probably  returned  with 
the  Dominicans  to  Fiesole  in  1418,  and  remained 
there  eighteen  years,  during  which  he  executed 
many  paintings  and  frescoes  for  the  convent  and 
churches.  Amongst  them  can  be  mentioned  a 
'  Tabernacle '  representing  a  life-size  '  Virgin  and 
Child  enthroned,'  with  twelve  angels  in  the  cornice, 
painted  in  1433,  and  now  in  the  Uflfizi  Gallery ; 
also  the  thirt3'-five  panels  which  formerly  adorned 
the  plate  cupboards  of  the  SS.  Annunziata,  and 
now  in  the  Academy  of  Arts  at  Florence.  About 
1436  he  went  to  the  monastery  of  San  Marco, 
at  Florence,  which  owed  so  much  of  its  splendour 
to  the  liberality  of  Cosmo  de'  Medici ;  and  in 
1438  he  painted  the  altar-piece  for  the  choir. 
This  has  since  been  pulled  down,  but  portions  of 
it  are  in  tiie  Academy  of  Arts.  The  numerous 
frescoes  with  which  Fra  Angelico  has  adorned  the 
church  and  convent  have  rendered  it  for  ever 
famous,  and  have  so  often  been  described  and 
illustrated  that  it  is  unnecessary  here  to  enlarge  on 
them.  He  was  engaged  on  the  work  about  nine 
years.  About  1445  he  went,  at  the  invitation  of 
Pope  Eugenius  IV.,  to  Eomej  and  shortly  after- 
wards he  was  offered  the  Archbishopric  of  Florence, 
which  through  modesty  he  declined.  In  1447  he 
visited  Orvieto,  where  he  painted  the  '  Last  Judg- 
ment' in  the  Cappella  Nuova  of  the  cathedral. 
The  subjects  are  '  The  Saviour  in  the  midst  of  a 
glory  of  Angels,'  the  'Virgin  amongst  the  Apostles,' 

494 


and  sixteen  figures  of  Saints  and  Prophets.  He 
did  not  complete  the  chapel,  but  it  was  subse- 
quently finished  by  Signorelli  in  1499.  On  his 
return  to  Rome,  he  was  employed  by  Nicholas  V. 
to  decorate  with  frescoes  the  chapel  in  the  Vatican 
which  bears  his  name  ;  these  illustrate  the  lives  of 
St.  Stephen  and  St.  Lawrence.  Fra  Angelico  died 
at  Rome  in  1465,  and  was  buried  in  the  church  of 
Santa  Maria  sopra  Minerva  in  that  city.  The 
following  are  his  principal  works ; 

Antwerp.       Museum.    St.  Eomuald  reproaching  Otho 
III.  with  the  murder  of  Cres- 
centius. 
Berlin.  Gallery.    Madonna  and  Child    enthroned, 

with  St.  Dominic  and  St.  Peter 
Martyr. 
„  „  St.  Dominic  and  St.  Francis. 

„  „  Glorification  of  St.  Francis. 

Brescia.  S.  Alessandro.    The  Annunciation. 
Cortona.  iSan  Domenico.    Virgin  and  Child  with  St. Dominic 
and  St.  Peter  {lunette). 
„  „  The    Four    Evangelists    (fresco, 

much  da7)iayed). 
„  „  Virgin  and    Child,  with  Saints 

(altar-piece :  the  predella  is  in 
the  Baptistery,  Cortona). 
Baptistery    \  Annunciation  'with  scenes  from 

(JoLerlytheK    *^%^^%°*   *^^  ^Fg>°  (**« 
Jesuit  Church).  \     l^edella  of  the  altar-pieee  m  San 
'  )      Domemco,  Cortona). 
Florence.      Academy.    Descent  from  the   Cross  (/rem 

Santa  Trinita,  Florence). 
„  „  The    Virgin     and    Child    with 

Saints  ;  and,  on  the  predeila,  a 

Pieta  and  Six  Saints  (,from  the 

Convent  of  Bosco  ai  Frati,  near 

Florence). 
I,  „  TheTirgin  and  Child,  with  Saints 

(from    the     Convent     of    San 

Marco). 
„  „  The  Virgin  and  Child,  with  Saints 

(^from  the  MoTiasteiy  of  Anna- 

iena,  Florence). 
),  „  Thirty-five  scenes  from  the  Life 

of  Christ  (from  the  Convent  of 

the  SS.  Annunziata — oriyitialiy 

panels    to    ornament    the  plate 

cupboards). 
I)  „  The  History  of  Five  Martyrs. 

»  „  St.  Cosmo  and  St.  Damian. 

,1  „  PredeDa,  with  six  scenes  from  the 

lives    of    St.   Cosmo   and    St. 


D»)rian   (from  the   Chapel  of 
Si.  Luke,  m  the  cloister  of  the 


SS.  Annunziata,  Florence). 
„  The  Coronation  of  the  Virgin. 

The  Crucifixion. 
„  The  Entombment  (formerly  in  the 

Monastery  of  Za  Croce  al  Tem- 
pio). 
„  The  Last  Judgment  (formerly  tn 

the    Monastery    degli    Angeli, 
Florence). 
Ipgizi.       Virgin    and   Child,  with  Saints 
(painted  in  1433  for  the  Cor- 
poration of  the  Linajuoli). 
„  The   Coronation    of    the  Virgin 

(from  S.   MaHa  Nuova,  Flo- 
retice). 
„        The  Naming  of  John  the  Baptist. 
„        The  Marriage  of  the  Yirgin. 
„        An  Altar-piece  representing  the 
Preaching    of   St.    Peter,   the 
Adoration  of  the  Magi,  and  the 
Martyrdom  of  St.  Mark. 
„        The  Assumption  of  the  Yirgin. 
S.  Matteo.    The  Virgin  and  Child  adored  by 

Four  Angels. 
Convent  of   "j 
San  Marco,    yj^e  Crucifixion,  with  St.  Dominic. 
(Cloisters.)  ) 

„         St.  Peter  Martyr  enjoining  silence. 


Fiesole 

Florence.  Convent  of 
San  Marco. 
(Cloisters.) 


PAINTERS  AND  ENGEAVEES. 


Filipepi 


1st.] 


Dominic  witli  the  scourge  of 
nine  thongs. 

Christ  coming  from  the  Sepul- 
chre. 

„  St.  Thomas  Aquinas. 

„  Christ  as  a  Pilgrim  welcomed  by 

two  Dominican  Monks. 
„  Christ  with  the  "Wound-prints. 

„    {Chapter    The  Crucifixion.    Christ  between 
House.)        the  thieves,  surrounded  by  a 
group  of  twenty  Saints;  with 
bust   portraits    of    seventeen 
Dominicans  below. 


(Upper  "> 


The  Annunciation. 


Floor.) 

Christ  on    the   Cross,   with     St, 
Dominic. 

„  „        Madonna  enthroned,  with  Saints. 

„         „      (Cells.)    Coronation  of  the  Virgin. 

„  „        The  Marys  at  the  Sepulchre. 

„  „        Christ    opening    tho    Gates    of 

Hell. 

„  „        The  Transfiguration. 

„  „        The  Entombment. 

„  „        Madonna. 

„  „        The  Adoration  of  the  Magi. 

„  „        Coronation  of  the  Virgin. 

„  „        Three  Beliquaries.    One  adorned 

with  '  The  Virgin  and  Child ; ' 
another  with  the  'Annunciation' 
and  '  Adoration  of  the  Magi ' ; 
and  the  third  with  a  '  Corona- 
tion of  the  Virgin  and  Saints.' 
(From  the  Sacristy  of  Santa 
Maria  Novella.) 
Fiesole.  S.  Domenico.  Madonna  and  Saints.  (2%ejpre(Zei?o 
is  in  the  National  Gallery.) 

"       _,         "„         I  Madonna  and  Saints. 
Chapter  House. ) 

Frankfort.  Siadellnst.  Virgin  and  Child,  with  twelve 
Angels. 

Lille.  Museum.    Christ  in  Heaven,  surrounded  by 

the  Apostles. 

Ijondon.  National  Gall.    Adoration  of  the  Magi  (from  the 
Lombardi-Baldi  Collection,  Flo- 
rence). 
„  „  Christ,  with  the  Banner  of  the 

Kesurrection  in  His  left  hand, 
in  the  midst  of  a  choir  of 
Angels,  and  crowds  of  the 
Blessed,  In  five  compartments. 
(Formerly  the  predella  to  the 
altar-piece  in  San  I>omenico  at 
Fiesole.) 
„      Dudley  House,    The  Last  Judgment   (from  the 

Fesch  Collection). 
„  „  Virgin   and   Child,  with   Saints 

(from  the  Bisetaio  Collection, 
Some). 

Madrid.  Gallery.    The  Annunciation. 

Munich,  Gallery.    Three  scenes  from  the  Lives  of 

St.  Cosmo  and  St.  Damian  (part 
of  a  predella  of  the  altar-piece, 
painted  in  1438  fm-  San  Marco, 
Florence). 

Orvieto.  Cathedral,  Christ,  in  a  glory  of  Angels,  as 
Judge — with  sixteen  Saints  and 
Prophets  to  the  right,  and  the 
Virgin  and  the  Apostles  to 
the  left.  (All  more  or  less 
damaged  ;  finished  ly  Signorelli 
in  1499.) 

Paris,  Zouvre,    Coronation  of  the  Virgin :  on  the 

predella,  seven  subjects — six 
scenes  from  the  Life  of  St, 
Dominic,  and  in  the  centre 
Christ  risen  from  the  Tomb 
(formerly  in  San  Domenico, 
Fiesole), 
„  „        Beheading  of  St.  John  the  Bap- 

tist. 
„  „        The  Crucifixion  (from  the  Convent 

of  San  Domenico,  Fiesole). 


Paris. 


Perugia. 


Louvre.  The  Martyrdom  of  St.  Cosmo 
and  St.  Damian  (one  of  the 
pictures  of  the  predella  of  the 
*  Madonna '  in  the  Florence  Aca- 
demy, formerly  in  the  Convent  of 
San  Marco). 
Pinacoteca.  The  Annunciation  (from  San 
Domenico,  Perugia). 
„  „  Madonna  and  Saints. 

„  „  Miracles  of  St.  Nicholas  of  Bari. 

Eome.     y«ti"'n-         \six  scenes  from  the  Life  of  St. 

„  „  Six  scenes  from  the  Life  of  St, 

Lawrence. 
„  „  The  Four  Evangelists. 

„  „  The  Teachers  of  the  Church. 

„         „    (Gallery.)    St.  Nicholas  of  Bari  (part  of  a 

predella). 
„  „  Madonna  and  Angels, 

„      Corsini  Palace.    The  Last  Judgment. 
Turin,  Gallery.    Two  Angels  kneeling  on  Clouds. 

FIESSINGER,  Feanz  Gabriel,  a  Jesuit,  bom  at 
OfEenburg  in  Breisgau  in  1752,  studied  without  any- 
master  the  art  of  engraving.  He  visited  Munich, 
Vienna,  Friburg  (1786),  Switzerland,  France,  and' 
lastly  London,  where  he  died  in  1807.  Among  his 
plates  may  be  mentioned : 

Prudence ;  after  M.  A.  FrancescMni.    1777. 

Ecce  Homo ;  aftei-  Giuseppe  Cesari.    1781. 

The  portrait  of  Thaddaus  Kosciuszko  ;  after  J,  Grassi. 

PI6IN0,  Ambrogio,  a  native  of  Milan,  was  bom 
about  1550,  and  was  alive  in  the  year  1595.  He 
was  a  pupil  of  Giovanni  Paolo  Lomazzo,  and  not 
only  distinguished  himself  in  portrait  painting  suf- 
ficiently to  be  celebrated  in  the  poetry  of  Marino, 
but  was  eminent  for  his  historical  works.  He  baa 
left  in  his  native  city  a  'St.  Ambrose'  in  Sant' 
Eustorgio,  a  'St.  Matthew'  in  San  EaSaello,  an 
'Assumption'  in  San  Fedele,  a  'Conception'  in 
Sant'  Antonio,  and  (in  the  Brera)  the  portrait  of 
Luoio  Foppa,  and  a  '  Virgin  and  Child.' 

FIGUEROA,  Juan  Fonseoa  y.    See  Fonseca. 

PIL,  Jan.    See  Pilicus. 

PILHOL,  Antoinb  Michel,  a  French  engraver, 
born  in  Paris  in  1759,  was  instructed  by  P.  D.  Nee. 
He  was  very  successful  in  depicting  landscapes, 
and  published  several  works  on  art,  among  which 
the  most  noted  is  the  '  Musfee  Franyais,'  1804-15. 
He  died  in  Paris  in  1812. 

PILICUS,  Jan,  (Filids,  Fil,  or  Fielids,)  a  Dutch 
painter,  was  bom  at  Bois-le-Duc  in  1660.  He 
was  a  scholar  of  Pieter  van  Slingelandt,  and  painted 
in  the  very  highly-finished  manner  of  his  master. 
His  pictures,  like  those  of  Slingelandt,  represent 
conversations,  or  subjects  taken  from  private  life, 
and  small  portraits.  His  works,  without  possessing 
the  extreme  polish  of  those  of  his  instructor,  have 
great  merit,  and  are  found  in  the  best  collections 
in  Holland.     He  died  in  1719. 

FILIPEPI,  Alessandro,  better  known  as  Sandro 
Botticelli,  the  youngest  son  of  Mariano  Filipepi, 
was  born  at  Florence  in  1447.  He  was  ap- 
prenticed to  a  goldsmith  in  his  youth,  but  left 
that  art  and  studied  that  of  painting,  choosing  Fra 
Pilippo  Lippi  as  his  first  model.  The  galleries  of 
the  Ufifizi,  Florence,  and  of  the  Louvre,  Paris,  both 
possess  circular  Madonnas,  with  Angels,  painted 
by  him  soon  after  the  death  of  Lippi,  in  1469.  In 
1478,  Sandro,  by  order  of  the  Signori  Otto,  and 
according  to  a  custom  then  prevalent  in  that  city, 
painted  the  effigy  of  the  traitor  Pazzi  on  the  front 
of  the  Public  Palace  of  Florence.  In  1480,  Sandro 
painted  the  fresco  of  '  St.  Augustine,'  at  the  church 

495 


Filipepi 


A  BIOGRAPHICAL  DICTIONARY  OF 


Filipepi 


of  the  Ognissanti,  Florence.  In  the  Uffizi  Gallery 
is  an  allegorical  painting  of  'Fortitude,'  which 
was  formerly  in  the  Mercatanzia  ;  and  an  'Allegory 
of  Spring,'  formerly  belonging  to  Cosmo  de' Medici, 
is  in  the  Academy  of  Arts,  Florence.  In  the 
church  of  Santa  Maria  Novella,  Florence,  is  an 
'  Adoration  of  the  Magi,'  executed  by  this  artist  to 
perpetuate  the  memory  of  Cosmo,  who,  as  one  of  the 
kings,  kneels  to  adore  the  Infant,  while  the  other 
two  kings  are  said  by  Vasari  to  be  portraits  of 
Giuliano  and  Giovanni  de'  Medici.  In  1481  Botticelli 
executed  a  series  of  designs  for  Landino's  edition 
of  Dante,  printed  at  Florence  in  that  year,  which 
display  wonderful  power  of  fancy  and  execution. 
The  original  drawings  of  these  in  a  manuscript  of 
Dante  were  formerly  in  the  collection  of  the  Duke 
of  Hamilton,  and  are  now  in  the  Royal  Library  at 
Berlin.  Of  this  same  year  is  the  large  painting  in 
the  Academy  of  Florence,  originally  executed  for 
San  Marco,  which  represents  the  'Coronation  of 
the  Virgin,'  surrounded  by  angels  and  a  choir  of 
cherubs,  with  figures  of  SS.  Augustine,  John  the 
Evangelist,  Ely,  and  Jerome ;  its  predella  contains 
four  scenes  from  the  lives  of  the  preceding  saints. 

Botticelli  also  practised  engraving  to  a  limited 
extent,  as  appears  from  the  evidence  of  Vasari. 
He  executed  a  set  of  twelve  plates  of  Sibyls,  and 
seven  of  the  Planets  ;  a  'St.  Jerome  kneeling 
before  a  Crucifix,'  and  a  '  St.  Sebastian,  with  the 
Virgin,'  inscribed  0  mater  Dei,  memento  met,  &o. 

Between  the  years  1481  and  1484  Botticelli  was 
called  to  Rome  by  Sixtus  IV.  to  compete  in  the 
decorations  of  the  Sixtine  Chapel  with  Perugino, 
Rosselli,  Signorelli,  and  Ghirlandajo.  He  there 
executed  two  designs  drawn  from  the  Old  Testa- 
ment, viz.,  'The  Destruction  of  Korah,  Dathan, 
and  Abiram,'  and  '  Moses  smiting  the  Egyptians  at 
the  Well,'  and  one  from  the  New  Testament,  of 
'  The  Temptation  of  Christ  in  the  Wilderness.'  Of 
about  this  period  is  the  allegorical  painting  repre- 
senting '  The  Slander  upon  Apelles,'  which  was 
painted  for  Fabio  Segni.  In  1483  he,  with  Ghir- 
landajo, was  commissioned  to  decorate  the  Sala 
dell'  Udienza,  in  the  Public  Palace  of  Florence. 
In  1487  Sandro  executed  four  panels  illustrating 
Boccaccio's  fable  of  '  Nastagio  degli  Onesti,'  for  the 
marriage  of  Pierfranco  di  Giovanni  Bini  with 
Lucrezia  Pucci.  Through  the  influence  of  Lorenzo 
de'  Medici,  Botticelli,  in  conjunction  with  Domenico 
and  Davide  Ghirlandajo,  executed  in  1491  the 
mosaics  formerly  in  the  Cappella  San  Zanobi  in  the 
church  of  Santa  Maria  del  Fiore,  Florence.  His 
death  occurred  at  Florence  in  1510,  he  having  in 
his  old  age  become  reduced  in  circumstances  and 
a  pensioner  of  the  Medici  family. 

The  following  works  by  Botticelli  are  in  the 
public  and  private  galleries  of  Europe : 

Berlin,  Gallery.    Virgin  enthroned,  with  Angels. 

„  „  Virgin  enthroned,  with  St.  John 

the  Baptist  and  St.  John  the 
Evangelist. 
»  »         Portrait  of  a  young  Lady  (La 

bella  Simonetta). 
I!  „         Portrait  of  Giuliano  de'  Medici, 

w  „         The  Annunciation. 

»  u         Venus.  (A  stud;/ for  the  painting 

in  the  Uffid.) 
»  n  St.  Sebastian. 

Bordeaux.       M-usemi.    The  Saviour. 
Dresden.  Gallery.    St.  John  the  Evangelist. 

»  „  St.  John  the  Baptist. 

"  »  A  Miracle  of  St.  Zenobius. 

>'  ,.  Virgin  and  Child. 

"  J)  Galatea  on  a  Dolphin. 

496 


Florence.        Academy. 


„  Casa  Alessandri. 
„  Ctyrsini  Gallery. 
„         San  Jacopo  di 

Mipoti. 
n  Ognissanti. 

Frankfort.  Stiidel  Inst. 


The  Vu-gin  and  Child  (/j-om  the 
Convent  of  Sant' Amlrodo  ;  Iry 
some  ascribed  to  Del  Castagno). 
„  The   Coronation  of   the  Virgin 

(from  the  Convent  ofSanMarco, 
Florence). 
„  An  altar-piece  in  five  compart- 

ments. 
„  Virgin  and   Child,  with   Saints 

(from    Santa    Barbara,    Flo- 
rence). 
„  Allegory  of  Spring. 

„  Herodias  bearing  the  Head  of 

St.  John  the  Baptist. 
„  Our  Lord  crowned  with  Thorns 

coming  forth  from  the  Tomb 
(from  Santa  Barbara,  Florence). 
„  St.  Andrew. 

Piiti  Pal. '  La  Bella  Simonetta. 

„  Holy  Family,  with  Angels. 

„  The  Virgin,  Infant  Christ,  and 

St.  John. 
Uffid.    The  Birth  of  Venus. 
„        Venus  with  the  Graces. 
„        Virgin  and  Child. 
„        Judith  with  the  Head  of  Hole- 
femes. 
„        The  Body  of  Holofemes. 
„        The    false    Accusation   against 

ApeUes. 
„        The   Virgin    and    Child,   with 

Angels  (the  Magnificat). 
„        The  Adoration  of  the  Magi. 
„        Virgin  and  Child. 
„        Fortitude. 
„        The  Madonna. 

The  Annunciation. 

Madonna  and  Child,  with  Angels. 

Madonna  and  Angels. 

Coronation  of  the  Virgin. 


Glasgow. 

Lille. 

Liverpool. 

London. 


St.  Augustine  (fresco).    1480. 
Colossal  Head  of  a  Woman. 
Virgin  and  Child  with  St.  John 
the  Baptist. 
Gallery.    The  Annunciation. 
Museum.    Virgin  and  Child. 
Gallery.    Adventures  of  Ulysses  with  Circe 
and  the  Sirens. 
JVat.  Gall.    Virgin  and  Child,  with  St.  John 
the    Baptist  and  two  Angels 
(doubtful). 
„         Virgin  and  Child,  with  St.  John 
the    Baptist  and  one  Angel 
{doubtful). 
„  The  Madonna  and  Child. 

„  Mars  and  Venus. 

„         Venus    reclining   with    Cupids 

(doubtful), 
„  ANatii^ty.    1500. 

„         Assumption  of  the  Virgin  (from 
the  Hamilton  Collection). 
A  Madonna  and  Angels. 
A  Ufe-size  Venus. 
The  Virgin  suckling  the  Infant. 
Virgin  and  Child. 
TVeeping  over  Christ. 
Magnificat. 

Virgin,  Child,  and  St.  John. 
Portrait  of  Lucrezia  Tornabuoni. 
Bust  Portrait,  inscribed  Shmn- 

etia  Januensis  Vespuccia. 
Allegorical       colossal      Female 

Figure,  with  Children. 
The  Adoration  of  the  Magi. 
Madonna  and  Angels. 
The  Miracles  of  Moses  (fresco). 
The  Fall  of  Korah,  Dathan,  and 
Abiram. 
„  The    Temptation  of   our   Lord 

(fresco). 
Gallery.    Tobit  and  the  Angel. 
„  Madonna,  with  St.  John  and  an 

Angel. 
,,  The  Triumph  of  Chastity, 


„  Bath  House. 

.  "  » 

Milan.  Ambrosiana. 

Modena.  Estense  Gall. 

Munich.  Gallery. 

Paris.  Louvre. 


Petersburg.  Hermitage. 

Borne.     Borphese  Coll. 

„        Sistine  Chapel. 


Turin. 


Filippi 


PAINTERS  AND  ENGRAVERS. 


Finden 


FILIPPI,  Camillo,  was  a  native  of  Ferrara, 
who  flourished  about  the  middle  of  the  16th  cen- 
tury. He  was  a  disciple  of  Dosso  Dossi,  and 
painted  historical  works  with  some  success.  In 
the  church  of  Santa  Maria  del  Vado,  at  Ferrara,  is 
a  picture  by  this  master  representing  the  '  Annun- 
ciaticai ' ;  and  in  that  of  II  Gesu  is  another  of  the 
'  Trinity.'     His  death  took  place  in  1574. 

FILIPPI,  Cesabe,  the  younger  son  and  pupil 
of  Camillo  Filippi,  was  bom  at  Ferrara  in  1536. 
He  assisted  his  father  and  brother  Sebastiano  in 
their  works,  and  excelled  in  painting  heads  and 
grotesques  in  the  ornamental  style,  although  he 
sometimes  attempted  historical  subjects,  which  are 
very  feeble  imitations  of  the  style  of  his  brother. 
Such  is  his  picture  of  the '  Crucifixion '  in  the  church 
of  La  Morte.     He  died  after  1602. 

FILIPPI,  GiACOMO,  a  native  of  Ferrara,  studied 
painting  under  Francesco  Ferrari.  His  views  and 
architectural  paintings  are  deservedly  esteemed. 
He  died  in  1743. 

FILIPPI,  Sebastiano,  called  Bastianino,  and 
sometimes  Gbatblla,  born  at  Ferrara  in-,  1532, 
was  the  son  of  Camillo  Filippi.  He  was  first  in- 
structed in  art  by  his  father,  and  when  he  was 
eighteen  years  of  age  he  went  to  Rome,  where  he 
had  the  advantage  of  being  admitted  into  the  school 
of  Michelangelo,  but  on  account  of  the  unhealthy 
climate  of  Rome  he  was  obliged  to  leave  that  city 
and  return  to  Ferrara.  He  was  a  fertile  painter, 
but  negligent  in  the  execution  of  his  works,  which 
are  very  unequal  in  value  and  possess  little  origin- 
ality. Though  his  drawing  is  correct,  his  figures 
are  clumsy.  His  principal  work  is  'The  Last 
Judgment '  (1577-84),  in  the  cathedral  at  Ferrara, 
a  prodigious  performance  in  which  he  imitated  the 
style  of  Michelangelo.  It  has  been  spoiled  by 
restoration.  A  '  Holy  Family  '  and  an  '  Adoration 
of  the  Magi'  are  in  the  Costabili  Gallery  in  the  same 
city,  in  the  churches  of  which  there  are  no  fewer 
than  seven  pictures  of  the  'Annunciation,'  differing 
little  from  each  other  in  composition.  Among  his 
best  works  may  also  be  noticed  his '  Martyrdom  of 
St.  Catharine,'  in  the  church  dedicated  to  that 
saint ;  in  Santa  Maria  de'  Servi,  the  '  Adoration  of 
the  Magi ' ;  in  the  Certosa,  a  grand  picture  of  St. 
Christopher,  entirely  in  the  lofty  style  of  Michel- 
angelo ;  in  San  Benedetto,  a  '  Dead  Christ  supported 
by  Angels ' ;  and  at  the  Cappuocini,  the  '  Virgin  and 
Infant,  with  St.  John. '  In  the  cathedral  is  a  picture 
of  the  '  Circumcision,'  which  is  supposed  to  have 
been  painted  before  he  went  to  Rome.  Filippi  died 
at  Ferrara  in  1602. 

FILIPPINO  (or  FiLippo  di  Filippo).    See  Lippi, 

FiLIPPINO. 

FILIPPO,  Fra.    See  Lippi,  Filippo. 

FILLBUL,  Gilbert,  was  a  French  engraver, 
who  is  mentioned  by  Basan.  He  flourished  about 
the  end  of  the  17th  century,  and  executed  some 
plates  after  Le  Brun,  Simpol,  &o. 

FILLEUL,  PiBBKE,  was  the  son  of  Gilbert  Filleul. 
He  engraved  some  plates  for  the '  Fables '  of  La  Fon- 
taine ;  as  well  as  the  '  Carriers,'  after  Wouwerman. 

FILLIAN,  John,  an  engraver,  flourished  from 
about  1676  to  1680,  in  which  year  he  died  at  an 
early  age.  He  was  a  pupil  of  the  elder  Faithorne, 
and  worked  in  the  style  of  his  instructor.  The 
following  are  by  him : 

Thomas  Cromwell,  Earl  of  Essex. 
William  Faithorne ;  after  a  print  h/  Faithorne. 
The  Head  of  Paracelsus. 
The  Frontispiece  to  Heylyn's  '  Cosmography.' 
K  K 


FILOCAMO,  Antonio  and  Paolo,  two  brothers, 
were  natives  of  Messina,  and  are  noticed  by  Hackert 
in  his  '  Memorie  de'  Pittori  Messinesi. '  'They  were 
educated  in  the  school  of  Carlo  Maratti,  at  Rome  ; 
and  on  their  return  to  Messina,  established  an 
academy,  which  was  much  frequented.  They  exe- 
cuted conjointly  several  works,  both  in  oil  and  in 
fresco,  in  the  former  of  which  Antonio  was  very 
superior  to  Paolo.  Their  principal  works  are  in 
the  churches  of  Santa  Caterina  di  Valverde  and 
San  Gregorio,  at  Messina,  where  they  both  died  of 
the  plague  in  1743. 

FILOTESIO,  NiccoLA,  (Filotteschi,  or  Fila- 
TiCHi,)  usually  called  Cola  dell'  Amatkicb,  and 
sometimes  Cola  dalla  Mateicb,  is  mentioned  by 
Vasari  in  his  life  of  Calabrese.  He  painted  from 
about  1513  to  1543,  in  Ascoli,  Calavria,  and  Norcia, 
and  was  distinguished  throughout  all  that  province. 
His  manner  was  hard  in  his  earlier  pictures,  but  in 
his  subsequent  works  he  exhibited  a  fulness  of 
design,  and  an  accomplished  modem  style.  His 
'Last  Supper,'  formerly  in  the  oratory  of  the 
Corpus  Domini,  and  now  in  the  Foundling  Hos- 
pital, is  a  work  of  merit.  Ascoli  possesses,  in 
addition  to  this,  several  of  his  best  works.  A  few 
are  in  Rome — an  '  Ascension '  is  in  the  Museum  of 
the  Lateran,  and  a  '  Madonna '  in  the  Capitol. 
Cola  died  at  Amatrice,  but  in  what  year  is  not 
known. 

FINCH,  Fbancis  Olivee,  a  landscape  painter  in 
water-colours,  was  born  in  1802.  In  early  life  he 
studied  under  John  Varley,  and  painted  portraits. 
He  exhibited  regularly  at  the  Water-Colour  Society, 
of  which  he  was  elected  an  associate  in  1822,  and 
a  full  member  in  1827.  His  works  were  generally 
poetic  compositions,  and  he  excelled  in  twilight 
and  moonlight  scenes.  He  died  in  1862.  Several 
of  his  landscapes  are  at  the  South  Kensington 
Museum.  His  'Memorials'  were  printed  in 
1865. 

FINCKE,  Hans,  a  landscape  and  architectural 
engraver,  was  bom  at  Berlin  in  1800.  He  studied 
under  Buchhorn,  and  in  London  under  Finden,  and 
died  in  1859.  His  best  plates  are  a  view  of  the 
Cathedral  at  Meissen,  after  Schirmer,  and  a  view 
of  Salzburg,  after  Biermann.  He  commenced  also 
a  view  of  the  Convent  of  San  Miniato  near  Florence, 
after  Biermann,  which  was  finished  after  his  death 
by  Drohmer. 

FINDEN,  Edwabd  Fbancis,  a  line-engraver, 
was  the  younger  brother  of  William  Finden,  and 
like  him  a  pupil  of  James  Mitan.  He  was  born  in 
London  in  1792,  and  died  in  the  same  city  in  1857. 
He  worked  chiefly  upon  the  various  publications 
issued  by  himself  and  his  brother,  but  executed 
also  a  few  plates  for  the  '  Literary  Souvenir,'  as 
well  as  the  following : 

The  Princess  Victoria ;  after  Westall. 
The  Harvest  Waggon ;  after  Gainahorough. 
Happy  as  a  King ;  after  Collins. 

Othello  telling  his  exploits  to  Brabantio  and  Desde- 
mona ;  after  Douglas  Cowper, 

FINDEN,  William,  a  line-engraver,  was  born  in 
1787.  He  was  a  pupil  of  James  Mitan,  and  in 
conjunction  with  his  brother  Edward,  and  a  number 
of  assistants  and  pupils,  he  published  several  ably 
executed  series  of  prints  and  book-illustrations. 
The  principal  of  these  were  as  follow : 

Landscape  Illustrations  to  the  Life  and  Works  of  Lord 

Byron.     1831—1834. 
The  Gallery  of  the  Graces ;  after  Chalon,  Landseer,  and 

others.    1832—1834. 

497 


Fini 

Landscipe  Illustrations  of  the  Bible;   after  Turner, 

Calcott,  Stanfield,  and  others.     1834. 
Byron  Beauties.     1834. 
Landscape  Illustrations  to  the  Life  and  Poetical  Works 

of  George  Crabbe.     1834.  .    ^     „       ^     ^ 

Portraits  of  the  Female  Aristocracy  of  the  Court  ot 

Queen  Victoria;    after  Chalon,  llayter,  and  others. 

1838-39. 
The  Eoyal  Gallery  of  British  Art. 
The  Beauties  of  Thomas  Moore. 

Besides  these  independent  works,  the  Findens  pro- 
duced the  illustrations  to  the  'Arctic  Voyages,'  pub- 
lished by  Murray  ;  to  Brookedon's  'Illustrations  of 
the  Passes  of  the  Alps,'  1827-29;  to  Campbell's 
'  Poetical  Works,'  1828 ;  and  some  of  the  plates 
for  Lodge's  '  Portraits  of  Illustrious  Personages 
of  Great  Britain,'  1821-34.  The  '  Royal  Gallery  of 
British  Art '  and  the  '  Beauties  of  Thomas  Moore ' 
involved  the  Findens  in  a  great  loss  from  which 
they  never  recovered.  William  Finden  died  in 
London  in  1852.  The  most  important  plates  by 
his  own  hand  are : 

George  IV.,  full-length,  seated  on  a  sofa;   after  Sir 

Thomas  Zaiorence. 
The  Highlander's  Eeturn  ;  after  Sir  Edwin  Landseer. 
The  Naughty  Boy ;  after  the  same. 
Deer-Stalkers ;  after  the  same. 

The  Interior  of  a  Highlander's  House  ;  after  the  same. 
The  Fisherman's  Daughter ;  after  the  same. 
The  Village  Festival ;  after  Sir  David  Wilkie. 
The  Crucifixion  ;  after  Hilton. 
Eeturning  from  Market ;  after  Sir  A.  W.  Calcott. 
Sickness  and  Health  ;  after  Webster. 
Lord  Byron  at  the  age  of  nineteen  ;  after  G.  Saunders. 
The  Rivals  ;  after  Leslie.     ('  Literary  Souvenir,'  1826.) 
The  Blackberry  Boy  ;  after  Hamilton.    ('  Anniversary,' 

1829.) 

FINI,  ToMMASO  Di  Ckistofoko,  also  called  Ma- 
SOLINO  DA  Panicalb,  was  the  son  of  Cristoforo  Fini, 
of  the  quarter  of  Sartta  Croce,  at  Florence,  and  was 
born  at  Panicale  in  1383.  He  probably  received  his 
artistic  education  from  Lorenzo  Ghiberti,  and  after- 
vyards  from  Gherardo  Stamina,  and  was  admitted  into 
the  Guild  of  the  Medici  and  Speziale,  at  Florence, 
in  1423  ;  shortly  afterwards  he  entered  the  service 
of  Philippo  Scolari,  Obergespann  of  Temeswar,  in 
Hungary,  who  is  better  known  as  Pippo  Spanno, 
and  with  whom  he  went  to  Hungary  in  1427.  At 
his  death  Masolino  returned  to  Italy,  and  accepted 
from  Cardinal  Branda  Castiglione  the  commission 
to  paint  the  choir  of  the  church,  which  that  prelate 
had  just  finished  in  Castiglione  di  Olona,  in  1428, 
and  in  which  can  still  be  seen  the  remains  of  a 
double  course  of  frescoes  representing  scenes  from 
the  lives  of  the  Virgin  and  SS.  Stephen  and  Law- 
rence. He  also  decorated  the  whole  of  the  Baptis- 
tery at  Castiglione  with  scenes  drawn  from  the  life 
of  St.  John  the  Baptist,  which  still  remain,  and 
although  much  injured  by  time,  are  worthy  of 
notice.  Very  Httle  else  that  is  really  authentic 
remains  of  Masolino's  work.  The  date  of  his  death, 
though  somewhat  doubtful,  is  now  set  down  as 
1447.     The  famous  Masaccio  was  one  of  his  pupils. 

FINIGUEKEA,  Tommaso,  or  Maso.  The  in- 
vention of  taking  off  impressions  on  paper  from 
engraved  plates  has  long  been  the  subject  of  dis- 
pute between  archseologists  and  critics,  influenced 
unhappily  _  sometimes  by  national  predilections. 
Vasari  attributes  this  discovery  to  Maso  Finiguerra, 
a  Florentine  goldsmith  and  niello  worker,  who 
flourished  about  the  year  1460,  and  the  story,  as 
recounted  by  him  with  all  its  interesting  details, 
has  been  constantly  reproduced  until  lately,  and 
will,  most  probably,  be  still  reproduced,  by  un- 

498 


A  BIOGEAPHICAL  DICTIONAEY  OF 


Finiguerra 


learned  writers,  because  there  is  no  record  whatever 
of  the  commencement  of  printing  by  pressure  from 
engraved  metal  plates,  a  process  which  seems  to 
have  quickly  followed,  in  both  Upper  and  Lower 
Germany,  that  of  surface-printing  from  wood-cuts. 
Finiguerra,  being  an  engraver  on  silver  for  the 
decorative  purpose  of  niello  work,  i.  e.  filling  the 
incision  with  a  preparation  of  carbon  fused  by 
extreme  heat,  the  result  being  an  ornamental  one, 
lines  of  black  metal  on  the  white  surface  of  the 
silver,  was  in  the  habit  of  taking  a  mould  of  his 
work  as  he  proceeded,  which  he  cast  from  in 
sulphur,  then  filled  the  incisions,  now  reoeptivq 
like  the  original  silver,  with  a  black  ink,  thus  at 
last  seeing  a  representation  of  what  the  finished 
niello  would  be.  Instead  of  this  elaborate  process 
an  accident  showed  him  that  if  he  rubbed  the  black 
ink  into  his  metal  plate,  by  pressing  upon  it  wet 
paper  such  as  printers  use  he  could  get  a  repre- 
sentation direct,  only  it  would  be  a  reversed  one. 

Unhappily  for  this  story  of  the  great  historian 
of  the  masters  of  Italian  art,  there  have  been  from 
time  to  time  impressions  from  engraved  plates 
brought  to  light  with  d  ates  earlier  than  that  assigned 
to  this  almost  self-evident  plan  to  save  himself 
trouble  by  Finiguerra.  These  exist  in  several 
national  collections ;  in  the  British  Museum,  for 
instance,  is  a  set  of  twenty-eight  compositions  from 
the  '  Passion,'  on  one  of  which  is  the  date  Ivii  jar, 
meaning  the  57th  year  of  the  15th  century,  while 
no  windfall  of  early  Italian  engravings  has  ever 
taken  place.  The  number,  besides,  of  skilful  artist- 
engravers  living  by  their  art  in  various  parts  of 
Germany  during  the  second  half  of  the  same 
century,  hundreds  of  whose  elaborately  beautiful 
productions  are  now  carefully  preserved  and  cata-. 
logued,  particularly  the  Master  of  1466,  Martin 
Schongauer,  who  died  at  an  advanced  age,  probably 
in  1486,  and  his  contemporary,  Van  Meckenen, 
&o.,  none  of  whose  works  indicate  the  infancy  of 
the  '  mechanique  '  in  the  art,  make  it  certain  that 
pressure-printing  from  engraved  plates  is  to  ha 
added  to  the  correlative  inventions  of  German 
origin. 

Notwithstanding  this  reduction  of  his  honours, 
Finiguerra's  name  is  still  important  in  Florentine 
history.  It  has  hitherto  been  stated  that  about 
1450,  being  then  about  twenty-five  years  of  age, 
he  was  employed  by  the  Corporation  of  Merchants 
to  provide  a  Pax  in  silver-gilt  niello  for  the 
Baptistery,  Ghiberti  being  then  employed  on  the 
celebrated  gates.  This  Pax,  representing  the 
'  Coronation  of  the  Virgin,'  still  exists  in  the 
cabinet  of  the  Gallery  at  Florence,  and  two 
sulphur  casts  and  two  impressions  of  it  are  still 
preserved.  One  of  these  casts  is  now  in  the 
British  Museum,  and  both  the  paper  proofs  are  in 
the  public  collections  in  Paris.  Recent  investiga- 
tions, however,  prove  that  this  celebrated  Pax 
was  the  work  of  Matteo  Dei,  one  of  the  most 
eminent  of  the  Florentine  goldsmiths  of  the  16th 
century. 

It  is  to  be  observed  that  Vasari  was  profoundly 
ignorant  of  people  and  things  north  of  the  Alps, 
calling  Diirer,  and  every  other  northern  artist  he  had 
occasion  to  mention,  Flemings,  because  the  inventor 
of  oil-painting,  Van  Byck,  was  a  Fleming ;  yet  he  was 
not  aware  that  Van  Eyck  was  actually  in  Borne, 
and  his  pupil,  Roger  van  der  Weyden,  was  actually 
in  Florence  in  the  very  year  when  Finiguerra  is 
supposed  to  have  produced  his  first  impression  on 
paper  from  the  engraved  Pax.   Passavant,  observing 


Fink 


PAINTEES  AND  ENGRAVERS. 


Fiorenzo 


this  fact  in  the  history  of  Roger,  ingeniously  and 
acutely  supposed  that  he  went  to  see  Finiguerra's 
work,  and  made  the  niellist  acquainted  with  the 
practice  then  already  established  in  his  native 
country.  That  writer  concludes  by  saying  he  is 
"confirmed  in  this  opinion  by  certain  very  old 
proofs  of  nielli  of  Netherlands  origin  in  the  col- 
lection at  Dresden,  and  which  are  of  the  period  of 
Master  Roger."  Such  is  probably  the  true  foundation 
of  the  celebrated  Vasari  narrative.  WJ-S. 

FINK,  Frederick,  an  American  genre  painter, 
was  born  at  Little  Falls,  New  York,  in  1817.  He 
commenced  life  as  a  student  of  medicine,  but 
impelled  by  an  irresistible  love  of  art,  he  went  to 
New  York  and  studied  under  Morse.  In  1840  he 
visited  Europe,  and  made  copies  of  the  works  of 
Titian  and  Murillo.  Among  his  pictures  are  '  An 
Artist's  Studio,'  'The  Shipwrecked  Mariner,'  'The 
Young  Thieves,'  and  'A  Negro  Wood-Sawyer.' 
He  died  in  1849. 

FINKE,  Heinrioh  Jonathan,  was  born  at 
Nuremberg  in  1816.  He  was  instructed  in  the 
principles  of  art  in  that  city,  and  afterwards 
visited  Belgium  and  Holland,  and  settled  in  Alten- 
burg,  where  he  was  mostly  employed  by  the  court. 
He  excelled  in  portraiture,  and  his  productions, 
which  are  entirely  in  the  Dutch  style,  are  executed 
in  a  clear  and  bold  manner.  He  was  professor 
at  Altenburg,  and  died  in  1868. 

FINLAYSON,  John,  an  engraver,  was  born 
about  the  year  1730,  and  workei^  in  London.  In 
1773  he  received  a  premium  from  the  Society  of 
Arts,  and  about  three  years  after  this  he  died.  He 
engraved  in  mezzotint  several"  portraits,  and  a  few 
plates  of  historical  subjects,  among  which  are  the 
following : 

PORTRAITS. 

The  Dnchess  of  Gloucester ;  after  Sir  Joshua  Reynolds. 

Lady  Charles  Speuoer  ;  after  the  same. 

Lady  Elizabeth  Melbourne ;  after  the  same. 

The  Earl  of  Euohan  ;  after  the  same. 

Miss  Wynyard ;  after  the  same. 

Lady  Broughton  ;  after  Cotes. 

The  Duke  of  Northumberland ;  after  Hamilton. 

Miss  Metcalfe ;  after  Hone. 

Signora  Zamperini,  in  '  La  Buona  Figliuola ' ;  after  the 

same, 
AVilliam  Drummond,  Scotch  historian ;  after  G.  Janssens. 
Shooter,  Beard,  and  DunstaU,  in  '  Love  in  a  Village ' ; 

after  Zo^any. 

SUBJECTS. 
Oandaales,  King  of  Lydia,  showing  his  Queen  coming 

out  of  the  Bath  to  his  favourite  Gyges ;  after  his  own 

design. 
A  OolUer,  with  his  Pipe ;  after  J.  Weenix. 

FINNEY,  Samuel,  a  miniature  painter,  was  born 
in  Cheshire  in  1721.  He  was  a  member  of  the 
Society  of  Artists,  where  he  exhibited  from  1761 
to  1766.  He  became  portrait  painter  to  Queen 
Charlotte,  and  died  in  1807. 

FINOGLIA,  Paolo  Domenico,  a  native  of  Orta, 
in  the  kingdom  of  Naples,  flourished  about  the 
year  1640.  He  was  brought  up  in  the  academy 
of  Cavaliere  Massimo  Stanzioni,  but  painted  more 
in  the  style  of  Spagnoletto.  He  was  a  correct  and 
expressive  designer,  and  possesse'd  great  fecundity 
•of  invention.  His  principal  works  were  the  vault 
in  the  convent  of  San  Martino  at  Naples,  with 
scenes  from  the  life  of  St.  Martin  (his  best  work), 
and  ten  oil  paintings  in  the  Capitol.  He  died  in 
1666. 

FINSON,  Louis,  or  Alois,  (or  Finsonius,)  was 
bom  at  Bruges  about  1580.     He  went  to  Rome 

K  K  2 


about  1600,  where  he  became  a  disciple  of  Cara- 
vaggio.  He  travelled  in  Germany  and  settled  at 
Aix,  but  subsequently  visited  Naples,  and  returned 
to  Aix,  whence  he  removed  in  1614  to  Aries,  where 
he  was  drowned  in  the  Rhone  about  1632.  The 
following  are  among  his  works,  which  are  excellent 
in  colour  but  wanting  in  dignity : 
Aix. 


bl 


The  Incredulity  of  St.  Thomas. 

„  „  The  Resurrection.    1613. 

Andenne.         Church.  Massacre  of  the  Innocents. 

Aries.  Museum.  The  Martyrdom  of  St.  Stephen. 

„  „  The  Adoration  of  the  Magi.  1614. 

Marseilles.      Museum.  A  dying  Magdalen. 

Naples.  Museum.  The  Annunciation.    1613. 

Rome.     San  Giovanni.  The  Besurrection.    1610. 

FIORAVANTI,  was  an  Italian  painter  of  still- 
life  and  inanimate  objects,  who  excelled  in  painting 
vases,  fruit  and  flowers,  and  musical  instruments, 
which  he  represented  with  great  exactness  and 
fidelity. 

FIORE,  Colantonio  del.    See  Tomasi,  Niooola. 

FIORE,  Fedekigo.     See  Barocoi. 

FIORE,  Jacobello  del.    See  Del  Fiore. 

FIORENTINO,  Domenico.    See  Del  Barbierb. 

FIORENTINO,   LucA,   a   Florentine   engraver, 
who  flourished  in   the   early  part   of  the 
16th    century,    followed    the    manner    of 
Rohetta.    He  used  the  annexed  monogram  : 
The  following  are  some  of  his  best  works  : 

Herodias  with  the  Head  of  St.  John  the  Baptist. 

A  richly-dressed  Woman  seated  on  the  Ground,  with 

two  Children. 
A  Man  with  a  Bow. 

The  Virgin  and  Child,  St.  Anthony,  and  St.  Francis. 
St.  Catharine  and  St.  Lucia. 

FIORENTINO,  Stbfano,  called  Stefand  da 
PoNTE  Vecchio,  and  Lo  Soimmia  (the  ape),  is 
questionably  stated  to  have  been  the  grandson  and 
the  disciple  of  Giotto.  He  was  born  at  Florence 
in  1301,  and,  according  to  Vasari,  greatly  excelled 
his  instructor  in  every  department  of  the  art.  The 
rules  of  perspective  were  little  known  at  the  early 
period  at  which  he  lived,  and  he  has  the  credit  of 
establishing  them  on  more  regular  principles.  If  he 
was  less  successful  in  his  endeavours  to  overcome 
the  difSculty  of  foreshortening,  he  has  at  least  the 
credit  of  being  the  first  artist  who  attempted  it.  He 
succeeded,  better  than  any  of  his  contemporaries, 
in  giving  expression  to  the  airs  of  his  heads,  and  a 
less  Gothic  turn  tothe  attitudes  of  his  figures.  His 
works  in  the  churches  at  Rome  and  Florence  have 
perished,  and  the  picture  of  the  '  Virgin  and  Infant 
Christ,'  in  the  Campo  Santo  at  Pisa,  which  Lanzi 
mentions  as  the  only  vestige  remaining  of  his 
productions,  is  clearly  a  work  of  the  Sienese 
school.     He  died  in  1350. 

FIORENZO  Di  LORENZO.  Little  is  known  of 
this  painter,  excepting  that  a  contract  was  made 
by  him  to  paint  a  double  altar-piece  in  the  church 
of  Santa  Maria  Nuova,  now  belonging  to  the  Ser- 
vites,  in  Perugia,  in  1472 ;  and  that  in  1621  he 
assisted  Tiberio  d'Assisi  in  the  valuation  of  a 
picture  by  Giannicolo  of  Perugia.  Parts  of  the 
above-mentioned  altar-piece  can  be  still  seen  at  the 
Academy  of  Arts  at  Perugia,  as  also  eight  half- 
lengths  of  saints,  a  '  St.  Sebastian,'  and  other 
paintings  of  less  value.     There  are  also  by  him  : 

Berlin.  Gallery.    Virgin    and    Child,  on   a,   gold 

ground.    1481. 
Diruta.     S.  Francisco.    An  Eternal  in  a  circular  glory, 

between  SS.  Eoman  and  Eoch. 

1475. 
Madrid.  Trinidad  Mus.    The  Saviour,  with  four  Saints. 

499 


A   BIOGRAPHICAL  DICTIONARY  OF 


Fiori 

Perugia.  Palazzo  Com-  \  Two  panels,  with  half-lengths  of 
munale.      J      Saints  in  prayer.  ,„,.,, 

„  S.  Affostino.    A  half-length  Virgin  and  Child. 

'„  S.Giorgio.    A  Nativity.     1490.  . 

„  S.  Maria  Nuova.  The  Adoration  of  the  Magi.  (Thu 
has  hem  attributed  to  Perugmo.) 
S.  Francesco.  Bight  paintings  of  the  Life  of 
St.  Bernard  {prohaUy  Sy  this 
artist,  and,  not  by  Pisanello  and 
Mantegna).  1483. 
„  „  St.  Peter  and  St.  Paul.    1487. 

FIORI,  Gaspaeo  DEI.     See  Lopez. 

FIORI,  Mario  del     See  Nozzi. 

FIORILLO,  JoHANN  DoMiNiK,  born  at  Hamburg 
in  1748,  was  a  painter  and  literary  man.  In  1759 
he  began  to  study  at  the  Academy  at  Baireuth,  and 
in  1761  went  to  Rome  and  became  a  scholar  of 
P.  Battoni.  From  1765  to  1769  he  studied  at 
Bologna  under  Vittorio  Bigari,  but  at  the  end  of 
this  term  he  returned  to  Hamburg,  and  was  em- 
ployed at  the  court  at  Brunswick,  where  he  brought 
himself  into  notice.  He  became  superintendent  of 
the  collections  of  engravings  at  Gottingen  in  1784, 
and  in  1799  professor  at  the  University.  He  died 
at  Gottingen  in  1821. 

FIORINI,  Giovanni  Battista,  was  a  native  of 
Bologna.  He  flourished  at  the  close  of  the  16th 
century,  and  died  subsequently  to  1595.  He  is 
chiefly  known  as  a  coadjutor  of  Cesare  Aretusi,  in 
conjunction  with  whom  he  painted  several  pictures 
at  Bologna  and  Brescia,  and  distinguished  himself 
especially  as  a  good  designer  and  a  happy  inventor. 
By  him  there  are  the  following  works  : 

Bologna.        Cathedral.    Christ  giving  the  Keys  to  St. 
Peter. 
San  Giomnni  \  3,^45^  ^f  jj^g  y;    ;„_ 
m  Monte.     )  " 

„        San  Benedetto.     The  Descent  from  the  Cross. 
„  Padri  Servi.     The  Mass  of  St.  Gregory. 

Brescia.  S.  Afra.     The  Birth  of  the  Virgin. 

Eome.  SahBegia,  )  j^  ^^j^jj  ^^^^^^g  ^y  Fiorini  alone. 

FIORINO,  Jeeemias  Alexander,  born  at  Cassel 
in  1793,  painted  several  portraits  now  in  the 
Dresden  Gallery.     He  died  at  Dresden  in  1847. 

FIORONI,  Adamo,  an  Italian  engraver,  was  born 
about  1800.  He  was  a  scholar  of  Longhi,  and 
engraved  several  excellent  plates  at  Milan,  amongst 
which  were : 

The  Virgin  and  Child,  with  St.  John ;  after  Raphael. 
1829. 

The  Virgin  and  Child,  called  'La  Madonna  del  Adjuto' ; 
after  B.  Luini.     1822. 

FIRENS,  Pierre,  was  an  indifferent  French 
engraver,  who,  according  to  Basan,  resided  in  Paris 
about  the  year  1640.  He  copied,  in  a  stiff,  clumsy 
manner,  the '  Hermits,'  after  Sadeler,  and  engraved 
some  portraits,  among  others  that  of  Henry  IV. 
of  France. 

FIRENZE,  Andrea  da  (who  is  distinct  from 
Andrea  de  Plorentia),  was  an  artist  living  in  the 
15th  century,  and  known  as  the  author  of  a  large 
altar-piece,  signed  and  dated  1437,  in  a  chapel  of 
the  church  of  Santa  Margareta,  at  Cortona,  which 
represents  the  '  Virgin  taken  to  Paradise  by  six 
Angels,  with  Saints.'  There  is  also,  in  the  Casa 
Kamelli,  at  Gubbio,  a  '  Conversion  of  Constantine,' 
signed  by  him.  The  dates  of  his  birth  and  death 
are  not  known. 

FISCHBACH,  JoHANN,  born  at  Gravenegg,  in 
Lower  Austria,  in  1797,  was  a  painter  of  landscapes 
and  genre-pieoes.  He  studied  at  the  Academy  at 
Vienna,  and  his  twenty-eight  crayon-designs, 
representing  forest  trees  in  Germany,  brought  him 


Fischer 


into  much  notice.     He  died  at  Munich  in  1871. 
The  following  are  by  him  : 
Munich.  Gallery.    A  landscape  in  Salzburg. 

Vienna.  Gallery.    A  Farmer's  Boy  disputing  with  a 

Girl  for  a  Bird. 
„  „  A  Widow  in  a  Churchyard. 

FISCHBACH,  Karl.     See  Vittinghoff. 

FISCHER,  A.,  is  the  name  of  an  engraver  who 
executed  a  print  of  the '  Carriers,'  after  Wouwerman. 
The  same  subject  is  engraved  by  Filleul. 

FISCHER,  Anna  Catharina,  a  German  lady, 
•excelled  in  painting  flowers  in  distemper  and  in 
oil.     She  was  married  to  Benjamin  Blok  in  1664. 

FISCHER,  Gborg  Johann  Paul,  a  miniature 
painter,  was  born  in  1786  at  Hanover,  where  he 
studied  under  Ramberg.  He  came  to  England  in 
1810,  and  exhibited  at  the  Royal  Academy  from 
1811  to  1871.  He  became  miniature  painter  to 
George  IV.,  and  died  in  1875. 

FISCHER,  Hermann.    See  Swanevelt. 

FISCHER,  Isaac,  a  portrait  and  historical 
painter  of  Augsburg,  died  in  1705. 

FISCHER,  Johann,  was  an  engraver  on  wood, 
to  whom  are  attributed  the  cuts  for  the  Bible 
printed  at  Strassburg  in  1606. 

FISCHER,  Johann  Georg,  an  historical  painter, 
was  born  at  Augsburg  in  1580.  He  travelled  in 
Italy,  but  became  an  imitator  of  Albrecht  Diirer. 
He  died  at  Munich  in  1648.  The  following  are  by 
him: 
Munich.  Gal^^.     Christ  carrying  the  Cross. 

„  „         The  Apprehension  of  Christ. 

Nuremberg.  Landauer-  \  The  Apostles  John,  Peter,  Mark, 
Br'uderhaus.  J      and  Paul ;  after  Albrecht  Durer. 
Moritz- 1  ^"'^^   Homo   (supposed  to  be  h/ 
"  rri       7  >     him,  hit  by  some  attributed  to 

Chapel,  f     Albrecht  Diirer). 
Pommersfelden.   Gall.    The     Trinity;     after    Albrecht 
D'tlrer. 

FISCHER,  Joseph,  who  was  born  at  Vienna  in 
1769,  studied  painting  and  engraving  under  Brand 
and  Schmutzer  at  the  Academy  of  that  city.  After 
having  travelled  some  time  he  returned  to  Vienna, 
and  became  a  professor  in  the  Academy.  He  died 
at  Vienna  in  1822.  Among  his  paintings  in  the 
Gallery  of  that  city  are  a  view  of  Vienna  and  a  land- 
scape.  His  best  engraved  works  are  the  following : 

The  Entombment ;  after  Schidone. 
Christ  in  the  Temple ;  after  Bibera.    1793. 
The  Adulteress  before  Christ ;  after  Fiiger. 
The  Emperor  Francis,  led  by  Minerva  and  Justice,  re- 
ceiving the  homage  of  his  people ;  in  aquatint. 
The  Portrait  of  Correggio. 

His  Bister,  Maria  Anna  Fischer,  who  was  born 
at  Vienna  in  1786,  was  also  an  engraver,  chiefly  of 
landscapes  and  battle-pieces. 

FISCHER,  Joseph  Anton,  born  at  Oberstorf, 
Algau,  in  1814,  was  at  first  a  cow-herd,  but  being 
assisted  by  Ch.  Schraudolf,  he  studied  at  the 
Academy  at  Munich  under  Schlotthauer,  and  visited 
Italy  in  1832  and  1843.  During  this  tune  he 
executed  cartoons  under  H.  Hess  for  the  glass- 
paintings  of  the  Auerkirche,  representing  'The 
Flight  into  Egypt,'  '  Death  of  the  Virgin,'  '  Burial 
of  the  Virgin,'  '  Christ  in  the  Temple,'  '  The  Three 
Kings,' '  The  Angel's  Salutation,'  '  The  Marriage  of 
the  Virgin,'  and  '  The  Prophecy  of  Simeon  in  thfl 
Temple.'  He  was  a  follower  of  Fra  Angelico,  and 
painted  from  1844  to  1848  the  cartoons  for  eight 
glass-paintings  for  the  cathedral  at  Cologne,  repre- 
senting 'St.  John  the  Baptist  preaching,'  'The 
Adoration  of  the  Magi,'  '  The  Taking  down  from 
the  Cross,'  'The   Stoning  of  St.   Stephen,'  'The 


Fischer 


PAINTERS  AND  ENGRAVERS. 


Flamen 


Descent  of  the  Holy  Ghost,'  'The  Four  Great 
Prophets,'  'The  Four  Evangelists,'  and  'The  Four 
Western  Fathers';  for  these  he  ohtained  the  gold 
medal  of  Prussia.  Several  beautiful  pen-and-ink 
drawings  by  this  artist  are  in  different  collections, 
especially  in  Munich,  where  he  died  in  1859. 
Among  his  oil  paintings  are  the  following  : 
Munich.  Gallery.    The  Flight  into  Egypt.    1841. 

>»  ,>  The   Adoration  of    the    Magi. 

1844. 

»  „  The  Visitation.    1845. 

»  ^    „  The  Entombment.    1848. 

NaHMMs. }  '^^^  Ascension  of  the  Virgin. 

FISCHER,  ViNCENZ,  an  historical  painter  and 
professor  of  architecture  at  the  Academy  of  Vienna, 
was  born  at  Schmidham,  in  Bavaria,  in  1729,  and 
died  at  Vienna  in  1810.  In  addition  to  some  pen- 
and-ink  drawings,  the  following  works  by  him  are 
worthy  of  mention : 

The  Restoring  of  the  Young  Man  of  Nain  to  life.    1763. 
The  Eaising  of  Lazarus.    1763. 

Moses  when  a  Boy  treading  on  Pharaoh's  Crown  (in  the 
Academy  at  Vienna). 

FISEN,  Engelbebt,  a  Flemish  painter,  born  at 
Liege  in_1655,  was  a  pupil  of  Bertholet  Flemalle. 
When  still  very  young  he  went  to  Italy,  where  he 
studied  under  Carlo  Maratti,  whose  style  he  imi- 
tated. After  eight  years  he  returned  to  his  native 
city,  where  his  principal  pictures  are  a '  Crucifixion, ' 
painted  for  the  chapel  of  the  H6tel-de-Ville ;  and  a 
'  Martyrdom  of  St.  Bartholomew,'  and  a  '  Christ  on 
the  Cross,'  painted  for  the  church  of  St.  Bartholo- 
mew.    He  died  at  Li^ge  in  1733. 

FISHER,  Alvan,  an  American  portrait  painter, 
who  was  a  native  of  Needham,  Connecticut,  visited 
Europe  in  1825,  and  studied  for  some  time  in 
Paris.  He  died  at  Dedham,  Massachusetts,  in 
1863,  having  produced  many  satisfactory  and  re- 
fined likenesses,  especially  that  of  Spurzheim. 

FISHER,  Edwakd,  a  mezzotint  engraver,  was 
born  in  1730  in  Ireland,  but  resided  in  London 
during  the  time  he  was  known  as  an  artist,  and 
died  there  about  the  year  1785.  He  engraved 
a  number  of  portraits,  chiefly  after  Sir  Joshua 
Reynolds,  which  possess  great  merit.  Among 
others  are  the  following : 

PORTEAITS   AFTER   SIR  JOSHUA   REYNOLDS. 
John,  Earl  of  Bute,  when  Lord  Cardiff. 
The  Marchioness  of  Tavistock  (Lady  Elizabeth  Keppel): 

full  length. 
Garrick  between  Tragedy  and  Comedy.    1769. 
Kitty  Fisher  as  Cleopatra. 
Sir  Thomas  Harrison. 
Lady  Sarah  Bunbury  •  whole  length. 
The  Marquis  of  Rockingham. 
Hugh,  Earl  of  Northumberland. 
Elizabeth,  Countess  of  Northumberland. 
Granville,  Earl  Gower.    1765. 
George,  liOrd  Edgcumbe,  Vice-Admiral.    1773. 
Viscount  Downe. 
Lady  EUzabeth  Lee ;  full  length. 
John,  Viscount  Ligonier,  on  horseback, 
Augustus,  Lord  Keppel.    1759. 
Augustus  Hervey,  afterwards  Earl  of  Bristol. 
Ladies  Amabel  and  Jemima  Yorke,  daughters  of  the 

Earl  of  Hardwioke. 
Hon.  George  Seymour  Conway.    1771. 
Lawrence  Sterne,  Prebendary  of  York. 
John  Armstrong,  M.D. 

PORTRAITS   AFTER   OTHER   PAINTERS. 


George  III. ;  after  Benjamin  West. 
Hon.  Frederick  Cornwallis,  Archbishop  of  Canterbury; 
after  Sir  N.  Bance. 


Richard  Terrick,  Bishop  of  London ;  after  tlie  same. 

William,  Earl  of  Chatham ;  after  Brampton. 

Benjamin  Franklin ;  after  Chamberlin. 

Paul  Sandby,  R.A. ;  after  F.  Cotes. 

Mark  Akenside ;  after  Pond. 

Eliza  Farren,  actress,  afterwards  Countess  of  Derby ; 

whole  length ;  after  Zoffany. 
OoUey  Cibber ;  after  Vanloo. 

FISHER,  Jonathan,  an  Irish  landscape  painter, 
was  bom  at  Dublin  about  the  middle  of  the  18th 
century.  He  held  a  post  in  the  Stamp  Ofiice, 
but  his  art  was  poor.     He  died  in  1812. 

FISHER,  Thomas,  who  was  born  at  Rochester 
in  1782,  was  a  clerk  in  the  India  Office.  He  prac- 
tised art  as  an  amateur,  and  made  many  drawings 
of  antiquarian  subjects,  which  he  etched  himself. 
He  died  at  Stoke-Newington  in  1836. 

FISK,  William  Henry,  a  portrait  and  historical 
painter,  was  born  in  1797  at  Thorpe-le-Soken, 
Essex.  He  did  not  take  up  art  as  a  profession  till 
he  was  thirty-one  years  of  age,  having  been  for 
the  ten  previous  years  engaged  in  mercantile  em- 
ployment. His  first  picture  exhibited  at  the  Royal 
Academy  was  a  portrait  in  1831,  and  he  continued 
painting  in  the  same  branch  of  art  till  1835 ;  from 
this  date  his  pictures  were  chiefly  historical. 
Among  these  we  may  mention  'Leonardo  da  Vinci 
dying  in  the  arms  of  Francis  I.,'  exhibited  at  the 
Royal  Academy  in  1838;  '  Attempted  Assassination 
of  Lorenzo  de'  Medici  in  Florence  in  1478,'  ex- 
hibited in  1839,  and  which  was  awarded  the  gold 
medal  of  the  Manchester  Institution  in  1840 ;  and 
'The  Trial  of  Charles  I.,' exhibited  in  1842,  and 
afterwards  engraved.  His  historical  pictures  are 
well  composed,  and  accurate  as  to  costume.  Ha 
retired  a  few  years  later  to  a  property  he  had  pur- 
chased in  the  country,  and  from  this  time  almost 
entirely  relinquished  painting.  He  died  at  Danbury, 
near  Chelmsford,  in  1872. 

FITTLER,  James,  a  line-engraver,  was  born  in 
London  in  1758.  He  entered  the  schools  of  the 
Royal  Academy  in  1778,  and  was  elected  an 
Associate  Engraver  in  1800.  Pie  distinguished 
himself  by  numerous  works  after  English  and 
foreign  masters,  of  different  subjects  and  character; 
and  book  illustrations  by  him  abound.  His  best 
engravings  are  considered  to  be  '  Lord  Howe's 
Victory,'  and  'The  Battle  of  the  Nile,'  both  after 
De  Loutherbourg  ;  the  portrait  of  Benjamin  West ; 
the  plates  in  Forster's  'British  Gallery,'  others 
in  Bell's  '  British  Theatre,'  and  the  portraits  in 
Dibdin's  'Aedes  Althorpian^,' published  in  1822, 
after  which  time  he  does  not  appear  to  have  pro- 
duced anything  of  importance.  He  died  at  Turn- 
ham  Green  in  1835. 
FLACCO,  Orlando.  See  Fiacco. 
FLAMAEL,  Bertholet.  See  Flemalle. 
FLAMEN,  Aalbert,  (or  Flamand,)  a  Flemish 
painter  and  etcher,  resided  in  Paris  from  1648  to 
1664.  He  painted  landscapes,  birds,  and  fish,  and 
particularly  excelled  in  representing  the  last  of 
these,  to  which  he  gave  a  surprising  appearance  of 
reality.  He  succeeded  less  in  landscape  painting, 
and  the  forms  of  the  trees,  as  well  as  the  modifica- 
tion in  light  and  shadow,  are  defective.  There  are 
by  this  artist  some  neat  etchings  of  the  above- 
mentioned  subjects,  executed  with  the  dry  point 
and  graver  in  the  style  of  Hollar.  He  some- 
times marked  his  plates  with  his  name,  TCL 
and  sometimes  with  the  annexed  cipher.  xvii 
There  are  by  him  601  plates,  among  which  may 
be  mentioned  : 

501 


Flamen 


A  BIOGRAPHICAL  DICTIONARY  OF 


Flandriu 


36  plates  of  Sea  Fish. 

24     „  Fresh-water  Fish. 

12  „  Livre  d'Oyseaux. 

13  „  Diuersse  Auium  Species.    1659. 
The  Militia  of  Paris.    1660  and  1662. 

There  exist  also  several  portraits  by  Aalbert 
Flamen,  which  have  been  engraved  by  Poilly  and 
Boul  anger. 

FLAMEN,  F.,  probably  of  the  same  family  as 
Aalbert  Flamen,  was  a  native  of  Flanders,  who 
resided  in  Paris  about  the  year  1660.  Among 
other  prints,  he  etched  a  set  of  four  plates  of 
'  Views  on.  the  River  Seine,'  after  the  designs  of 
TrvpipI  Rilvpfti"Tf* 

FLAMENCO,  Juan,  (that  is, '  John  the  Fleming,') 
supposed  to  be  identical  with  JuAN  DE  Flandes,  is 
mentioned  underthe  formername  by  Cean  Bermudez 
as  a  painter  who  resided  in  the  Certosa  di  Mira- 
flores  from  1496  to  1499,  and  painted  the  altar- 
pieces  there,  for  which  he  was  paid  the  sum  of 
63,545  maravedis,  besides  his  maintenance.  On 
the  right-hand,  or  gospel  side  of  the  altar,  he 
represented  various  passages  in  the  life  of  St. 
John  the  Baptist,  which  were  well  treated,  with 
^pod  colouring  and  much  expression,  in  the  style 
or  Lucas, van  Leyden  ;  the  painting  on  the  left,  or 
epistle  side,  is  much  deteriorated,  and  it  can  only  be 
seen  that  it  represented '  The  Adoration  of  the  Kings.' 

Under  the  name  of  Juan  de  Flandes,  the  same 
writer  notices  an  artist  who  painted  eleven 
pictures  in  the  cathedral  of  Palencia,  which  he 
began  in  the  year  1509,  under  an  engagement  to 
complete  them  in  three  years,  for  the  sum  of  500 
gold  ducats.  Some  have  supposed  that  Hans 
Memlinc  is  the  painter  intended  by  these  two 
appellations. 

FLAMEN60,  Miguei,  el.     See  AMsiEES. 

FLAMM1N60.     See  Fiammingo, 

FLANDES,  Jdan  de.    See  Flamenco. 

FLANDIN,  EuGi;NE  Napoli^on,  a  French  land- 
scape painter,  was  born  at  Naples  in  1809.  After 
producing  various  pictures,  which  obtained  con- 
siderable success,  he  was  present  in  1838  through- 
out the  campaign  in  Algeria,  and  reproduced  several' 
of  the  scenes  with  his  brush.  In  1839  he  was 
selected  to  pursue  antiquarian  investigations  in 
Persia,  and  on  the  completion  of  this  work  he 
prosecuted  further  researches  in  the  East,  and 
published  several  works  containing  the  fruits  of 
his  labours.  The  most  important  of  these  is  his 
'  Voyage  en  Perse,'  published  in  conjunction  with 
Pascal  Coste,  the  architect,  in  six  folio  volumes, 
Paris,  1843-54 ;  and  '  L'Orient,'  published  at  Paris 
in  folio,  1853-74.  He  did  not  return  to  painting 
till  about  1850 ;  and  he  died  in  1876.  Amongst 
his  chief  works  are : 

The  Piazzetta  and  Ducal  Palace  at  Venice.    1836. 

The  Bridge  of  Sighs.     1836, 

A  View  of  the  Coast  at  Algiers.    1837. 

The  Breach  at  Constantine.    1839. 

View  of  Stamboul.    1853. 

View  of  the  Eoyal  Mosque  at  Ispahan.    1853. 

General  View  of  Constantinople.     1855. 

The  Entrance  of  the  BosphorVis.    1855. 

View  of  Bagdad.    (Marseilles  Museum.) 

FLANDRIN,  Augustb  RenS,  a  French  painter, 
brother  of  Jean  Hippolyte  Flandrin,  was  born  at 
Lyons  in  1804.  He  was  at  first  employed  in  book 
illustration,  but  in  1832  he  went  to  Paris,  where  he 
worked  for  two  years  under  Ingres.  He  painted 
several  portraits,  and  after  visiting  Italy,  became 
director  of  the  Academy  at  Lyons,  where  he  died 
in  1843.     Amongst  his  works  are  : 

602 


Savonarola  preaching  at  Florence. 
Keposlng  after  the  Bath. 
Interior  of  San  Miniato,  Florence. 

FLANDRIN,  Jean  Hippolyte,  a  F-rench  his- 
torical and  portrait  painter,  was  born  in  1809  at 
Lyons,  where  his  father  fought  a  hard  battle  against 
poverty  as  a  miniature  painter.  He  was  the  fourth 
son,  and  his  mother,  who  had  seen  much  of  the 
cares  and  necessities  which  follow  the  pursuit  of 
art,  was  resolutely  opposed  to  his  becoming  a 
painter.  She  at  length  relented,  and  in  1821  he 
entered  the  studio  of  the  sculptor  Legendre,  and 
afterwards  studied  under  Revoil  in  the  Lyons 
Academy.  By  dint  of  the  strictest  economy  a 
little  hoard  was  scraped  together  sufficient  to  en- 
able him  and  his  younger  brother  Paul  to  set  out 
for  Paris  in  1829.  To  economize  their  slender 
means,  the  two  brothers  were  obliged  to  travel 
thither  from  Lyons  on  foot.  Arrived  in  the  capital, 
they  became  pupils  of  Ingres,  in  preference  to 
Hersent,  to  whom  they  had  letters  of  introduction. 
The  choice  was  most  fortunate,  for  Ingres  proved 
most  kind  to  his  pupils,  and  Flandrin  to  the  end  of 
his  life  ever  showed  himself  loyal  and  devoted  to 
his  old  master.  The  next  three  years  was  a  period 
of  great  trial  and  privation.  Besides  suffering 
from  cold  and  scanty  food,  he  had  what  was  no 
doubt  a  slight  attack  of  cholera,  then  raging  griev- 
ously in  Paris.  He  was  also  laid  low  by  rheu- 
matism, from  which  he  subsequently  became  a 
great  sufferer.  In  1832  he  obtained  the  long- 
wished-for  '  grand  prix  de  Rome '  with  his  'Theseus 
recognizing  his  Father.'  Early  in  the  following 
year  he  arrived  at  Rome,  and  though  not  over- 
burdened with  means,  he  now  managed  to  send 
frequent  remittances  to  help  the  home  at  Lyons. 
While  studying  here,  he  formed  a  friendship  with 
Ambroise  'Thomas,  the  French  musical  composer, 
which  lasted  through  life.  He  returned  to  Paris 
in  1838,  and  soon  obtained  ample  employment  in 
the  mural  decorations  of  churches.  His  first  great 
work  in  the  church  of  St.  S^verin  was  completed 
in  1841,  in  which  year  he  received  the  cross  of  the 
Legion  of  Honour.  Two  years  later  he  married 
Aim^e  Ancelot,  and  their  eldest  son  was  born  ia 
1845.  The  history  of  the  remainder  of  Flandrin's 
life  may  be  summarized  in  the  decorative  works 
which  he  executed.  The  chief  of  these  were :  St 
Qermain-des-Pres — sanctuary  1842-4,  choir  1846-8, 
and  nave  1855-61  ;  St.  Paul,  Nimes,  1847-9  ;  St. 
Vincent-de-Paul,  Paris,  1850-4  ;  the  Conservatoire 
des  Arts  et  Metiers,  1854 ;  and  the  church  of  Ainay, 
at  Lyons,  in  1855.  He  did  not  lack  appreciation  of 
his  works,  for  he  was  promoted  to  the  rank  of  officer 
of  the  Legion  of  Honour  in  1853,  and  in  the  same 
year  was  elected  to  the  Academy,  becoming  Pro- 
fessor of  Painting  in  1857.  The  popularity  of  his 
art  drew  to  him  a  large  connection  as  a  portrait 
painter,  and  he  had  many  eminent  sitters.  His 
health  during  the  last  few  years  had  been  any- 
thing but  good ;  his  sufierings  from  rheumatism, 
aggravated  by  his  work  in  cold,  damp  churches, 
had  been  great ;  and  in  1863  he  undertook  a  lorg- 
looked-f  or  journey  to  Italy,  in  hopes  of  a  restoration 
of  strength.  But  he  was  not  destined  to  return, 
for  he  succumbed  to  an  attack  of  small-pox  at 
Rome,  March  21st,  1864.  Besides  the  decorative 
works  already  enumerated,  the  following  are 
amongst  the  chief  of  his  easel  productions : 

Dante  and  Virgil.    1835.  J,Lyons  Museum.) 

Euripides.    1835.    {Lyons  Museum.) 

St.  Claia  healing  the  Bhnd.     1836.    {Nantes  Cathedral.) 


Flatman 


PAINTERS  AND  ENGRAVERS. 


Flemalle 


Christ  blessing  little  Children.   1837.    (LUieux  Museum.) 
The  Reverie.    (IVantes  Mtiseum.) 
Mater  Dolorosa.    1844. 

The  Tower  of  Babel.    1861.    (Zille  Museum.) 
Portrait  of  Cherubini ;  after  Ingres. 
Marie  Anne  de  Bourbon,  Duchess  of  Bourbon. 
Marie  Fran9oise  de  NoaiUes,  Marchioness  of  I  VersaiUet 
Lavardin.  ["  Museum. 

Cardinal  de  Toumon. 
Diana  of  Poitiers. 

Figure  Study.     1855.  1  ^  „     . 

Portrait  of  a  Young  Girl.     1863.       J  I-miire,  Paris. 
Portrait  of  Napoleon  III. 

„  Prince  Jerome  Napoleon. 

„  Comte  Duch4tel. 

„  Comtesse  Duchatel, 

„  Comte  Walewski. 

„  Mile.  Maison  {Jeimejille  h  Vceillet). 

„  M.  Say. 

Flandrin's  'Lettres  et  Pens^es,'  accompanied  by  a 
biographical  notice  and  a  catalogue  of  his  works, 
were  published  by  the  Count  Delaborde  in  1865. 

ELATMAN,  Thomas,  was  born  in  London  in 
1633,  and  was  educated  at  Winchester  school. 
Erom  thence  he  went  to  New  College,  Oxford ; 
but  leaving  the  university  without  a  degree,  he 
removed  to  the  Inner  Temple,  where,  in  due  time, 
he  became  a  barrister.  It  does  not  appear  that 
he  ever  followed  the  profession  of  the  law,  but 
having  a  turn  for  the  fine  arts,  he  indulged  his  in- 
clination, and  gained  some  reputation  as  a  poet  and 
a  painter  in  miniature.  Horace  Walpole  mentions 
in  his  '  Anecdotes,'  that  Mr.  Tooke,  Master  of  the 
Charterhouse,  had  a  head  of  his  father  by  Flatman, 
which  was  so  well  painted  that  Vertue  took  it  for 
Cooper's ;  and  Lord  Oxford  had  another  portrait  by 
him,  which  was  so  masterly  that  Vertue  pronounced 
Flatman  to  be  equal  toHoskinsand  next  to  Cooper. 
It  is  certain  that  he  excelled  more  as  a,  painter 
than  a  poet,  and  Granger  asserts  that  one  of  his 
heads  is  worth  a  ream  of  his  Pindarics.  He  died 
in  1688. 

ELAVITSKY,  Konstantin  Dmiteievich,  a  Rus- 
sian historical  painter,  was  born  in  1829  or  1830, 
and  studied  at  the  Academy  of  St.  Petersburg,  of 
which  he  afterwards  became  a  professor.  He 
earned  considerable  praise  in  his  country  for  his 
painting  of  'The  Death  of  the  Princess  TarakanoflF.' 
He  died  at  St.  Petersburg  in  1866. 

ELAXMAN,  Mary  Ann,  a  sister  of  John  Elax- 
man,  the  celebrated  sculptor,  with  whom  she  re- 
sided for  some  time,  was  an  occasional  exhibitor 
at  the  Royal  Academy  of  portraits  and  subjects 
taken  from  poems,  as  well  as  domestic  scenes, 
from  1786  till  1819.  She,  died  in  1833,  in  her 
65th  year.  Blake  engraved  her  designs  for  Hay- 
ley's  '  Triumphs  of  Teinper,'  and  her  illustrations 
to  '  Robin  Goodf  ellow '  were  also  engraved. 
Redgrave  mentions  the  following,  amongst  others, 
of  her  works : 

Turkish  Ladies.    1786. 

Ferdinand  and  Miranda  playing  Chess.    1789. 

Portrait  of  Mrs.  Billington.    1802. 

Sappho.    1810. 

Maternal  Piety.    1819. 

FLEGEL,  Geoeg,  a  painter  of  subjects  of  still- 
life,  was  born  at  Olmiitz  in  Moravia  in  1563,  and 
resided  at  Frankfort,  where  he  died  in  1638.  He 
painted  fruit,  flowers,  fish,  vases,  glasses,  and 
other  inanimate  objects.  The  flowers  and  fruit  in 
the  paintings  of  Martin  van  Valckenborch  are  by 
him.  There  are  fruit-pieces  ■  by  this  artist  in  the 
Gallery  at  Caesel  and  the  Museum  at  Darmstadt, 
and  in  the  latter  is  a  portrait  of  himself. 


FLEISCHBERGER,  Johann  Friedeich,  was  a 
German  engraver,  who  worked  for  the  booksellers. 
He  engraved  an  ornamental  frontispiece,  and  a 
portrait  of  the  author,  for  Horst's  '  Opera  Medica,' 
printed  at  Nuremberg  in  1660. 

ELEISCHMANN,  Augustin  Christian,  was  an 
obscure  German  engraver,  who  was  employed  by 
the  booksellers  at  Nuremberg.  He  engraved  some 
of  the  portraits  for  Roth-Scholtz's  'Iconea  Biblio- 
polarum  et  Typographorum,'  pubhshed  in  1726-42. 

ELEISCHMANN,  Feiedeich,  a  painter  and 
engraver,  was  born  at  Nuremberg  in  1791,  and 
was  instructed  by  Ambrosius  Gabler.  He  executed 
many  miniatures  and  portraits  in  oil,  and  engraved 
more  than  1900  plates  with  the  point.  He  died  at 
Munich  in  1834.     His  best  works  are  : 

Hia  own  Portrait. 

The  Four  Apostles  ;  after  Albrecht  Burer. 
Ecce  Homo ;  said  to  he  after  Leonardo  da  Vinci. 
The  Portrait  of  Van  Dyck. 

FLEMALLE,  Bertholet,  (more  commonly 
Flbmael,  and  sometimes  Flamael,)  a  son  of  Renier 
Flemalle,  a  glass  painter,  was  born  at  Li%e  in 
1614.  He  was  first  instructed  in  painting  by 
Hendrik  Trippez,  but  afterwards  by  Geraert  Douf- 
fet,  an  historical  painter,  who  had  studied  at  Rome. 
Under  this  master  he  acquired  sufficient  ability  to 
venture  on  visiting  Italy.  On  his  arrival  at  Rome 
in  1638,  he  was  unremitting  in  his  studies  after 
the  works  of  the  best  masters,  and  it  was  not  long 
before  he  was  noticed  for  the  readiness  of  his  in- 
vention and  the  freedom  of  his  hand.  The  Grand- 
Duke  of  Tuscany  invited  him  to  Florence,  and 
employed  him  in  ornainenting  one  of  the  galleries 
of  his  palace.  After  passing  some  years  in  the 
service  of  that  prince,  he  visited  Paris,  where  he 
was  patronized  by  the  Chancellor  Siguier,  who 
employed  him  in  some  of  the  apartments  at  Ver- 
sailles. In  the  sacristy  of  the  Augustinian  church 
in  Paris  he  painted  the  'Adoration  of  the  Magi.' 
Notwithstanding  this  flattering  encouragement,  he 
quitted  Paris  and  returned  to  his  native  country  in 
1647,  after  an  absence  of  nine  years.  Hia  first 
work  after  his  return  was  a  grand  composition  of 
the  '  Crucifixion,'  which  he  is  said  to  have  painted 
for  one  of  the  chapels  of  the  collegiate  church  of 
St.  John,  as  well  as  for  the  King  of  Sweden. 
This  performance  gained  him  great  reputation, 
and  he  was  employed  in  several  considerable  works 
for  the  churches  at  Li%e.  In  1670  he  was  invited 
to  return  to  Paris,  where  he  painted  the  ceiling  of 
the  king's  chamber  of  audience,  in  the  palace  of 
the  Tuileries,  representing  an  emblematical  subject 
of  religion.  He  was  made  a  member,  and  after- 
wards a  professor,  of  the  Royal  Academy  in  Paris, 
and  was  high  in  the  estimation  of  Louis  XIV.  and 
the  public.  The  love  of  his  native  country  induced 
him,  however,  to  return  to  Li^ge,  where  he  was 
elected  canon  of  the  collegiate  church  of  St.  Paul, 
and  continued  to  exercise  hia  talents,  under  the 
protection  of  Henry  Maximilian,  Prince  Bishop  of 
Li6ge.  A  few  years  before  his  death,  which  took 
place  at  Li^ge  in  1675,  he  fell  into  an  extreme 
melancholy  and  gave  up  entirely  all  work.  Bertholet 
Flemalle  possessed  an  inventive  genius,  and  had 
acquired  by  his  studies  in  Italy  a  great  style  of 
composition,  and  a  correctness  of  design  that  par- 
take of  the  grandeur  of  the  Roman  school,  but 
more  especially  the  style  of  Nicolas  Poussin.  His 
forms  are,  however,  too  artificial,  and  his  colouring 
is  weak.  The  following  is  a  list  of  his  most  im- 
portant paintings : 

603 


Flemalle 


A  BIOGEAPHICAL  DICTIONAEY  OF 


Flinck 


Brussels.         Museum.    The  Chastisement  of  Heliodorus. 
Cassel.  Gallery.    The  Death  of  Lucretia. 

„  „  Alexander  leaving  for  Asia. 

Dresden.  Gallery.    Pelopidas. 

„  „  ^neas    leaving  Troy  with  his 

wife  Creusa,  his    father  An- 
chises,  and  his  son  Ascanius. 
Florence.     Diical  Tal.     Several  paintings. 
Li^ge.  Dominican  \  rjjjg  jagyation  of  the  Cross. 

Church,   j 
„  „  The  Assumption  of  the  Virgin. 

„  Cathedral.    The  Eaising  of  Lazarus. 

Iji^ge.  iSt.  Paul.    The  Conversion  of  St.  Paul. 

„  iSt.  John.    A  Crucifixion. 

Paris.  Louvre.    Mysteries  of  the  Old  and  New 

Testament. 

FLEMALLB,  Rbnieb,  (or  Flemabl,)  was  a  painter 
on  glass,  to  whom  is  attributed  '  The  Adoration  of 
the  Magi,'  in  St.  Paul's  at  Liege.  He  was  the 
father  of  Bertholet  and  Willem  Plemalle ;  and  of 
a  third  son,  Hendrik,  who  was  a  goldsmith. 

FLEMALLE,  Willem,  (or  Flemael,)  who  was 
instructed  by  his  father,  painted  several  excellent 
glass-paintings  for  the  Magdalen  Church  at  Li%e. 

FLEMING,  John,  a  Scottish  landscape  painter, 
lived  in  the  early  part  of  the  present  century.  He 
is  best  known  from  the  series  of  views  he  painted 
for  Swan's  'Lakes  of  Scotland,'  published  at 
Glasgow  in  1834.  In  the  Glasgow  Corporation 
Galleries  is  a  '  View  of  Greenock,'  painted  by  him 
in  1827. 

FLEES,  Camillb,  born  in  Paris  in  1802,  was  a 
painter  of  landscapes  and  a  scholar  of  P&ria. 
His  '  Views  of  Normandy  '  and  '  The  Banks  of  the 
Marne  and  Eure  '  display  a  great  amount  of  study 
and  power  or  feeling  in  the  colouring.  He  died  at 
Annet  (Seine-et-Marne)  Paris  in  1868.  He  was  the 
instructor  of  Cabats.  In  the  Louvre  is  a  landscape 
by  this  artist  of  the  '  Environs  of  Paris.' 

FLBSSHIEE,  B.,  is  an  artist  mentioned  by 
"Walpole  as  a  painter  of  sea-pieces,  landscapes,  and 
fruit.  His  pictures  may  be  supposed  to  have  pos- 
sessed considerable  merit,  as  some  of  them  were 
thought  worthy  of  being  placed  in  the  collection 
of  King  Charles  the  First,  and  in  that  of  Sir  Peter 
Lely. 

FLBTCHEE,  Henet,  was  an  English  engraver 
who  flourished  about  the  year  1729.  He  engraved 
a  print  of  '  Bathsheba  and  her  Attendants  at  the 
Bath,'  after  Sebastiano  Conca,  and  some  portraits, 
among  which  is  that  of  Ebenezer  Pemberton, 
minister  of  Boston,  prefixed  to  a  volume  of  his 
sermons. 

FLETCHER,  Nicolas,  is  mentioned  by  Basan  as 
having  engraved,  about  1750,  some  views  of  Eome, 
after  Canaletto. 

FLEUNEE,  Petbe.  There  is  a  woodcut  exe- 
cuted in  a  very  bold,  spirited  style,  representing  an 
emblematical  subject,  apparently  '  The  Procession 
of  Gluttony,'  with  the  name  of  this  artist  at  length, 
and  dated  1549. 

FLEUE,  Nicolas  Guillaumb  de  la.  See  Db 
La  Fleue. 

FLEUEY,  Antoine  Claude,  a  French  historical 
and  portrait  painter,  was  born  about  the  middle  of 
the  18th  century.  He  studied  under  Regnault,  and 
exhibited  at  the  Salon  from  1795  to  1822.  Amongst 
his  works  are :  - 

The  Abduction  of  Helen  from  the  Temple  of  Diana. 

1800.  ^ 

Theseus  going  to  fight  the  Minotaur.    1804. 
The  Doom  of  Orestes.    1806. 
Venus  and  Adonis. 
The  Origin  of  Painting.    1808. 
504 


Cornelia  and  her  Sons.    1810. 
The  Flight  into  Egypt.    1819. 
The  Widow's  Mite.    1819. 
Portrait  of  Louis  XVIII.    1819. 

FLEUEY,  FBANgois  Antoine  L^on,  a  French 
landscape  painter,  was  bom  in  Paris  in  1804.  He 
was  the  son  of  Antoine  Claude  Fleury,  under 
whom  he  at  first  studied,  and  then  under  Bertin 
and  Hersent.  Between  1827  and  1830  he  made 
a  sketching  tour  in  France  and  the  neighbour- 
ing countries.  He  occasionally  painted  figure 
subjects,  such  as  '  The  Baptism  of  Christ,'  at  the 
church  of  St.  Marguerite,  and '  St.  Genevieve,'  at  St. 
Btienne-du-Mont,  Paris.  He  died  in  1858.  Amongst 
his  works  are : 

A  View  of  the  Ponte  Eatto,  Rome.    1831. 

■Wood  in  Normandy.     (JBar-le-Bue  Museum.) 

View   on    the  Eoad  to  Genoa,  near  Nice.     (Amiens 

Museum.) 
Pasturage  in  Normandy,  near  Trouville. 
Water  and  Mill  at  Coutivert. 
View  on  the  Coast  of  Genoa.    (Orleans  Museum.) 

FLICIUS,  Geebaeds,  is  only  known  by  his 
portrait  of  Archbishop  Cranmer,  painted  in  1646, 
now  in  the  National  Portrait  Gallery.  It  has 
been  engraved  in  Thoroton's  '  Antiquities  of  Not- 
tinghamshire,' and  in  Lodge's  'Portraits.' 

FLINCH,  Andbeas  Christian  Fbedinand,  a 
wood-engraver,  was  bom  at  Copenhagen  in  1813, 
and  studied  at  the  Academy  there  from  1832  to 
1838.  He  had  previously  worked  as  a  gold- 
smith, but  he  afterwards  took  to  wood-engrav- 
ing from  self-tuition,  and  introduced  a  special 
method  of  his  own  into  Denmark,  consisting  in 
drawing  the  outline  upon  the  block  and  working 
out  the  details  with  a  free  hand.  In  1840  he 
settled  down  as  a  lithographer,  and  published  the 
popular  '  Flinchs  Almanak '  with  woodcut  illus- 
trations.    He  died  at  Copenhagen  in  1872. 

FLINCK,  GovEET,  was  bom  at  Cleves  in  1615. 
It  was  the  wish  of  his  parents  to  bring  him  up  to 
mercantile  pursuits  ;  but  his  desire  of  becoming  a 
painter  induced  him  to  seek  every  opportunity  of 
becoming  acquainted  with  artists,  and  his  father 
was  at  length  persuaded  to  allow  him  to  follow  a 
profession  for  which  he  had  shown  so  decided  a 
propensity.  He  was  first  a  scholar  of  Lambert 
Jaoobsz,  at  Leeuwarden,  and  under  him  he  re- 
mained some  time  ;  but  he  afterwards  entered  the 
school  of  Eembrandt,  and  made  such  progress  that 
after  a  year  his  works  were  scarcely  discernible 
from  those  of  that  master. 

From  1640  to  1650  he  executed  his  best  produc- 
tions of  historical  subjects  and  portraits,  and  in 
both  he  was  one  of  the  most  successful  and  most 
employed  artists  of  his  country.  The  magistrates 
of  Amsterdam  engaged  him  in  many  considerable 
works  for  the  town-hall,  and  he  painted  the 
portraits  of  some  of  the  most  illustrious  personages 
of  his  time.  In  1652  he  became  a  burgher  of 
Amsterdam.  The  Elector  of  Brandenburg  and 
Prince  Maurice  of  Nassau  favoured  him  with 
their  protection,  and  employed  him  in  many  im- 
portant works.  The  burgomaster  of  Amsterdam 
had  commissioned  him  to  paint  twelve  pictures  for 
the  town-hall,  of  which  he  had  finished  the  sketches 
when  he  died  in  1660.  In  the  latter  part  of  his 
life  he  began  to  study  after  the  works  of  the 
Italian  masters.  The  following  is  a  list  of  his  best 
paintings  : 

Aix-la-Chapelle.    Sdtel  Ae 


«^^^f}  The  Regents.    1642. 


Flindt 


PAINTERS   AND  ENGRAVERS. 


Florez 


Amsterdam.    Museum. 


Falace. 


„  Townrhall. 

„        Curios.  Cab. 

Antwerp.        Museum. 


Berlin. 

Bordeaux. 
Brmiswick. 


Gallery. 


Gallery. 


Brussels.  Museum. 
Cologne.  Museum. 

Copenhagen.   Gallery. 

Darmstadt.  Museum. 
Dresden.  Gallery. 

Dublin.  Nat.  Gall. 
Frankfort.  Stadel  Inst. 
Lille.  Museum. 


London. 
Munich. 


Paris. 


Bute  Coll. 
Gallery. 

»» 
iMuvre. 


Petersburg.  Hermitage. 


Pommersfelden.   Gall. 
Botterdam.     Museum. 


Vienna. 


Gallery. 


FSte  of  the  Civic  Guard  of  Am- 
sterdam, in  celebration  of  the 
Peace  of  Munster.    1648. 

Isaac  blessing  Jacob.     1638. 

Marcus  Curius  Dentatus  as  a 
Husbandman. 

Solomon  praying  for  the  gift  of 
Wisdom. 

The  Archers  of  1642. 

The  Archers  of  1645. 

The  Portraits  of  a  Man  and 
Woman. 

A  Female  Portrait.    1641. 

The  Expulsion  of  Hagar. 

A  Landscape. 

A  Female  Portrait.    1636. 

Pyrrhus  and  Fabricius. 

The  Crowning  of  a  Conqueror. 

Portrait  of  a  Woman. 

Portrait  of  an  old  Man  reading. 

A  Portrait. 

A  Portrait  Group. 

A  Woman  and  Child. 

David  and  Uriah. 

Three  Portraits. 

Bathsheba's  Appeal  to  David. 

A  Female  Portrait. 

Solomon  and  the  Queen  of  Sheba. 
(A  joint  picture  with  Dirk  van 
Deelen.) 

Portrait  of  a  Lady.    1648. 

Isaac  blessing  Jacob. 

A  Dutch  Guard-Eoom. 

An  Angel  announcing  the  Birth 
of  Christ  to  the  Shepherds. 

Portrait  of  a  Girl.    1641. 

Jacob  Cats,  the  poet,  and  William 
of  Orange. 

Portrait  of  a  Jewess. 

Portrait  of  a  Soldier. 

A  Polish  Jew. 

A  Landscape  with  Figures.  1646. 

Portraits  of  Dirck  Graswinokel 
and  of  his  Sister.    1646. 

Portrait  of  an  old  Man. 


FLINDT,  Paul,  bom  at  Nuremberg  about  1570, 
was  a  goldsmith  and  engraver  on  metals,  and  one 
of  the  first  artists  who  worked  with  the  stamp  or 
swage.     He  died  after  1644. 

FLIPART,  Charles  Joseph,  the  brother  of  Jean 
Jacques  Flipart,  was  born  in  Paris  in  1721,  and  was 
instructed  in  the  rudiments  of  art  by  his  father. 
He  visited  Venice,  and  studied  painting  under 
Tiepolo  and  Amiconi,  and  engraving  under  Wagner. 
After  staying  some  time  at  Rome  he  was  appointed 
court  painter  and  engraver  by  King  Ferdinand  VI. 
of  Spain  in  1770.  His  best  plates  are  the  portraits 
of  the  King  and  the  Queen  of  Spain.  Some  of  his 
paintings  are  in  two  of  the  churches  at  Madrid. 
He  died  in  that  city  in  1797. 

FLIPART,  Jacques  Nicolas,  who  was  born  in 
Paris  in  1724,  was  a  painter  of  no  repute. 

FLIPART,  Jean  Chaeles,  a  French  engraver, 
was  bom  in  Paris  about  the  year  1683.  He  en- 
graved some  plates,  which  are  executed  entirely 
with  the  graver,  in  a  neat,  finished  style,  but  with- 
out much  effect.  He  died  in  Paris  in  1751. 
Amongst  his  works  are : 

The  Portrait  of  Ben£  Choppin ;  after  Janet. 

The  Virgin  and  Infant ;  after  Ra/phael ;  for  the  Crozat 

Collection. 
Christ  praying  on  the  Mount  of  Olives ;  after  the  same  ; 

for  the  Crozat  Collection. 
The  Penitent  Magdalen  ;  after  Le  Brun. 
Apollo  and  Daphne  ;  after  S.  Houasse. 

FLIPART,  Jean  Jacques,  the  son  of  Jean  Charles 
Flipart,  bom  in  Paris  in  1719,  was  instructed  in 
the  art  of  engraving  by  his  father,  whom  he  soon 


surpassed.  He  afterwards  studied  under  L.  Cars. 
His  plates  are  partly  etched,  and  finished  with  the 
graver,  and  possess  great  merit.  He  died  in  Paris 
in  1782,  leaving  a  considerable  number  of  plates, 
many  of  which  were  after  the  best  masters  of  his 
time.     They  include  the  following: 

Portrait  of  J.  B.  Greuze ;  after  Greuze. 

A  Sick  Man  surrounded  by  his  Children;  after  the  same. 

1767. 
Twelfth  Night ;  after  the  same. 
Portrait  of  Jacques  Dumont  le  Bomaiu ;  after  De  La 

Tour. 
The  Holy  Family ;  after  Giulio  Somano. 
Adam  and  Eve ;  after  C.  Natoire. 
Venus  presenting  the  Arms  to  iEneas ;  after  the  same. 
A  Sea-storm  at  Night ;  after  Fernet. 
A  Sea-storm  by  Day ;  after  the  same. 
Christ  curing  the  Paralytic ;  after  Dietrich. 
A  Bear-hunt ;  after  C.  van  Loo, 
A  Tiger-hunt ;  after  F.  Bencher. 
The  Battle  of  the  Centaurs  and  Lapithse. 

Charles  FEANgois  Flipart,  the  brother  of 
Jean  Jacques  Flipart,  who  died  in  1773,  executed 
several  plates  after  Fragonard. 

FLODINGr,  Peer,  a  Swedish  designer  and  en- 
graver, was  born  at  Stockholm  in  1721.  He  was 
instructed  by  Charpentier,  and  resided  chiefly  in 
Paris,  but  finally  returned  to  his  native  city,  where 
he  died  in  1791.  He  engraved  several  plates,  both 
in  line  and  in  aquatint,  among  which  are  the 
following : 

The   Portrait    of    Alexander    Eoslin,    painter ;   after 


Apollo  and  Daphne ;  after  F.  Boucher. 

Soldiers  guarding  a  Prison ;  after  the  same. 

A  Girl  sleeping,  with  a  Dog  by  her ;  after  J.  B.  Deshais. 

Gustavus  III.,  King  of  Sweden ;  after  L.  Pasch. 

A  Battle ;  after  Casanova. 

FLORENCE,  William  of,  was  a  monk  who,  in 
the  13th  century,  painted  in  Westminster  Abbey, 
in  the  old  castle  at  Windsor,  and  in  Guildford. 

FLORENTIA,  Andrea  da,  was  an  artist  who 
lived  in  the  14th  century,  and  painted  the  frescoes 
inside  the  east  gate  of  the  Campo  Santo  of  Pisa, 
which  represent  incidents  in  the  life  of  St.  Ranieri. 
Records  exist  to  prove  that  they  were  executed  by 
order  of  Piero  Gambacorta,  and  that  Andrea 
received  payment  for  them  in  1377.  These  fres- 
coes were  afterwards  completed  by  Antonio  Vene- 
ziano  in  1386.  Crowe  and  Cavalcaselle  have 
assigned  to  this  artist  an  immense  series  of 
frescoes  painted  between  1339  and  1346  in  the 
Cappellone  dei  Spagnuoli,  in  the  convent  of  Saii 
Spiritu,  Florence.  These  frescoes  contain  between 
three  and  four  hundred  life-size  figures,  and  pre- 
sent an  allegorical  representation  of  '  The  Triumph 
and  Power  of  the  Church  Militant  through  the 
efforts  of  St.  Dominic  and  the  members  of  his 
Order.'  On  the  north  wall  of  this  same  chapel  is  a 
fresco  representing  '  Christ  going  to  Calvary,'  and 
'  The  Crucifixion.'  No  dates  are  known  as  to  this 
artist's  birth  or  death. 

FLORENTIA,  Beenabdus  db,  is  a  name  found 
on  a  few  pictures,  as  a  triptych  in  the  Academy, 
and  a  '  Virgin  and  Saints  '  in  the  convent  of  the 
Ognissanti  at  Florence.  It  was  at  one  time  thought 
that  the  author  might  possibly  be  identical  with 
Leonardo  di  Clone,  the  brother  of  Orcagna. 

FLORENTIA,  Raffaelling  di.    See  Capponi. 

FLOREZ,  Francisco,  a  painter  of  illuminations 
in  the  service  of  Isabella  of  Spain,  whose  missal 
embellished  by  this  artist  is  now  in  the  Cathedral 
of  Granada. 

506 


Flori 


A  BIOGRAPHICAL  DICTIONARY  OF 


Fogolino 


FLORI  DELLA  TRATTA.    See  Della  Featta. 

FLORIANI,  Francesco,  a  native  of  Udine,  who 
flourished  in  the  16th  century,  was  instructed  by 
Pellegrino,  and  displayed  a  great  talent  for  por- 
traiture. Many  of  his  paintings  were  in  the  pos- 
session of  the  Emperor  Maximilian  II.,  by  whom 
he  was  employed.     His  '  Judith  '  has  great  merit. 

FLORIANO,  Flaminio,  was  a  Venetian  painter, 
who  imitated  the  style  and  copied  the  works  of 
Tintoretto  with  success,  from  which  fact  he  is 
supposed  to  have  been  a  disciple  of  that  master. 
One  of  his  best  works  is  a  picture  of  'St.  Lawrence,' 
in  the  church  of  that  saint. 

FLORIGERIO,  Sebastiano,  who  lived  in  the 
16th  century,  was  probably  born  about  the  year 
1500  at  Udine.  He  was  a  pupil  of  Pellegrino,  and 
is  thought  to  have  married  his  daughter  Aurelia. 
His  first  altar-piece  was  painted  in  1525  for  the 
church  of  Santa  Maria  di  Villanuova,  and  in  1529 
he  painted,  by  commission,  the  altar-piece  of  '  St. 
George  and  the  Dragon '  for  the  church  of  San 
Giorgio  of  Udine.  Soon  after  this  he  went  to 
Padua,  where  he  painted  the  portal  of  the  Palazzo 
del  Capitaneo,  and  seems  to  have  remained  in  that 
city  until  1633.  On  his  return  to  Udine  he  un- 
happily killed  a  man  in  a  duel,  and  was  obliged  to 
flee  for  refuge  to  Cividale,  which  he  was  unable  to 
leave  until  1543.  His  death  is  believed  to  have 
occurred  at  Udine  soon  afterwards.  The  following 
are  among  his  extant  paintings : 

Padua.    S.  Sovo.    Deposition  from  the  Cross,  with  Saints. 

„  „  A  Pieta. 

Venice.  Academy.    The  Conception,  between  SS.  Eoch  and 
Sebastian. 

„  „  Madonna  and  Child,  with  St.  Augus- 

tine and  St.  Monica  {painted  for  the 
Shoemakers*  Guild  at  Udine). 

»  „  St.  Francis,  St.  Anthony,  and  St.  John 

the  Baptist  (painted  for  San  Bovo 
at  Padua). 

n  »         Madonna  and   Child  enthroned,  with 

St.  John,  St.  Anthony,  and  St. 
Monica  (formerly  in  the  Servi  at 
Venice). 

FLORIMI,  Giovanni,  (or  Flcrini,)  an  engraver, 
who  was  a  pupil  of  Cornelis  Galle,  worked  at  Siena 
in  1630.  His  w  orks  consist  principally  of  portraits, 
and  among  them  is  that  of  Francesco  Piccolomini 
after  F.  Vanni. 

FLORIS,  Feans.    See  Db  Veient. 

FLOS,  D(J.     See  Duflos. 

FLUGGEN,  GiSBBET,  a  German  painter,  was 
born  at  Cologne  in  1811,  and  having  there  learned 
the  rudiments  of  painting,  visited  in  1833  the 
Academy  at  Diisseldorf,  but  went  soon  afterwards 
to  Munich,  where  he  became  known  for  his  genre 
paintings.  The  characters,  the  expression  of  the 
faces,  and  the  excellent  arrangement  of  his  pictures 
have  a  very  pleasing  effect.  He  was  elected  a 
member  of  the  Academy  at  Munich  in  1853,  and 
died  there  in  1859.  The  following' are  some  of  his 
works : 

Hanover.        Museum.    Jacob  deceiving  Isaac.  1848.  (Sis 

best  work.) 
Leuchtenberg.     Ducal )  ™,     „, 

Gall.  J  •'^"®  Chess-players. 
Madrid.  Gallery.    The  unlucky  Player.    1841. 

Munich.  Gallery.    The  Ante-chamber  of  a  Prince. 

(His  last  unfinished  work.) 
FO,  G.  R.,  was  a  native  of   Switzerland,  who 
flourished  about  the  year  1 551 .     Papillon  speaks  of 
him  as  an  excellent  engraver  on  wood,  and  a  con- 
temporary  of   Hans   Holbein.     He  executed  the 
506 


cuts  for  the  '  History  of  ft.nimals,'  by  Conrad 
Gesner,  published  at  Zurich  in  1561,  and  also  en- 
graved the  coins  and  medals  of  the  '  Roman  Em- 
perors,' for  another  work  by  the  same  author 
published  in  1559.  ' 

FOCK,  Heemanus,  who  was  bom  at  Amsterdam 
in  1766,  and  died  there  in  1822,  was  a  landscape 
painter  as  well  as  an  etcher,  of  whose  works  there 
remain  sixty-five  plates  of  landscapes,  caricatures 
of  Napoleon,  &c. 

FOCOSI,  Alessandeo,  who  was  bom  in  1839 
painted  historical  subjects  at  Milan.  His  best 
works  are  '  Catharine  de'  Medici  and  Charles  IX.' 
(1867),  and  'Charles  Emmanuel  throwing  the 
Insignia  of  the  Golden  Fleece  to  the  Ambassador 
of  Spain,'  painted  for  the  Government  of  Italv 
He  died  in  1869.  •'' 

FOCUS,  Geobge,  bom  at  Chateaudun  about  1641 
was  a  painter  of  landscapes  and  an  etcher.  His 
best  plates  are  six  '  Italian  Views,'  after  Nicolas 
Poussin.  He  died  in  Paris  in  1708.  He  is  called 
Faucus  by  F^libien  and  Mariette. 

FOGGO,  Geobge,  who  was  born  in  1793,  worked 
with  his  elder  brother  .James  Foggo.  He  litho- 
graphed the  cartoons  of  Raphael,  and  he  was  the 
author  of  several  essays  written  for  the 'advance- 
ment of  art.     He  died  in  1869. 

FOGGO,  James,  was  born  in  London  in  1790. 
His  father,  who  was  a  zealous  friend  of  civil  and 
religious  liberty,  having  given  ofEence  to  the  Tory 
government  at  the  time  when  they  had  suspended 
the  Habeas  Corpus  Act,  proceeded  with  his  family 
to  Paris,  where  his  sons  were  educated  in  the 
Imperial  Academy.  In  1815,  on  the  return  of 
Napoleon  from  Elba,  James  Foggo  hastened  to 
England,  fuU  of  hope  and  ambition  ;  but  after  his 
long  exile  he  sought  in  vain  the  friends  of  his 
childhood.  Nevertheless,  without  the  encourage- 
ment of  patronage,  he  set  to  work  in  a  humble 
second-floor  room,  and  painted  his  '  Hagar  and 
Ishmael,'  which  was  exhibited  at  the  British  In- 
stitution, where  it  was  favourably  noticed  by  West 
and  other  artists,  yet  did  not  find  a  purchaser. 
In  1819  he  was  joined  by  his  brother  George,  and 
during  the  next  forty  years  the  brothers,  working 
together,  produced  various  historical  pictures, 
generally  of  a  large  size,  which,  however,  were 
doomed  to  remain  on  their  hands  unsold,  their 
slender  means  of  living  being  chiefly  derived  from 
teaching.  In  1821  and  1822  they  painted  their 
large  picture  representing  the  '  Christian  Inhabit- 
ants of  Parga  preparing  to  emigrate  in  presence 
of  the  invading  force  of  Ali  Pasha.'  This  and 
subsequent  works  obtained  the  approbation  of 
Sir  Thomas  Lawrence,  Puseli,  Hilton,  Flaxman, 
and  other  artists  of  eminence.  An  '  Entombment 
of  the  Saviour,'  by  them,  forms  the  altar-piece  of 
the  French  Protestant  church  in  St.  Martin's-le- 
Grand.  Amongst  their  other  works  may  be  men- 
tioned '  Napoleon  signing  the  Death-warrant  of  the 
Duke  d'Enghien,  in  spite  of  the  entreaties  of  his 
mother,'  'General  Williams  amongst  the  inhabit- 
ants of  Ears,'  and  '  Christ  at  the  Pool  of  Bethesda ' 
(1824).  The  Foggos  contributed  also  to  each  of 
the  cartoon  and  fresco  exhibitions  held  in  West- 
minster Hall  in  the  years  1840  to  1843.  James 
Foggo  died  in  London  in  1860. 

FOGOLINO,  Maecello,  was  probably  bom  in 
the  Priulan  Provinces  at  the  beginning  of  the 
16th  century.  He  learned  his  art  in  Vicenza,  and 
one  of  his  earliest  paintings  is  a  small  'Adora- 
tion of  the  Magi,'  in   tempera,  formerly  in  San 


Fohr 


PAINTERS  AND  ENGRAVERS. 


FoUi 


Bartolommeo,  and  now  in  the  Public  Gallery  of 
that  city.  In  1523  he  contracted  with  the  Souola  di 
San  Biagio,  at  Pordenone,  for  a  '  Virgin  and  Child 
between  SS.  Blaise  and  ApoUonia,'  and  a  little 
later  he  executed  the  '  Glory  of  St.  Francis  be- 
tween Daniel  and  St.  John  the  Baptist,'  both  of 
which  pictures  are  now  in  the  cathedral  of  Porde- 
none. On  his  return  to  Vicenza  he  painted  a 
'  Madonna  surrounded  by  Angels,'  now  in  Santa 
Corona  ;  and  a  '  Nativity  '  that  is  in  the  possession 
of  Signor  Bernasconi  of  Verona.  According  to  a 
letter  in  his  own  hand,  still  in  existence,  he  was 
at  Trent  in  1536,  having  been  appointed  to  aid  in 
the  decorations  of  that  city  for  the  visit  of  King 
Ferdinand.  _  In  the  Santissima  Trinity,  Trent, 
is  an  altar-piece  that  may  be  assigned  to  him,  as 
also  other  paintings  and  frescoes  in  the  churches 
and  cathedral  of  that  city.  The  dates  of  his  birth 
and  death  are  uncertain.  Among  his  extant  paint- 
ings are  the  following : 

Berlin.  Gallery.    Madonna  and  Child  with  Saints. 

{Early  work :  formerly  in  San 
FruTicescOj  Vicenza.') 

Pordenone.   8.  Biagio.     Madonna  with  Saints. 

„  Cathedral.    St.  Francis  between  Daniel  and 

St.  John  the  Baptist.    (Much 
in  the  style  of  Raphael.") 

Ticenza.  Caur^il- 1  ^^  ^A^^^^i^^  of  the  Magi. 

His  engravings,  which  are  executed  with  the 
graver  in  a  free  and  light  manner,  include : 

A  Virgin  and  Child,  in  a  landscape  with  architectural 

ruins,  and  Joseph  drawing  water  from  a  well. 
A  naked  "Woman  and  a  Child. 
A  Statue  of  Marcus  Aurelius  on  horseback. 
The  Fragment  of  a  Female  Statue. 
A  Nativity. 
Mary  going  to  the  Temple. 

FOHR,  Daniel,  born  at  Heidelberg  in  1801,  first 
studied  soience,_  which  he  afterwards  abandoned 
for  the  art  of  painting.  After  studying  some  time 
by  himself,  he  went  to  Munich  in  1829,  and  then  to 
the  Tyrol.  He  was  court  painter  to  the  Grand- 
Duke  of  Baden,  and  died  at  Baden-Baden  in 
1862.  There  are  by  him  in  the  Gallery  at 
Carlsruhe : 

Mazeppa.     1836. 

A  View  of  the  Konigsee,  near  Berchtesgaden.    1836. 

The  Steinberg,  near  Berchtesgaden.    1837. 

The  Four  Seasons,  representing  four  Epochs  of  German 
History. 

FOHR,  Karl  Philipp,  a  brother  of  Daniel  Fohr, 
was  bom  at  Heidelberg  in  1795,  and  studied  at 
Munich,  chiefly  by  himself  from  nature  and  the  great 
masters.  His  paintings,  which  are  to  be  met  with 
at  Carlsruhe,  Darmstadt,  and  Frankfort,  display 
genius  and  grandeur  of  style.  In  the  Stadel  Insti- 
tute at  Frankfort  are  views  of  Tivoli  and  Heidelberg. 
His  death  occurred  in  1818  at  Rome,  from  bathing 
in  the  Tiber. 

FOKKE,  Simon,  a  Dutch  designer,  etcher, 
and  engraver,  was  born  at  Amsterdam  in  1712. 
He  was  a  pupil  of  J.  C.  Philips,  and  was  chiefly 
employed  for  the  booksellers  on  small  portraits  and 
vignettes,  which  he  executed  with  spirit,  but  for 
the  most  part  superficially.  The  same  must  be 
said  of  the  numerous  drawings  which  he  has  left. 
He  died  at  Amsterdam  in  1784.  There  are  by  him, 
among  others,  the  following  plates  : 

His  own  Portrait ;  after  himself. 

A  View  of  the  Port  of  Leghorn  ;  after  Venet. 

A  View  near  Nami,  in  Lombardy ;  after  the  same. 


Six  plates  of  Dutch  Views,  with  Eivers,  Ships,  and 

Skaters ;  after  Avercamp. 
Several  Portraits  for  Tyoho  Hofman's  'Portraits  his- 

toriques  des  hommes  illustres  de  Dannemark,'  174i). 
Several    plates   of    his   own    design  for   Wagenaar's 

'  Vaderlandsche  Historie,'  1749-59. 
The  Treaty  of  Peace  at  Miinster ;  after  Terborch. 
The  Prodigal  Son;   after  Spagnoletto;  in  the  Dresden 

Gallery. 
Jacob  keeping  the  Flocks  of  Laban ;  after  the  same ; 

in  the  Dresden  Gallery. 
The  Death  of  Dido,  a  burlesque  ;  after  C.  Troost. 

FOLDSONE,  John,  a  portrait  painter,  was  born 
about  the  middle  of  the  18th  century.  He  ex- 
hibited at  the  Academy  up  to  1783,  soon  after 
which  year  he  died.  He  was  the  father  of  Mrs. 
Mee,  the  miniature  painter. 

FOLER,  Antonio,  was  born  at  Venice  in  1528. 
He  was  a  contemporary  and  friend  of  Paolo 
Veronese,  whose  splendid  style  he  followed  with 
some  success  in  his  colouring,  though  very  de- 
ficient in  his  design,  particularly  in  his  large 
works.  In  his  easel  pictures  this  inferiority  is  less 
discernible,  and  they  possess  considerable  merit. 
Among  other  works  by  this  master,  Eidolfi  notices 
the  following :  in  the  church  of  the  Abbey  of  San 
Gregorio,  three  pictures  of  the  '  Assumption  of  the 
Virgin,'  'The  Scourging  of  Christ,'  and  'The 
Crucifixion ';  in  Santa  Barnaba,  '  The  Birth  of  the 
Virgin '  ;  and  in  Santa  Caterina,  '  Christ  praying 
in  the  Garden,'  and  '  The  Resurrection.'  He  died 
in  1616. 

FOLIGNO,  PiBTEO  Antonio  da,  a  native  of 
Foligno,  studied  under  Benozzo  Gozzoli.  He 
lived  in  the  15th  century,  but  the  exact  dates  of 
his  birth  and  death  are  unknown.  Remains  of 
frescoes  by  him  may  be  seen  in  the  convent  of  Sant' 
Anna,  the  monastery  of  Santa  Lucia,  the  monastery 
of  San  Francesco,  where  is  a,  '  Virgin  and  Child,' 
dated  1499,  and  in  other  churches  in  Foligno.  At 
SS.  Antonio  e  Jacopo  at  Assisi  is  a  series  of  scenes 
from  the  life  of  St.  James,  probably  painted  by 
him  about  1468. 

FOLKEMA,  Jakob,  a  Dutch  designer  and  en- 
graver, was  born  at  Dokkum,in  Friesland,  in  1692. 
He  was  first  instructed  by  his  father,  Johann  Jakob 
Folkema,  a  goldsmith,  and  studied  afterwards 
under  B.  Picart  at  Amsterdam.  During  that  time 
he  worked  for  Eoyaumont's  Bible,  1712,  and 
Ruysch's  Anatomy,  1737.  Folkema  was  also  an 
excellent  engraver  in  mezzotint.  He  died  at  Dok- 
kum  in  1767.  He  had  a  sister,  Anna  Folkema, 
who  painted  miniatures,  assisted  her  brother,  and 
engraved  some  few  plates.  She  was  born  in  1695, 
and  died  in  1768.  By  Jakob  Folkema  there  are, 
among  others,  the  following  plates  : 

An  Emblematical  Print  on  the  Death  of  the  Prince  of 

Orange. 
Time  discovering  the  Bust  of  F.  Eabelais,  with  figures 

and  satirical  and  emblematical  attributes. 
The  Martyrdom  of  St.  Peter  and  St.  Paul ;  after  Niccolb 

delV  Ahbate. 
Several  plates  for  the  Dresden  Gallery ;  after  Le  Brun 

ani  Niccolb  dell'  Ahbate. 

POKTKAITS. 

Miguel  Cervantes  de  Saavedra ;  after  0.  Kort. 

Johannes  Ens,  Professor  of  Theology  at  Utrecht ;  after 
Colla. 

Petrus  de  Maestricht,  Professor  of  Theology  at  Frank- 
fort ;  after  the  same. 

Humphrey  Prideaux,  Dean  of  Norwich ;  a/Jer  Seeman. 

Suethlagius,  Pastor  at  Amsterdam ;  after  Anna  Folkema. 

FOLLI,  Sbbastiano,  who  is  stated  by  Baldinucci 
to  have    been   a   native  of   Siena,   was   born  in 

507 


Polo 


A  BIOGBAPHICAL  DICTIONARY  OF 


Fontana 


1568.  He  was  a  soholar  of  Alessandro  Casolano, 
and  distinguished  himself  by  several  frescoes  in 
the  churches  at  Siena,  particularly  the  cupola  of 
Santa  Marta,  and  some  subjects  from  the  '  Life  of 
St.  Sebastian,'  in  the  church  of  that  saint,  painted 
in  competition  with  Eutilio  Manetti,  to  whose 
pictures  they  are  in  no  way  inferior.  He  visited 
Rome,  and  was  employed  in  some  considerable 
works  for  the  Cardinal  de'  Medici,  afterwards  Leo 
XI.     He  died  in  1621. 

FOLO,  G-iovANNi,  an  Italian  engraver,  was  born  at 
Bassanoin  1764.  He  wasfirst  instructed  by  Mengardi 
and  Zanotti,  two  painters  at  Bassano,  and  studied 
next  in  Volpato's  school  at  Rome,  but  subsequently 
he  chose  Baffaello  Morghen  as  his  model.  In  his 
earlier  productions  there  appears  something  of  hard- 
ness and  dryness  of  style,  from  which  even  his 
beautiful  engraving  of  the  '  Madonna  de'  Candela- 
bri,'  after  Raphael,  is  not  altogether  free  ;  but  this 
defect  is  wholly  avoided  in  the  'Mater  dolorosa,' 
after  Sassof errato.  Here  the  engraver  has  succeeded 
in  expressing  the  character  of  the  original  picture, 
and  diffused  over  the  copy  the  same  harmony  of 
light  and  shade,  and  delicate  colouring,  which  are 
the  pleasing  characteristics  of  the  master.  Folo 
merits  the  name  of  a  great  artist ;  he  seeks  rather 
to  preserve  grandeur  of  character  than  to  produce 
a  work  that  is  merely  pleasing  to  the  eye  by 
elaborate  execution.  His  strokes  throughout  are 
powerful  and  firm  ;  yet  in  subjects  requiring 
amenity  of  treatment  he  varies  his  manner  so  as  to 
give  a  corresponding  delicacy,  as  may  be  instanced 
in  his  '  Adam  and  Eve,'  after  Titian.  '  Christ  rais- 
ing the  Widow's  Son  at  Nain,'  after  Annibale 
Carracci,  is  considered  his  best  work.  Tolo's  style 
was  not  suitable  for  small  subjects,  as  may  be  con- 
jectured from  the  medallion  of  Pius  VII. ;  his 
productions  are  for  the  most  part  of  a  large  size. 
He  was  a  member  of  the  Academy  of  St.  Luke  at 
Borne,  and  received  in  1807  the  gold  medal  of  the 
Academy  at  Milan  for  '  Time  protecting  Innocence 
against  Evil  and  Envy,'  after  Nicolas  Poussin.  He 
died  at  Rome  in  1836.  Besides  those  above- 
mentioned,  his  most  important  works  are : 

The  l/sst  Supper ;  after  Leonardo  da  Vinci. 

The  Virgin  and  Child ;  after  Raphael. 

The  Marriage  of  the  Virgin  ;  after  the  same. 

Mater  amabillB ;  after  Saasoferrato. 

Danae ;  after  Titian. 

The  Marriage  of  St.  Catharine ;  after  Correggio. 

The  Archangel  Michael  ;  after  Guido  Rent. 

The  Massacre  of  the  Innocents  ;  after  Nicolas  Poussin. 

Diana,  resting  from  hunting,  found  by  the  Nymphs ; 

after  B.  Nocchi. 
The  Death  of  Virginia ;  after  Camucdni. 
The  Triumph  of  Scipio  ;  after  Fierino  del  Vaga. 
St.  Andrew  ;  after  Bomenichino.    1799. 
Christ  on  the  Cross ;  after  Michelangelo, 
Hercules  with  Lichas ;  after  Canova. 

rOLTZ,  Philipp,  born  at  Bingen  in  1805,  was 
first  instructed  in  art  by  his  father,  the  architect, 
Ludwig  Eoltz.  In  1825  he  went  to  Munich,  and 
became  a  scholar  of  Cornelius,  under  whose 
direction  he  executed  several  considerable  works 
in  the  royal  palace.  'The  Pounding  of  the 
Academy  of  Sciences  by  the  Elector  Maxi- 
milian III.,'  in  the  arcades  of  the  royal  court 
garden  at  Munich,  is  one  of  his  chief  works. 
With  Lindenschmit  he  decorated  a  saloon  of  the 
palace  with  scenes  from  Schiller's  poems.  After 
having  finished  his  great  work,  '  Otho,  King  of 
Greece,  taking  leave  of  his  paternal  Castle,'  con- 
taining forty-two  portraits,  and  the  nineteen  scenes 
508 


from  Biirger's  poems  for  the  Queen's  apartment 
in  the  new  palace,  he  went  in  1835  to  Italy,  where 
he  considerably  improved  his  style.  In  1838  he 
returned  to  Munich,  became  in  1865  director  of  the 
Gallery,  and  died  in  that  city  in  1877.  In  many  of 
his  works  he  was  assisted  by  Dietz  and  Wendling; 
Among  his  numerous  paintings  are  r 

Armansperg.      Casrfe  1  ^he  Madonna. 

Chapel,  j 
Cologne.         Museum.    TheSinger'sOursej/romratoKi's 

ballad. 
Darmstadt.      Gallery.    A  Scene  on  the  Iser  near  Munich. 
Frankfort.   Eomersaal.    The  Emperor  Sigmund. 

FONBONNB,  Quiein,  a  Dutch  engraver,  worked 
at  Paris  from  1720  to  1734.  Among  other  subjects 
he  engraved  some  of  the  plates  for  De  Monicart's 
'  Versailles  immortalis6,'  1720-21. 

EONSECA  y  FIGUEROA,  Juan,  a  Spaniard  of 
high  descent  in  the  17th  century,  who  was  canon 
and  chancellor  of  the  cathedral  at  Seville,  and 
upper  chamberlain  to  the  court  at  Madrid,  was 
known  in  art  by  the  production  of  some  excellent 
portraits,  but  more  especially  by  his  patronage  of 
other  artists,  in  particular  Velazquez. 

FONTAINE,  E.,  a  French  engraver  on  wood, 
flourished  about  the  year  1681.  Among  other  cuts 
by  him  there  is  a  print  representing  the  figure  of 
Christ,  standing  upon  a  pillar.  It  is  a  very  indif- 
ferent performance. 

FONTAINE,  Jacques  FBANgois  Joseph  Swebach 
DE.    See  Swebach. 

FONTAINE,  PiEEEB  Joseph  la.  See  La  Fon- 
taine. 

FONTANA,  Albeeto,  was  bom  at  Modena  about 
the  year  1537.  He  was  a  fellow-student  with 
Niccolo  dell'  Abbate,  under  Antonio  Begarelli,  and 
in  conjunction  with  his  co-disciple,  painted  the 
panels  of  the  Butchers'  Hall  at  Modena ;  a  work 
which  is  mostly  executed  in  the  style  of  Niccol6 
deir  Abbate.  There  is  certainly  a  great  similarity  in 
their  styles,  but  although  Alberto  Fontana  resembles 
Niccol6  in  the  airs  of  his  heads,  he  is  always  un- 
equal to  him  in  his  design,  and  there  is  something 
red  and  heavy  in  his  colouring.  He  died  in  1558. 
In  the  Estense  Gallery  at  Modena  are  four  figures 
in  fresco  representing  Vigilance,  Prudence,  Hope, 
and  Faith. 

FONTANA,  Battista.    See  Faeinati. 

FONTANA,  Cesaee,  was  a  native  of  Italy,  who 
flourished  about  the  year  1629.  He  engraved 
several  plates  representing  funeral  processions  and 
cavalcades.     Zani  says  he  was  living  in  1660. 

FONTANA,  DoMENico  Maeia,  is  stated  to  have 
been  born  at  Parma  about  the  year  1540,  to  have 
learned  the  art  of  engraving  at  Bologna,  and  to 
have  engraved  several  plates  from  his  own  designs, 
as  well  as  after  other  masters.  The  following 
plates  have  been  attributed  to  him  : 

The  Flight  into  Egypt,  with  a  mountainous  Landscape. 
The  Sabine  Women  making  Peace  between  the  Eomans 

and  the  Sabines. 
St.  John  preaching  in  the  Wilderness. 
Mount  Calvary,  with  a  Latin  inscription. 
Christ  going  to  Calvary.    1584. 

There  appear  to  have  been  two  artists  at  Parma 
of  this  name,  the  second  of  whom  was  living  in 
1644,  and  has  left  one  plate,  after  Parmigiano,  of 
'  Moses  with  the  Tables  of  the  Law.' 

FONTANA,  Feancesoo,  born  in  1843,  was  a 
sculptor  and  painter.  His  water-colour  drawings 
representing  scenes  from  the  Bible  are  highly 
valued.     He  died  at  Milan  in  1876. 


Foutana 


PAINTERS  AND  ENGRAVERS. 


Fontana 


FONTANA,  GiAMBATTiRTA,  born  at  Ala,  in  the 
Tyrol,  in  1525,  was  a  painter,  etcher,  and  engraver. 
He  learned  under  Giovanni  Carotto,  and  subse- 
quently became  court  painter  of  the  Archduke 
Ferdinand  at  Vienna.  He  worked  also  at  Venice 
and  at  Rome.  Though  the  design  of  his  figures 
is  meagre,  his  extremities  and  expressions  of  the 
heads  deficient,  and  his  drapery  mannered,  he  com- 
posed his  productions  in  a  rich  and  masterly  style, 
and  handled  the  point  with  lightness  and  careful- 
ness, and  the  graver  mostly  with  neatness.  He 
died  after  1684.  Among  liis  sixty-eight  plates, 
partly  of  his  own  composition  and  partly  after  other 
masters,  the  most  important  are  : 

Christ  bearing  the  Cross. 

The  Crucifixion. 

St.  Martin. 

The  Prophet  Ezekiel.    1579. 

The  Martyrdom  of  St.  Peter;  after  Titian. 

St.  Agatha  in  Prison  ;  after  Benedetto  Caliari. 

FONTANA,  GiULio,  was  a  native  of  Verona. 
Only  one  plate  by  him  is  known ;  it  represents 
'  The  Fight  of  the  Venetians  with  the  Imperial 
Troops  at  Cadore,'  1569,  after  Titian. 

FONTANA,  Lavinia,  the  daughter  of  Prospero 
Fontana,  was  bom  at  Bologna  in  1552,  and  was 
instructed  in  art  by  her  father.  She  painted  his- 
torical pieces,  which  are  considerably  esteemed. 
Her  greatest  merit  was,  however,  in  portrait  paint- 
ing, which  she  practised  at  Rome  with  much  suc- 
cess. She  first  visited  that  capital  during  the 
pontificate  of  Gregory  XIII.,  whose  portrait  she 
painted,  as  well  as  those  of  many  persons  of  dis- 
tinction ;  and  she  was  considered  one  of  the  ablest 
artists  of  her  time.  She  married  Paolo  Zappi  of 
Iraola,  who  painted  the  drapery  of  her  works,  and 
she  died  at  Rome  in  1602.  Her  most  important 
paintings  are  the  following  : 

Bologna.       <S  Trinith.    The  Birth  of  the  Virgin. 

„        Madonna  del  \  The     Holy    Family    and     St. 

Baraccano.  J      Joachim. 
„  Mendicanti.    The  Miracle  of  the  Loaves. 

„  S.  Lucia.    The  Crucifixion. 

„  Fieve  di  \  The  Madonna,  with  SS.  Cosmo 

Cento,  j      and  Damian. 
„  „  The  Ascension.    1593. 

„  Pinacoteca.    Louisa  of  France  before  St.  Fran- 

cis of  Paola.     1590. 
„        Gall.  Herco-  \  Virgin  with  Saints  and  Angels  in 
lani.       J     glory. 

"  ''f-ir"}'^«Q--''^Sheba. 

Bordeaux.       Museum.    Portrait  of  the  Senator  Orsini. 

Dresden.  Gallery.     The  Holy  Trinity. 

DubKn.        Nat.  Gall.    Visit  of  the  Queen  of  Sheba  to 

Solomon. 
Florence.      Pitti  Pal.     Her  own  Portrait. 

„  „  A  Female  Portrait. 

„  Uffizi.     Portrait  of  Friar  Panigarola. 

„  ,,       Christ    appearing  to  the  Mag- 

dalen.   1581. 
Imola.     Signor  Zappi.    Her    own     and    her    Father's 

Portraits. 
Madrid,  Escorial.     The  Holy  Family  with  St.  John. 

Milan.  Brera.     Seven  Portraits. 

Modena.   Estense  Gall.    Portrait  of  a  Franciscan. 
Petersburg.  Hermitage.    Venus  and  Cupid. 
Rome.     S.  ^«»^>«-t  J  The  Stoning  of  St.  Stephen. 

FONTANA,  PiETEO,  an  Italian  engraver,  born  at 
Bassano  in  1762,  was  first  instructed  in  painting 
by  Mingardi  at  Venice.  He  went  in  1785  to  Rome, 
where  he  devoted  himself  entirely  to  the  art  of 
engraving,  and  became  a  scholar  of  Volpato  and 
Morghen.  He  engraved  in  a  tender  and  clear 
manner,  and  his  style  is  a  mixture  of  the  Italian 


and  English  principles.  He  was  a  member  of  the 
Academies  of  St.  Luke  at  Rome  and  at  Venice.  He 
died  at  Rome  in  1837.  His  best  plates  are  the 
following : 

The  Sibyls ;  after  Domeniehino. 

Judith,  Jupiter,  Semele,  and  the  Entombment ;  all  after 

Correggio. 
Christ  before  Pilate ;  after  Zodomco  Can-aeci. 
Christ  healing  the  Blind ;  after  the  same. 
The  Four  Evangelists ;  after  Guereino. 
Ecce  Homo ;  after  the  same. 
Christ  and  the  Pharisee  ;  after  Guido  Seni. 
Herodias ;  after  the  same. 
Aurora ;  after  the  same. 
Portrait  of  De  Marchi ;  after  the  same. 
The  Death  of  Caesar ;  after  Camuccini. 
Lucretia ;  after  the  same. 
Pompey ;  after  the  same. 
The  Feast  of  the  Gods ;  after  the  same. 
Hercules,  Ajax,  and  the  Wrestlers ;  after  Canova. 
The  Apostles ;  after  Thorvaldsen. 

FONTANA,  Peospebo,  was  born  at  Bologna  in 
1512,  and  was  a  scholar  of  Innooenzio  da  Imola, 
He  attached  himself,  however,  more  to  the  stylo 
of  Giorgio  Vasari,  preferring  his  expedition  and 
facility  to  the  diligent  and  careful  finishing  of 
his  master.  He  is  more  incorrect  and  negligent 
than  Vasari,  and  to  him  Lanzi  attributes  the 
principal  cause  of  the  decadence  that  took  place 
in  the  Bolognese  school  at  his  time,  until  it  was 
reformed  by  the  Carracci,  who  were,  notwith- 
standing, educated  in  his  academy.  Prospero 
did  not  study  long,  but  soon  commenced  the 
practice  of  his  art.  He  went  to  Rome,  and,  with 
the  recommendation  of  Michelangelo,  he  was  em- 
ployed by  Pope  Julius  III.  Being  after  this  en- 
gaged by  Primaticcio,  who  was  painting  at  that 
time  at  Pontainebleau,  he  went  there,  but  being 
taken  ill  he  returned  to  Italy,  and  stayed  some 
time  at  Genoa,  where  he  painted  for  the  Doria 
Gallery  and  the  Palace  of  the  Signoria.  After  his 
return  to  Bologna  he  executed  a  considerable  num- 
ber of  paintings  for  the  palaces,  churches,  and 
fronts  of  houses,  and  became  the  instructor  of  a 
number  of  pupils,  as  Lodovioo,  Annibale,  and 
Agostino  Carracci,  Dionysius  Calvaert,  Tiarini,  and 
Achille  Calici.  He  was  several  times  administrator 
of  the  Guild  at  Bologna,  where  he  died  in  1697. 
The  following  is  a  list  of  his  most  important 
productions : 

Bologna.     S.  Silvestro.    The  Adoration  of  the  Magi,  (His 
lest  work.) 

Madonna  del  \  ,^^  Disp„ta  of  St.  Catharine. 
Baraccano.  j 
„  S.  Giacomo.    The  Baptism  of  Christ. 

„  „  The  Beneficence  of  St,  Alexius. 

„  Mad.delleGrazie.    The  Ascension  of  Mary. 
„  Pinacoteca.    The  Entombment. 

„      Gal.  Hercolani.    Judith  and  Holofemes. 
Citti  di )  p„,  Tr,v,77„-  ( The  principal  Achievements  of 
Castello.  J  ^"^^  '■^"""'  \     the  Vitelli  Family. 
Dresden.  Gallery.    The  Holy  Family  with  SS.  Cecilia 

and  Catharine. 
Milan.  Brera.    The  Annunciation. 

Modena.  Estense  Gall.    The  Visit  of  St.  Anne  {in  water- 
colour). 

Fontana  was  also  eminent  as  a  portrait  painter, 
doing  better  in  this  branch  than  in  his  historical 
productions,  and  distinguished  himself  at  Rome  in 
the  pontificates  of  Julius  III.  and  his  three  next 
successors.  The  most  important  of  his  portraits 
are: 

Pope  Julius  III. 
Ulisse  Aldrovandi. 
Achille  Bocchi. 

509 


Fontana 


A  BIOGRAPHICAL  DICTIONARY  OF 


Porbin 


FONTANA,  Veronica,  bom  in  1596,  was  the 
daughter  of  the  elder  Domenico  Maria  Fontana, 
and  was  instructed  in  design  by  her  father  and 
Elizabetta  Sirani.  She  etched  some  plates,  repre- 
senting scenes  in  the  life  of  Mary,  and  the  portrait 
of  Andreini,  the  poet,  and  executed  some  woodcuts 
for  a  Latin  Bible,  and  the  portraits  for  Malvasia's 
Felsina  pittrice,'  1678.  Some  writers  attribute  also 
to  her  the  'Office  of  the  Virgin,'  pubhshed  at 
Venice  in  1661,  and  some  neat  woodcuts,  principally 
small  portraits. 

FONTANIEU,  M.  de,  was  a  French  amateur  en- 
graver, who  etched  for  his  amusement  a  few  small 
plates  of  animals,  &c.,  some  of  them  dated  1760. 

FONT  ANUS,  E.,  a  wood  engraver,  was  a  native 
of  Flanders,  who  flourished  about  1626.  His  name 
appears  on  some  engravings  in  a  book,  published  at 
Breda,  entitled  '  Kleynen  gulden  Gebedenboeck  met 
de  figuren  des  Levens  Jesu  Christi  ende  Gebeden 
toegevogt  aen  ceremonien  der  H.  Misse,'  published 
in  1678. 

FONTEBASSO,  Feanoesco,  was  a  painter  and 
engraver  who  was  born  at  Venice  in  1709.  He 
received  his  first  instruction  in  art  at  Rome,  but 
afterwards  studied  at  Venice,  under  Sebastiano 
Eicoi.  He  died  in  1769.  His  works  as  a  painter 
are  little  known,  but  as  an  engraver  he  has  left  the 
following  : 

The  Virgin  appearing  to  St.  Gregory,  who  is  praying  for 
the  Delivery  of  the  Souls  in  Purgatory ;  after 
Sebastiano  Uicci. 

A  set  of  seven  fantastical  subjects ;  frmn  his  own  designs. 

FONTEBUONI,  Anastasio,  a  native  of  Florence, 
was  educated  in  the  school  of  Domenico  Passignano. 
He  visited  Rome  in  the  pontificate  of  Paul  V. 
(1605-21),  and  there  he  painted  some  pictures  for 
the  churches.  In  San  Giovanni  de'  Fiorentini  are 
'  The  Birth  of  the  Virgin '  and  '  The  Death  of  the 
Virgin,'  which  are  considered  his  best  works  ;  and 
in  Santa  Maria  in  Selci  is  'The  Annunciation.'  The 
vault  of  San  Giacorao  de'  Spagnuoli  is  painted  by 
him,  and  there  is  a  figure  of  '  St.  John  the  Baptist ' 
in  the  UfBzi.  This  promising  artist  died  young  in 
1626. 

FONTENAY,  Jean  Baptiste  Belin  de.  See 
Belin. 

FONTYN,  PlETEE,  was  born  at  Dordrecht  in 
1773,  and  was  instructed  in  art  by  Pieter  Ilofnian 
and  Willem  van  Leen.  He  painted  portraits,  in- 
teriors with  figures,  and  scenes  of  joviality  and 
domestic  enjoyment.  He  died  at  Dordrecht  in 
1839. 

FOOTTIT,  Harrison,  was  a  miniature  painter, 
who  practised  in  England  towards  the  close  of  the 
18th  century. 

FOPPA,  ViNCENZO,  the  elder,  was  born  at  Foppa, 
in  the  province  of  Pavia,  in  the  early  part  of  the 
15th  century,  and  was  probably  one  of  Squarcione's 
pupils,  who  afterwards  became  a  disciple  of  Man- 
tegna.  He  lived  at  Brescia  in  his  youth  and  again 
in  his  old  age.  About  1456  Foppa  went  to  Milan, 
where  he  adorned  the  Medici  Palace,  then  newly 
rebuilt  by  Michelozzo  for  Cosmo  de'  Medici,  with 
scenes  from  the  life  of  Trajan,  busts  of  the  emperors 
and  empresses,  &c.  He  was  also  employed  by  Fran- 
cesco Sforza  to  embellish  with  mural  paintings 
the  great  hospital  at  Milan,  as  also  the  Palazzo 
dell'  Arengo.  In  1461  he  was  married  at  Pavia, 
and  in  1462  he  worked  at  the  Carmine  of  that  city, 
but  his  frescoes  have  now  been  obliterated.  In 
1465  he  was  employed  at  the  Certosa,  and  between 
the  years  1480  and  1489,  Giuliano  della  Eovere,  then 

610  '         .  .     .         ' 


I  Bishop  of  Savona,  commissioned  Foppa  to  paint 
an  altar-piece  for  his  cathedral,  which  is  now  to  be 
seen  in  the  church  of  Santa  Maria  di  Castello  at 
Savona.  It  consists  of  an  immense  monumental 
composition  in  three  courses.  The  centre  panel 
contains  the  Virgin  and  Child,  guarded  by  angels, 
blessing  the  Bishop,  between  St.  John  the  Baptist 
and  St.  John  the  Evangelist ;  the  second  and  third 
courses  contain  the  Doctors  of  the  Church  and  the 
Evangelists.  The  predella  represents  Salome  danc- 
ing before  Herod,  the  Decollation  of  St.  John  the 
Baptist,  the  Epiphany,  the  Vision  at  Patmos,  ai)d 
St.  John  the  Evangelist  rising  from  the  cauldron 
of  boiling  oil.  In  1489  Poppa  returned  to  Brescia, 
and  made  a  petition  to  be  again  received  as  a 
citizen,  which  was  granted  to  him,  as  well  as  a 
yearly  income  of  100  livres,  on  the  condition  that 
if  he  went  away  on  leave  he  should  not  practise 
outside  of  the  city.  The  frescoes  painted  by  him 
at  the  Carmine  of  Brescia  are  still  visible,  though 
much  faded,  and  consist  of  the  '  Evangelists,'  the 
'  Four  Doctors  of  the  Church,'  and  a  '  Crucifixion.' 
Many  of  the  churches  in  Brescia  contain  altar- 
pieces  and  frescoes  by  this  artist.  He  died  in 
that  city  in  1492.  Of  his  pictures  may  be  men- 
tioned : 

^St.  Jerome  penitent  before  a 
Bergamo.      LocMs'Car-J      Cross. 

rara  Gallery.  \  Crucifixion,   with   a   view   of 
(,     Golgotha.    1456. 
Brescia.     St.  Barnalas  Iprescoes. 

Chapter  House.  J 
London.     Nat.  Gallery.    Adoration  of  the  Kings  {for- 
merly  assigned   to  Braman- 
tino). 
Milan.  Brera  Gall.    S.  Sebastian. 

„  „        „        Virgin   and  Child,  with  two 

kneeling  Prophets.   1485. 

„  Medici  Pal.  ■  Scenes  from  the  Life  of  Trajan. 

About  1456. 

FOPPA,  ViNCENZO,  the  younger,  who  lived  in 
the  16th  century,  is  supposed  to  have  been  a  relative 
of  the  elder  Foppa,  and  to  have  received  his 
instruction  either  from  him  or  from  Ferramola. 
No  dates  are  known  of  his  life  or  death.  Frescoes 
and  pictures  by  him  may  be  found  in  the  churches 
of  Santa  Giulia,  San  Salvatore,  Santa  Maria  in 
Solario,  Santa  Barbara,  and  others  in  Brescia.  The 
Tosi  Gallery  in  the  same  city  possesses  a  '  Christ 
going  to  Calvary  '  by  this  artist. 

FORABOSCO,  GiROLAMO.     See  Feeeabosco. 

FQRBICINI,  Eliodoeo,  who  flourished  from 
1550  to  1570,  was  a  native  of  Verona,  who  excelled 
in  grotesques.  He  decorated  two  rooms  in  the 
Palazzo  Canova,  which  have  been  much  admired. 

FORBIN,  Louis  Nicolas  Philippe  Auguste, 
Comte  de,  born  at  La  Eoque  d'Antheron  (Bouches- 
du-Rh6n6)  in  1777,  was  instructed  in  the  rudiments 
of  the  art  by  De  Boissieu.  Whilst  a  soldier  in  the 
Garde  Nationale  at  Nice  and  Toulon,  he  became 
acquainted  with  the  painter  Granet,  who  exercised 
great  influence  over  him.  After  quitting  the  service 
he  studied  at  Paris  under  David,  but  in  1799  was 
again  obliged  to  change  the  artist's  for  the  soldier's 
life,  and  went  through  the  campaigns  in  Portugal 
and  Germany.  In  1809  Forbin,  who  was  then  a 
lieutenant-colonel,  took  leave  of  the  army  and 
went  to  Italy  to  study.  He  stayed  there  five 
years,  and  then  returned  to  Paris,  where  he  was 
elected  a  member  of  the  Institute,  and  appointed 
director  of  the  Royal  Museums,  and  subsequently 
superintendent  of  the  collections  in  the  Louvre, 
the  Luxembourg,  and  at  Versailles.  In  1817  he 
visited  Syria,  Greece,  and  Egypt,  and  published  in 


Ford 


PAINTERS  AND  ENGBAVERS. 


Forrester 


1819  his  'Voyage  dans  le  Levant,'  an  excellent 
work,  with  eighty  lithographic  plates.  Later  on 
he  went  to  Sicily,  from  whence  he  brought  back  a 
great  number  of  sketches.  He  wrote  also  several 
other  works.  He  died  in  Paris  in  1841.  Among 
his  best  paintings  are : 

The  Death  of  Pliny  at  the  Eruption  of  Vesuvius. 

Tho  Death  of  Kiag  Andrew  of  Hungary. 

A  Nun  in  the  Vaults  of  the  Inquisition. 

A  Monk  accused  of  having  helped  a  Nun  to  escape. 

Interior  of  the  Peristyle  of  a  Monastery.  1830.  (^Lmvre, 

Paris,) 
A  Chapel  in  the  Colosseum  at  Eome.    1834.    (Louvre.) 

FORD,  Michael,  an  Irish  engraver  in  mezzotint, 
was  probably  a  pupil  of  John  Brooks,  to  whose 
business  as  a  printseller  in  Dublin  he  succeeded 
about  1747.  He  is  supposed  to  have  been  lost  at 
sea  in  1758.  There  are  several  portraits  by  him, 
some  of  which  are  after  his  own  paintings.  They 
include  the  following : 

■William  III. ;  after  Kneller. 
George  II. ;  after  Hudson. 
■William,  Duke  of  Cumberland ;  after  the  same. 
William  Stanhope,  Earl  of  Harrington ;  after  Du  Pin. 
Henry  Singleton,  Chief  Justice  of  the  Common  Pleas 
in  Ireland ;  after  himself. 

FORD,  Richard,  the  author  of  the  'Handbook 
for  Travellers  in  Spain,'  who  was  born  in  London 
in  1796,  practised  art  as  an  amateur.  He  illus- 
trated Lockhart's  '  Spanish  Ballads,'  and  etched 
several  plates.  He  died  at  Heavitree,  near  Exeter, 
in  1858. 

FORD,  Samuel,  an  Irish  historical  painter,  was 
born  at  Cork  in  1805.  Although  brought  up  in 
great  poverty,  be  managed  to  study  at  the  Cork 
School,  and  in  1828  became  master  of  the  Cork 
Mechanics'  Institute,  but  he  died  of  consumption 
in  the  same  year.     Amongst  his  works  were : 

The  Genius  of  Tragedy,    1827. 
The  FaU  of  the  Angels. 

FORE,  Le.     See  Lb  Fobs. 

FOREST,  Jean  Baptiste,  a  French  landscape 
painter,  was  born  in  Paris  in  1636.  He  was  in- 
structed in  the  first  rudiments  of  art  by  his  father, 
Pierre  Forest,  an  artist  little  known.  He  went 
afterwards  to  Italy,  and  at  Rome  became  the 
scholar  of  Pietro  Francesco  Mola.  After  studying 
the  works  of  that  master  for  some  time,  he  applied 
himself  to  an  imitation  of  the  grand  landscapes  of 
Titian  and  Giorgione.  On  his  return  to  France  he 
was  esteemed  one  of  the  ablest  landscape  painters 
of  his  country,  and  was  received  into  the  Academy 
in  Paris  in  1674.  From  an  unfortunate  process  he 
made  use  of  in  the  preparation  of  his  colours,  some 
of  his  pictures  have  since  become  dark.  He  died 
in  Paris  in  1712. 

FORESTIER,  Henki  Joseph  de,  born  at  San 
Domingo  in  1790,  was  a  pupil  of  Vincent  and 
David,  and  obtained  in  1813  the  first  prize,  which 
enabled  him  to  go  to  Rome.  There  he  became 
very  favourably  known  through  his  paintings  of 
'  Anacreon '  and  '  Cupid.'  He  died  in  1872.  Among 
his  historical  and  genre  paintings  may  be  men- 
tioned ; 

Christ  healing  the  Demoniac.     1817.    (Louvre,  Paris.) 
The  Funeral  of  'William  the  Conqueror. 

FORGUE,  Apollonie  de.    See  Seydelmann. 

FORLI,  Ansuino  da,  was  the  painter  of  the 
'  Adoration  of  St.  Christopher '  in  the  Eremitani 
Chapel,  Padua.  In  the  Correr  Gallery  at  Venice  is 
a  tempera  profile  '  Portrait  of  a  Man,'  which  is 


assigned  to  Ansuino.     No  dates  of  his  birth  or 
death  can  be  given. 
FORLI,  Fkancesco    da.     See  Minzocchi,  and 

MODIQLIANI. 

FORLI,  GuGLiELMO  DA,  called  Guglielmo  degli 
Oeqani,  who  was  the  earliest  painter  of  Forli, 
flourished  in  the  14th  century.  He  was  a  pupil  of 
Giotto,  and  painted  frescoes  in  the  churches  of  San 
Domenico  and  the  Franciscans  in  his  native  city, 
but  none  of  his  works  are  extant. 

FORLI,  Mahoo  da.    See  Palmezzano. 

FORLI,  Mblozzo  da.    See  Degli  Ambeosi. 

FORMELLO,  Donato  da,  was  a  native  of 
Formello,  in  the  duchy  of  Bracciano.  He  was  a 
disciple  of  Giorgio  Vasari,  and,  according  to 
Baglione,  visited  Rome  early  in  the  pontificate  of 
Gregory  XIII.  He  greatly  surpassed  the  style  of 
his  instructor,  as  is  evident  in  his  fresco  works  on 
a  staircase  in  the  Vatican,  representing  subjects 
from  the  life  of  St.  Peter.     He  died  about  1580. 

FORNARO,  II.     See  Civeechio. 

FORNAVBRT,  J.  P.,  was  an  obscure  engraver, 
chiefly  employed  by  the  booksellers.  Strutt  men- 
tions a  frontispiece  to  a  book  of  devotion  by  this 
artist,  representing  '  Moses  and  Aaron,  with  the 
Four  Evangelists.'  It  is  neatly  executed  with  the 
graver,  but  in  a  stifE,  formal  style. 

FORNAZERIS,  Jacques  db,  (probably  the  same 
as  FoBNAZORl,)  was  a  French  engraver,  who 
flourished  from  1594  to  1622.  He  resided  at 
Lyons,  and  appears  to  have  been  principally  em- 
ployed for  the  booksellers,  though  his  plates  are 
executed  in  a  style  very  superior  to  that  of  the 
generality  of  artists  of  that  class.  He  engraved 
portraits  of  historical  personages,  and  also  several 
frontispieces,  which  he  generally  embellished  with 
small  historical  figures,  correctly  drawn.  His  plates 
are  executed  with  the  graver.  Among  his  fifty-six 
engravings  may  be  noticed : 

POETKAITS. 

Henry  IV.    (Five  plates.) 

Mary  de'  Mefflci.    (Two  plates.) 

Pope  Leo  SI. 

Pope  Paul  V. 

Charles  Emmanuel,  Duke  of  Savoy. 

James  I.,  King  of  Great  Britain. 

Gabrielle  d'Estr^es. 

Louis  XI. 

FEONTISPIECES. 

To  the  '  Biblia  Sacra,'  Lyons.    1606 ;  in  quarto. 
To  the  '  Biblia  Sacra,'  Lyons.    1618 ;  in  folio. 
To  the  '  Tabula  Chronographica,'  Lyons.    1616. 
To  the  '  Praxis  Fori  Posnitentialis,'  Lyons.    1616. 
To  the  '  Commentaries  of  J.  Fernandus.'    1622. 

FORRESTER,  Alpbed  Heney,  a  caricaturist, 
known  by  the  pseudonym  of  '  Alfred  Crowquill,' 
was  born  in  London  in  1805.  His  family  was 
connected  with  the  Stock  Exchange,  on  which  he 
was  himself  more  or  less  engaged  till  1839.  His 
works  were  generally  in  illustration  of  his  own 
letterpress.  He  also  contributed  to  'Bentley's 
Miscellany,'  '  The  Illustrated  London  News,'  '  The 
Humourist,'  &c.  He  died  in  1872.  Amongst  his 
productions  were : 

Leaves  from  my  Memorandum  Book. 

Eccentric  Tales. 

The  'Wanderings  of  a  Pen  and  Pencil. 

The  Comic  English  Grammar. 

Comic  Arithmetic. 

A  Bundle  of  Crowquills. 

FORRESTER,  James,  an  engraver,  flourished 
about  the  year  1760.    He  resided  some  years  in 

511 


foraell 


A  BIOGRAPHICAL  DICTIONARY  OF 


Fosman 


Italy,  where  he  etched  several  plates  of  land- 
scapes, which  are  executed  in  a  neat,  pleasing 

*  FORSELL,  Christian,  born  in  1777,  studied  first 
at  the  Academy  at  Copenhagen,  and  afterwards 
improved  his  talent  for  art  by  traveUmg.  He  was 
court  engraver  and  professor  at  the  Academy  at 
Stockholm.  The  following  are  some  of  his  best 
works :  . 

The  Coronation  of  the  Virgin ;  engraved  after  a  design 

by  Ternite. 
The  Poet  Camoens  ;  after  Gerard. 
Charles  John,  King  of  Sweden,;  after  the  same. 
Louis  XVIII ;  after  Augustin. 

'Une  Annfe  en  Suede,'  in  forty-eight  plates;  partly 
from  Us  mm  dramng,  partly  after  those  of  Sandberg. 
1837. 
FOESTER,  Feanqois,  a  Swiss  engraver,  bom  at 
Locle  in  1790,  was  instructed  by  P.  G.  Langlois  in 
Paris.  In  1814  he  obtained  the  first  prize,  by 
which  he  was  sent  to  Rome,  and  after  his  return  he 
soon  gained  a  reputation,  his  numerous  plates  being 
remarkable  for  the  skill  with  which  he  represented 
the  original.  He  handled  the  graver  with  great 
ability,  and  his  faculty  of  imparting  both  vigour 
and  tenderness  in  the  execution  gives  the  whole  a 
beautiful  and  harmonious  effect.  In  1844  Forster 
was  elected  a  member  of  the  Institute  of  France 
and  the  Academies  of  Brussels  and  Berlin.  He  died 
in  Paris  in  1872.  The  following  were  his  most 
important  plates : 

The  Disciples  at  Bmmaus  ;  after  Paolo  Veronese.    1812. 
The  Portrait  of  a  Woman  ;  after  the  same.     1818. 
Aurora  and  Cephalus  ;  after  G-uSrin.     1821. 
Dido  and  ,^neas  ;  after  the  same.     1828. 
The  Portrait  of  Albreoht  Diirer ;  after  Diirer.  1823. 
Arthur,  Duke  of  ■Wellington  ;  after  Gerard. 
La  Vierge  au  Baerelief ;  after  Leonardo  da  Vina.. 
Titian's  Mistress.;  after  Titian. 
La  Vierge  de  la  Maison  d'Orl&ms ;  after  Raphael. 
La  Vierge  i  la  Lfigende  ;  after  the  same.     1846. 
The  Holy  Family ;  after  the  same.    1854. 
The  Three  Graces ;  after  the  same. 
The  Portrait  of  Eaphael ;  itfter  the  same.    1835. 
Christ  on  the  Cross  ;  afte)'  Sebastiano  del  Fiombo. 
Louis  I.  of  Bavaria  ;  after  Stieler. 
Alexander  von  Humboldt ;  after  Steuben. 
St.  Cecilia  ;  after  Delaroche. 

FORSTER,  Thomas,  an  artist  who  lived  in  the 
early  years  of  the  18th  century,  drew  miniature 
portraits  on  vellum  with  lead  pencil. 
FORSTMAN,  Gebgoeio.  See  Fosman. 
FORTI,  QiACOMO,  a  painter  of  the  Bologuese 
school,  who  flourished  in  1483,  was  a  pupil  of 
Zoppo.  He  assisted  his  master  in  his  frescoes, 
but  in  the  church  of  San  Tommaso  al  Mercato 
in  Bologna,  is  a  fresco  of  the  Virgin,  which  is 
attributed  to  him. 

rORTIBR,  Claude  Feanqois,  a  French  engraver, 
was  born  in  Paris  in  1776,  and  died  in  the  same 
city  in  1835.  His  best  plates  are  '  The  Entry  of 
the  French  into  Milan,'  after  Gerard ;  '  A  Virgin 
Forestin  Brazil,' after  Clarac;  and  '  Morning,' after 
Moucheron. 

FOETIN,  Augustin  Fi;Lix,  a  French  painter  of 
landscapes,  and  of  genre  and  historical  subjects, 
was  born  in  Paris  in  1763,  and  studied  under  his 
uncle,  the  sculptor  Lecomte.     He  was,  however, 
chiefly  noted  for  his  sculpture,  for  which  he  ob- 
tained the   grand  prize  in  1783.     He   became  a 
member  of  the  Academy  in  1789,  and  died  in  Paris 
in  1832.     Amongst  his  paintings  are : 
Invocation  to  Nature. 
A  Satyr. 
Lesbia. 
612 


1835. 
1838. 


1850. 


FORTIN,  Chaeles,  a  French  genre  and  land- 
scape painter,  the  son  of  Augustin  Felix  Fortin, 
was  born  in  Paris  in  1815.  He  studied  under 
Beaume  and  Roqueplan,  and  first  exhibited  in 
1835.  He  died  in  Paris  in  1865.  Amongst  his 
works  are  : 

The  Eag-seller. 

The  Eetum  to  the  Cottage. 

The  Chinmey  Comer. 

The  Butcher's  Shop. 

The  Village  Barber. 

Chouans.     1853.     (Zille  Museum.) 

The  Blessing.    (Lua:embourg  Gallery.) 

The  Music  Lesson. 

The  Smoker.    1855. 

During  Vespers,  Morbihan.     (Paris  Exhibition,  1855.) 

Eustio  Interior.    1859. 

The  Country  Tailor.    1861. 

Between  two  Halts.    1864. 

FORTNER,  Geoeg,  who  was  bom  at  Munich 
in  1814,  studied  under  Sohlotthauer  and  Heinrioh 
Hess.  He  executed  frescoes  for  the  Bavarian 
National  Museum  ;  but  he  is  better  known  for  his 
designs  for  church  windows.  He  died  at  Munich 
in  1879. 

FORTUNY  Y  CARBO,  Maeiano,  a  Spanish 
painter  in  oil  and  water-colours,  was  born  of 
humble  parentage  at  Reuss,  near  Barcelona,  in 
1841.  Showing  great  artistic  promise  in  his  child- 
hood, he  was  enabled  by  a  local  magnate  to  study 
at  Barcelona  and  Madrid,  and  he  further  pursued 
his  studies  at  Rome  and  Paris.  He  soon  became 
known,  and  worked  with  great  assiduity  on  the 
commissions  he  received,  many  of  which  were 
from  Goupil  of  Paris.  With  the  exception  of  the 
time  during  which  he  was  on  the  staff  of  General 
Prim  in  Morocco,  the  rest  of  his  life  was  passed 
chiefly  at  Rome  and  Paris.  His  death,  which  oc- 
curred at  Rome  in  1874,  was  occasioned  by  an  attack 
of  fever,  contracted  while  sketching  in  damp 
weather  in  the  vicinity  of  Naples.  The  pictures 
remaining  in  his  studio  were  sold  in  Paris,  and 
realized  800,000  francs.  He  married  the  daughter 
of  Senor  Madrazo,  the  director  of  the  Madrid 
Academy.  The  following  are  amongst  his  chief 
works : 

A  Marriage  in  the  Cathedral  of  Madrid. 

Eeheaisal  at  the  Opera  BuSa. 

Snake-charmers. 

Fantasy  of  Morocco.    1866. 

A  Book-lover  in  the  library  of  Eichelieu.    1869. 

The  Fencing  Lesson. 

The  Tribunal  of  a  Cadi. 

The  Academy  of  the  Arcadians.    1874. 

Baron  Davillier  published  at  Paris  in  1876,  with 
illustrations,  '  Fortuny,  sa  vie,  son  oeuvre,  sa  cor- 
respondance.' 

FOSCHI,  Feedinando,  was  a  landscape  painter 
who  flourished  at  Bologna  in  the  18th  century. 
There  is  a  landscape  by  him  in  the  Lille  Museum, 
and  a  winter  scene  in  the  Darmstadt  Museum. 

FOSCHI,  SiQiSMONDO,  a  son  of  Antonio  Foschi, 
was  born  at  Faenza,  and  flourished  about  1530. 
There  is  a  '  Madonna  and  Child  '  by  this  artist  ia 
the  Brera  at  Milan,  which  came  from  the  church  of 
San  Bartolommeo  in  Faenza. 

FOSMAN,  Geegoeio,  (or  Foestman,)  is  con- 
sidered the  best  of  the  Spanish  engravers  of  title- 
pages  during  the  reign  of  Charles  II.  Among  his 
works  are  the  following : 

Portrait  of  Archbishop  Manso  de  Zuniga. 
Title-page  to  a  '  Life  of  St  Domingo  de  Silos.'    1653. 
Title-page  to  Ximena's  '  Catalogue  of  the  Bishops  of 
Jaen.'     1654. 


Fossano 


PAINTERS  AND  ENGRAVERS. 


FouquiSres 


Title-page    to    Gandara's  'Glory  of    the  Churoli    in 

Galicia.'    1677. 
The  Auto-da-ffe  held  in  the  Plaza-Mayor  of  Madrid, 

30th  June,  1680. 
One  of  the  plates  of  Vera  Tassis's  '  Obsequies  of  Queen 

Maria  Louisa.'    1690. 
St.  Francis  Xavier. 
Portrait  of  Cardinal  Errico  Noris. 

FOSSANO,  Ambrogio  da.     See  Stefani. 

FOSSATI,  Davidb  Antonio,  a  painter  and 
etcher,  was  bom  at  Morco,  near  Lugano,  in  1708, 
and  studied  drawing  under  Mariotti  at  Venice,  and 
painting  under  Daniel  Gran,  with  whom  in  1723  he 
went  to  Vienna.  In  1728  he  painted  the  dining- 
hall  in  the  monastery  of  St.  Martinsberg  at  Press- 
burg  ;  but  in  1730  he  returned  to  Venice,  and  in 
the  next  year  executed  the  wall-paintings  in  the 
villa  at  Torre,  near  Este,  as  also  in  the  nunnery  of 
Santa  Margaretta,  near  Lauis.  He  afterwards  took 
to  etching,  but  did  not  succeed  at  first.  His  death 
occurred  at  Vienna  about  1780.  His  works  as  a 
painter  are  little  known,  but  he  has  left  among  his 
later  and  happier  efforts  several  etchings  of  land- 
scapes and  historical  subjects  after  various  masters. 
The  following  are  his  plates  most  worthy  of  notice: 

they  are  sometimes  marked  with  the  ciphe^r   /WV 

Diana  and  Calisto ;  after  Solimena, 

The  Family  of  Darius  before  Alexander;  after  Paolo 

Veronese. 
Jupiter  destroying  the  Vices ;  after  the  same. 
Eebekah  and  the  Servant  of  Abraham  ;  after  A .  Bellucci. 
The  Calling  of  St.  Peter  to  the  Apostleship ;   after 

the  sarne. 
A  set  of  twenty-four  Views  of  Venice,  and  Landscapes ; 

after  Marco  Ricci. 

FOSSATI,  DoMENico,  was  bom  at  Venice  in  1743, 
and  studied  painting  at  the  Academy  of  that  city. 
He  distinguished  himself  as  a  painter  of  archi- 
tecture and  a  decorator,  and  his  works  are  to  be  met 
with  in  the  theatres  and  palaces  of  Venice,  Padua, 
Vicenza,  Verona,  Udine,  Monza,  and  Gratz,  and  in 
the  Scala  at  Milan.     He  died  at  Venice  in  1784. 

FOSSATI;  Giorgio,  an  engraver  and  architect, 
who  was  born  at  the  commencement  of  the  18th 
century,  and  died  about  1770,  executed  the  plates 
to  the  '  Raccolta  di  varie  Favole '  (Venice,  1744), 
and  also  made  the  designs  for  the  carving  in  the 
Scuola  di  San  Rocco  at  Venice. 

FOSSE,  De  la.    See  De  La  Fosse. 

FOSSEYEUX,  Jean  Baptiste,  who  was  bom  in 
Paris  in  1782,  and  died  there  in  1824,  studied  under 
Delaunay  and  Moreau  the  younger.  He  engraved 
after  Velazquez,  Domenichino,  &c. 

FOSTER,  Thomas,  an  Irish  portrait  painter,  was 
born  in  1798.  He  came  to  England  early,  and 
entered  the  schools  of  the  Royal  Academy,  where 
he  exhibited  from  1819  to  1825.  He  died  by  his 
own  hand  in  1826.    Amongst  his  portraits  are  : 

Miss  Tree. 

Eight  Hon.  John  Wilson  Oroker. 

Sir  Henry  Bishop,  the  composer. 

FOUCEEL, ,  a  Dutch  landscape  painter  and 

engraver,  flourished  in  the  early  part  of  the  17th 
century.  Three  very  tenderly  executed  plates,  now 
very  rare,  are  known  by  him  :  '  The  Group  of 
Trees,'  'The  Avenue,'  and  'The  Terrace.' 

FOUCHER,  Nicolas,  born  in  Paris  in  1650,  was 
instructed  by  Mignard,  and  painted  portraits  and 
historical  subjects.  He  also  etched  in  a  spirited 
manner  the  portrait  of  'Jaque  Roland,  sieur  de 
Belebat,  maistre  chirurgien.'  Fouoher  died  about 
1700. 

L  L 


FOUCHIER,  Bartram  de,  a  Dutch  painter,  was 
born  at  Bergen-op-Zoom  in  1609.  He  was  sent  to 
Antwerp  when  very  young,  and  there  became  a 
scholar  of  Van  Dyck,  but  when  that  master  left 
Antwerp  to  vi-sit  England,  Fouchier  returned  to 
Holland,  where  he  studied  under  Jan  Bylert,  at 
Utrecht.  He  afterwards  went  to  Rome,  where  he 
remained  three  years,  and  would  probably  have  ac- 
quired a  distinguished  reputation  if  he  had  not  been 
implicated  in  a  quarrel,  which  obliged  him  to  quit 
the  city.  The  fame  of  the  Venetian  painters  drew 
him  to  Venice,  where  he  particularly  devoted  him- 
self to  studying  the  works  of  Tintoretto.  After 
an  absence  of  eight  years  he  returned  to  Holland, 
where  he  soon  found  that  neither  the  style  he  had 
acquired  in  Italy,  nor  the  subjects  of  his  pictures, 
were  agreeable  to  the  taste  of  his  countrymen.  He 
therefore  abandoned  historical  painting,  and  applied 
himself  to  paint  similar  subjects  to  those  of  Ostade 
and  Brouwer,  representing  assemblies  of  peasants 
and  drunken  frolics,  which  were  admired  in  his 
time,  and  are  still  to  be  found  in  the  collections 
in  Holland.     He  died  at  Bergen-op-Zoom  in  1674. 

FOULLON,  Benjamin,  the  son  of  Pierre  Foullon, 
a  native  of  Antwerp,  who  received  letters  of 
naturalization  from  Francis  I.  of  France,  flourished 
in  1583.  By  him  there  are  forty-eight  crayon 
drawings  in  the  National  Library  in  Paris,  which 
resemble  in  style  those  of  Fran9ois  Clouet.  He 
was  painter  at  the  court  of  Henry  IV.  of  France. 

FOUNTAIN.     See  La  Fontaine. 

FOUQUET,  Jean,  (or  Fouoquet,)  a  French 
miniature  painter,  was  bom  at  Tours  about  1416. 
At  that  time  there  were  two  different  schools  in 
France :  the  one  adopted  the  principles  of  Van 
Eyck,  the  other  united  the  manner  of  that  artist 
with  the  Italian  style,  and  of  the  latter  Fouquet 
was  a  great  adherent.  His  first-known  work  is 
dated  1461 ;  his  last,  1475.  He  was  court  painter 
to  Louis  XL,  and  died  in  1483.  Among  his 
miniatures  and  oil  paintings  are  the  following : 

Antwerp.  Gallery.    The  Virgin  and  Child.      {The 

half  of  an  altar-piece  in  oil.) 

Frankfort.      Srentano-  \  Forty    Miniatures,   painted   in 

Laroche    V     1461   for   Etienne   Chevalier, 

Collection.)     Treasurer    of    Charles    VII. 

(Three  more  are  in  other  private 

^  collections.) 

„  „  Etienne  Chevalier,  the    donor, 

and  St.  Stephen.     (The  other 

half  of  the  Antwerp  altar-piece. ) 

Munich.  Royal  Library.  The  Miniatures  in  a  French 
translation  of  Boccaccio,  by 
Pierre  Faure,  cur6  of  St. 
Denis.     1458. 

Paris.  National  Library.  Eleven  Miniatures  in  a  French 
translation  of  Josephus's '  His- 
tory of  the  Jews,'  representing 
scenes  in  the  life  of  Joseph. 

Versailles.  Gallery.    The  Portrait  of  Guillaume  Ju- 

venal des  Ursins  (in  oil). 

FOUQUI^RES,  Jacques,  was  bom  at  Antwerp 
in  1580,  where  he  received  some  instruction  from 
Jodocus  De  Momper,  and  afterwards  studied  under 
Jan  Brueghel,  though  he  adopted  a  style  of  land- 
scape painting  very  superior  to  that  of  either  of 
those  masters,  and  in  this  branch  of  art  arrived 
at  an  excellence  that  induced  Rubens  occasionally 
to  employ  him  to  paint  the  backgrounds  of  his 
pictures.  Under  this  master  he  gained  so  high  a 
reputation  that  the  Elector  Palatine  employed  him  at 
his  court  when  still  young.  He  afterwards  visited 
Rome  and  Venice,  where  he  greatly  improved  his 
style  by  studying  the  works  of  Titian,  whose  fine 

513 


Pour 


A  BIOGRAPHICAL  DICTIONARY  OF 


Fradelle 


landscapes  were  the  particular  objects  of  his  ad- 
miration. In  1621  he  went  to  Paris,  and  was  em- 
ployed by  Louis  XIII.  in  the  great  gallery  of  the 
Louvre.  His  pictures  were  so  much  admired  by 
that  monarch  that  he  conferred  on  him  the  honour 
of  knighthood,  which  mark  of  distinction  is  said 
by  D'Argenville  to  have  rendered  him  so  vain 
and  ridiculous,  that  he  afterwards  never  painted 
without  his  sword  by  his  side.  He  became  so 
proud  and  overbearing  that  his  insolent  conduct  to 
Nicolas  Poussin,  who  was  employed  by  the  king 
at  the  same  time  in  the  Louvre,  was  the  means  of 
depriving  France  of  the  talents  of  that  admirable 
painter,  who  left  Paris  in  disgust,  and  resided  at 
Rome  for  the  remainder  of  his  life.  Fouqui^res 
was,  notwithstanding  these  foibles,  a  distinguished 
painter  of  landscapes ;  his  pencil  is  free  and  firm, 
and  his  colour,  both  in  oil  and  in  fresco,  is  clear  and 
fresh,  though  occasionally  cold,  and  too  green.  The 
figures  with  which  he  embellished  his  landscapes 
are  correctly  drawn,  and  touched  with  great  spirit. 
He  fell  into  disgrace,  and  died  in  Paris,  in  poverty, 
in  1659.  There  is  a  small  landscape  by  this  artist 
in  the  Darmstadt  Gallery,  and  another  in  the 
Bordeaux  Museum. 

FOUR,  N.  DU.     See  Du  Fouk. 

FOURDRINIBR,  Pierre,  was  a  French  engraver, 
who  flourished  for  upwards  of  thirty  years  in 
London.  He  engraved  many  plates  for  the  em- 
beUishment  of  books,  plays,  and  pamphlets,  and 
also  executed  some  large  plates  of  architectural 
views,  which  are  his  best  performances.  Some  of 
these  were  for  a  large  folio  volume  of  the  '  Villas 
of  the  Ancients,'  published  by  Robert  Castell  in 
1728.  He  also  engraved  some  of  the  plans  and 
elevations  of  Houghton  Hall.  He  died  in  London 
in  1758. 

FOURMOIS,  Theodore,  a  Belgian  artist,  who 
was  born  at  Presles  in  1814,  first  devoted  himself 
to  pencil  drawing,  afterwards  to  water-colour,  and 
lastly  to  oil  painting.  He  was  a  diligent  and 
tasteful  artist,  and  painted  with  a  bold  brush. 
His  subjects  are  mostly  views  of  Brussels  and  the 
Ardennes.     He  died  at  Brussels  in  1871. 

FOURNIER, ,  a  French  engraver,  executed 

part  of  the  plates  for  a  small  folio  volume,  entitled 
'  Les  Tableaux  de  la  Penitence.' 

FOURNIER,  Daniel,  an  a-la-mode  beefseller, 
shoemaker  and  engraver,  was  born  early  in  the 
18th  century.  He  published  in  1764  a  work  on 
Perspective,  and  died  about  1766.  There  is  a  mezzo- 
tint by  him  of  Cuthbert  Mayne,  a  Catholic  priest. 

FOURNIER,  Jacques.     See  Fornazebis. 

FOURNIER,  Jean,  a  native  of  France,  was  a 
scholar  of  F.  de  Troy,  and  gained  the  first  prize 
at  the  Royal  Academy  of  Painting  in  1737  for  a 
picture  of  '  Samson  and  Delilah.'  He  passed  the 
greater  part  of  his  artistic  life  at  the  Hague,  and 
painted  the  portraits  of  many  distinguished  persons 
of  his  time  ;  among  others,  those  of  the  Duke  of 
Cumberland  and  Admiral  Anson.  He  died  at  the 
Hague  in  1765. 

FOURNIER,  Jean  Baptiste  Fortune  de,  born 
at  Ajaccio,  Corsica,  in  1798,  studied  at  the  Poly- 
technic School  at  Naples,  and  was  distinguished  for 
his  water-colour  views  of  interiors,  as  '  The  Saloon 
of  Louis  XIV.  in  the  Tuileries.'  He  died  in  Paris 
in  1864. 

FOUTIN,  J.,  an  engraver  of  Chateaudun,  was 
probably  a  goldsmith,  as  the  only  prints  known  by 
him  are  some  plates  of  ornamental  foliage,  with 
grotesque  heads,  figures,  &c.,  dated  1619. 

514 


FOWLER,  William,  a  draughtsman  and  en- 
graver, was  brought  up  as  a  carpenter  at  Winterton 
in  Lincolnshire,  where  he  died  in  1832. 

FOWLER,  William,  a  portrait  painter,  was  bom 
in  1796.  His  best  known  work  is  a  portrait  of 
Queen  Victoria,  which  was  engraved  in  mezzotint 
by  J.  R.  Jackson.     He  died  in  London  about  1880. 

FOX,  Charles,  who  was  bom  at  Falmouth  in 
1749,  and  who  began  life  as  a  bookseller,  later 
turned  his  attention  to  art,  practising  both  land- 
scape and  portraiture.  He  likewise  published  some 
translations  from  the  Persian,  and  died  at  Bath  in 
1809. 

FOX,  Charles,  was  born  in  1794,  at  Cossey, 
near  Norwich,  where  his  father  was  steward  to 
Lord  Stafford,  of  Cossey  Hall.  After  a  period  of 
studying  engraving  under  Edwards  at  Bungay, 
he  came  up  to  London,  became  an  inmate  in 
the  studio  of  John  Burnet,  who  was  at  that  time 
engaged  in  engraving  some  of  Wilkie's  prin- 
cipal works,  and  assisted  Burnet  in  their  com- 
pletion. The  engravings  executed  entirely  with 
his  own  burin  are  several  small  plates  after  Wilkie 
for  Cadell's  edition  of  Sir  Walter  Scott's  novels, 
and  various  illustrations  to  the  Annuals  of  the 
day.  His  large  engravings  are  a  whole-length 
portrait  of  Sir  George  Murray,  after  Pickersgill ; 
'  The  First  Council  of  the  Queen,'  and  '  Village 
Recruits,'  after  Wilkie.  His  early  habits  and 
love  of  flowers  never  left  him  ;  and  on  Dr.  Lindley, 
his  fellow-townsman,  being  appointed  secretary 
of  the  Horticultural  Society,  Fox  was  chosen  as 
a  judge  and  arbitrator  for  tlie  various  prizes  ;  and 
during  the  whole  time  gave  the  greatest  satisfac- 
tion, both  on  account  of  his  scientific  skill  and 
his  strict  impartiality.  He  also  executed  all  the 
engravings  for  a  periodical  called  '  The  Florist.' 
At  the  time  of  his  decease,  which  took  place  at 
Leyton  in  1849,  he  was  engaged  upon  a  large  print 
after  Mulready's  picture  of  'The  Fight  interrupted.' 

FRACANZANO,  Cesaeb,  a  Neapolitan  painter, 
who  flourished  in  the  17th  century,  was  a  pupil  of 
Spagnoletto.  He  died  in  France  some  years  after 
1657.  His  son,  Michelagnolo  Fbacanzano,  who 
was  also  a  painter,  died  in  France  about  1685. 
There  is  in  the  Madrid  Gallery  a  picture  by  the 
latter,  representing  '  Two  Wrestlers.' 

FRACANZANO,  Francesco,  the  brother  of 
Cesare  Fracanzano,  was  a  pupil  of  Spagnoletto  and 
the  master  of  Salvator  Rosa,  whose  sister  he  had 
married.  His  married  life  was  an  unhappy  one,  as 
by  the  instigation  of  his  wife  he  committed  crimes 
for  which  he  suffered  death  at  Naples  in  1657. 

FRACASSI,  Cesare,  (or  Fraoassini,)  was  bom 
in  1838.  He  studied  painting  in  Rome,  where  he 
executed  several  frescoes  for  San  Lorenzo.  He 
died  in  1868.  One  of  his  most  important  pictures 
is  '  The  Martyrs  of  Gorinchum.' 

FRADELLE,  Henri  Joseph,  an  historical 
painter,  was  born  at  Lille  in  1778,  but  passed  his 
life  in  England.  Prom  1816  to  1855  he  occasion- 
ally exhibited  at  the  Royal  Academy,  but  his  works 
chiefly  appeared  at  the  British  Institution.  He 
died  in  1865.  Amongst  his  works  (several  of  which 
were  engraved)  are : 

Milton  dictating '  Paradise  Lost.'    1817. 

Mary,  Queen  of  Soots,  and  her  Secretary, 

Kebecca  and  Ivanhoe. 

Belinda  at  her  Toilet. 

The  Earl  of  Leicester  and  Amy  Eobsart, 

Queen  Elizabeth  and  Lady  Paget. 

Lady  Jane  Grey. 


Fragonard 


PAINTERS  AND  ENGRAVEES. 


Francescliini 


FRAGONARD,  Alexandbe  Evariste,  a  French 
historical  painter,  was  horn  at  Grasse  in  1780.  He 
was  a  son  of  Jean  Honor6  Fragonard,  and  studied 
under  David.  Besides  painting,  he  devoted  himself 
to  sculpture,  and  to  designs  for  lithography.  He 
died  in  Paris  in  1850.     His  chief  paintings  are : 

Maria  Theresa  and  her  Son. 

Francis  I.  knighted.     1819.     ( Versailles^ 

The  Triumphal  Entry  of  Joan  of  Arc  into  Orleans. 
(Orleans  Museum.) 

The  Burgesses  of  Calais  in  the  Tent  of  Edward  I. 

Francis  I.  receiving  Works  of  Art  brought  from  Italy  by 
Frimatiocio. 

Henry  TV.  and  Gabrielle  d'Estr^s. 

Siege  of  Ptolemais.    ( Versailles.) 

Battle  of  Marignan.    1836.    ( Versailles.) 

FRAGONARD,  Hippolttb  Evaeiste  Etienne, 
a  French  historical  and  genre  painter  and  litho- 
grapher, was  horn  in  Paris  in  1806.  He  was  the 
grandson  of  Jean  Honorg  Fragonard,  and  was 
for  many  years  connected  with  the  porcelain  manu- 
factory at  Sfevres.  He  died  in  Paris  in  1876.  There 
is  at  Versailles  a  copy  hy  him  of  Bronzino's  '  Isa- 
bella of  Aragon  supplicating  Charles  VIII.  of 
France.' 

FRAGONARD,  Jean  HoNOBi,  a  French  painter 
and  engraver,  was  born  at  Grasse  in  1732.  He 
was  at  first  a  notary's  clerk,  hut  showed  so  little 
disposition  for  that  profession  that  he  entered  first 
the  school  of  Chardin,  where  he  was  instructed  in 
the  principles  of  painting,  and  then  attended  the 
atelier  of  Boucher,  where  he  made  so  rapid  pro- 
gress that  he  obtained,  when  only  twenty  years 
old,  the  '  grand  prix  de  Rome '  with  his  '  Jeroboam 
sacrificing  to  Idols.'  He  studied  at  Rome  after 
Solimena,  Cortona,  Barocoi,  and  with  especial  pre- 
dilection the  works  of  Tiepolo.  In  company  with 
Jean  Claude  Richard,  the  Abbd  de  St.  Non,  and 
Hubert  Robert,  he  visited  Naples  and  Sicily.  After 
his  return  to  Paris  Fragonard  painted  for  the  King 
in  1765  his'Coresus  and  Callirrhoe,'  but  he  ex- 
hibited only  at  the  Salons  of  1765  and  1767.  See- 
ing that  his  style  of  painting,  which  he  acquired 
in  Italy,  did  not  meet  with  sufficient  success,  he 
applied  himself  to  painting  love-scenes  of  a  sensual 
character.  These  productions  he  sold  for  great 
sums,  and  they  were  just  adapted  to  the  corrupt 
taste  of  that  time  in  France.  His  portraits,  scenes 
of  family  life,  landscapes,  miniatures,  copies  after 
the  great  masters,  and  crayon  and  water-colour 
drawings,  are  of  a  most  graceful  and  light  touch. 
Fragonard  died  in  Paris  in  1806.  His  wife,  Marie 
Anne  Gerard,  to  whom  he  was  married  in  1769, 
was  distinguished  as  a  miniature  painter.  She  was 
born  at  Grasse  in  1745,  and  died  in  Paris  in  1823. 
An  account  of  Fragonard  and  of  his  works  will  be 
found  in  MM.  de  Goncourt's  'Art  du  xviii™»  siecle.' 
Among  his  chief  paintings  are  the  following  : 
Grasse.  M.  de  Malvilan.  Ten  Love-scenes. 
Lille.  Museum.    Adoration  of  the  Shepherds. 

London.  Hertford  House.  The  Chances  of  the  Swing. 

„  „  The  Fountain  of  Pleasure. 

„  „  Garden  of  the  Cha.teau  of  Fon- 

taineblean. 
Paris.  Louvre.    Coresus  and  Callirrhoe. 

„  „  The  Music-Lesson. 

„  „         A  Landscape. 

„  „  The  Shepherd's  Hour. 

„  „         The  Bathers. 

„  „         A  Sleeping  Bacchante. 

„  „         Music. 

„  „         The  Storm. 

„  „         The  Inspiration. 

C»ttn<^«i«1rnje  Letter. 
Beraudiere.i 

L  L  2 


Paris. 


M.  C.  Marcille.    The  Premeditated  Flight. 
Wilson  Coll.    Cache-cache ! 


There  are  by  this  artist  several  etchings  from  his 
own  designs,  and  after  various  masters,  among 
which  are  the  following : 

The  Circumcision ;  after  Tiepolo, 

The  Circumcision  ;  after  Sehastiano  Eicci. 

Christ  with  the  Disciples  at  Emmaus ;  after  the  same. 

The  Last  Supper  ;  after  the  same. 

St.  Eoch ;  after  Tintoretto. 

The  Conception ;  after  the  same. 

The  Presentation  ;  after  the  same. 

Four  Bacchanalian  subjects ;  after  his  own  designs. 

L'Armoire.    1778. 

FRAISINGER,  Kaspar,  a  painter  and  etcher 
of  Ingoldstadt,  in  Bavaria,  died  at  that  town 
in  1600.    The  following  etchings  are  by  him  : 

The  Virgin.    1595. 

The  suffering  Redeemer  attended  by  two  Angels.  1598. 
The  suffering  Redeemer  seated  on  a  Stone.     1599. 
The  Virgin  lamenting  over  the  Dead  Body  of  Christ. 
1599. 

FRANCART,  Gilbert,  a  French  painter,  whose 
only  known  work  is  a  picture  of  '  St.  Sebastian  '  in 
the  church  of  Bazoches-du-Morvand.  It  is  well 
drawn  and  coloured  in  the  style  of  Le  Brun,  and 
dated  1661.     He  was  still  living  in  1692. 

FRANCESCA,   Pibro  della.    See  Dei   Fran- 

OESCHI. 

FRANCESGHI,  Paolo,  called  Paolo  Fiammingo, 
was  born  at  Antwerp  in  1540,  but  went  when 
young  to  Venice,  where  he  became  a  scholar  of 
Tintoretto,  and  resided  during  the  remainder  of 
his  life.  He  principally  excelled  in  painting  land- 
scapes, although  he  sometimes  produced  historical 
subjects.  In  the  church  of  San  Niccolo  de'  Frari, 
at  Venice,  are  two  pictures  by  this  master,  of  '  The 
Descent  from  the  Cross,'  and  '  St.  John  preaching 
in  the  Wilderness,'  and  in  the  Munich  Gallery  is 
'The  Dead  Christ  in  the  lap  of  the  Virgin.'  He 
was  employed  by  the  Emperor  Rudolph  II.,  for 
whom  he  painted  several  landscapes  and  other  sub- 
jects.    He  died  at  Venice  in  1596. 

FRANCESCHIBLLO.     See  La  Mdba. 

FRANCESCHINI,  Baldassaee,  called  II  Vol- 
TEBRANO,  the  son  of  Gasparo  Pranceschini,  a 
sculptor,  was  born  at  Volterra  in  1611.  He  was 
called  '  II  Volterrano  giuniore,'  to  distinguish 
him  from  Daniele  Ricciarelli  da  Volterra,  and  first 
studied  under  Matteo  Rosselli,  but  he  afterwards 
became  a  scholar  of  Giovanni  da  San  Giovanni. 
He  is  said  to  have  excited  the  jealousy  of  that 
master,  who,  having  engaged  him  as  his  coadjutor 
in  some  works  in  the  Palazzo  Pitti,  after  witnessing 
his  capacity,  thought  it  prudent  to  dismiss  him. 
He  was  one  of  the  most  distinguished  fresco 
painters  of  his  time,  and  was  more  employed  in 
that  line  than  in  easel  pictures.  He  died  at 
Florence  in  1689.  His  most  important  productions 
are  as  under : 

Bordeaux.        Museum.    Moses  before  Pharaoh. 
„  „  Apollo  and  Marsyas. 

„  „  The  Apotheosis  of  Ovid. 

Florence.  S.  Annunziata,    The  Coronation  of  the  Virgin. 
(His  lest  work.) 
„        Ducal  Palace.    Four  large  paintings,  represent- 
ing the  Deeds  of  the  Medici. 
„  Pitti  Palace.    Venus. 

„  „  Sleeping  Cupid. 

„  UJlzi.    St.  Peter. 

„  „        St.  Catharine  of  Siena. 

„  „        An  Augustinian  Friar. 

„      8.  M.  Maggiore.    The  Ascension  of  Elijah. 

515 


Trancescliiiii 


A  BIOGRAPHICAL  DICTIONARY  OF 


Francesco 


'Florence.  S.  M.  JVuova,     St.  Louis. 

„         S.  Felidtd,.        The  Ascension  of  the  Virgin. 
Yolterra.    ^^<^  j_g  large    frescoes,  repre- 

„  S.  Agostino.    St.  Koch. 

„  „  The  Purification  of  the  Virgin. 

FRANGBSCHINI,  Domenico,  was  an  indiflferent 
Italian  engraver,  by  whom  we  have  a  slight  etching 
of  the  '  Amphitheatre  of  Flavins,'  dated  1725. 

FRANCESCHINI,  Giaoomo,  the  son  and  scholar 
of  Marc  Antonio  Franceschini,  was  born  at  Bologna 
in  1672.  He  painted  historical  pictures  in  the  style 
of  his  father,  and  there  are  some  of  his  works  in  the 
churches  at  Bologna.  In  Santa  Maria  Incoronata 
is  a  picture  of  'St.  Usualdo,  St.  Margaret,  St. 
Lucy,  and  St.  Cecilia ' ;  in  San  Simone,  '  The 
Crucifixion';  and  in  San  Martino,  'St.  Anne.' 
Franceschini  died  at  Bologna  in  1745. 

FRANCESCHINI,  Cavaliers  Marc  Antonio, 
who  was  the  founder  of  the  Upper  Italian  school, 
and  whose  first  performances  are  to  be  met  with 
at  Imola,  Ozzano,  and  Piaoenza,  was  born  at  Bologna 
in  1648.  From  the  Academy  of  Giovanni  Maria 
Galli  he  passed  into  that  of  Carlo  Cignani,  of  whom 
he  became  the  most  assiduous  assistant.  Together 
with  that  master  he  completed  the  works  in  the 
Palazzo  del  Giardino  of  the  Duke  Ranuccio  II.  at 
Parma,  which  were  begun  by  Agostino  Carracoi. 
Franceschini  also  painted  under  Cignani  at  Bologna, 
Piacenza,  Modena,  Reggio,  and  other  places,  in 
fresco,  tempera,  and  oil.  Endowed  with  such 
capacities,  Franceschini  met  with  great  encourage- 
ment. In  1702  he  painted  scenes  from  the  history 
of  the  Republic  in  the  Council-palace  at  Genoa,  and 
in  1711  designed  at  Rome  for  Pope  Clement  XI. 
several  cartoons  for  the  mosaics  in  St.  Peter's,  for 
which  he  was  honoured  with  the  Order  of  Christ. 
On  returning  to  Genoa  in  1714,  he  executed  several 
frescoes  and  paintings  in  the  church  of  the  Padri 
Filippini,  and  in  the  Pallavicini  and  Durazzo  palaces. 
After  having  adorned  the  chapel  of  the  Madonna 
del  Carmine  at  Crema,  in  1716,  he  returned  to 
Bologna,  and  did  not  let  his  brush  rest  until  he 
was  nearly  eighty  years  of  age.  He  died  there 
in  1729.  His  principal  works  at  Bologna  are  a 
ceiling  in  the  Palazzo  Ranuzzi ;  a.  fine  picture  of 
the  '  Annunciation '  at  the  Pinacoteoa ;  the  '  Death  of 
St.  Joseph,'  in  the  church  of  Corpus  Domini ;  '  St. 
John  in  the  Isle  of  Patmos,'  in  La  Carita ;  and  '  St. 
Francia  of  Sales  kneeling  before  the  Virgin  and 
Infant,'  in  La  Madonna  di  Galeria.  At  Rimini,  in 
the  church  of  the  Augustines,  is  a  fine  picture  of 
'  St.  Thomas  of  Villanova  giving  Alms  to  the 
Poor.'  His  picture  of  the  '  Pounders  of  the  Order,' 
at  the  Padri  Servi  at  Bologna  ;  and  his  '  PietA,'  at 
the  Agostini  at  Imola,  painted  when  he  was  near 
eighty,  have  no  appearance  of  feebleness  or  senility. 
Other  paintings  by  him  are : 
Bologna.  Pinacoteca.  Holy  Family. 
Brunswick.  GalUi'y.  Joseph  and  Potiphar's  'Wife. 
Copenhagen.  Gallery.  Diana  as  a  Huntress. 
Dresden.  Gallery.    A  Magdalen. 

„  „  Birth  of  Adonis. 

Edinburgh.  Nat.  Gall.    St.  Jerome. 
Florence.  Vff^zi.     Cupid. 

Modena.   Estense  Gall.    Genii  bearing  flowers. 
Petersburg.  Hermitage.    The  Judgment  of  Paris. 
Vienna.  Gallery.    The  penitent  Magdalen. 

n  „         Charity. 

»  „         St.  Charles  Borromeo  during  the 

Plague  at  Milan.     1576. 

„        Czernin  Coll.    Venus  and  Cupid. 

„         Liechtenstein  1  _      ,        ,  -^^     ,    , 
Gallerv.     \  J^=>b  and  Rachel. 

516 


FRANCESCHINI,  Vincenzo,  was  probably  a 
relation  of  Domenico  Franceschini.  He  executed 
part  of  the  plates  for  the  'Museo  Fiorentino,' 
published  in  1748. 

FRANCESCHINO.    See  Caeeacci,  Feancesco. 

FRANCESCHITTO,  (or  Feanoisqdito,)  is  stated 
to  have  been  a  native  of  Spain,  bom  at  Valladolid 
in  1681,  and  a  scholar  of  Luca  Giordano,  who  was 
accustomed  to  assert  that  the  disciple  would  surpass 
his  master.  He  accompanied  that  painter  to  Italy, 
on  his  leaving  Madrid,  and  at  Naples  gave  proof  of 
the  prediction  of  Luca,  in  a  picture  which  he 
painted  for  the  church  of  Santa  Maria  del  Monte, 
representing  '  St.  Pasquale,'  with  a  beautiful  choir 
of  angels,  and  a  grand  landscape.  This  promising 
artist  died  at  Naples  in  1705. 

FRANCESCO.     See  Liechteneeitee,  Fkanz. 

FRANCESCO  d'  ALBERTINO.    See  Dbebtim. 

FRANCESCO  da  COTIGNOLA.    See  Dei  Zaga- 

NELLI. 

FRANCESCO  di  CRISTOFANO.     See  Bigi. 

FRANCESCO  Di  GENTILE  da  Fabbiano.  See 
Fabeiano. 

FRANCESCO  di  GIORGIO,  who  was  bom  at 
Siena  in  1439,  was  more  famous  as  an  architect  and 
an  engineer  than  as  a  painter.  His  paintings  are 
cold  and  unrelieved,  and  the  strange  conceits  in  his 
composition  are  both  surprising  and  unpleasant. 
Six  or  eight  panels  by  him  are  still  in  the  Academy 
of  Siena,  and  there  is  an  altar-piece  by  him  with 
scenes  from  the  life  of  '  St.  Benedict '  in  the  Uffizi 
at  Florence.  His  brilliant  successes  in  the  laying 
out  of  fortresses,  and  in  the  invention  of  means 
for  their  attack  and  reduction,  were  only  surpassed 
by  Leonardo  da  Vinci,  whom  he  met  in  1490  at 
Pavia.     He  died  in  1502 . 

FRANCESCO  di  GIOVANNI,  who  lived  at  Flor- 
ence in  the  15th  century,  is  the  author  of  a  'Dead 
Christ,'  painted  in  1491,  and  now  in  one  of  the 
chapels  of  the  Pieve  of  that  city.  He  had  a  son 
named  Raffaello,  who  finished  an  altar-piece  ordered 
of  his  father  in  1504  by  the  church  of  Empoli. 
It  represents  the  '  Deposition  from  the  Cross,'  and 
is  now  in  the  UfSzi  Gallery  at  Florence. 

FRANCESCO  di  MARCO.    See  Raibolini. 

FRANCESCO  di  SIMONE.     See  Santa  Choce. 

FRANCESCO  di  STEFANO,  commonly  called 
Pbsbllino,  to  distinguish  him  from  his  grandfather 
Pesello,  was  born  at  Florence  in  1422.  His  father, 
Stefano,  who  was  a  painter,  died  before  1427,  and 
left  his  widow,  the  daughter  of  Pesello,  in  poor 
circumstances.  It  thus  happened  that  the  young 
Francesco  was  brought  up  by  his  grandfather,  with 
whom  he  remained  till  the  old  man  died,  in  1446, 
when  he  continued  to  carry  on  the  business  in  the 
atelier  till  he  himself  died  young,  in  1467,  at 
Florence.  In  his  works  he,  to  some  extent,  copied 
the  style  of  Filippo  Lippi,  and  the  predella  of  an 
altar-piece  by  that  artist  in  the  Florence  Academy 
is  said  to  be  by  him : 

The  following  are  the  works  usually  ascribed  to 
Pesellino : 

Florence.  Academy.  The  Nativity;  Miracle  of  St. 
Anthony  of  Padua;  Martyr- 
dom of  St.  Cosmo  and  St. 
Damiau.  (Part  of  the  predella 
of  the  '  Virgin  and  Saints' 
hy  Filippo  Lippi,  also  in  the 
Acad-emy.) 
„  Buonarroti  }  Three  scenes  from  the  Life  of  St. 

Coll.  ]■  Nicholas.  {Predella  from  the 
Cappella  Cavalcantij  in  Santa 
Croce,  Florence.) 


Francesco 


PAINTERS  AND  ENGRAVERS. 


Frauck 


Florence.         Palazzo     )  Meeting  of  David  and  Goliath 
Torriyiani.  J      (cassone). 
»  t,  David  Triumphant  (cassone). 

„         iSanto  Spirito    \ 

LtXi/^^.[^'>--tlon. 

Giorgio).      J 

Frankfort.  Stadel.    Virgin  and  Child. 

Liverpool.  Gallery.    St.  Bernardino  preaching  in  the 

Cathedral  at  Florence. 

London.         JVat.  Gall.    A  Trinita  {from  the  church  of 
the  Triniti,  Pistoja). 

Paris.  Louvre.    St.  Francis  receiving  the  Stig- 

mata;   St.    Cosmo    and    St. 
Damian  healing  a  sick  man. 
,  (^Part  of  the  predella  of  the 

'  Virgin  and  Saints '  ly  Filippo 
Lippi,  in  the  Academy,  Flor- 
ence.) 
t>  »  The  Nativity.     (Ascribed  in  the 

catalogvs  to  Filippo  Lippi,  hut 
Crowe  and  Cavalcaselle  attri- 
lute  it  to  Pesellino.) 

Eome.       Soria  Palace.    Two  Scenes  from  the  Life  of  St. 
Sylvester. 

FRANCESCO  di  TOLENTINO.    See  Tolentino. 

FRANCESE,  Claudio.     See  Claude. 

FRANCHI,  Antonio,  an  Italian  historical  painter, 
was  born  at  Lucca  in  1634,  and  settled  at  Florence. 
He  was  a  scholar  of  Baldassare  Franceschini, 
called  II  Volterrano,  though  he  rather  followed  the 
style  of  Pietro  da  Cortona.  His  picture  of  '  St. 
Joseph  of  Calasanzio,'  in  the  church  of  the  Padri 
Scolopi,  is  admired  for  the  correctness  of  its  de- 
sign and  the  vigour  of  its  efEect.  His  best  work, 
'Christ  giving  the  Keys  to  St.  Peter,'  is  in  the 
parochial  church  of  Caporgnano  near  Lucca.  He 
was  employed  by  the  Grand-Duke  of  Tuscany,  for 
whom,  as  well  as  for  private  collections,  he  painted 
several  easel  pictures.  He  wrote  a  book  on  art, 
entitled  '  La  Teorica  della  Pittura,'  printed  at 
Lucca  thirty  years  after  his  death.  He  died  in 
1709.  His  son  and  daughter,  Giuseppe  and  Mak- 
GHERITA,  also  became  artists. 

FRANCHI,  Cesaee,  who  gained  repute  by 
painting  figures  of  a  small  size,  was  a  native  of 
Perugia,  and  was  instructed  by  Giulio  Cesare 
Angeli.     Franchi  died  in  1615. 

FRANCHI,  Lorenzo,  was  born  at  Bologna  about 
1563,  and  was  instructed  by  Camillo  Procaccini ; 
but  after  leaving  that  master  he  attached  himself 
to  the  manner  of  the  Carracci,  whose  works  he 
copied,  or  imitated  in  small.  He  became  eminent 
in  this  way;  but  the  masters  he  chose  for  his 
models  have  the  credit  of  the  performance,  and 
the  name  of  Lorenzo  Franchi  is  scarcely  recog- 
nized out  of  his  own  country.  He  died  about 
1630. 

FRANCHINI,  Nicool6,  who  was  bom  at  Siena 
in  1704,  and  died  in  1783,  was  a  son  of  the  sculptor 
Giacomo  Franchini.  Among  his  pictures  in  Siena 
are  '  St.  Francis  of  Sales,'  in  the  Baptistery  (now 
San  Giovanni) ;  '  St.  Christopher,'  in  Sant'  Agostino ; 
and  the  '  Death  of  the  Virgin,'  in  San  Giorgio. 

FRANCHOYS,  Lucas.    See  FEANgois. 

FRANCI,  Francesco,  who  was  born  at  Siena  in 
1658,  and  died  there  in  1721,  has  left  in  that  city 
a  number  of  pictures,  among  which  may  be  named 
'  St.  Jerome,'  at  the  church  of  Fonte  Giusta,  and  a 
'Last  Supper'  in  the  refectory  of  the  Osservanti. 

FRANCIA,  DoMENico,  a  painter  and  architect, 
bom  at  Bologna  in  1702,  was  a  son  of  the  engraver 
Francesco  Maria  Domenico  Francia,  and  studied 
under  Ferdinando  Galli  (called  Bibiena),  whom 
he  assisted  in  his  paintings  at  Vienna.     He  was 


afterwards  appointed  builder  to  the  King  of 
Sweden,  and  on  the  expiration  of  this  service 
painted  at  other  European  courts.  He  died  in 
1758. 

FRANCIA,  Francesco  Giaoomo.    See  Raibolini. 

FKANCIA,  Franqois  Louis  Thomas,  a  water- 
colour  landscape  painter,  was  born  at  Calais  in 
1772.  In  early  life  he  settled  in  London,  and 
exhibited  at  the  Royal  Academy  from  1795  to  1822. 
He  attained  considerable  reputation,  and  was  ap- 
pointed water-colour  painter  to  the  Duchess  of  York. 
He  was  an  unsuccessful  candidate  for  the  associate- 
ship  of  the  Academy  in  1816,  and  shortly  after- 
wards returned  to  his  native  place,  where  he  died 
in  1839.  There  are  nine  of  his  works  in  the  South 
Kensington  Museum. 

FRANCIA,  Giulio.    See  Raibolini. 

FRANCIA,  PiETRO,  was  a  native  of  Florence 
who  painted  for  the  catafalque  of  Michelangelo  |, 
work  representing  that  artist  standing  before  Pope 
Pius  IV.,  holding  in  his  hands  the  model  of  the 
cupola  of  St.  Peter's  at  Rome,  1563.  Alessandro 
del  Barbiere  was  his  pupil. 

FRANCIABIGIO.     See  Bioi. 

FRANCIONE,  Pedro,  was  a  Spanish  artist  who 
flourished  about  the  year  1521,  and  whose  works 
are  to  be  found  at  Naples. 

FRANCIOSO.     See  Jaquet. 

FRANCIS.    See  Conscience,  FRANgois  Antoinb. 

FRANCISCO,  Don.  See  Francken,  Frans,  the 
younger. 

FRANCISQUE.    See  Millet. 

FRANCISQUITO.    See  Franoesohitto. 

FRANCK,  FRANgois.     See  also  Francken. 

FRANCK,  Franz  Feiedrich,  born  at  Augsburg 
in  1627,  was  instructed  by  his  father,  Hans  Ulrich 
Franck.  He  died  at  Augsburg  in  1687.  The 
following  productions  are  by  him : 

Augsburg.        St.  Anna.    The  History  of  Jacob  and  Esau. 
Carlsruhe.     Jhical  Pal.    The  Passage  of  the  Bed  Sea. 
Mannheim.  Gallery.    The  Israelites  after  the  Passage 

through  the  Red  Sea. 
„  „  A  Saloon  of  Pictures  and  An- 

tiquities. 
Hatisbon.         Cathedral.    St.  Francis  dying. 
Vienna.  Gallery.    Portrait  of  a  Man. 

FRANCK,  Hans.     See  Lutzelbuegee. 

FRANCK,  Hans  Ulrich,  a  German  historical 
painter  and  etcher,  was  born  at  Kaufbeuren,  in 
Swabia,  in  1603.  He  resided  chiefly  at  Augsburg, 
where  he  died  in  1680.  Among  other  engravings 
the  following  are  by  him : 

Twenty-five  plates  of  scenes  in  Military  Life.    1656. 
The  Meeting  of  David  and  Abigail. 
Alexander  and  the  dying  Darius.    1644. 

FRANCK,  Jan  Willem,  a  Dutch  painter  of 
flowers,  birds,  and  fruit,  was  born  at  the  Hague  in 
1720.  He  copied  after  Berchem,  Potter,  Wynants, 
Van  de  Velde,  Van  Huysum,  &c.,  and  died  at  the 
Hague  in  1761. 

FRANCK,  Johann,  an  engraver,  was  the  son 
of  Hans  Ulrich  Franck.  He  engraved  several 
portraits  for  the  booksellers,  of  which  are  some 
of  those  in  Priorato's  'Historia  di  Leopoldo  Ce- 
sare,' 1670 ;  and  in  conjunction  with  Susanna 
Sandrart  and  J.  Meyer,  he  engraved  a  set  of  plates 
of  the  gardens  and  fountains  in  the  vicinity  of 
Rome. 

FRANCK,  Joseph,  a  Belgian  line-engraver,  was 
bom  at  Brussels  in  1825.  He  was  a  pupil  of  Cala- 
matta,   and  engraved  many  portraits   and   other 

517 


Franckalls 


A  BIOGRAPHICAL  DICTIONARY  OF 


Fraucken 


plates  after  ancient  and  modem  masters,  besides 
which  he  completed  the  engraving  of  Rubens's 
'  Descent  from  the  Cross,'  which  had  been  left 
unfinished  by  Erin  Corr.  He  died  in  1883.  His 
principal  works  are : 

The  Virgin  with  the  Lily ;  after  Leonardo  da  Vinci. 

The  Entombment  of  Christ ;  after  Quentin  Massys. 

A  Pieti ;  afteir  Van  Dyck, 

The  Prisoner ;  after  GdrdTm. 

Paul  and  Virginia ;  after  Van  Lerius, 

la  Glycine ;  a,fter  Fortaeh. 

Meditation  ;  after  A.  Sohert. 

The  First  Stockings ;  after  H.  Kretschmer. 

FRANCKALLS,  Baptist,  an  obscure  engraver, 
is  mentioned  by  Florent  Le  Comte,  who  says  he 
excelled  in  engraving  tournaments,  theatrical 
scenes,  and  magnificent  decorations. 

FEANCKBN  (or,  as  it  is  sometimes  written, 
F.RANCK,)  is  the  name  of  a  numerous  family  of 
yiemish  painters,  whose  works  are  found  in  many 
of  the  public  galleries  of  Europe.  Owing  to  the 
fact  that  they  all  painted  much  in  the  same  style 
as  Frans  Francken  the  elder,  who  was  a  pupil  of 
Frans  Floris,  and  the  chief  of  the  family,  their 
works  have  doubtless  been  ascribed  in  some  cases 
wrongly. 

Nicolaes  Francken 

(1520  ?— 1606) 


Hieronymus  I. 
(1640—1610) 


Hieronymus  11. 
(1678—1629) 


Frans  I. 
(1542-1616) 

Frana  II. 
(1581-1642) 


Ambrosius  I. 
(1644—1618) 


Ambrosius  II. 
{? 1632) 


Frans  III. 
(1607—1667) 


Hieronymus  III. 
(1611—?) 

Constantinus 
(1611-1717) 


FRANCKEN,  Ambeosius,  the  elder,  a  younger 
son  of  Nicolaes  Francken,  was  born  at  Herenthals, 
in  1544.  He  was  instructed  in  the  art  of  painting 
by  Marten  De  Vos,  or,  according  to  other  writers, 
by  Frans  Floris.  About  the  year  1570  he  visited 
France,  and  in  1573  became  a  master,  and  in 
1581-82  the  dean  of  the  Guild  of  St.  Luke  at 
Antwerp.  Though  his  productions  are  too  over- 
charged in  every  respect,  Ambrosius  possessed  a 
fecundity  and  warmth  of  invention  which  was 
superior  to  that  of  his  brothers.  He  died  at  Ant- 
werp in  1618.  His  most  important  works  are  the 
following : 


Antwerp.         Gallery. 


Martyrdom  of  St.  Crispin  and 
St.  Crispinian. 

Scenes  from  the  Lives  and 
Martyrdom  of  St.  Cosmo  and 
St.  Damian.     {The  wings  of  a 


St.  Jacques. 


518 


Scenes    from    the    Life    of    St. 

Sebastian. 
The  Miracle  of  the  Loaves  and 

Fishes.     1598. 
The  Last  Supper.     (A  triptych.) 
The  Disciples  at  Fmmaus.     (The 

left  wing  of  the  above  triptych.) 
Melchizedek    sacrificing.       (The 

reverse  of  the  same.) 
The  Ordination  of  St.  Paul  and 

St.  Barnabas.     (The  right  wing 

of  the  above  triptych) 
Visit  of  the  Angel  to  EUjah.   (The 

reverse  of  the  sanie.) 
Scenes    from    the    Life    of    St. 

George.    (The  wings  of  a  trip- 
tych.) 
St.  George    and    St.    Margaret. 

{The  reverses  of  the  above.) 
The  Martyrdom  of  St.  Catharine. 
Christ  raising  the  Daughter  of 

Jairus. 


Antwerp.   St.  Jacques.    Christ  and  the  Adulteress. 

(The  two  laterals  of  an  altar-piece 
painted  in  1600.) 
„  „  Christ  on  the  Mount  of  Olives 

with  the  Disciples.  (The  reverse 
of  both  wings.) 
Dresden.         Gallery.    Mary,  the  Queen  of  Heaven. 

FRANCKEN,  Ambeosius,  called  the  younger, 
to  distinguish  him  from  his  uncle  of  the  same 
name,  was  bom  at  Antwerp  in  the  latter  part  of 
the  16th  century.  He  studied  under  his  father, 
Frans  Francken  the  elder,  whose  style  he  imi- 
tated. In  1624  he  was  registered  as  a  master  in 
the  Guild  of  St.  Luke  at  Antwei-p,  and  he  is  said 
to  have  painted  some  time  in  Louvain.  He  died 
in  1632.     Little  else  is  known  of  him. 

FRANCKEN,  Constantinus,  a  skilful  painter  of 
siege  and  battle  scenes,  bom  at  Antwerp  in  1661, 
was  the  son  of  Hieronymus  Francken  the  third, 
and  grandson  of  Frans  Francken  the  younger. 
In  1694  he  became  dean  of  the  Guild  of  St.  Luke. 
'  The  Siege  of  Namur,'  with  William  HI.  and  his 
generals,  is  by  some  considered  his  best  work. 
He  died  at  Antwerp  in  1717. 

FRANCKEN,  Feans,  the  elder,  the  second  son 
of  Nicolaes  Francken,  was  bom  at  Herenthals  in 
1542,  and  learned  painting  in  the  school  of  Frans 
Floris.  In  1567  he  received  the  freedom  of  the 
city  of  Antwerp,  and  became  a  master  in  the  Guild 
of  St.  Luke,  of  which  he  was  dean  in  1588-89.  He 
possessed  great  ability  in  design  and  in  colouring, 
but  his  pictures  are  wanting  in  depth  and  spirit. 
After  1597  he  signed  his  paintings  D  o  F.  {den, 
ouden  Frans),  '  the  elder  Francis.'  He  died  at 
Antwerp  in  1616.  His  portrait  has  been  etched 
by  Van  Dyck.  Among  his  pupils  were  his  sons, 
Hieronymus,  Frans,  and  Ambrosius  Francken,  G. 
Goltzius,  Jan  De  Waal,  and  Herman  van  der 
Maest.  The  following  are  among  his  principal 
works : 


Amsterdam.  Museum. 

Antwerp.  Gallery. 

BerUn.  Gallery. 

Blenheim.  Palace. 

Brunswick.  Gallery. 


Darmstadt.       Gallery, 
Dresden.  Gallery. 


Dublin. 


Nat.  Gall. 


Glasgow.  Gallery. 

Lille.  Museum. 

Munich.  Gallery. 

Paris.  Jjmvre. 


The  Holy  Family. 
Eteocles  and  Polynices. 
Christ  on  the  Cross. 
Pharaoh   perishing  in  the  Bed 

Sea. 
Overthrow  of   Pharaoh  in  the 

Bed  Sea. 
Neptune  and  Galatea. 
King  Midas. 

The  Opening  of  Joseph's  Coffin. 
The  Adoration  of  the  Magi. 
The  Bang's  Marriage  Feast. 
Christ  stripped  of  His  Garments. 
Esther  before  Ahasuerus. 
Christ  going  to  Calvary.    1597. 
The  Fhght  into  Egypt. 
Innocence  and  Slander. 
The  Creation  of  Eve. 
The  Creation  of  Animals. 
St.  Christopher  and  the  Infant 

Christ. 
The  Procession  to  Calvary. 
Christ  on  the  Mount  of  OUves. 
A  Banquet,  with  Musicians. 
Esther  appearing  before  Ahas- 


Pommers- 
felden. 


Stockholm.     Museum. 
Stuttgart.         Gallery. 

Vienna. 


Gallery.    The  Seven  "Works  of  Mercy. 

„         The  Annunciation  to  the  Shep- 
herds. 
,.         The  Sacrifice  at  Lystra. 
Lazarus  and  Dives. 
The  "Wise  Men  presenting  their 
Gifts. 
Gallery.    A  Saloon  with  Pictures. 

„         A  CavaUer  leading  a  Lady  out  to 

Dance. 
„  The  Scourging  of  Jesus. 


Fraucken 


PAINTERS  AND  ENGRAVERS. 


Francken 


FRANCKEN,  Feans,  the  younger,  called  Don 
Francisoo,  was  a  younger  son  of  Frans  Francken 
the  elder,  and  was  born  at  Antwerp  in  1581.  He 
was  instructed  in  the  art  by  his  father,  whose 
style  he  followed  for  some  time.  He  afterwards 
visited  Italy,  and  resided  chiefly  at  Venice,  where 
he  studied  the  works  of  the  great  colourists  of 
that  school.  After  an  absence  of  three  years  he 
returned  to  Antwerp,  and  in  1605  was  received 
into  the  G-uild  of  St.  Luke,  of  which  he  was 
dean  in  1614-15.  He  died  at  Antwerp  in  1642. 
His  paintings  represent  scenes  from  the  Bible  and 
mythology,  allegories,  balls,  masquerades,  festi- 
vals, and  landscapes,  with  figures  of  a  small  size. 
The  figures  in  the  works  of  the  younger  De 
Momper,  the  elder  Neeft's,  and  Bartelmees  van 
Bassen  were  inserted  by  him.  He  was  undoubtedly 
superior  in  design,  colouring,  and  expression  to 
his  brothers  Ambrosius  and  Hieronyums,  and 
even  to  his  father.  Before  his  father's  death  he 
signed  7).  j.  F.  {den  jongen  Frans),  but  after- 
wards D.  0.  F.  {den  ouden  Frans),  to  distinguish 
himself  from  his  nephew.  Among  his  works  are 
the  following  : 


Amsterdam.  Museum. 

The  Adoration  of  the  Virrin  and 

Child.    1616. 

Antwerp. 

Gallery. 

The  Miracles  at  the  Tomb  of  St. 
Bruno. 

" 

n 

The  Martyrdom  of  the  Four  with 
the  Crowns.     1624. 

n 

s» 

The  Works  of  Mercy.    1608. 

Augsburg. 

Gallery. 

Seven     paintings:     Christ    with 
Martha  and  Mary ;  Christ  bear- 
ing the  Cross,  &c. 

n 

n 

The  Continence  of  Scipio. 

Berlin. 

Gallery. 

The  Temptation  of  St.  Anthony. 

jj 

» 

Christ  washirig  the  Apostles'  Feet, 

,j 

„ 

Christ  on  the  Mount  of  Ohves. 

„ 

j» 

Solon  and  Crcesus. 

Bordeaux. 

Museum. 

Christ  at  Calvary. 

J, 

» 

Different  ways    of    gaining    Im- 
mortaUty. 

Brussels. 

Gallery. 

Crcesus,  King  of  Lydia,  showing 
his  treasures  to  Solon. 

Cassel. 

Gallery. 

A  Holy  Family. 

w 

» 

The  Adoration  of  the  Virgin. 

„ 

,, 

The  Kiss  of  Judas. 

„ 

?» 

The  Painter  Apelles. 

Dresden. 

Gallery. 

The  Adulteress  before  Christ. 

Florence. 

Uffid. 

Flight  into  Egypt. 

)> 

Pitti  Pal. 

Christ  on  the  way  to  Calvary. 

Hague. 

Museum. 

Ball  at  the  Court  of  Albert  and 
Isabella  in  1611.    (Seven  figures 
are  Iry  the  younger  Pourlms.) 

IdUe. 

Museum. 

Jesus  going  to  Calvary. 

Munich. 

Gallery. 

A  Skirmish  of  Cavaky.     1631. 

)> 

n 

The  Works  of  Mercy.     1630. 
Allegorical  Picture. 

Paris. 

Zouvre. 

Christ  on  the  Cross. 

,1 

n 

A  Prince  visiting  a  Church.  1633. 

,» 

The  Prodigal  Son.    1633. 

Petersburg.  Hermitage.  Seven  Works  of  Mercy. 

Vienna. 

Gallery. 

The  Witches'  Sabbath.    1607. 

)» 

» 

Christ  crucified.    1606. 

Meeting  of  Christ  and  Nicodemns. 
Croesus  and  Solon. 

FRANCKEN,  Fkans,  the  third,  called  'den 
rubenschen  Francken '  (Rubens's  Francken),  but 
for  what  reason  is  not  known,  was  a  son  of  Frans 
Francken  the  younger.  He  was  born  at  Antwerp 
in  1607,  and  became  dean  of  the  Guild  of  St.  Luke 
in  1655.  He  usually  painted  small  figures,  with 
which  he  often  decorated  the  interiors  of  churches 
by  the  younger  Pieter  NeefEs.  Before  the  death 
of  his  uncle  he  signed  his  paintings  denjonge,  and 
after  1642,  i?'.i^.  He  died  in  1667.  The  following 
works  by  him  are  known : 


Antwerp. 

Gallery. 

Augsburg. 

Gallery. 

Dresden. 

Gallery. 

Hague. 

Gallery. 

Family  Group  in  a  Picture  Gal- 
lery. 

St.  John  preaching. 

Moses  striking  the  Rock.    1654. 

Interior  of  Antwerp  Cathedral. 
1648. 

Interior  of  a  Cathedral.  [Signed 
hy  him  and  Pieter  Jfeeffs.) 

FRANCKEN,  Gabeiel,  a  son  of  Sebastiaen 
Francken,  of  whom  it  is  only  known  that  he  was 
a  pupU  of  one  Gerard  Schoofs  in  1605,  and  a  mem- 
ber of  the  Guild  of  St.  Luke  at  Antwerp  in  1634. 

FRANCKEN,  HiBBONVMns,  the  elder,  the  eldest 
son  of  Nicolaes  Francken,  was  born  at  Herenthals, 
near  Antwerp,  in  1540,  and  was  a  disciple  of 
Frans  Floris.  He  afterwards  visited  France  on 
his  way  to  Italy,  and  passed  some  time  in  Paris  ; 
he  painted  in  1565  at  Fontainebleau,  and  about 
the  same  time,  in  the  church  of  the  Augustinians 
in  Paris,  a  'Crucifixion.'  He  afterwards  went  to 
Rome,  where  he  studied  for  some  time,  and  then 
returned  to  Paris.  He  was  employed  by  Henry 
III.,  and  was  appointed  portrait  painter  to  the  king. 
In  Flanders  he  established  an  academy,  and  after 
the  death  of  Frans  Floris,  the  scholars  of  that 
master  placed  themselves  under  his  tuition,  and 
even  Abraham  Bloemaert  attended  his  school. 
When  Henry  III.  was  murdered  in  1589,  he  re- 
turned to  Antwerp,  but  being  patronized  by  Henry 
IV.  and  Louis  XIIL,  he  again  took  up  his  residence 
in  Paris  in  1595,  and  died  there  in  1610.  His 
best  productions  are  his  portraits,  which  may  bo 
compared  with  those  of  Pourbus.  Among  his 
paintings  may  be  noted : 


Amsterdam.   Museum. 


of 


Antwerp. 
Dresden. 


Cathedral. 
Gallery. 


Fontainebleau.  Palace. 
Lille. 


Allegory   of    the  Abdication 

Charles  V.  at  Brussels. 
The  Miracles  of  St.  Gomer.  1607. 
The  Beheading  of  St.  John  the 

Baptist. 
Several  paintings. 
Charles  V.  taking  the  Eeligious 
Dress. 

Paris.  Augustinian )  ^^^  Crucifixion. 

Church.     ) 

■'^'^^^^^^""  I  The  Nativity  of  Christ.  1585. 

Stockholm.      Museum.    Assembly  of  Sea  Gods. 

FRANCKEN,  Hieronymus,  called  the  younger 
to  distinguish  him  from  his  uncle,  was  born  at 
Antwerp  in  1578.  He  studied  under  his  father, 
Frans  Francken  the  elder,  and  under  bis  uncle 
Ambrosius.  He  was  free  of  the  Guild  of  St.  Luke 
in  1607,  and  died  at  Antwerp  in  1629.  He  was 
especially  successful  in  his  portraits.  In  the 
Antwerp  Gallery  is  a  picture  by  this  artist  of 
'  Horatius  Codes  at  the  Sublician  Bridge,'  painted 
in  1620. 

FRANCKEN,  Jan  Baptist,  the  son  of  Sebas- 
tiaen Francken,  was  born  at  Antwerp  in  1599. 
He  received  his  first  instruction  from  his  father, 
and  for  some  time  followed  his  style,  which  he 
afterwards  improved  by  an  attentive  study  of 
the  works  of  Rubens  and  Van  Dyck.  His  first 
efforts  were  historical  subjects ;  but  he  adopted 
a  mode  of  representing  the  interiors  of  saloons 
and  galleries,  embellished  with  pictures  and 
statues,  &c.,  with  gallant  assemblies  of  figures 
and  conversations.  His  works  of  that  description 
were  painted  with  great  beauty  of  colouring,  and  a 
very  spirited  touch.  They  were  greatly  sought 
after,  and  were  placed  in  the  choicest  collections. 
He  possessed  a  talent  of  imitating  so  exactly  the 
peculiar  touch  and  style  of  each  master  in  the  small 
pictures  he  introduced  into  his  galleries,  that  it 

519 


Francken 


A  BIOGRAPHICAL  DICTIONARY  OP 


Franco 


was  easy  to  point  out  the  original  painter.  It  was 
the  possession  of  this  talent  that  induced  so  many 
contemporary  artists  to  solicit  his  assistance  to 
decorate  their  pictures  with  small  figures,  both  in 
landscapes  and  interiors.  Many  of  Pieter  Neefils's 
are  so  ornamented.  He  died  in  1653.  Pictures 
by  him  of  the  '  Beheading  of  St.  John  the  Baptist ' 
are  at  Augsburg  and  Brussels,  and  at  Bruges  there 
is  a  picture  of  '  Christ  among  the  Doctors.' 

PBANCKEN,  Johannes,  called  by  the  Italians 
Giovanni  Feanco,  entered  the  school  of  Jacob  van 
Utrecht  in  1512,  and  afterwards  went  to  Italy,  and 
established  himself  at  Naples  in  1560.  In  San 
Francesco,  at  Naples,  the  painting  of  the '  Adoration 
of  the  Magi,'  dated  1556,  is  by  this  artist. 

FBANCKEN,  Laueens,  was  instructed  in  paint- 
ing by  his  uncle,  Gabriel  Francken,  in  1623.  He 
chiefly  excelled  in  historical  and  landscape  subjects. 
About  1660  he  established  himself  in  Paris. 

FRANCKEN,  Nicolaes,  born  at  Herenthals  about 
1520,  is  said  to  have  been  instructed  by  Frans 
Floris,  and  was  the  father  of  Hieronymus,  Prans, 
and  Ambrosius  Francken.  He  died  at  Antwerp 
in  1596. 

FRANCKEN,  P.  H.,  who  flourished  about  the 
middle  of  the  17th  century,  painted  for  the  Car- 
melite Church  at  Antwerp  a  picture  of  '  Elijah  on 
Mount  Carmel,'  which  has  disappeared,  and  for  the 
church  of  the  Reoollets,  pictures  of  '  St.  Francis 
of  Assisi,'  '  St.  Anthony  of  Padua,'  '  St.  Louis,'  and 
one  called  '  The  Poisoned  Blow,'  in  reference  to 
the  attempt  made  on  the  life  of  St.  James,  Arch- 
bishop of  Milan.  These  pictures  are  now  in  the 
Antwerp  Gallery. 

FRANCKEN,  Sebastiaen,  (or  Veancx,)  was  bom 
at  Antwerp  in  1678.  He  was  a  disciple  of  Adam 
van  Noort,  and  distinguished  himself  in  painting 
battles  and  cavalry  skirmishes,  also  conversation 
pieces,  hunting  parties,  and  landscapes  with  figures 
and  animals.  He  likewise  executed  several  paint- 
ings in  conjunction  with  his  son,  Jan  Baptist,  and 
adorned  the  works  of  Pieter  NeefEs,  De  Momper,  and 
other  artists,  with  figures.  Several  etchings  were 
also  made  by  him  of  European  costumes.  He 
died  at  Antwerp  in  1647.  His  portrait,  painted 
by  Van  Dyck,  has  been  engraved  by  Hondius. 
Among  his  works,  which  are  sometimes  ^ 
signed  with  the  accompanying  monogram,  |^  /" ' 
are  the  following :  >^' 

Gallery.    Temptation  of  St.  Anthony. 
Museum.    A  Virgin.  (Painted  in  conjunction 

with  Jan  Bnieghel.) 
Hermitage.    Passage  of  the  Eed  Sea. 
Museum.    A  Pillaged  Village. 
Museum.    Arrival   of  Mary  de'  Medici  at 

Antwerp. 
Gallery.     Interior  of  the  Church  of  the 

Jesuits  at  Antwerp. 
»  ,)  Banditti  plundering  a  Carriage. 

FRANCO,  Agn OLD,  or  Angiolo,  was  a  Neapolitan 
artist  whose  death  occurred  about  1465.  The 
frescoes  in  the  Cappella  Brancaccio  at  San 
Domenico,  Maggiore,  Naples,  representing  the 
'Crucifixion,'  and  scenes  taken  from  the  lives  of 
the  saints  and  martyrs,  are  assigned  to  him. 

FRANCO,  Alfonso,  was  born  at  Messina  in 
1466,  and  died  there  in  1624.  He  is  the  author  of 
a  Pieta,'  dated  1620,  in  the  church  of  San  Francesco 
ai  Paola,  Messina. 

FRANCO,  GiAcoMO,  an  Italian  designer  and 
engraver,  was  a  relation  of  Giovanni  Battista 
JJranco.     He  was  bom  at  Venice  in   1566,  and 

o20 


Dresden. 
Lille. 

Petersburg. 
Kotterdara. 
Stockholm. 

Vienna. 


instructed  by  Agostino  Carracci.  He  generally 
signed  his  plates  with  his  name,  but  sometimps 
with  a  monogram.  The  following  prints  are  the 
most  worthy  of  notice : 

Part  of  the  plates  for  an  edition  of  Taaso's  '  Gerasa- 
lemme  liberata,'  published  at  Genoa  in  1590;  after 
the  designs  of  Bernardo  Castelli;  the  rest  were 
engraved  by  Agostino  Carracci. 

Habiti  delle  Donne  Veuetiane ;  published  in  1626. 

A  collection  of  portraits  of  Great  Men ;  dated  1596. 

St.  Jerome ;  J.  Franco  Eoma,  sc. 

The  Crucifixion  ;  signed  Giacomo  Franco,  fee. 

Hercules  between  Virtue  and  Pleasure ;  from  an  antique 
basso-relievo. 

FRANCO,  Giovanni.    See  Feancken,  Johannes. 

FRANCO,  Giovanni  Battista,  called  II  Semolbi, 
was  born  at  Udine  in  1510,  and  distinguished  him- 
self as  an  historical  painter  and  an  etcher.  He 
went  to  Rome  when  he  was  young,  devoted  himself 
to  an  attentive  study  of  the  works  of  Michel- 
angelo, and  became  one  of  the  ablest  designers  of 
his  time.  He  excelled  especially  in  representing 
mythological  and  allegorical  decorations  of  small 
size,  but  was  less  successful  in  larger  works.  He 
was  engaged  by  several  masters  to  assist  in  the 
execution  of  their  designs.  In  1536  he  painted 
at  the  triumphal  arch  for  the  entry  of  Charles  V. 
into  Rome,  and  went  afterwards  to  Florence  with 
Raff'aello  da  Montelupo  for  a  similar  purpose,  and 
executed  with  Vasari  several  works  in  a  palace  for 
Ottaviano  de'  Medici,  where  there  were  also  some  of 
his  own  compositions.  He  executed  for  the  Dukes 
Alexander  and  Cosmo  I.  several  portraits  of  the 
Medici  after  Sebastiano  del  Piombo,  Titian,  and 
Pontormo.  He  was  subsequently  employed  by 
the  Duke  of  Urbjno  in  the  majolica  manufactory 
at  Castel  Durante,  and  several  times  at  Rome.  The 
latter  part  of  his  life  he  spent  at  Venice,  where  he 
died  in  1680,  leaving  unfinished  his  works  in  the 
chapel  of  San  Francesco  della  Vigna.  Among  his 
paintings  may  be  mentioned : 

Florence.  Pitti  Palace.     The  Battle  of  Montemnrlo. 
Rome.  Frat.  d.  Miseri-  \  Imprisonment  of  St.  John  the 
cordia.        j      Baptist  (fresco). 

''  '  Minerva!^'^}  Scenes  from  the  Bible  (fresco). 

Venice.  S.    Francesco  )  m.     -o     f         r  /-ii,  ■  j. 
della  Vigna.  j  ^^  Baptism  of  Christ. 

„       "S.  Gioblo.  Madonna  with  Saints. 

„      Toml  of  Christ.')  MeTCViy,  with   Abundance    and 
Fugger.       J      Fame. 

There  are  by  him  108  etchings,  which  are  very 
difEerent  in  value  and  in  manner  of  execution. 
It  is  said  that  only  those  are  by  him  which  are 
etched  in  a  broad  style  and  finished  ofE  with  a  light 
and  spirited  point.  He  handled  the  graver  most 
mechanically.  It  is  not  known  with  certainty  from 
whom  he  learned  this  branch  of  art,  but  it  has 
been  supposed  that  he  was  instructed  by  Marc 
Antonio  ;  and  this  conjecture  is  strengthened  by 
a  near  resemblance  between  his  style  and  that  of 
Giulio  Bonasone,  who  was  unquestionably  a  disciple 
of  Marc  Antonio.  He  generally  marked  his  plates 
B.  F.  7.  F.,  {Battista  Franco  Venetus  fecit).  The 
following  are  his  principal  etchings  : 

Moses  striking  the  Eock. 

Abraham  meeting  Melchizedek. 

Abraham  sacrificing  Isaac. 

The  Isiraelifces  gathering  Manna  in  the  Desert. 

The  Captive  Kings  brought  before  Solomon. 

The  Adoration  of  the  Shepherds,  with  Angels  in  the 
Clouds. 

The  Virgin  and  Infant,  with  St.  John. 

St.  John  the  Baptist. 

St.  Jerome  holding  a  skull. 


£'ranco 


PAINTERS  AND  ENGRAVERS. 


Francquart 


Christ  disputing  with  the  Doctors. 

The  Entombment  of  Christ. 

Simon  the  Magician  before  the  Apostles. 

The  Cyclops  at  their  Forge. 

Hercules  and  Deianira. 

The  Flagellation ;  after  Titian. 

The  Baising  of  Lazarus ;  after  Raphael. 

The  Donation  made  to  the  Church  by  the  Emperor 
Constautine ;  after  the  same. 

The  Last  Judgment ;  after  M.  Botta. 

Christ  on  the  Cross,  with  two  Angels ;  after  Michel- 
angelo. 

Cupid  and  Psyche  in  the  Bath ;  after  Giulio  Romano. 

The  Clemency  of  Scipio ;  after  the  same. 

The  Deluge ;  after  JPietro  da  Caravaygio. 

FRANCO  BOLOQNESE.    See  Bolognese. 

PRANCOFORTO,  Adamo  da.     See  Elsheimer. 

FRANQOIS,  Chablbs  Remy  Jules,  a  French  en- 
graver, was  bom  in  Paris  in  1809.  He  was  a 
scholar  of  Henriqiiel-Dupont,  and  died  in  1861. 
Some  of  his  plates  are : 

Hebe  ;  after  Ary  Scheffer. 

Napoleon  at  Fontainebleau ;  after  Delaroche.     1830. 

Pilgrims  in  the  Square  of  St.  Peter's  at  Rome ;  after 

the  same.     1847. 
The  Happy  Mother ;  after  the  same.    1853. 
Le  galant  Militaire ;  after  Terhorch. 

FRANQOIS,  Jean  Charles,  a  French  engraver, 
was  born  at  Nancy  in  1717.  He  is  said  to  have 
been  the  first  who  engraved  in  Paris  in  the  style 
representing  drawings  made  in  crayons,  and  for  this 
he  received  a  pension  of  600  francs  from  the  king, 
and  was  entitled  '  Graveur  des  dessins  du  Cabinet 
du  Roi.'  He  also  executed  some  portraits,  the 
most  important  of  which  are  those  for  the  quarto 
edition  of  Saverien'  s  '  Histoire  des  Philosophes 
modernes,'  1761-69.  He  died  in  Paris  in  1769. 
Among  other  plates  by  him  are  the  following : 

A  Body  Guard ;  after  Vanloo 

The  Virgin ;  after  Fien. 

Benedetto  Spinosa ;  after  Beshays. 

Louis  XV.,  King  of  France. 

Marie  Leszczinska,  Queen  of  France. 

Pierre  Bayle  ;  after  Carle  Vanloo. 

Desiderius  Erasmus ;  after  Holbein. 

Thomas  Hobbes ;  after  Fierre. 

John  Locke  ;  after  Vien. 

Nicolas  Malebranche  ;  after  Bachelier, 

The  Dancers ;  after  F.  Boucher. 

A  March  of  Cavalry ;  after  Farrocel. 

FRANQOIS,  LncAS,  (or  Franchots,)  the  elder,  a 
painter  and  engraver,  was  born  at  Meclilin  in  1547. 
It  is  not  mentioned  by  whom  he  was  instructed 
in  art,  but  he  painted  historical  subjects  with  con- 
siderable skill,  and  was  also  much  employed  as  a 
portrait  painter.  He  passed  the  early  part  of  his 
life  at  the  courts  of  France  and  Spain,  but  after 
an  absence  of  six  years  he  returned  to  Flanders, 
where  he  painted  several  altar-pieces  for  the 
churches,  which  are  deservedly  admired.  He  died 
at  Mechlin  in  1643.  Among  the  productions  of 
Lucas  Fran9ois  are : 

Antwerp.         Gallery.    Education  of  the  Virgin. 

„  „         Apparition  of  the  Virgin  to  St. 

Simon  Stock. 
Mechlin.  St.  Catharine.    Martyrdom  of  St.  Lawrence. 

„  Museum.    Portrait  of  Philippus  Snoy.   1619. 

„  St.  John.     St.  Agatba, 

Toumai.   -^'jg^^/ «•  |  St.  Placidus  and  St.  Maurice. 

Among  his  engravings  may  be  mentioned  : 

The  Adoration  of  the  Magi ;  after  Van  Dyck. 
The  portrait  of  an  old  Man  ;  after  the  same. 

His  two  sons,  Pieter  and  Lucas,  were  also  success- 
ful painters. 


FRANQOIS,  Lucas,  the  younger,  a  son  of  Lucas 
Fran9ois  the  elder,  born  at  Mechlin  in  1616,  was  a 
pupil  of  his  father,  whom  he  assisted  in  his  works. 
He  afterwards  entered  the  studio  of  Rubens,  where 
he  imitated  the  style  of  Bookhorst.  Following  his 
father  and  brother,  he  went  to  France,  but  after 
some  years  he  returned  to  his  native  city,  in  the 
churches  and  Museum  of  which  may  be  found 
several  of  his  works.     He  died  at  Mechlin  in  1681. 

FRANCOIS,  Pierre  Joseph  C^ilestin,  a  Flemish 
historical,  genre,  and  miniature  painter,  as  well  as 
an  etcher,  was  bom  at  Namur  in  1759.  He  was  a 
pupil  of  Lens,  and  travelled  in  France,  Italy,  and 
Germany,  but  finally  established  himself  at  Brussels, 
where  he  became  a  professor  in  the  Academy. 
His  pupils  were  very  numerous,  including  Navez, 
Decaisne,  Madou,  and  others.  He  died  in  1851. 
Amongst  his  works  are  : 

Marius  sitting  on  the  Ruins  of  Carthage.    (Bj'ussels 

Gallery.) 
A  Physician  consulted  by  two  old  "Women.     (Haarlem 

Museum.) 
The  Assumption.    (Ghent  Academy.) 

FEANQOIS,  Pieter,  the  son  of  Lucas  Fran9ois 
the  elder,  was  born  at  Mechlin  in  1606.  For  some 
time  he  studied  under  his  father,  and  followed  his 
style  in  his  larger  historical  works  ;  but  he  after- 
wards entered  the  school  of  Gerard  Sgghers, 
whose  academy  was  then  in  great  repute,  and 
adopted  a  mode  of  painting  history  and  portraits 
of  a  size  smaller  than  life.  The  Ai-chduke  Leopold 
invited  him  to  his  court,  where  he  was  favoured  with 
the  esteem  and  patronage  of  that  prince.  He  was 
also  solicited  to  visit  Paris,  where  he  met  with  the 
most  flattering  encouragement,  and  rendered  him- 
self extremely  acceptable  to  the  Parisians  by  his 
accomplishments  as  a  man  of  the  world,  and  his 
knowledge  of  music.  After  passing  four  years  in 
France  he  returned  to  Flanders,  where  he  continued 
to  exercise  his  talents  with  great  success.  He  died 
at  Mechlin  in  1654.  Pieter  Fran9ois  was  ingenious 
in  his  compositions,  firm  and  correct  in  his  draw- 
ing, and  clear  and  seductive  in  his  colouring. 
The  Museum  at  Lille  possesses  a  portrait  by  him 
of  Gisbert  Mutzarts,  Abbot  of  Tongerloo,  dated 
1645,  and  in  the  Dresden  Gallery  is  a  picture  of 
a  '  Man  in  Armour.'  There  exists  also  an  etching 
by  him,  which  is  very  rare  and  of  great  spirit ;  it 
represents  '  Christ  and  St.  John  as  children,  seated 
under  a  tree  and  kissing  each  other.' 

FRANQOIS,  Simon,  a  French  painter,  was  born 
at  Tours  in  1606.  Without  the  help  of  a  master, 
he  had  made  some  progress  in  the  art,  when  he 
went  to  Italy,  where  he  studied  some  years.  At 
Bologna  he  became  acquainted  with  Guido  Reni, 
who  made  him  a  present  of  his  portrait,  painted  by 
himself.  On  his  return  to  France  he  settled  in 
Paris,  where  he  painted  the  portrait  of  Louis 
XIV.  as  Dauphin,  and  many  other  distinguished 
personages,  so  much  to  the  satisfaction  of  the 
court,  that  he  looked  forward  with  confidence 
to  the  acquisition  of  fortune  and  fame.  In 
these  flattering  expectations  he  was,  hoirever,  dis- 
appointed, for  he  fell  into  disgrace,  and  died  in 
obscurity  in  Paris  in  1671.  He  painted  for  several 
churches,  and  is  said  to  have  etched  a  '  Magdalen 
in  a  Cavern,'  and  a  '  St.  Sebastian,'  two  plates  of  a 
good  design  and  a  noble  expression. 

FRANCQUART,  Jaques,  a  Flemish  painter,  was 
born  at  Brussels  in  1577.  He  received  a  liberal 
education  from"  his  parents,  who  were  of  good 
position,  and  having  shown  an  early  inclination 

621 


Franoucoi 


A  BIOGRAPHICAL   DICTIONARY  OF 


Franquinet 


for  art,  he  was  sent  to  Italy  to  study  painting 
and  architecture,  and  remained  there  some  years. 
On  his  return  to  Flanders  he  was  appointed  prin- 
cipal painter  and  architect  to  Albert  and  Isabella, 
then  governors  of  the  Low  Countries.  He  was 
greatly  esteemed  by  those  illustrious  personages, 
who  employed  him  in  several  public  works,  both 
in  painting  and  architecture.  The  church  of  the 
Jesuits,  at  Brussels,  was  built  from  his  designs, 
and  ornamented  with  some  of  his  pictures.  He 
died  at  Brussels  in  1651. 

FRANCUCCI,  Innocenzo,  called  Innocenzo  da 
Imola,  was  born  in  1494  at  Imola,  but  principally 
resided  at  Bologna.  In  1608  he  entered  the 
school  of  Francesco  Francia,  but,  according  to 
Malvasia,  he  afterwards  passed  some  years  at 
Florence,  under  Mariotto  Albertinelli.  His  style 
partakes  of  that  of  Fra  Bartolommeo  and  Andrea 
del  Sarto,  whose  works  he  appears  to  have 
studied  attentively.  His  pictures  are  numerous  in 
the  churches  at  Bologna ;  and  in  some  of  them  he 
approaches  so  near  to  the  beauty  and  simplicity  of 
Raphael,  that  they  appear  to  have  been  painted 
from  his  designs.  Some  of  his  altar-pieces  have 
small  pictures  under  them,  which  are  extremely 
beautiful.  In  the  church  of  San  Giacomo,  under 
his  large  painting  of  the  'Marriage  of  St.  Catharine,' 
there  is  an  exquisite  little  picture  of  the  '  Nativity '  ; 
and  in  San  Matteo  is  an  altar-piece  of  '  The  Virgin 
and  Infant,  with  several  Saints,'  and  below  live 
small  pictures,  representing  '  Christ  appearing  to 
the  Magdalen  in  the  Garden,'  '  The  Presentation 
in  the  Temple,' '  St.  Peter  Martyr,'  '  The  Nativity,' 
and  '  Christ  disputing  with  the  Doctors.'  That  he 
was  well  skilled  in  architecture  Franouooi  has 
shown  in  his  immense  fresco  in  the  cathedral  at 
Faenza,  and  in  the  Osaervanti  at  Pesaro,  in  which 
his  landscape  and  perspective  are  compared  by 
Lanzi  to  those  of  Leonardo  da  Vinci.  He  died  in 
1560,  according  to  Vasari,  of  a  pestilential  fever. 
Of  his  paintings,  in  addition  to  the  above,  may  be 
mentioned : 


Berlin. 
Bologna, 


Gallery.    Virgin  and  Child  with  Saints. 
Servi.    Annunciation. 
„        Marriage  of  the  Virgin. 
Pinacoteca.    Madonna    glorified,   with    Saints 
(painted   for    San    Michele    in 
Bosco).     1517. 
„  Madonna  with    SS.   Francis  and 

Clara. 
„  The  Virgin  coming  forth  from  a 

Church. 
Madonna  and  Child  with  Saints. 


S.  Michele 
in  Bosco. 


>  Annunciation. 


Death  and  Assumption    of   the 

Virgin. 
The  Four  Evangelists. 
The    Virgin    and    Child    in    the 

Clouds,  and  below  SS.  Michael, 

Peter,    and    Benedict   {in    the 

style  of  Raphael). 
Christ  on  the  Cross,  with  Saints. 

1549. 
The  Virgin  Mary  with  St.  John 

the  Baptist  and  St.  Sebastian. 
Virgin    enthroned    (chef-d'ceuvre 

formerly  at  Faenza).    1527. 
A  Virgin  {in  the  style  of  Raphael) . 
Virgin  and  Child  with  Saints. 
Virgin  and  Saints. 

FBANGIPANE,  Ni(jcol6,  is  believed  by  some  to 
have  been  a  native  of  Padua,  by  others  of  Udine. 
He  flourished  from  the  year  1565  till  1597,  and 
^^Koo*®     a  number  of  chnrch  pictures,  but  was 


„  S.  Salvatore. 

Frankfort.        Stddel. 

London.    "*  Solly  Coll. 

Modena.  EstenseGall. 
Munich.  Gallery. 

Petersburg.  Hermitage 


more  successful  in  mythological  scenes,  particularly 
the  legends  of  Bacchus.  At  Padua,  in  the  church 
of  San  Bartolommeo,  is  a  fine  picture  by  him  of 
'  St.  Francis,'  painted  in  1588 ;  and  at  Pesaro,  an 
altar-piece  in  San  Stefano.  But  his  most  admired 
work  is  an  '  Assumption,'  in  the  church  of  the 
Conventuali,  at  Rimini. 

FRANK,  Michael  Sigismdnd,  born  at  Nuremberg 
in  1769,  was  instructed  there  in  the  art  of  painting 
on  porcelain  by  Trost.  He  afterwards  painted 
on  glass,  in  which  be  was  very  successful,  and 
helped  to  raise  the  almost  forgotten  art  from  its 
long  decline,  by  discovering  in  1804  the  method 
which  was  formerly  in  use.  He  executed  for  the 
chapel  of  the  Castle  of  StaufEenberg  in  Franconia 
several  devices  of  coats  of  arms,  and  in  1808 
those  for  the  court  of  Bavaria,  for  which  he  was 
highly  praised.  King  Maximilian  I.  gave  him  a 
building  in  which  to  paint  on  glass.  Among  the 
works  of  that  period  executed  on  a  large  scale  are 
a  '  Circumcision '  after  Goltzius,  and  a  '  Nativity 
of  Christ '  after  Bolswert.  From  1814  to  1818  he 
was  employed  by  the  Prince  of  Wallerstein ;  he 
afterwards  returned  to  Munich,  where  he  was  made 
royal  glass-painter  for  his  'Treatise  on  Glass- 
Painting.'  In  1827  he  was  appointed  director  of 
the  Institute  founded  by  King  Louis,  and  executed 
the  large  windows  for  the  cathedral  at  Ratisbon, 
which  constituted  his  chief  production.  He  died 
at  Munich  in  1847. 

FRANK,  Pauline.     See  Steinhauseb. 

FRANKEN,  Theodoe,  a  genre  painter,  was  bom 
at  Geilenkirchen,  near  Aix-la-Chapelle,  in  1811. 
He  studied  under  Schadow  at  Diisseldorf,  and  pro- 
duced spirited  scenes  of  popular  and  home  life.  He 
died  at  Dusseldorf  in  1876. 

FRANKENBERGER,  Johann,  an  Austrian  por- 
trait painter,  was  born  at  Hadamar  in  Nassau  in 
1807,  and  died  at  Vienna  in  1874. 

FRANKENDORFFER,  Conrad,  a  native  of 
Nuremberg,  flourished  about  1498,  and  was  an 
excellent  miniature  painter. 

FRANKFORT,  Hieronymus  von.     See  Gkbpf. 

FRANQDE,  Jean  Pierre,  a  French  painter,  was 
born  at  Le  Buis  in  1774.  He  studied  under  David, 
and  excelled  in  historical  subjects  and  portraiture, 
imitating  the  style  of  his  master.  He  married 
Lucile  Messageot,  also  an  artist,  who  died  in  1802, 
at  the  age  of  twenty-two  years.  Franque  died  in 
1860,  leaving  among  others  the  following  works : 

Versailles.       Gallery.    The  Passage  of  the  Ehine ;  after 
Le  Bran.    1835. 
I,  „  The  Siege  of  Lille ;  after  Van  der 

Meulen  and  Le  Bran.    1836. 
„  „  The  Battle  of  Lens.    1841. 

FRANQUE,  Joseph,  the  twin  brother  of  Jeon 
Pierre  Franque,  was  born  at  Le  Buis  in  1774,  and 
died  in  1812.  He  also  was  a  painter,  and  there  is 
by  him  at  Versailles  a  picture  of  the  Empress 
Maria  Louisa  and  the  King  of  Rome. 

FRANQUELIN,  Jean  AuansTiN,  born  in  Paris 
in  1798,  was  instructed  by  Regnault,  and  became 
known  through  his  works,  representing  scenes  in 
public  life,  conversation-pieces,  &c.,  which  have 
often  been  copied.  He  died  in  Paris  in  1839.  The 
painting  of  '  The  Occupation  of  Brissac,'  by  this 
artist,  is  at  Versailles. 

FRANQUINBT,  Willem  Hendrik,  bom  at 
Maestricht  in  1785,  was  instructed  by  Herreyns  at 
Antwerp.  He  afterwards  visited  Germany,  and  was 
a  drawing-master  at  his  native  town  from  1804  to 
1816.     In  1816  he  settled  in  Paris,  and  in  1821 


Frans 


PAINTERS  AND  ENGRAVERS. 


Freebairn 


painted  the  '  Bacchanal,'  and  in  1822-34  published 
a  '  Galerie  des  Peintres,'  for  which  J.  Chabert  wrote 
the  text.     He  died  at  New  York  in  1854. 

FRANS,  NicoLAES,  was  born  at  Mechlin  in  1539. 
It  is  not  said  under  whom  he  studied  ;  it  is  only 
known  that  at  an  early  age  he  entered  the  order  of 
the  Franciscans,  in  which  he  continued  to  exercise 
his  art,  and  became  a  fair  historical  painter.  In 
the  collegiate  church  of  Our  Lady  at  Mechlin  is 
an  altar-piece  by  this  master,  representing  the 
'  Flight  into  Egypt ' ;  and  in  the  church  of  Hans  wy  ok, 
near  Mechlin,  are  two  pictures  by  him  of  the  '  Visit- 
ation' and  the  'Annunciation.'  His  drawing  is 
correct,  and  he  was  an  excellent  colourist, 

FEANSSI^RES,  J.  de,  was  a  French  engraver 
of  little  celebrity.  He  engraved  part  of  the  plates 
for  a  set  of  Turkish  costumes,  published  in  Paris  in 
1714,  by  M.  de  Ferriol.  ^ 

FRANZ,  C,  who  studied  under  Sohwind,  prac- 
tised first  as  an  historical  painter,  but  afterwards 
turned  his  attention  towards  genre  subjects.  He 
died  at  Munich  in  1876. 

FRANZ-DREBBR,  Hbineich.     See  Debber. 

FRANZSOHEN.    See  Dei  Rossi,  Feancesco. 

ERASER,  Alexander,  a  Scottish  painter,  was 
born  at  Edinburgh  in  1786,  and  commenced 
his  artistic  career  by  studying  at  the  Trustees' 
Academy  in  that  city,  where  he  had  David  Wilkie 
and  Watson  Gordon  for  fellow-students.  He  first 
exhibited  at  the  Royal  Academy  in  1810,  settling  in 
London  three  years  later.  Soon  after  this  Wilkie 
employed  him  to  fill  in  the  minor  details  and  still- 
life  of  his  pictures,  a  practice  which  he  continued 
for  a  good  many  years.  Among  the  works  exhibited 
by  him  at  the  Royal  Academy  may  be  mentioned 
'  The  Village  Sign-Painter,'  '  The  Blackbird  and  his 
Tutor,'  and  'Tapping  the  Ale-barrel.'  He  does 
not  appear  to  have  exhibited  after  1859,  and  during 
the  latter  years  of  his  life  seems  to  have  been  quite 
an  invalid.  His  death  occurred  at  Wood  Green,  near 
London,  in  1865.  A  great  part  of  his  earlier  works 
consisted  of  coast  scenes,  and  at  a  later  date  he 
painted  pictures  in  illustration  of  the  '  Waverley 
Novels,'  some  of  which  have  been  engraved.  He 
became  an  Associate  of  the  Royal  Scottish  Academy 
in  1842.  In  the  National  Gallery  is  the  '  Interior 
of  a  Highland  Cottage'  by  him,  and  in  the  National 
Gallery  of  Scotland  is  a  view  '  At  Bamcleuth.' 

ERASER,  Chaelbs,  an  artist  bom  at  Charleston 
in  1782,  studied  law,  but  afterwards  devoted  him- 
self to  art.  In  1825  he  painted  the  portrait  of 
Lafayette.  His  talent  was  very  diversified,  and  in 
1857,  at  an  exhibition  of  his  works  at  Charleston, 
there  were  shown  313  miniatures  and  139  land- 
scapes and  other  pieces  by  him.  He  died  at 
Charleston  in  1860. 

FRASSI,  PiBTEO,  bom  at  Cremona  in  1706,  was 
a  pupil  of  Angiolo  Massarotti.  He  went  to  Florence, 
but  afterwards  to  Rome,  where  he  died  in  1778. 
His  best  work  was  a  picture  of  '  The  Miracle  of  St. 
Vincent  Ferrer,'  painted  for  the  Dominicans  in 
Cremona,  which  caused  him  to  be  made  a  member 
of  the  Academy  of  St.  Luke. 
•  FRATACCI,  Antonio,  bom  at  Parma  in  the 
beginning  of  the  18th  century,  received  his  first 
lessons  in  art  from  Ilario  Spolverini.  He  after- 
wards entered,  at  Bologna,  the  school  of  Carlo 
Cignani,  whose  style  he  imitated.  There  is  a 
picture  in  the  church  of  San  Giorgio  at  Bologna  of 
'  Christ  healing  St.  Pellegrini  Laziozi,'  and  at  Sant' 
Bustorgio,  at  Milan,  a  '  St.  John '  and  an  '  Adoration 
of  the  Magi,' 


FRATELLINI,  Giovanna,  was  born  at  Florence 
in  1666.  The  early  disposition  she  showed  for 
art  recommended  her  to  the  notice  of  the  Grand- 
Duchess  Victoria,  who  took  her  under  her  pro- 
tection, and  had  her  instructed  by  the  best 
masters  in  drawing  and  music.  She  was  afterwards 
taught  miniature  painting  by  Ippolito  Galantini, 
and  finished  her  studies  under  Antonio  Domeuico 
Gabbiani.  She  painted  historical  subjects  and 
portraits  in  oil,  pastel,  enamel,  miniature,  and 
crayons,  but  chiefly  excelled  in  the  last,  in  which 
she  is  no  way  inferior  to  the  celebrated  Eosalba. 
Her  reputation  spread  throughout  Italy,  and  she 
painted  the  portraits  of  Cosmo  III.  and  his  wife, 
her  patroness,  the  principal  nobility  of  the  court, 
and  the  most  illustrious  personages  of  the  country. 
One  of  her  best  works  is  in  the  Ducal  Gallery  at 
Florence  ;  it  represents  her  painting  the  portrait  of 
her  son.  This  distinguished  lady  died  at  Florence 
in  1731. 

FRATELLINI,  Loeenzo  Maeia,  the  son  of 
Giovanna  Fratellini,  by  whom  he  was  instructed 
in  the  elementary  principles  of  design,  was  born 
at  Florence  in  1690.  He  afterwards  studied  under 
Antonio  Domenico  Gabbiani,  who  had  been  the 
instructor  of  his  mother.  Under  that  master  he 
acquired  a  ready  and  correct  manner  of  designing, 
and  became  a  promising  painter,  both  of  history 
and  of  portraits,  but  he  died  in  the  prime  of  life,  in 
1729. 

FRATREL,  Joseph,  born  at  Epinal  in  1730,  was 
a  scholar  of  Baudouin  in  Paris,  and  distinguished 
himself  as  a  painter  and  etcher.  He  was  court 
painter  of  King  Stanislaus  and  the  Elector-Palatine 
Charles  Theodore  :  in  the  Darmstadt  Museum  is  a 
portrait  of  the  Electress.  He  died  at  Mannheim  in 
1783.     The  following  are  his  best-known  works  : 

Joseph's  Dream ;  after  L.  Krahe. 

The  Miller's  Son, 

St.  Nicholas. 

FRATTA,  Domenico  Maria,  born  at  Bologna  in 
1696,  studied  under  Giovanni  Viviani,  Carlo  Eam- 
baldi,  and  Donate  Creti.  He  abandoned  the  art  of 
painting,  and  devoted  himself  entirely  to  drawing 
with  the  pen,  in  which  he  acquired  such  perfection 
as  to  give  to  his  productions  a  European  fame. 
He  died  in  1763. 

FREDEAU,  Ambeoisb,  called  Fe^ee  Feedbau, 
who  flourished  about  the  middle  of  the  17th  century, 
was  a  monk  of  the  Augustinian  order.  He  imitated 
Vouet  in  his  paintings. 

FREDERICK,  Eduaed,  born  at  Hanover  in  1813, 
attended  the  Academy  at  Dusseldorf  from  1836  to 
1843,  and  studied  in  particular  landscape  and  genre 
painting,  which  he,  however,  changed  afterwards 
for  scenes  of  encampments  and  manoeuvres.  He 
was  court  painter,  and  died  at  Hanover  in  1864. 

FREDI,  Baetolo  di.     See  Baetolo. 

FREEBAIRN,  Alfred  Robert,  an  engraver,  is 
chiefly  known  by  his  engraving  of  Flaxman's 
'  Shield  of  Achilles.'  He  died  in  1846,  in  his  53rd 
year. 

FREEBAIRN,  Robeet,  a  landscape  paipter,  was 
bora  in  1765.  He  was  for  a  short  time  with 
Richard  Wilson,  who  died  before  Freebairn's  educa- 
tion was  completed,  and  afterwards  went  to  Italy, 
where  he  remained  about  ten  years,  but  never  rose 
above  mediocrity.  His  pictures  are  simply  pleas- 
ing, never  striking.  On  his  return  to  England, 
Freebairn  met  with  several  patrons,  and  as  he  was 
slow  in  performance,  it  is  probable  they  were  the 
chief  purchasers  of  his  works.     He  died  in  1808, 

523 


Freeman 


A  BIOGRAPHICAL  DICTIONARY  OF 


French 


There  are  about  forty  prints  of  Italian  and  English 
scenery  published  by  him. 

FREEMAN,  John,  an  historical  painter,  flourished 
in  the  latter  half  of  the  17th  century.  He  was 
also  scene  painter  to  Covent  Garden  Theatre. 
There  are  five  works  attributed  to  him  in  the 
Louvre. 

FREEMAN,  Samuel,  an  engraver,  was  born  in 
1773,  and  died  in  1857.    Amongst  his  plates  are : 

A  Holy  Family  ;  after  Correggio. 
A  Madonna ;  after  Raphael. 
The  Infant  Christ  and  St.  John ;  after  the  same. 
St.  Ambrose  refusing  admission  to  the  Church  to  Theo- 
dosius  ;  after  Van  Dyck. 

FREESE,  JoHANN  OsKAE  Hermann,  a  painter  of 
animals  and  hunting  scenes,  was  born  in  Pom- 
merania  in  1813.  He  was  destined  by  his  father 
to  be  a  farmer,  in  spite  of  his  early  inclination 
to  art,  but  in  his  34th  year  he  devoted  himself, 
after  many  heavy,  misfortunes,  to  painting  as  his 
vocation.  He  visited  for  a  short  time  the  atelier 
of  Briicke,  then  that  of  StefEeck  in  Berlin.  In 
1857  his  first  work,  'Stags  Fighting,'  appeared. 
His  subjects  of  study  were  field  and  wood,  and 
principally  hunting,  which  he  loved  passionately. 
He  died  at  Hessenfelde,  near  Fiirstenwald,  in 
1871,  of  brain  fever,  which  he  contracted  whilst 
out  shooting  in  trying  to  cross  a  river  when  in  a 
heated  state.  He  is  very  happy  in  his  bolder 
designs,  but  less  so  in  his  idyllic  representations. 
Among  his  works  are  especially  to  be  mentioned, 
'  Deer  Fleeing,'  '  Stags  attacked  by  Wolves,'  and 
a  '  Boar  Hunt,'  all  in  the  Berlin  National  Gallery. 

FREESE,  N.,  a  miniature  painter,  exhibited  at 
the  Royal  Academy  from  1794  to  1814. 

FREESEN,  JoHANN  Geoeg,  (or  Fbebzen,)  a 
portrait  painter,  was  born  at  Palts,  near  Heidel- 
berg, in  1701.  He  first  studied  under  Jan  van 
Nikkelen,  and  afterwards  under  Philip  van  Dyk, 
of  whom  he  became  one  of  the  best  scholars,  and 
with  whom  he  stayed  seven  years  at  the  Hague. 
He  was  patronized  by  the  Duke  of  Hesse,  and  was 
appointed  historical  and  portrait  painter  to  the 
court  of  Cassel.  He  possessed  a  great  knowledge 
of  paintings,  which  he  acquired  in  Germany,  Italy, 
France,  and  in  the  school  of  Philip  van  Dyk — an 
acquisition  which  was  of  the  greatest  use  in  the 
establishment  of  the  Cassel  Gallery.  He  died  at 
Cassel  in  1775. 

FREGEVIZE,  Fbiedeich,  a  Swiss  landscape 
painter,  was  born  in  Geneva  in  1770,  and  died  there 
in  1849.  He  lived  for  a  Jong  time  in  Berlin,  where 
he  was  elected  in  1820  a  member  of  the  Academy; 
he  returned  to  Geneva  in  1 829,  and  went  to  Dessau 
in  1839.  The  Berlin  National  Gallery  contains 
views  painted  by  him  of  '  The  Lake  o|  Geneva,' 
and  '  The  Valley  of  the  Rhone,  near  Geneva.' 

FREIDHOPF,  JoHANN  Joseph,  a  German  mezzo- 
tint engraver,  born  at  Heggen,  in  Westphalia,  in 
1768,  studied  under  J.  G.  Huok.  He  visited  Hol- 
land and  France  for  his  improvement,  and  died  at 
Berlin  in  1818.    There  are  by  him : 

'Shght;  after  Correggio.     1800. 

The  Death  of  Germanicus  ;  after  Poussin.     1798. 

Joseph  and  Potiphar's  Wife ;  after  Cignani.     1796. 

Alexander  von  Humboldt ;  after  Weitsch. 

A  Waterfall ;  after  Ruisdael.     1797. 

FR^MIET,  Sophie.     See  Rude. 
FR:^MIET,  Victoeine.    See  Van  dee  Haeet. 
FREMINET,     Maetin,     a     French    historical 
painter,  bom  in  Paris  in  1567,  received  his  first 
524 


instruction  from  his  father,  a  tapestry  designer. 
He  soon  made  some  progress  in  his  career  in  Paris, 
and    executed    several  commissions,  including  a 
picture  of    '  St.  Sebastian '  for  the  church  of  St. 
Joseph.     But   it  was  to  Italy  that  his  thoughts 
turned,  and  about  1592  he  set  out  thither.     At  this 
time  the  controversies  raised  by  the  Naturalisti 
were   at  their  height,   and   into   them    Fr^minet 
entered  with  ardour.     His  time  was  chiefly  passed 
at  Rome,  Parma,  and  Venice,  and  he  directed  his 
most  serious  attention  to  the  works  of  Parmigiano 
and  Michelangelo,  the  study  of  the  latter  having  a 
great  influence  on  him.    After  an  absence  of  about 
sixteen  years  he  returned  to  his  native  country  by 
way  of  Lombardy  and  Savoy,  and  in  the  latter  he 
painted  some  important  works  for  the  ducal  palace. 
His  fame  had  preceded  him,  for  on  the  death  of 
Toussaint  Du-Breuil  in  1602  he  was  appointed  by 
Henry  IV.  his  principal  painter,  obtaining  at  the 
same  time  by  purchase  a  sinecure  post  about  the 
court.    In  1608  he  commenced  for  the  king  the  de- 
coration of  the  chapel  at  Fontainebleau,  which  was 
executed  in  oil  on  plaster.    In  the  five  compartments 
of  the  ceiling  he  depicted  '  Noah  entering  the  Ark,' 
the  'Fall  of  the  Angels,'  'Our  Lord  in  Glory,'  the 
'  Angel  Gabriel,'  and  the  '  Creation.'    Behind  the 
altar  he  painted  the  'Annunciation,'  and  he  also 
executed   other  frescoes  representing  kings,  pro- 
phets, &c.,  and  scenes  from  the  life   of  Christ. 
This  masterpiece  was  not  finished  until  the  suc- 
ceeding reign,  and  on  its  completion,  in  1615,  he 
received  the   cross   of  the   Order  of  St.  Michael. 
Freminet  died  in  Paris  in  1619,  and  was  buried,  in 
accordance  with  his  desire,  in  the  Abbey  of  Bar- 
beaux,    near    Fontainebleau,    for    which   he    had 
painted    several   pictures,   which   were   destroyed 
when  that  Abbey  was  burnt  in  1793.     He  left  a 
son  Louis,  who  followed  in  his  father's  footsteps  as 
a  painter.     The  poet  Regnier  was  his  friend,  and 
dedicated  to  him  his  tenth  Satire.     Freminet  had  a 
good  knowledge  of  architectural  perspective  and  of 
anatomy,  though  his  aspirations  after  the  grandeur 
of  Michelangelo  frequently  led  him  into  exagger- 
ations, and  have  caused  him  to  be  much  decried. 
To  do  him  justice,  however,  it  must  be  owned  that 
he  marks  a  great  advance  in  the  history  of  the 
French  school.     The  works   of  his  predecessor. 
Cousin,  are  no  doubt  the  earliest  which  show  the 
impress  of  Italian  art,  but  it  was  Freminet  who 
first  fully  felt  and  evidenced  the  influence  of  the 
great  Italian  masters.     He  is  seen  at  his  best  in 
those  works  in  which  the  spirit  of  Parmigiano  is 
most  apparent.     His  style  of  working  was  singular : 
he  painted  a  picture  in  separate  portions,  without 
sketching  or  designing  the  rest  of  the  composition. 
The  following  are  some  of  his  existing  works  : 

Liverpool.    Institution.    The  Birth  of  Venus.    (A  sepia 

draioing.) 
Orleans.  Museum.    St.  Matthew. 

St.  Mark. 

St.  Luke. 

St.  John. 

St.  Augustine. 

St.  Ambrose. 

St.  Gregory.  , 

St.  Jerome. 
Paris.  Louvre.    Mercury  ordering  jEneas  to  aban- 

don Dido. 

The  Last  Judgment  (doubtful). 


Museum. 


Tours. 

A  '  Virgin  and  Child '  is  the  only  etching  by 
Freminet  which  is  known.  O.J.D- 

FRENCH,  Henry,  an  Irish  historical  painter, 
was  born  about  the  end  of  the  17th  century.    He 


Frenzel 


PAINTERS  AND  ENGRAVERS. 


Frey 


studied  at  Rome,  and  gained  a  medal  in  the  Academy 
of  St.  Luke.  He  came  to  England,  but  did  not 
meet  with  success.  His  death  took  place  in  1726. 
FRENZEL,  JoHANN  Gottlieb  Abkaham,  born 
at  Dresden  in  1782,  was  instructed  by  Darnstedt, 
and  excelled  in  engraving  landscapes.  He  was 
director  of  the  Royal  Collection  of  engravings  at 
Dresden,  and  wrote  several  works  on  his  art.  He 
died  at  Dresden  in  1855.  Among  his  best  plates 
are: 

Kuiiis ;  after  Suisdael. 
Evening ;  after  the  same. 

A  Landscape  with  Cattle  in  the  Water ;  after  Foelen- 
0        horch. 

FRERES,  DiEK,  or  Theodoeus,  a  Dutch  painter, 
was  born  at  Enkhuizen  in  1643.  He  was  of  an 
ancient  and  opulent  family,  who  gave  him  an 
education  suited  to  his  birth ;  and,  among  other 
accomplishments,  he  was  taught  drawing,  for  which 
he  showed  so  strong  a  predilection,  that  his  parents 
acceded  to  his  desire  of  visiting  Italy,  and  he  passed 
several  years  at  Rome,  studying  after  the  antique, 
and  the  best  productions  of  modern  art  He 
returned  to  Holland  with  a  large  collection  of 
drawings  which  he  had  made  in  Italy,  and  dis- 
tinguished himself  by  several  historical  works  ; 
among  which  were  the  ceiling  of  a  public  hall  at 
Amsterdam,  and  some  pictures  in  one  of  the 
palaces  of  the  Prince  of  Orange.  In  his  studies  in 
Italy  he  appears  to  have  been  more  attentive  to 
purity  and  correctness  of  design  than  to  the  blan- 
dishments of  colouring,  in  which  he  is  less 
successful.  He  is  said  to  have  been  invited  to 
England  by  Sir  Peter  Lely,  who  promised  to  intro- 
duce him  to  the  king,  but  finding  on  his  arrival 
that  the  situation  he  expected  was  filled  by  Antonio 
Verrio,  he  returned  to  Holland.  He  is  not,  how- 
ever, mentioned  in  Walpole's  'Anecdotes.'  He 
had  just  finished  some  considerable  works  in  the 
town-hall  at  Enkhuizen  when  he  died,  in  1693. 

FRESNE,  Bv.     See  Dn  Feesnb. 

FRESNOY,  Dn.    See  Du  Frbsnot. 

FREUDBNBERGER,  Sigmdnd,  born  at  Berne  in 
1745,  was  a  painter  and  engraver,  who  was  instructed 
in  the  rudiments  of  art  by  Em.  Handmann.  He 
afterwards  went  to  Paris,  and  improved  himself 
under  Wille,  Boucher,  Greuze,  and  Roslin.  His 
scenes  of  Swiss  life  in  the  Bernese  Oberland  were 
first  engraved  and  afterwards  painted.  In  the 
town-library  at  Berne  tliere  is  a  portrait  of  Haller 
by  this  artist.     He  died  in  1801. 

FREUDWEILER,  Hbineich,  a  Swiss  portrait 
and  genre  painter,  was  born  at  Zurich  in  176^,  and 
was  first  instructed  by  H.  Wust ;  he  afterwards 
studied  at  the  Academies  at  Diisseldorf  and  Mann- 
heim, and  visited  Dresden  and  Berlin,  where  he 
became  acquainted  with  Graf  and  Chodowiecky. 
In  1785  he  returned  to  Ziirioh,  and  died  in  1795. 
He  painted  several  historical  scenes  relating  to  his 
country. 

FREY,  Jakob,  a  grandson  of  Johann  Jakob  Frey, 
is  known  by  a  plate  of  Leonardo  da  Vinci's  '  Last 
Supper,'  which,  however,  is  taken  from  the  old 
copy  by  Marco  d'Oggione. 

FREY,  Johann  Jakob,  a  Swiss  engraver,  was 
bom  at  Lucerne,  in  1681.  After  learning  the 
principles  of  design  he  went,  when  he  was  twenty- 
two  years  of  age,  to  Rome,  where  he  received 
some  instruction  from  Arnold  van  Westerhout, 
and  had  afterwards  the  advantage  of  studying  in 
the  school  of  Carlo  Maratti,  at  the  same  time 
with  Robert  van  Auden-Aerd.     His  progress  was 


rapid,  and  he  was  soon  regarded  as  one  of  the 
ablest  artists  at  Rome.  His  drawing  is  correct 
and  tasteful,  and  he  was  a  perfect  master  of 
harmony  and  efEeot.  He  etched  his  plates  with 
spirit,  and  worked  over  the  etching  with  a  firm 
and  masterly  hand.  Pew  artists  have  approached 
nearer  to  the  style  of  the  painters  from  whom  they 
engraved  than  Prey.  He  died,  at  Rome  in  1770. 
His  prints,  which  exceed  the  number  of  one 
hundred,  are  generally  of  a  very  large  size.  The 
following  are  the  principal : 

POETEAITS. 

Carlo  Maratti ;  after  a  picture  by  himself. 

Pope  Innocent  XIII. ;  after  A.  Masucct. 

Pope  Benedict  XIII. ;  after  the  same. 

Pope  Gregory  XIII, ;  after  the  marble  ly  Camillo  Ras- 

coni. 
Girolamo  Pico  della  Mirandola  \  after  P.  Nelly. 
Mary  Clementina  Sobieska,  wife  of  the  Old  Pretender. 

SUBJECTS  AFTEE   VAEIOUS  MASTERS. 
The  Holy  Family ;  copied  from  Edelinck's  print  after 

Eaphael. 
Charity,  with  three  children ;  after  Albani. 
The  Death  of  St.  Petronilla ;  after  Ouercino.     1731. 
The  Coronation  of  the  Virgin  ;  after  Annibale  Carracd. 
The  Virgin  giving  the  Scapular  to  St.  Simon  Stock ; 

after  Seb.  Ccmca. 
The  Adoration  of  the  Shepherds ;  after  the  same. 
St.  Francis  of  Paola  restoring  a  Child  to  life ;  after  B, 

Lambertini. 
The  Archangel  Michael ;  after  Guido. 
The  Four  Fathers  of  the  Church ;  after  the  same. 
Aurora,  with  the  Hours  dancing  before  the  Chariot  of 

the  San;  after  the  same;  in  two  sheets. 
Bacchus  consoling  Ariadne  after  the  Departure    of 

Theseus ;  after  the  same  ;  in  two  sheets. 
The  Death  of  St.  Anne  ;  after  A.  Sacchi. 
St.  Romualdus  ;  after  the  same. 
The  Martyrdom  of  St.  Sebastian;  after  Damenichino. 

1737. 
The  Communion  of  St.  Jerome ;  after  the  same.    1729. 
The  Four  Angels  of  St.  Carlo  a  Catenari    at  Rome, 

representing   Justice,  Temperance,   Fortitude,   and 

Prudence ;  afier  the  same. 
The  Eape  of  Europa;  after  Albani. 
St.   Charles   Borromeo   interceding   for   the   Plague- 
stricken  ;  after  Pietro  da  Cortona.     Via. 
An  allegorical  picture  of  Clemency ;  after  Carlo  Maratti. 
A  Eeposo,  with  St.  Joseph  presenting  cherries  to  the 

Infant  Christ ;  after  the  same. 
Augustus  shutting  the  Temple  of  Janus ;  after  the  same. 

1738. 
St.  Andrew  kneeling  before  the  Cross ;  after  the  same. 
St.  Bernard ;  after  the  same. 

FREY,  Johann  Michael,  who  was  born  at  Bibe- 
rach  in  1750,  painted  at  Augsburg,  and  excelled 
in  landscapes,  and  also  as  an  engraver.  His  plates 
are  executed  in  the  manner  of  Bega ;  the  best 
is  a  large  landscape,  after  Ruisdael.  He  died  at 
Augsburg  in  1813. 

FREY,  Johannes,  a  Swiss  landscape  painter,  a 
native  of  Basle,  studied  principally  in  Italy,  and 
his  views  of  that  country  are  much  valued.  From 
Egypt,  whither  he  accompanied  Professor  Lepsius, 
hebrought  many  excellent  sketches  of  the  Pyramids, 
Labyrinths,  &c.  It  is  to  be  regretted  that  he  was 
obliged  to  make  but  a  short  stay  on  account  of  his 
health.  His  painting  of  '  Chamsyn  in  the  Desert,' 
in  the  possession  of  the  Emperor  of  Germany,  was 
produced  in  J  845,  and  is  greatly  admired.  He  died 
at  Frascati,  near  Rome,  in  1865.  The  Modern  Gallery 
at  Munich  has  his  '  Two  Memnons  near  Thebes.' 

FREY,  Johannes  Pieteb  de.    See  De  Feey. 

FREY,  Martin,  born  at  Wurzach  in  1769,  was  a 
scholar  of  Johann  Gottlieb  von  Miiller  at  Stuttgart, 
and  subsequently  resided  at  Vienna,  where  he  was 
still  living  in  1821.    Among  his  best  etchings  are: 

525 


Frey 


A  BIOGRAPHICAL  DICTIONARY  OF 


Friedrich 


The  Temptation  of  St.  Jerome ;  after  DomenicMno. 

The  Virgin  with  Jesus  and  John  ;  after  the  painting  in 
the  Esterhazy  collection  at  Pesth,  attributed  to  Baphael. 

The  Infant  Christ  on  a  bed,  and  holding  the  Cross ; 
after  Alhani. 

St.  Justina  ;  after  Fordenone. 

An  Old  Man  ;  after  O.  Maes. 

T?REY,  Samuel,  a  Swiss  painter  of  landscapes, 
the  father  of  Johannes  Frey,  was  born  at  Sissach 
in  1785.  He  devoted  himself  first  to  engraving 
under  Von  Meohel,  but  at  Antwerp  he  studied  oil- 
painting.  In  1810  he  returned  to  Basle,  where  he 
died  in  1836. 

FREYBECHKB,  Johann,  a  monk  of  the  convent 
of  Konigsbriiok,  in  Alsace,  who  flourished  about 
the  year  1428,  mentions  himself  at  the  end  of  a 
Bible  containing  some  good  miniatures,  as  its 
author.  Whether  he  executed  the  miniatures  is 
considered  by  Dr.  Waagen  to  be  an  open  question. 
The  Bible  is  in  the  Royal  Library  at  Munich. 

FREYBERG,  Elbkteine,  born  at  Strassburg  in 
1797,  was  the  daughter  and  pupil  of  Johann 
Stuntz,  a  painter  of  landscapes,  under  whose  tuition 
she  gave  proof  of  great  ability.  She  visited 
France  and  Italy,  and  stayed  at  Rome  some  time. 
Her  paintings  of  historical  scenes  are  distinguished 
for  a  tender  touch,  and  she  was  not  less  success- 
ful in  portraiture  and  landscape  painting.  One  of 
her  best  works  is  a  '  Holy  Family.'  '  The  Birth 
of  St.  John,'  and  two  landscapes,  in  the  album 
of  King  Louis  of  Bavaria,  are  by  this  artist ;  in 
the  Leuchtenberg  Gallery  '  The  Virgin  and  Child,' 
and  '  The  Three  Maries  at  the  Tomb ' ;  and  in  the 
Munich  Gallery  a  '  Holy  Family,'  '  "rhe  Naming 
of  St.  John  the  Baptist,'  and  '  A  Boy  playing  the 
flute.'     She  died  at  Munich  in  1847. 

FRBZZA,  Giovanni  Gibolamo,  an  Italian  en- 
graver, was  born  at  Canemorto,  near  Tivoli,  in  1659, 
and  died  at  Rome  in  1730.  He  was  instructed 
in  engraving  at  Rome  by  Arnold  van  Westerhout. 
His  plates  are  etched  with  care,  and  very  neatly 
finished  with  the  graver,  but  without  much  force 
or  efiect.  The  following,  among  others,  are  by 
him: 

The  Gallery  of  the  Verospi  Palace ;  seventeen  plates 

after  the  frescoes  hy  F.  Alhani. 
A  set  of  ten  plates,  including  the  title,  after  the  nine 

pictures  by  Niccolb  Ben^ettoni,   in  the    church    of 

Santa  Maria  in  Monte  Santo,  at  Rome. 
The  Virgin  suckling  the  Infant;  after  Lodomco  Carracci. 
The  Holy  Family ;  after  Carlo  Maratti. 
The  Assumption  of  the  Virgin  ;  after  the  same. 
The  Twelve  Months  ;  after  the  same. 
The  .Judgment  of  Paris  ;  after  the  same. 
The  Riposo,  called  the  Zingarella  ;  after  Correggio. 
The  Descent  of  the  Holy  Ghost ;  after  Guide. 
Polyphemus  on  a  Eock,  and  Galatea  and  her  Nymphs 

on  the  Sea ;  after  Sisto  Badalocchio. 
Polyphemus  hurling  a  Eock  at  Acis  and  Galatea ;  after 

the  same. 
Venus ;  after   an    antique  painting ;    for  the   Crozat 

Collection. 
Pallas;    after   an  antique  painting;    for    the  Crozat 

Collection. 

FREZZA,  Orazio,  a  native  of  Naples,  lived  in 
the  17th  century,  and  was  instructed  by  G.  B. 
Benaschi.  He  afterwards  studied  the  works  of 
Lanfranco  and  Domenichino,  whom  he  imitated 
with  some  success. 

FRICK,  J.  F.,  bom  in  1774,  was  an  engraver  and 
a  professor  at  the  Academy  of  Berlin,  who  gained 
much  repute  for  his  aquatints.  His  best  work  is 
the  series  of  illustrations  of 'The  Castle  of  Marien- 
burg  in  Prussia,'  in  nineteen  plates,  1799.  He  died 
in  1850. 

626 


FRIDBRICH,  Jacob  Andreas,  a  German  en- 
graver, was  bom  in  1683.  He  engraved  some 
plates  of  Hussars  and  other  horsemen,  after 
Rugendas.     He  died  in  1761. 

FRIED,  Heinbich  Jakob,  born  at  Queichheim, 
near  Landau,  in  1802,  studied  at  Stuttgart  and 
Augsburg,  and  from  1822  under  Langer  and 
Cornelius  at  the  Academy  of  Munich.  In  1834  he 
went  to  Rome,  and  afterwards  to  Naples,  and  from 
thence  returned  to  his  native  country  in  1837. 
Being  patronized  by  Prince  Karl  von  Wrede, 
he  settled  at  Munich  in  1842,  and  became  con- 
servator of  the  Artistic  Society  in  1845.  He  died 
at  Munich  in  1870.  Fried  was  a  great  lover  o? 
legends,  often  taking  these  and  similar  sources  for 
the  subjects  of  his  best  pictures.  He  also  executed 
a  great  number  of  landscapes,  as  well  as  genre 
and  historical  pieces  and  portraits,  the  best  of 
which  are  : 

A  Hunting  Party  before  the  Castle  of  Trifels. 

The  Blue  Grotto  at  Capri.     {Munich  Gallery.) 

A  View  of  Hohenschwangau. 

The  Wounded  Knight. 

Italian  Flute-Players. 

The  Cloister  of  San  Scolastica. 

Views  of  the  Palaces  of  Italy. 

FRIEDBRICI,  Julius,  a  painter  of  Trfeves,  who 
was  educated  at  the  Dusseldorf  Academy,  has  left 
two  paintings  of  merit,  '  Adam  and  Eve,'  and  a 
'  Flight  into  Egypt.'  He  died  quite  young  in 
1833. 

FRIEDL-ffiNDBR,  Julius,  a  genre  painter,  was 
born  at  Copenhagen  in  1810,  and  entered  the 
Academy  there  in  1824,  afterwards  studying  under 
Lund.  In  1843-44  he  visited  Paris  and  Italy, 
whence  he  derived  additional  subjects  for  his  art. 
Still  later  he  took  to  depicting  military  and  naval 
life.     He  died  in  1861.     Among  his  pictures  are: 

Polish  Exiles. 

A  Doctor  by  a  Sick  Bed. 

Eope-Dancers  about  to  perform.  (Copenhagen  Gallerj/.) 

The  Spanish  Staircase  at  Rome.    (Copenhagen  Gallery.) 

Boys  at  Play  at  Capri. 

Scene  in  a  Children's  Bedroom. 

FRIBDRICH,  Caroline  Friedeeike,  a  flower 
painter,  was  born  at  Friedrichsstadt  in  1740,  and 
died  at  Dresden  in  1812.  She  was  court  painter 
and  a  member  of  the  Dresden  Academy,  and  pro- 
duced a  number  of  admired  bouquets  in  oil  and 
water-colours. 

FRIBDRICH,  Caspar  David,  bom  at  Greifswald 
in  1774,  studied  first  at  the  Academy  at  Copen- 
hagen under  Quisdorf,  and  went  to  Dresden  in 
1796,  where  he  painted  landscapes.  Subsequently 
he  visited  Riigen,  the  Giant  and  the  Harz  Moun- 
tains, and  Italy.  He  also  etched  several  plates  of 
landscapes  and  trees.  In  1817  he  became  professor 
at  the  Academy  of  Dresden,  and  in  1840  a  member 
of  that  at  Berlin.  He  died  at  Dresden  in  1842. 
His  best  landscapes  are : 

Berlin.  Castle.    An  Abbey  in  an  Oak  Forest,  on  a 

Winter  Evening. 

,1  „  A  Traveller  on  the  Seashore. 

„  J^at.  Gall.    Evening  View  in  the  Harz  Forest. 

„  „         The  Moon  rising  over  the  Sea. 

Dresden.         Gallery.    Two  Men  looking  at  the  Moon. 

„  „  A  Giant's  Grave. 

„  „  Eest  after  Haymaking. 

FRIBDRICH,  Franz,  (or  Friederich,)  a  designer, 
engraver,  and  carver,  worked  at  Frankfort-on- 
the-Oder  about  the  year  1650.  He  was  employed 
by  the  printer  Bicbhorn,  and  was  considered  the 
first  engraver  of  his  district  at  that  time.    His 


Fries 


PAINTERS  AND  ENGRAVERS. 


Fritsch 


woodcuts  are  signed  with  two  monograms,  with  the 
addition  of  'Peter  Hille';  this  is  supposed  to  mean 
that  the  design  only  is  by  him.  He  died  after 
1583.  Some  of  his  copper-plates  are  marked  with 
a  different  monogram,  and  are  very  rare.  The 
following  are  perhaps  the  best : 

Portrait  of  the  Elector  Joachim  II. 

Portrait  of  Eudolph  Schrader.     1581. 

Portrait  of  the  Archbishop  Heinrich  Julias  of  Brunswick. 

Portrait  of  Heinrich  Paxmann.    1580. 

FRIES,  Bbhnhaed,  a  German  landscape  painter, 
was  born  at  Heidelberg  in  1820.  He  studied  suc- 
cessively at  Carlsruhe,  Diisseldorf,  and  Munich,  and 
for  many  years  resided  in  Italy,  where  he  produced 
his  most  important  work — a  series  of  forty  Italian 
landscapes.     He  died  at  Munich  in  1879. 

PRIES,  Eknst,  a  landscape  painter,  and  brother 
of  Benihard  Pries,  was  born  at  Heidelberg  in  1801, 
and  died  at  Carlsruhe  in  1833.  He  was  taught 
first  by  the  elder  Eottmann,  and  then  by  K.  Kuntz 
at  Carlsruhe.  The  English  painter  Wallis,  who  was 
then  residing  in  Heidelberg,  made  a  great  impres- 
sion upon  him.  Aftens'ards  lie  went  to  Darm- 
stadt, where  he  studied  architecture  and  perspec- 
tive under  Moller.  In  1821  he  removed  to  Munich, 
where  he  visited  the  Academy.  Prom  1823  to 
1827  he  lived  in  Italy,  and  returned  to  Munich  and 
Carlsruhe  in  1831,  but  died  in  the  prime  of  his 
activity  in  1833.     Among  his  paintings  are  : 

A  View  of  Tivoli. 

Sorrento  and  the  House  of  Tasso. 

Pozzuoli  and  the  Gulf  of  Baiae. 

Capo  Misene. 

The  "Waterfall  of  liris  at  Isola  di  Sora.  ]  833.  {Munich 
Gallery.) 

The  Castle  of  Massa. 

A  View  of  Heidelberg. 

Valmontone.     (Berlin  National  Gallery.) 

He  lithographed  six  plates,  representing  views 
of  Heidelberg  Castle,  1820-21,  and  the  '  Death  of 
Siegfried,'  from  the  Nibelungen  Lied,  after  C. 
Ganglof.  With  Thiirmer  he  executed  an  etching 
of  the  Roman  Forum. 

FRIES,  Hans,  a  Swiss  painter,  was  born  at 
Preiburg  in  the  middle  of  the  15th  century.  It  ie 
probable  that  be  studied  in  Germany.  He  was  a 
member  of  the  Guild  at  Basle  in  1487-88,  and  at 
Freiburg  in  1501.  He  died  subsequently  to  1518. 
The  following  paintings  are  by  him : 

Basle.  Museum.    Scenes  from  the  Life  of  the  Virgin 

(painted  for    the   Johanniter- 
Cmnthwrei).   1514. 
„  „  Six  Scenes  from  the  Life  of  the 

Virgin  (painted  for  Berne). 
Freiburg.  CoMnWOThe    Last    Judgment    (now  re- 

Ghamber.j     moved).    1501-6. 

^''conmnU  ]  ^^  ^^end  of  St.  Anthony. 
„  Arsenal.    Coats  of   Arms   and    seventeen 

Flags.     1506. 
Vienna.  Gallery.    A  young  Man,  with  Death  behind 

him.    1524. 

PRIES,  Kakl  Feiedrich,  born  at  Winnweiler, 
in  the  Palatinate,  in  1831,  studied  first  at  the 
Academy  at  Munich,  and  afterwards  under  Bor- 
dello. He  visited  Vienna,  and  painted  there  under 
Rahl ;  then  went  to  Venice,  Florence,  and  Calabria, 
where  he  studied  the  old  masters.  He  died  at 
St.  Gall,  Switzerland,  in  1871.  His  style  much 
resembles  that  of  the  Venetian  painters.  The 
following  are  some  of  his  works : 

Wine,  Woman,  and  Song;  in  the  style  of  Paolo  Veronese. 

1862. 
The  Mineral  Bath  in  the  Abruzzi. 


Several  copies  of  the  Ascension  of  the  Virgin ;  after 

Titian. 
St.  Barbara ;  after  Palma  Vecchio. 

FRIES,  WiLHELM,  a  brother  of  Bernhard  and 
Ernst  Fries,  was  a  landscape  painter,  and  the  con- 
servator of  the  Wessenberg  Museum.  He  was 
born  in  1819,  and  died  at  Constance  in  1878. 

PRIQDET,  Jacques  Claude,  called  Priquet  de 
Vaux-Rose,  or  Vauhoze,  was  born  in  1648.  Little 
is  known  of  this  artist  except  that  he  was  a  scholar 
of  Bourdon,  and  painted,  after  the  drawings  of  his 
master,  the  gallery  of  the  hotel  of  M.  de  Breton- 
villiers,  president  of  the  Chambre  des  Comptes. 
He  also  painted,  in  1667,  an  allegorical  picture  of 
the  campaign  in  Flanders,  and  another  of  the 
conquest  of  Pranche  Comt§  in  the  following  year. 
He  was  elected  a  member  and  professor  of  anatomy 
in  the  Academy  of  Paris  in  1670:  his  reception 
work,  '  The  Peace  of  Aix-!a-Chapelle,'  is  in  the 
Louvre.  He  also  engraved  some  of  the  works  of 
Bourdon.     He  died  in  Paris  in  1716. 

FEISCH,  JohannChristoph,  an  historical  painter, 
was  the  son  of  the  designer  and  engraver,  Ferdi- 
nand Helfreich  Frisch,  and  was  born  at  Berlin 
in  1737.  He  was  a  pupil  of  B.  Rode,  but  after- 
wards studied  further  at  Rome.  He  died  at  Berlin 
in  1815,  while  holding  the  posts  of  court  painter  and 
director  of  the  Academy.  He  painted  numerous 
ceilings  in  the  palaces  at  Berlin,  Potsdam,  and 
Sans  Souci,  with  portraits,  mythological  repre- 
sentations, and  scenes  from  the  life  of  Frederick 
the  Great. 

FRISCH,  John  Didrik,  a  Norwegian  landscape 
painter,  was  born  at  Charlottedal,  near  Slagelse,  in 
1836,  and  studied  in  the  Academy  at  Soro  under 
Harder,  and  afterwards  in  that  at  Copenhagen. 
In  1867  he  went  to  Italy  for  further  improvement, 
but  died  at  Florence  in  that  year.  He  was  fond  of 
introducing  animals  into  his  landscapes.  One  of 
his  pictures  is  entitled  '  Two  old  Neighbours  pro- 
curing a  Night's  Lodging.' 

FRISIUS.     See  De  Vries. 

FRISIUS,  Jan  Eillart,  was  very  likely  one  of 
the  De  Vries  family.  He  was  chiefly  employed  by 
the  booksellers,  for  whom  he  engraved  some  plates 
of  portraits  ;  among  others : 

Henry  IV.,  King  of  France. 

Henry  of  Nassau,  Prince  of  Orange. 

FRISTER,  Karl,  an  Austrian  painter,  was  bom 
at  Vienna  in  1742,  and  died  in  the  same  city  in 
1783. 

FRITS,  PiBTER,  a  Dutch  painter,  was  born  pro- 
bably at  Delft  about  1627.  He  spent  some  time 
in  Italy,  and  was  employed  at  several  European 
courts.  In  1683  he  established  himself  at  Delft.  He 
painted  incantations,  spectres,  and  other  eccentric 
absurdities,  in  the  style  of  Jerom  Bosch ;  but  not 
meeting  with  sufficient  encouragement  in  this  line, 
he  abandoned  it  for  that  of  a  printseller,  in  which 
he  amassed  a  large  fortune.  He  was  still  living  in 
1702. 

PRITSCH,  Daniel,  a  German  painter,  lived  in 
the  latter  part  of  the  16th  century.  He  copied,  or 
imitated,  the  works  of  Lucas  Cranach,  as  appears 
by  a  picture  in  the  church  at  Tempelhof,  near 
Berlin,  mentioned  by  Kugler,  and  supposed  to  be 
by  Lucas  Cranach,  but  which,  on  cleaning,  was 
discovered  to  be  the  work  of  Pritsoh,  and  painted 
in  the  year  1596.  Kugler  observes  that  in  power 
of  colouring  it  is  inferior  to  the  later  works  of 
Cranach,  but  is  distinguished  by  the  excellence 
and  individual  truth  of  the  heads. 

527 


Fritzsch. 


A  BIOGRAPHICAL  DICTIONARY  OF 


Fmtti 


TEITZSCH,  Cheistun,  an  engraver,  was  a 
native  of  Hamburg.  He  was  chiefly  employed  in 
engraving  portraits,  among  which  are  : 

Pope  Benedict  XIY. 

John  Churchill,  Duke  of  Marlborough. 

PRITZSCH,  Claudius  Ditlbv,  a  Danish  flower 
painter,  was  born  at  Kiel  in  1766,  and  died  at 
Copenhagen  in  1841.  There  are  some  specimens 
of  his  art  in  the  Gallery  of  the  latter  city. 

FEOMANTIOU,   Hendrik  db.      See   Db   Feo- 

MANTIOU. 

FBOMBNTIN,  Eugene,  a  French  painter  of 
Algerian  subjects,  and  an  art  writer,  was  born  at 
La  Rochelle  in  1820.  He  studied  under  Cabat, 
and  travelled  in  the  East  from  1842  to  1846.  He 
died  at  St.  Maurice,  near  his  birthplace,  in  1876. 
Amongst  the  books  he  wrote  are  '  Les  Mattres 
d'autrefois,'  '  Un  ii&  dans  le  Sahara,'  '  Une  Ann^e 
dans  le  Sahel,'  and  a  romance  called  'Dominique.' 
His  chief  paintings  are : 

The  Gorge  of  the  Chiffa. 

Hawking  in  Algeria.     {Luxemhowrg  Gallery.) 

Arab  Encampment  [unfinished).    (Luxembourg  Gallery.) 

The  Simoom.     1859. 

Arabs  attacked  by  a  Lioness.     1868. 

The  Halt  of  Muleteers.     1869. 

Bendezvous  of  Arab  Chiefs. 

A  Souvenir  of  Bsneh.     18T6. 

The  Nile.    1876. 

A  memoir  of  Fromentin  by  M.  Louis  Gonse  was 
published  in  1881,  and  has  since  been  translated 
into  English. 

FROMMEL,  Kael  Ludwig,  born  at  Birkenfeld 
in  1789,  was  instructed  in  painting  by  Philipp  Jakob 
Becker,  and  in  engraving  by  Haldenwang.  He 
afterwards  went  to  Paris  and  Italy  for  improve- 
ment, returned  to  Germany  in  1817,  and  became 
professor  of  painting  and  engraving  at  Carlsruhe. 
He  visited  England  in  1824,  and  founded,  with 
H.  Winkles,  ,  an  atelier  for  engravers  on  steeL 
In  1829  he  was  made  director  of  the  Gallery  at 
Carlsruhe.  He  died  at  Ispringen,  near  Pforzheim, 
in  1863.  Fromrael's  landscapes  are  very  spirited 
and  tasteful  compositions.     Among  them  are  : 

Sorrento. 

The  Eruption  of  Vesuvius. 

The  Blue  Grotto  at  Capri. 

Scylla  in  Calabria. 

The  Convent  Garden  at  Sorrento. 

The  Churchyard  at  Salzburg. 

The  Castle  of  Hohenstaufen. 

A  View  of  Eome. 

Mtoa,  and  Taormina. 

Eellaggio  on  Lake  Como. 

The  House  of  Tasso  at  Sorrento. 

The  Villa  Serbelloni  on  Lake  Como. 

Among  his  engravings  are : 

Ariccia,  near  Kome. 

View  of  the  Villa  d'Este  at  Tivoli. 

A  Landscape  with  Goats  and  Shepherds. 

A  View  of  Vesuvius. 

A  View  of  Mount  .Sltna. 

La  Grotta  delle  Sirene. 

FRONTIER,  Jean  Chaeles,  was  born  in  Paris  in 
1701.  He  was  a  pupil  of  Claude  Guy  Halld,  and 
took  the  first  prize  at  the  Academy  in  1728,  with 
a  picture  of  '  Ezekiel  abolishing  Idolatry  and  estab- 
lishing the  Worship  of  the  true  God.'  He  was 
received  as  an  academician  in  1744,  with  the  pic- 
ture '  Prometheus  bound  on  Caucasus,'  now  in  the 
Louvre.  He  exhibited  at  the  Salon  from  1743  to 
1761,  and  became  director  of  the  Academy  of 
Lyons,  where  he  died  in  1763. 

628 


FROSNE,  Jean,  a  French  engraver,  was  born  in 
Paris  about  the  year  1630,  and  was  still  living  in 
1676.  He  was  principally  employed  in  engraving 
portraits,  of  which  the  Abb6  de  Marolles  collected 
forty-three.  He  also  engraved  part  of  the  large 
ornamental  plates  for  the  collection  of  views,  &c., 
by  S.  de  Beaulieu.  Among  others,  the  following 
portraits  are  by  him : 

Claude  Baudry,Abb^  de  La  Croix;  after  Le  Bon.    1657. 

Louis  de  Lorraine,  Due  de  Joyeuse. 

Henri  d'OrlSans,  Due  de  Lougueville. 

Nicolas  Dauvet,  Oomte  de  Desmarez  ;  after  Stresor. 

Nicolas  Potier,  President  of  the  Parliament. 

M.  Dreux  d'Aubray. 

FROST,  George,  an  English  landscape  painter, 
son  of  a  builder,  was  bom  at  Barrow,  in  Sufiolk,  in 
1744.  He  was  employed  in  connection  with  the 
Ipswich  coach,  and  only  pursued  art  as  a  pleasure. 
He  was  a  follower  of  Gainsborough,  and  on  friendly 
terms  with  Constable.  He  died  at  Ipswich  in  1821. 
In  the  Glasgow  Gallery  is  a  sketch  by  this  artist 
entitled  '  Courtship.' 

FROST,  William  Edward,  an  English  mytho- 
logical and  allegorical  painter,  was  born  at  Wands- 
worth in  1810.  He  received  his  first  instruction  in 
art  from  an  amateur,  then  at  Sass's  academy,  and 
finally  at  the  schools  of  the  Royal  Academy,  which 
he  entered  in  1829,  and  where,  in  1839,  he  won  the 
gold  medal  with  his  '  Prometheus  bound.'  For  the 
first  fourteen  years  of  his  career  he  painted  por- 
traits, and  then  relinquished  that  branch  of  art  to 
follow  in  the  footsteps  of  Etty,  to  whom  he  had 
been  introduced  at  the  age  of  fifteen,  and  who  had 
given  him  much  advice.  At  the  Westminster  Hall 
competition  in  1843  he  obtained  a  prize  of  £100  for 
his  'Una  surprised  by  Fauns.'  He  was  elected 
an  Associate  of  the  Royal  Academy  in  1846,  but 
did  not  become  an  Academician  until  1871,  when 
he  deposited  as  his  diploma  picture  '  A  Nymph  and 
Cupid.'  He  died  in  London  in  1877.  His  chief 
works  are : 

Sabrina.    1845. 

Diana  surprised  by  Actfeon.     1846. 

Una  and  the  Wood  Nymphs.     1847.    (The  Queen.) 

The  Disarming  of  Cupid.    1850.    (The  Queen.) 

Chastity.    1854. 

Narcissus.    1857.     (International  ExMUtion,  1862.) 

The  Syrens.    1860. 

A  Dance.    1861. 

The  Graces  and  Loves.    1863. 

Hylas  and  the  Nymphs.    1867. 

Puck.     1869.- 

Musidora.    1871. 

FRO  YEN,  — ,  the  name  of  an  obscure  and  very 
indifEerent  engraver,  is  afiBxed  to  a  print  repre- 
senting the  head  of  our  Saviour.  It  is  executed 
entirely  with  the  graver. 

FRUMENTI,  NiccoLd,  who  flourished  about  1460, 
was  the  painter  of  a  triptych  in  the  Uffizi  at  Florence, 
representing  the  '  Raising  of  Lazarus,'  dated  1461. 

FRUTET,  Feancisco.  This  name  appeared  first 
in  the  pages  of  Cean  Bermudez,  whence  it  has 
been  copied  again  and  again  during  the  present 
century.  Cean  Bermudez  appears  to  have  been 
misled  by  certain  documents  in  the  archives  of  the 
convent  of  La  Merced  Calzada  at  Seville,  and  so  to 
have  ascribed  to  an  artist  who  never  existed  the 
triptych  of  the  '  Adoration  of  the  Magi,'  now  in 
the  Brussels  Gallery,  which  was  probably  the  last 
work  of  Frans  Floris.  The  question  has  been  dis- 
cussed by  M.  Fetis  in  the  '  Bulletin  des  Commissions 
royales  d'Art  et  d'Arch^ologie '  for  1880. 

FRUTTI,  II  Gobbo  da'.     See  BoNZi. 


Fruytiers 


PAINTERS  AND  ENGRAVERS. 


Fuessly 


FRUYTIERS,  Philippds,  a  Flemish  painter  and 
etcher,  was  born  at  Antwerp  about  the  year  1610. 
He  first  painted  historical  subjects  in  oil,  and  had 
given  proof  of  considerable  ability  in  an  altar-piece 
representing  the  'Virgin  and  Infant  seated  on  a 
Globe  with  a  Choir  of  Angels,'  painted  for  the 
cathedral,  when  he  quitted  oil-painting  for  dis- 
temper and  miniature,  and  became  the  most  cele- 
brated artist  of  his  time  in  those  branches.  His 
colouring  is  excellent,  and  his  compositions  evince 
a  ready  invention.  His  works  were  greatly  es- 
teemed by  Rubens,  and  it  is  no  slender  proof  of  his 
merit  that  he  was  employed  to  paint  the  portraits 
of  that  great  master  and  his  family,  which  he 
executed  entirely  to  his  satisfaction.  There  is  at 
Windsor  Castle  a  miniature  by  him  of  the  wife  and 
family  of  Rubens.  He  died  at  Antwerp  in  1665. 
Fruytiers  etched  some  plates  in  a  very  masterly 
style  ;  they  are  principally  portraits.  The  most 
important  are : 

Jacob  Bdelheer,  the  Ambassador. 

M.  Ambrosias  van  Capelle,  Bishop  of  Antwerp. 

Gottfroy  'Weiidelinus.     1648. 

Hedwiga  Eleonora,  Queen  of  Sweden. 

Don  Laur.  Eamires  de  Prado,  Eques.    1649. 

Innoceps  a  Calatayeroue,  head   of  the  Capuchins  in 

Belgium. 
Benj.  Sardagna.     1650. 
St.  Joachim  and  St.  Anna  presenting  the  Child  Mary  to 

the  Trinity. 

FRY,  William  Thomas,  who  was  born  in  1789, 
and  died  in  1843,  practised  engraving  with  some 
success. 

FRYE,  Thomas,  a  portrait  painter  and  engraver 
in  mezzotint,  was  born  in  the  vicinity  of  Dublin 
in  1710,  but  afterwards  resided  in  London,  and 
in  1749  established  a  porcelain  manufactory  at 
Bow,  which  did  not  prove  a  successful  venture. 
He  painted  portraits  with  success,  both  in  oil  and 
in  miniature.  His  portrait  of  Jeremy  Bentham  at 
the  age  of  thirteen  is  in  the  National  Portrait 
Gallery.  He  also  scraped  in  mezzotint  several 
plates  of  portraits,  most  of  which  are  as  large  as 
life.  He  died  in  1762.  Among  his  engravings 
are  the  following  heads : 

George  III. 
Queen  Charlotte. 
His  own  Portrait. 
Portrait  of  his  Wife. 
Miss  Pond. 

FUCHS,  Adam,  an  engraver  on  copper  and 
wood,  flourished  in  Germany  in  1550-80.  Among 
his  plates,  which  are  marked  with  his  name  or 
initials,  or  with  one  or  other  of 
the  accompanying  monograms, 


7?- 


The  Elector  Frederick  the  Wise. 
Martin  Luther  kneeling  before  a  Crucifix.    1568. 
A  Hare  mounted  as  General. 
Twelve    Plates    of    Love-pieces    of    Sea-horses 
Monsters. 


and 


FUCHS,  Maximilian  Heineich,  who  was  bom 
in  1767,  became  deservedly  known  for  his  archi- 
tectural design  for  the  cathedral  at  Cologne.  He 
restored  with  ability  the  '  Crucifixion  of  Peter,'  in 
St.  Peter's  church  in  that  city,  and  Stephan' s  paint- 
ing in  the  cathedral.     He  died  at  Cologne  in  1848. 

FUCKERAD,  Bernaed,  a  Jesuit,  born  in  Thu- 
ringia  in  1601,  executed  a  number  of  paintings  for 
the  Jesuits'  Church  and  that  of  St.  Andrew  at 
Cologne.  He  is  said  to  have  been  so  skilful  in 
copying  the  works  of  other  artists,  that  an  imitation 
by  him  of  a  picture  by  Johann  Hulsman  deceived 

M  M 


that  painter  into  the  belief  that  it  was  his  own 
production.     He  died  at  Cologne  in  1662. 

FUENTE.    See  Db  La  Fuente. 

FUENTES,  Giorgio,  born  at  Milan  in  1756, 
studied  under  Gonzaga,  and  distinguished  himse  t 
as  a  painter  of  decorations  in  the  Scala  at  Milan,  at 
Frankfort  (1796—1805),  and  in  the  Grand  Opera 
in  Paris.     He  died  at  Milan  in  1821. 

FUERSTENBERG,  Thiodoe  Caspae  von,  one 
of  the  first  artists  who  worked  in  mezzotint,  is 
said  to  have  been  instructed  by  Ludwig  von 
Siegen.  All  that  is  now  known  of  this  artist  is 
that  he  was  a  prebendary  at  Mayence  in  1624,  and 
provost  in  1673.  He  died  at  that  town  in  1675. 
His  very  rare  and  beautiful  plates  are : 

The  Portrait  of  the  Archduke  Leopold  William  of 

Austria.    1656. 
Christ  with   the  Crown  of   Thorns;    after  Alirecht 

Durer. 
The  Bust  of  a  Prince.    1658. 
The  Head  of  St.  John. 
Herodias  with  the  Head  of  St.  John. 
The  Portrait  of  the  Margrave  Frederick  of  Baden. 

FUES,  Feiedeich  CHEiSTiAN,an  historical,  genre, 
and  portrait  painter,  was  born  at  Tiibingen  in  1772, 
and  was  educated  at  Stuttgart  under  Harper  and 
Hetsch.  He  then  found  employment  in  Stob- 
wasser's  varnish  factory  at  Brunswick,  and  after 
that  with  J.  D.  von  Mayr  at  Nuremberg,  in  the 
preparation  of  pictures  for  snuff-boxes  and  orna- 
ments, until  he  was  appointed  professor  of  painting 
in  the  art  school  of  the  latter  city.  He  died  in 
1836.  He  etched  thirteen  plates  of  landscapes, 
and  lithographed  four.  Among  his  paintings 
are: 

The  Minnesingers, 

The  Family  of  an  old  Knight  in  the  Castle  Hall. 
A  Peasant  laughing. 
Summer  and  Winter.    1835. 
Consecration  of  a  Swabian  Church.    1839. 
Nine  Portraits  of  distinguished  Nurembergers.    (Town 
Hallf  Nuremberg.) 

FUESSLY  is  the  name  borne  by  a  numerous 
family  of  artists,  who  flourished  at  Zurich  in  the 
18th  and  19th  centuries.  The  most  important 
member  was  Heinrich  Fuessly,  better  known  as 
Henry  Fuseli,  R.A.  The  others  painted  portraits, 
flowers,  miniatures,  &c.,  and  some  of  them  wrote 
on  art. 

FUESSLY,  Heineich,  or,  as  he  is  commonly 
known  in  England,  Heney  Fuseli,  second  son 
of  Johann  Kaspar  Fuessly,  was  bom  at  Zurich  in 
1741.  He  was  originally  intended  for  the  Church, 
and  actually  entered  it,  but  compelled  by  the 
enmity  of  a  magistrate,  whose  dishonesty  he  had 
exposed,  to  leave  his  native  town,  he  went  to 
Berlin,  and  for  some  time  devoted  himself  to 
literature,  in  which  he  was  engaged  at  intervals 
throughout  his  life.  In  1765,  at  the  instigation  of 
the  British  ambassador  at  the  court  of  Berlin,  he 
visited  England,  and  in  1767  an  introduction  to 
Reynolds,  who  praised  his  drawings,  induced  him 
to  become  a  painter,  and  in  the  following  year  he 
went  to  Italy,  where  he  stayed  for  nearly  nine 
years,  studying  the  works  of  Michelangelo ;  but 
he  never  fairly  mastered  the  principles  of  drawing 
or  colouring,  and  his  works  are  esteemed  more  for 
the  powerful  imagination  they  display  than  for  any 
artistic  merit.  He  was  of  most  eccentric  habits  and 
extravagant  ideas,  and  these  ideas  are  everywhere 
apparent  in  his  pictures.  Leaving  Italy  in  1778, 
and  passing  through  Zurich,  he  reached  England 
in  the  following  year,  and  in  1782  produced  his 

-629 


rtiger 


A  BIOGRAPHICAL  DICTIONARY  OF 


Fuller 


famous  picture  of  'The  Nightmare.'  In  1786  he 
became  a  zealous  worker  in  Boydell's  Shakespeare 
Gallery,  for  which  he  executed  nine  paintings. 
In  1788  he  was  elected  an  Associate  of  the  Royal 
Academy,  and  an  Academician  two  years  later,  and 
in  1790,  too,  he  married  one  of  his  models.  In 
1799  he  opened  his  Milton  Gallery,  comprising 
forty-seven  paintings,  the  result  of  several  years 
of  labour.  In  the  same  year  he  was  elected 
Lecturer  on  Painting  at  the  Royal  Academy,  and 
in  1804  he  was  made  keeper,  the  bye-laws  being 
altered  to  allow  him  to  retain  the  lectureship. 
He  died  at  Putney  in  1825.  Fuseli  was  an  artist 
in  mind,  but  devoid  of  technical  knowledge. 
His  most  famous  productions  are,  perhaps,  his 
illustrations  to  Shakespeare. 

FUGER,  Feiedkich  Heinrich,  was  born  at 
Heilbronn  in  1751.  Some  of  his  works  exhibit 
elegance  of  form  and  an  agreeable  colour ;  but  he 
is  very  unequal,  as  may  be  seen  from  those  in  the 
Vienna  Gallery,  which  are  not  his  best.  He  first 
learned  painting  under  Guibal  at  Stuttgart,  but 
finding  himself  not  yet  apt  enough  for  the  art,  he 
studied  jurisprudence  at  Halle  in  1768.  In  1770 
he  took  up  the  brush  again,  and  painted  under 
Oeser  at  Leipsic.  He  then  went  to  Dresden,  where 
he  executed  several  portraits.  In  1772  he  returned 
to  Stuttgart  in  order  to  study  composition  under 
Guibal.  At  Vienna,  to  which  city  he  went  in  1774, 
he  was  patronized  by  Maria  Theresa,  who  assisted 
him  to  visit  Rome,  in  which  city  he  studied  after 
the  antique  and  the  great  masters,  especially  after 
Mengs  and  Battoni.  After  haying  finished  several 
frescoes  in  the  Caserta  Palace,  near  Naples  in 
1782,  which  represent  '  Allegories  upon  the  Origin 
of  the  Sciences,'  he  was  appointed  vice-director 
of  the  Academy  at  Vienna  in  1783.  He  died  at 
Vienna  in  1818.  His  most  important  paintings 
are : 

Brunswick.      Gallery.    The  Portrait  of  Connt  LudolfE. 
London.       Nat.  Port.  YSorir&it  of  Nelson   (painted   at 

Gallery.   J      Vienna  in  1800). 
Munich.  Gallery.    The  Magdalen. 

Vienna.  Gallery.    St.  John  the  Baptist. 

„  The  Magdalen. 

„  „  Ariadne  at  Naxos. 

„  „  Orpheus  in  the  Lower  World. 

,,  „  Dido  on  the  Funereal  Pile. 

„  „  Adam   and  Eve  lamenting  over 

the  body  of  Abel. 

„  „  The  Judgment  of  Brutus. 

,j  „  Semiramis. 

„  „  Virginia. 

„  Academy.     The  Death  of  Germanicus. 

„  Czemin  Gallery.    The  Farewell  of  Coriolanus. 

,,       CouTit  Sinzenr'l  .r^         ,. 

dmf.         i  Prometheus. 

Other  portraits  by  him  are  : 

The  Emperor  Joseph. 

The  Elector  of  Mentz. 

General  Loudon. 

The  Princess  of  France. 

The  Countess  Bzewuska  with  her  Children. 

He  illustrated  Klopstock's 'Messiah'  with  twenty 
designs  which  were  engraved  by  Leybold,  and 
likewise  executed  fifteen  etchings  of  portraits  and 
mythological  subjects, 

FUHRICH,  Joseph,  was  born  at  Kratzau,  in 
Bohemia,  in  1800,  and  studied  first  at  Prague  under 
Bergler,  and  in  1827  at  Vienna,  where  he  designed 
and  painted  several  romantic  scenes.  In  1829  he 
went  to  Rome,  and  executed  three  frescoes  in  the 
Villa  Massimi,  representing  scenes  from  Tasso's 
'Gerusalemme  liberata.'     He  afterwards  became 

630 


a  follower  of  Overbeck.  In  1854  he  began  his 
great  works  in  the  Altlerchenfelder  Church  at 
Vienna,  representing  the  '  Raising  of  Lazarus ' 
and  the  '  Last  Judgment. '  He  died  at  Vienna  in 
1876.  Though  his  religious  subjects  are  not  free 
from  fault,  they-  are  well  conceived,  the  figures 
being  natural  and  the  draperies  simple.  Among 
his  numerous  paintings  and  drawings  may  be 
mentioned : 

Fifteen  drawings  for  Tieck's  '  Genovefa.' 

Illustrations  to  Goethe's '  Brlkonig.' 

Twelve  drawings  for  Goethe's '  Hermann  and  Dorothea.' 

Jesus  entering  the  Garden. 

Joshua  and  his  army  giving  thanks  on  the  Fall  of  the 
"Walls  of  Jericho. 

The  Nativity  of  Christ. 

The  Creator  in  the  Clouds  giving  Moses  the  Command- 
ments.    ( Vienna  Gallery.) 

The  Appearance  of  fighting  Horsemen  in  the  Clouds, 
terrifying  the  inhabitants  of  Jerusalem,  before  the 
occupation  by  Antiochus.    (  Vienna  Gallery^ 

The  Virgin  going  over  the  Mountain.  ( Vienna  Gallery.) 

Fourteen  ^scenes  from  the  Crucifixion.  [St.  John 
Nepomvk,  Vienna.) 

Eight  scenes  in  the  life  of  the  Prodigal  Son. 

Sixteen  scenes  of  the  Spiritual  Rose. 

Fifteen  scenes  of  the  Eesurrection. 

FULCARUS,  Sebastianus.    See  Foeck. 

FULCO,  Giovanni,  was  bom  at  Messina  in  1615. 
After  having  learned  the  first  principles  of  design 
in  his  native  city,  he  went  to  Naples,  where  he 
entered  the  school  of  Cavaliere  Massimo  Stanzione. 
He  is  said  by  Hakert,  in  his  '  Memorie  de'  Pittori 
Messinese,'  to  have  been  a  firm  and  correct  designer, 
and  to  have  excelled  particularly  in  the  representa- 
tion of  children.  Many  of  his  pictures  have  been 
destroyed  by  the  earthquakes,  to  which  his  country 
is  subject.  Of  those  that  remain  are  his  fresco 
works,  and  a  picture  in  oil  of  the  'Birth  of  the 
Virgin,'  in  the  chapel  of  the  Crucifixion,  at  the 
Nunziata  de'  Teatini,  at  Messina.  He  died  about 
the  year  1680. 

FULIGNO,  Nicool6  da.     See  Libeeatoee. 

FULIGNO,  Pier  Antonio  di,  flourished  about 
the  middle  of  the  15th  century,  and  executed  the 
frescoes  in  Santa  Cattarina  at  Assisi. 

FULLER,  Isaac,  an  English  painter,  was  born  in 
1606.  Nothing  is  known  of  his  family,  or  of  his 
instructor  in  his  own  country,  but  he  studied  some 
years  under  Francois  Perrier,  ic  Paris.  He  was 
principally  employed  in  England,  and  especially  at 
Oxford,  in  wall  pieces.  In  the  chapel  at  Wadham 
College  he  painted  the  '  Children  of  Israel  gathering 
Manna,'  and  at  Magdalen  College  an  altar-piece 
which  was  praised  by  Addison.  He  also  painted 
five  pictures  of  the  '  Escape  of  Charles  II.  after  the 
battle  of  Worcester,'  which  were  presented  to  the 
Irish  Parliament.  His  own  portrait,  which  is  at 
Queen's  College,  Oxford,  though  eccentric,  is 
touched  with  great  force,  and  full  of  character. 
Fuller  etched  some  plates  for  a  drawing-book, 
called  '  Libro  da  disegnare ' ;  and  in  conjunction 
with  Tempesta  and  Henry  Cooke,  etched  the  plates 
for  the  '  Moral  Emblems,'  by  Cesare  Ripa  ;  they  are 
very  indifferently  executed.  He  died  in  London 
in  1672. 

FULLER,  Richard,  an  American  landscape 
painter,  was  born  at  Bradford,  in  New  Hampshire, 
in  1822.  In  1840  he  was  apprenticed  to  a  cigar 
manufacturer  at  Boston,  and  later  on  he  was  made 
street  inspector  and  night  watchman.  From  1852 
to  1866,  however,  he  made  attempts  at  the  pursuit 
of  art  in  his  leisure  hours,  deriving  his  instruction 
from  the  pictures  which  he  saw  in  shop-windows. 


Fumaccini 


PAINTERS  AND  ENGEAVERS. 


Fumius 


From  1867  until  his  death  he  was  able  to  devote 
himself  entirely  to  paiuting,  and  depicted  American 
landscapes  with  much  poetical  feeling.  He  died 
at  Chelsea,  near  Boston,  in  1871,  and  bequeathed 
to  the  art  club  of  that  city  ninety  of  his  paintings, 
which  entitle  him  to  rank  among  the  beat-  land- 
scape painters  of  his  country. 

FUMACCINI,  Obazio.     See  Samacchini. 

FUMIANI,  Giovanni  Antonio,  was  bom  at 
Venice  in  1643,  and  was  educated  at  Bologna. 
After  acquiring  an  excellent  style  of  design  and 
composition  in  that  school,  he  returned  to  Venice, 
where  he  studied  for  some  time  the  works  of 
Paolo  Veronese.  Lanzi  considers  his  picture  of 
'  Christ  disputing  with  the  Doctors,'  in  the  church 
of  La  Cariti,  as  his  best  performance.  Among 
other  things  the  immense  ceiling  painting  in 
San  Pantaleone,  representing  the  '  Glorification 
of  St.  Pantaleon,'  is  remarkable.  He  died  in 
1710. 

FUMICELLI,  LoDOVico,  was  a  native  of  Trevigi, 
who  flourished  about  the  year  1536.  It  is  not 
known  with  certainty  whether  he  was  a  scholar  of 
Titian  or  not ;  but  Lanzi  regards  him  as  one  of  the 
ablest  and  most  memorable  of  his  imitators.  In 
1536  he  painted  the  principal  altar-piece  of  the 
church  of  the  Padri  Eremitani  at  Padua,  represent- 
ing the  '  Virgin  and  Infant  seated  in  the  clouds,  with 
St.  Augustine,  St.  James,  and  St.  Marina  below  ' ; 
which,  according  to  Ridolfi,  is  designed  and  coloured 
in  a  style  worthy  of  the  greatest  masters.  In  the 
church  of  the  Padri  Serviti,  at  Trevigi,  he  painted 
a  picture  of  'St.  Liberale  and  St.  Catharine,'  with 
two  laterals,  representing  '  St.  Sebastian  and  St. 
Philip,'  the  latter  the  founder  of  their  order.  It  is 
to  be  regretted  that  the  offer  of  an  advantageous 
eituation  in  the  engineers  tempted  him  to  abandon 
painting. 

FUNGAI,  Bbrnaedino,  was  a  native  of  Siena, 
who  was  born  about  1460,  and  died  in  1516.  He 
was  instructed  in  the  art  of  painting  by  Benvenuto 
di  Giovanni.  His  style  retains  something  of  the 
dry,  stiff  manner  which  preceded  him,  though  not 
more  so  than  that  of  many  of  his  contemporaries. 
Among  the  works  of  this  artist,  in  which  he  was 
partly  assisted  by  Pacchiarotti,  the  following  are 
the  most  important : 

Chiusi.  Cathedral.    The  Nativity  of  Christ.    {As- 

sisted by  Facchiarotti.) 
London.  South  Kensing-  \  The  Virgin  with  the  Child  ;  in 
ton  Museum.  J      the  style  of  Ferugina.  (^Falsely 
ascribed  to  Vivarini.) 
Siena,      S.  M.  de'  Servi.    Coronation  of  the  Virgin. 

„  „  Madonna  di  Foutegiusta.    1500. 

„  Carmine.    The  Virgin    and    Child,  with 

Saints.    1512. 

„  Academy.    The  Ascension. 

f,  „  Christ  between  St.  Francis  and 

St.  Jerome. 

„  „  A  Madonna.     (Assisted  %  ^ac- 

chiarotti.) 

FUNK,  Heinrich,  born  at  Herford,  in  "West- 
phalia, in  1809,  learned  the  rudiments  of  art  from 
his  father,  and  studied  in  1829  under  Schirmer  at 
the  Academy  at  Diisseldorf.  He  soon  became 
known  as  an  excellent  painter  of  landscapes,  and 
was  employed  at  Frankfort  from  1836  to  1854. 
Subsequently  he  settled  at  Stuttgart,  where  he 
became  professor  of  the  art  school,  and  died 
in  1877.  Funk  was  a  student  of  nature,  who 
possessed  a  fine  taste  for  the  beautiful,  and  painted 
in  a  simple  manner.  The  following  of  his  paintings 
are  noteworthy : 

MHz 


Berlin.  Gallery.    A  Summer's  Day  on  the  Rhine, 

,,  „  A  Kuin  in  the  Evening  Light. 

Frankfort.  StddelJnst.    The  Lower  Valley  of  the  Inn. 

„  „  Landscape. 

Stuttgart.       Gallery.    An  approaching  Thunderstorm  in 
the  Eifel  Mountains. 

FURCK,  Sebastian,  (or  Folcaeus,)  a  German 
engraver,  was  born  at  Alterkiilz,  Hundsriick,  about 
1589.  In  the  early  part  of  his  life  he  resided  at 
Rome,  where  he  engraved  some  plates  as  early  as 
1612.  From  1620  to  1630  he  was  established  at 
Franlcfort-on-the-Main.  He  engraved  many  por- 
traits and  historical  pieces,  chiefly  for  the  book- 
sellers, among  which  are  those  of  the  Colonna 
family ;  also  some  plates  after  Titian,  and  other 
masters.  He  died  at  Frankfort  in  1666.  He 
worked  principally  with  the  graver,  though  there 
are  a  few  etchings  by  him.  When  he  did  not  sign 
his  plates  with  his  name,  he  marked  them  with 

the  cipher     i^.     The  following  prints  are   by 

him: 

The  Last  Judgment ;  after  Michelangelo. 

St.  Sebastian ;  a  half-length  figure. 

An  ornamental  Frontispiece  to  the  works  of  Gul.  Fabri- 

cius,  dated  1646.    It  is  etched  in  a  very  spirited  style, 

and  is  signed  8.  Furck,  f. 

FDEICH,  Johann  Philipp,  born  at  Strassburg  in 
1655,  studied  under  Johann  Heinrich  Roos  at 
Frankfort,  and  became  so  successful  an  imitator 
of  that  master,  that  his  works  are  often  mistaken 
for  those  of  Roos.     He  died  after  1735. 

FURINI,  Francesco,  who  is  styled  by  Lanzi  the 
Guido  and  Albani  of  the  Florentine  school,  was 
the  son  of  Filippo  Furini,  a  respectable  portrait 
painter,  and  was  born  at  Florence  in  1604.  He 
was  first  instructed  by  his  father,  and  afterwards 
studied  under  Passignano  and  Roselli ;  and  on 
leaving  their  schools,  visited  Rome  and  Venice. 
In  1644  he  was  appointed  curate  at  Mugello,  near 
Borgo  San  Lorenzo,  where  he  painted  some  of 
his  best  pictures.  But  he  acquired  the  high 
reputation  in  which  he  is  held  by  his  admirable 
easel  pictures,  which  are  found  in  the  first  collec- 
tions in  Florence.  He  had  a  preference  for  imi- 
tating the  style  of  Albani,  in  which  he  was  very 
successful.  He  drew  with  elegance  and  correct- 
ness, particularly  the  delicate  forms  of  women  and 
children,  and  he  generally  made  choice  of  those 
subjects  in  which  they  could  be  introduced  with  the 
happiest  efEect.  Such  are  his  pictures  of  the  '  Three 
Graces,' in  the  Palazzo  Strozzi,  and  of  'Nymphs 
carried  ofE  by  Satyrs,'  in  the  Casa  Galli,  Furini  died 
at  Florence  in  1649.  Among  his  paintings  are  the 
following : 

Borgo  San         Church.  St.  Francis  receiving  the  Stig- 
Lorenzo.  mata. 

„  „  The  Ascension  of  the  Virgin. 

Copenhagen.    Gallery.  The  Penitent  Magdalen. 

Darmstadt.      Museum.  A  Female  Saint. 

Dresden.  Gallery.  St.  Cecilia. 

Edinburgh.   Nat.  Gall.  A  Head  of  St.  Sebastian. 

„  „  A  Poetess. 

Florence.       Fitti  Fal.  Adam  and  Eve  in  Eden. 

„  „  An  Allegorical  Figure. 

Madrid.  Gallery.  Lot  and  his  Daughters. 

Kome.      Fal.  Capponi.  David  and  Abigail. 

„  Fal.  vorsini.  Mythological  Subjects. 

Vienna.  Gallery.  The  Magdalen. 

FURNIDS,  PiBTER  Jalhea,  a  Flemish  designer 
and  engraver,  was  born  in  Flanders  about  1540,  and 
was  residing  at  Antwerp  about  the  year  1670.  He 
was  a  contemporary  of  the  Galles  and  the  Sadelers, 

.    531 


FOrst 


A  BIOGRAPHICAL  DICTIONAEY  OF 


Gaal 


P 


who  engraved  some  plates  from  his  designs.  His 
style  of  engraving  bears  a  near  resemblance  to  that 
of  those  artists.  Though  he  drew  the  figure 
correctly,  in  attempting  to  imitate  the  lofty  style 
of  Michelangelo  he  fell  into  affectation  and  ex- 
travagance. He  worked  entirely  with  the  grayer 
in  a  slight,  feeble  manner.  The  many  plates  which 
he  engraved  after  M.  Heemskerk,  J.  Stradanus, 
M.  De  Vos,  P.  Brueghel,  M.  van  Coxie,  and  others, 
are  signed  with  the  accompanying  monogram 
The  date  of  his  death  is  not  mentioned. 
Among  other  prints  the  following  are  by  him : 

The  Parable  of  the  Good  Samaritan :  a  set  of  six  plates. 
The  Martyrdom  of  St.  Felicia ;  P.  Furnius  in.  etfec. 
The  Escape  of  Cloelia ;  P.  Fumius  fecit. 

FUEST,  EosiNE  Hblene,  was  an  embroiderer 
and  engraver  of  Nuremberg  in  the  17th  century. 
Her  sister,  Maodalene  Fuest,  painted  flowers. 

FUESTENBERG,  Theodok  Caspab  von.    See 

FUEESTENBEEG. 

FDETMAYR,  Peechthold,  a  miniature  painter 
of  the  Upper  German  School,  flourished  between 
1470  and  1501.  There  are  by  him  in  the  castle 
of  Wallerstein,  Maihingen,  near  Nordlingen,  a 
Chronicle  in  two  folio  volumes,  with  a  great  number 
of  miniatures,  and  a  Bible,  with  vignettes  ;  and  at 
Munich,  in  the  Eoyal  Library,  a  Missal  in  five 
folio  volumes,  with  miniatures,  beautiful  mono- 
grams, and  flowers,  executed  for  the  Archbishop 
Bernhard  of  Salzburg  in  1481. 

FQSBLI,  Henet.     See  Fuesslt,  Heineich. 

FUSS,  Hans — commonly  called,  from  his  birth- 
place, Hans  von  Culmbaoh  (or  Kulmbach) — was, 
according  to  Florent  Le  Comte,  a  native  of  Germany, 
and  flourished  about  the  year  1517.  He  is  said  to 
have  been  a  disciple  of  Albrecht  Durer,  and  en- 
graved both  on  wood  and  copper.  Among  other 
prints  by  him,  we  have  one  representing  a  '  Soldier 
armed,  conversing  with  a  Country  Woman  ' ;  dated 
1517,  and  marked  with  the  initials  ff.  V.  C.  His 
master-piece  is  a  '  Madonna  and  Child  adored  by 
Saints,'  in  the  church  of  St.  Sebald  at  Nuremberg, 
He  died  at  Nuremberg  about  1522. 

FUTEEEB,  Uleich,  who  was  born  at  Landshut, 
and  flourished  at  Munich,  is  the  author  of  a  '  Cruci- 
fixion,' painted  in  imitation  of  sculpture,  in  the 
Gallery  at  Sohleissheim.  It  was  painted  about  1480, 
and  is  a  specimen  of  very  undeveloped  art.  Fiiterer 
is  better  known  as  a  poet  than  as  a  painter. 

FYFE,  William  B.  C,  a  Scottish  genre  and 
portrait  painter,  was  born  at  Dundee  about  1835. 
He  became  at  an  early  age  a  student  of  the  Eoyal 
Scottish  Academy,  and  exhibited  his  first  picture 
of  importance,  'Queen  Mary  resigning  her  Crown 
at  Loch  Leven  Castle,'  in  the  Exhibition  of  1861 ; 
but  this  was  surpassed  in  later  years  by  '  The  Eaid 
of  Euthven.'  In  1863  he  settled  in  London,  and 
from  that  time  onward  was  busily  engaged  with 
portraiture,  which  he  varied  with  landscapes  and 
genre  subjects  of  interest  and  merit.  Some  of 
his  most  important  portraits  are  those  of  the 
Earl  and  Countess  of  Dufferin,  Admiral  Grenfell, 
Alderman  Sir  William  McArthur,  Dr.  Lorimer, 
and  John  Faed,  E.S.A.  He  died  suddenly  in 
London  in  1882.  His  best-known  genre  pictures 
are: 

A  Girl  of  the  Period. 

On  Household  Cares  intent. 

What  can  a  Young  Lassie  dae  wi'  an  Auld  Man  ? 

A  Good  Catholic. 

Wandering  Minstrels. 

A  Qniet  Christmas. 
532 


FYOLL,  Conrad,  who  flourished  at  Frankfort- 
on-the-Main  from  the  year  1464  to  1476,— the  only 
space  of  time  of  which  record  concerning  him 
has  been  handed  down  to  us,. — is  a  painter  whose 
works  display  graceful  drawing  and  subdued 
colouring.  The  chief  picture  ascribed  to  him  is  an 
altar-piece  in  the  Stadel  Institute  at  Frankfort.  It 
represents,  in  the  centre, '  Christ  on  the  Cross,'  with 
the  donor  and  his  sons  on  the  right  wing,  and  his 
wife  and  daughters  on  the  left  wing.  There  is 
also  a  picture  of  the  '  Family  of  St.  Anne.'  Mention 
may  also  be  made  of  a  triptych  in  the  Berlin 
Gallery  formerly  assigned  to  him,  but  now  thought 
to  be  of  rather  later  date,  representing  the  '  Virgin 
and  Child  with  St.  Anna,'  and  '  SS.  Barbara  and 
Catharine '  and  the  '  Annunciation '  on  the  wings ; 
and  of  another  in  the  Antwerp  Museum,  with  the 
'  Adoration  of  the  Magi '  in  the  centre,  and  the 
'  Nativity  '  and  '  Circumcision  '  on  the  wings. 

FYT,  Jan,  a  Flemish  painter  and  etcher,  was  bom 
at  Antwerp  in  1609.  He  studied  in  the  atelier 
of  Jan  van  Berch  in  that  city  in  1621,  became  a 
master  in  the  Guild  of  St.  Luke  in  1629,  and  after- 
wards visited  Eome.  When  he  returned  to  Antwerp 
he  joined  the  Guild  of  the  Eomanists  in  1650,  and 
became  its  dean  in  1652.  He  excelled  in  the  re- 
presentation of  every  species  of  animal,  but  in 
dogs  he  is  perhaps  without  a  rival.  It  is  impossible 
for  art  to  approach  nearer  to  nature  than  in  the 
pictures  of  Fyt  of  that  description.  His  touch  is 
without  manner,  or  the  formality  of  practice  ;  it  is 
loose,  spirited,  and  playful,  but  peculiarly  charac- 
teristic, and  full  of  energy.  Such  was  his  extra- 
ordinary merit,  that  he  was  courted  by  the  greatest 
painters  of  his  time  to  embellish  their  works  with 
the  additional  attraction  of  his  admirable  animals. 
Eubens,  Janssens,  De  Craeyer,  and  Jordaens  em- 
ployed him  in  that  way,  which  was  the  more 
flattering  to  his  talent  as  Eubens  himself  excelled 
in  painting  animals  of  every  description.  His 
works  are  to  be  met  with  at  Antwerp  (the  '  Meal 
of  the  Eagle'  and  the '  Sleeping  Hound '),  Augsburg, 
Berlin,  Brunswick,  Dresden,  Cassel,  Munich,  Madrid, 
Paris,  Venice,  and  Vienna.  A  group  of  'Dead 
Birds  '  is  in  the  National  Gallery.  He  died  at 
Antwerp  in  1661.  There  are  by  Fyt  some  admirable 
etchings,  executed  in  the  bold  and  spirited  style  of 
his  pictures  ;  they  are  as  follow : 

A  set  of  eight  of  Dogs  and  other  Animals.    1640. 

A  set  of  seven  of  Dogs,  of  different  species,  with  back- 

gronnds  of  landscapes ;  dated  1642,  and  inscribed 

Johannes  Fyt,pinx.  et  fecit. 
A  set  of  eight  small  plates  of  a  Cart,  a  Horse,  a  Dog, 

Foxes,  Goats,  and  three  of  Cows.    These  are  very 

scarce. 

Lanzi  mentions  a  Gio.  Fayt  di  Anversa,  who 
resided  for  sometime  at  Venice,  and  was  employed 
in  the  Casa  Sagredo  and  Casa  Contarini:  this 
statement,  if  correct,  cannot  apply  to  Jan  Fyt 


G 


GAAL,  Baeent,  (or  Gael,)  a  Dutch  painter, 
was  born  at  Haarlem  in  1650.  He  was  a  scholar 
of  Philip  Wouwerman,  until  the  death  of  that 
master  in  1668,  when  he  found  himself  capable 
of  dispensing  with  further  instruction.  He  painted 
hunting  parties,  battles,  horse-fairs,  and  other  sub- 
jects similar  to  those  of  his  instructor,  and  he 
frequently  painted  figures  in  the  landscapes  of 


Gtaal 


PAINTERS  AND  ENGRAVERS. 


Gabron 


Isaac  Koene,  a  scholar  of  Jacob  Ruisdael.  He 
died  in  1703.  The  Rotterdam  Museum  has  paint- 
ings by  him  of  'A  Woman  making  Cakes,'  and 
'  The  Village  Inn ' ;  and  the  Brunswick  Gallery 
one  of  '  Soldiers  playing  Cards.'  In  the  Hermitage 
at  St.  Petersburg  are  a  '  Coast  Scene '  and  a  land- 
scape, and  in  the  Augsburg  Gallery  is  'A  Pig 
Market.' 

GAAL,  PiBTER,  was  born  at  Middelburg  in  1769, 
and  received  his  first  instructions  from  his  father, 
Thomas  Gaal ,  under  whom  he  made  some  progress ; 
he  afterwards  became  a  pupil  of  Schweickhardt, 
at  the  Hague.  After  visiting  London,  Paris,  and 
several  places  in  Germany,  he  settled  in  his  native 
city,  where  he  painted  portraits,  landscapes,  animals, 
live  and  dead  game,  and  subjects  of  ordinary  life, 
some  of  which  were  of  large  dimensions.  He  died 
at  Middelburg  in  1819. 

GAAL,  Thomas,  a  painter  of  portraits,  birds, 
and  flowers,  was  born  at  Dendermonde  in  1739. 
He  fixed  his  residence  at  Middelburg,  and  was  one 
of  the  founders  and  directors  of  the  Academy  in 
that  town.  J.  Perkois,  J.  H.  Koekkoek,  and  S.  De 
Koster  were  his  pupils.  He  died  at  Middelburg 
in  1817. 

GABBIANI,  Antonio  Domenico,  an  Italian 
painter,  was  born  at  Florence  in  1652.  After  he  had 
studied  some  time  under  Justus  Sustermans  and  Vin- 
cenzo  Dandini,  the  Grand-Duke  Cosmo  III.,  having 
been  made  acquainted  with  his  promising  talent, 
took  him  under  his  protection,  and  sent  him  to  the 
Florentine  Academy  at  Rome,  where  he  frequented 
the  school  of  Ciro  Ferri.  After  passing  three  years 
at  Rome  he  visited  Venice,  and  improved  his  style 
of  colouring  by  the  study  of  the  great  painters  of 
that  school.  He  was  invited  to  the  court  of  Vienna, 
where  he  painted  the  portrait  of  the  Emperor  and 
some  historical  subjects  for  the  Imperial  Gallery. 
On  his  return  to  Florence  he  painted  several  altar- 
pieces  for  the  churches,  particularly  a  fine  picture 
of  the  'Assumption,'  and  a  'Repose  in  Egypt'  ; 
also  his  celebrated  picture  of  '  St.  Philip,'  in  the 
church  of  the  Padri  dell'  Oratorio.  For  his  easel 
pictures  he  generally  selected  subjects  into  which 
he  could  introduce  children,  in  which  he  excelled. 
He  continued  to  paint  until  he  was  killed  by  a  fall 
from  a  scaffold  at  Florence,  in  1726.  His  principal 
works  in  public  galleries  are  : 

Cambridge.  Fitzwilliam  \  portrait 

Museum, ) 
Dresden.  Gallery.    Christ  at  the  house  of  Simon 

the  Pharisee. 
Florence.  Uffiiii.    His  own  Portrait. 

„  „        Bape  of  Ganymede. 

„  „        Madonna. 

Munich.  Gallery,    St.  Francis  of  Assist  performing 

Miracles. 
„  „         St.  Peter  of  Alcantara. 

Four  engravings  by  him  are  known: 

The  Madonna ;  after  Farmigiano. 
Portrait  of  an  old  Man. 
Portrait  of  a  young  Woman. 
A  Landscape. 

GABBIANI,  Gaetano,  the  nephew  of  Antonio 
Giibbiani,  studied  under  his  uncle,  and  became  a 
meritorious  portrait  painter  in  pastel.  He  worked 
at  Florence,  and  died  about  1750. 

GABBUGIANI,  BALDASSARB,an  Italian  engraver, 
executed  some  of  the  plates  for  the '  Museo  Fioren- 
tino,'  published  at  Florence  between  the  years  1747 
and  1766. 


GABET,  Charles  Henry  Joseph,  a  French 
painter  of  miniatures  and  of  portraits  in  water- 
colours,  was  bom  at  Courbevoie  in  1793.  He  is 
also  known  as  the  author  of  a  '  Dictionnaire  des 
Artistes  de  I'Ecole  Franpaise  au  xix*  sieole,' 
published  in  1831.     He  died  in  Paris  in  1860. 

GABET,  Fbanz,  an  Austrian  etcher,  was  born 
at  Vienna  in  1762,  and  died  in  the  same  city  in 
1847.  He  executed  several  landscapes  after  M. 
Molitor,  as  well  as  some  from  his  own  designs, 
and  six  plates  of  Ruins,  (fee,  after  F.  E.  Weirotter 
(1791'). 

GABIOU,  Jeanne  Elizabeth.    See  Chaudet. 

GABLER,  Ambbosids,  a  German  painter  and 
engraver,  born  at  Nuremberg  in  1764,  painted 
beautiful  miniatures.  His  father,  Nikolaus  Gabler, 
painted  in  oils  and  etched. 

GABLER,  JoHANN  Jakob,  an  engraver,  was  a 
native  of  Augsburg.  He  worked  at  Leipsic,  and 
engraved  the  '  Battle  of  Lutzen '  in  1632. 

GABRIEL,  Georges  FRANgois  Mabib,  a  French 
miniature  painter  and  designer,  born  in  Paris  in 
1775,  was  a  pupil  of  Naigeon  and  Regnault. 
Among  his  designs  are  those  ordered  by  the 
French  Government  for  the  great  work  of  the 
Institute  on  Egypt;  and  among  his  portraits  is 
one  of  Madame  de  Maintenon,  engraved  by  Mdcou, 
which  forms  the  frontispiece  to  her  memoirs  by 
Lafont  d'Ausonne.  The  date  of  his  death  is 
unknown. 

GABRIEL,  Paulus  Joseph,  a  painter  and  sculp- 
tor, was  born  at  Amsterdam  in  1785.  He  learned 
sculpture  from  his  father  and  Canova,  and  devoted 
himself  principally  to  that  branch  of  art ;  but  he 
at  first  practised  miniature  painting,  and  in  his 
twentieth  year  proceeded  to  Paris  specially  to 
improve  himself  therein.  In  1820  he  was  made 
a  member  of  the  Institute  at  Amsterdam,  and 
director  of  the  Royal  Academy  there.  He  died  at 
Amsterdam  in  1833. 

GABRIELLI,  Camillo,  a  native  of  Pisa,  was 
a  scholar  of  Ciro  Ferri.  Lanzi  states  that  he 
was  the  first  who  introduced  the  style  of  Pietro 
da  Cortona  among  his  countrymen.  He  painted 
some  oil  pictures  at  the  Carmelites,  and  for  private 
collections ;  but  he  was  more  distinguished  for 
his  fresco  paintings,  which'were  much  esteemed. 
His  principal  work  was  the  decorations  of  the 
great  saloon  in  the  Palazzo  Allicata.  He  died 
in  1730. 

GABRIELLO,  Onofrio,  was  born  at  Messina  in 
1617.  After  studying  six  years  in  his  native  city, 
under  Antonio  Ricci,  called  Barbalonga,  he  went 
to  Rome,  and  entered  the  school  of  Pietro  da  Cor- 
tona. He  afterwards  visited  Venice,  and  on  his 
return  to  Messina  he  was  much  employed  in  the 
churches,  for  private  collections,  and  in  portrait 
painting.  He  was  in  great  repute  when  the  Revo- 
lution, which  took  place  in  1674,  obliged  him  to 
quit  Sicily,  and  he  settled  at  Padua,  where  he 
resided  several  years,  and  was  usually  called  Onofrio 
da  Messina.  Some  of  his  best  works  are  in  the 
church  of  San  Francesco  di  Paola  at  Messina,  and 
in  the  'Guida  di  Padova'  are  mentioned  several 
of  his  pictures  in  the  public  edifices  and  private 
collections  of  that  city,  particularly  in  the  Palazzo 
Borromeo.     He  died  in  1706. 

GABRON,  WiLLEM,  born  at  Antwerp  in  1625, 
was  a  good  painter  of  fruit  and  flowers,  and  ex- 
celled in  the  representation  of  gold  and  silvej' 
vases,  porcelain,  and  ornaments  of  a  like  kind. 
He  spent  several  years   in   Italy,  but  died    at 

533 


Gaddi 


A  BIOGEAPHICAL  DICTIONABY  OF 


Gaelen 


Antwerp  in  1679.  The  Munich,  Brunswick,  and 
Darmstadt  Galleries  have  works  by  him. 

GADDI,  Agnolo,  the  son  of  Taddeo  Gaddi,  was 
born  at  Florence  apparently  after  1333,  and  at  his 
father's  death  was  left  under  the  joint  tutorship 
of  Giovanni  da  Milano  and  Jacopo  del  Casentino. 
In  the  early  portion  of  his  career  he  painted  the 
'  Resurrection  of  Lazarus,'  in  the  church  of  San 
Jacopo  tra  Fosse,  at  Florence.  The  frescoes  in 
the  Pieve  of  Prato,  representing  the  two  legends 
of  the  Virgin  and  the  Sacred  Girdle,  that  were 
painted  in  his  prime,  and  show  evident  traces 
of  Giotto's  principles,  are  still  to  be  seen  there. 
Unfortunately  they  are  much  damaged  both  by 
time  and  by  repairs,  but  they  still  show  consider- 
able power  and  ability.  Many  other  productions 
from  his  brush  exist  in  Prato.  In  the  choir  of 
Santa  Crooe,  at  Florence,  are  eight  frescoes  illus- 
trating the  Legend  of  the  Cross.  Altar-pieces  by 
him  may  also  be  found  in  many  of  the  churches  in 
and  around  Florence.  He  is  said  to  have  lived  for 
some  time  at  Venice,  engaged  in  mercantile  pur- 
suits. He  died  at  Florence  in  1396,  and'  was 
buried  in  the  church  of  Santa  Croce.  Among  his 
paintings  are  the  following  : 

Florence.        Academy.    Virgin  and  Child  in  Glory,  sur- 
rounded by  Saints. 

„  „  Evangelists  and  Doctors  of  the 

Church. 

„  „  Scenes  from  the  Lives  of  St. 

John  the  Evangelist,  St.  John 
the  Baptist,  St.  Nicholas,  and 
St.  Anthony. 

„  <S.  Croce.    Eight  subjects  from  the  Legend 

of  the  Cross— frescoes. 

„  „  Figures  of  Saints. 

„  tlfflzi.    The  Annunciation, 

Paris.  Louvre.    The  Annunciation. 

Prato.  Cathedral.    Thirteen  subjects  from  the  Life 

of  the  Virgin,  and  the  Legend 
of  Dagomari  (who  carried  the 
Holy  Girdle  from  Palestine  to 
Prato). 

„  Museum.    Virgin  and  Saints. 

GADDI,  Gaddo,  the  intimate  friend  and  con- 
temporary of  Cimabue,  was  bom  at  Florence  about 
1260.  FromTaii,  Gaddo  learned  the  art  of  mosaic, 
and  one  of  his  earliest  works  was  the  figures  of  the 
prophets  beneath  the'  windows  in  the  baptistery 
of  San  Giovanni  at  Florence.  The  influence  of 
Cimabue  is  chiefly  shown  in  his  mosaic  inside 
and  above  the  portal  of  Santa  Maria  del  Fiore  at 
Florence,  representing  a '  Coronation  of  the  Virgin, 
with  Saints  and  Angels.'  This  artist  seems  to  have 
visited  Rome,  and  to  have  been  employed  in  mosaic 
work  in  Santa  Maria  Maggiore,  and  in  the  choir 
of  St.  Peter's.  He  also  painted  in  the  upper  church 
of  St.  Francis  at  Assisi,  and  executed  the  mosaics 
of  the  old  Duomo  outside  Arezzo.  His  portrait, 
as  well  as  that  of  Tafl,  was  painted  by  his  son 
Taddeo  Gaddi  in  the  '  Sposalizio '  in  the  Baron- 
celli  Chapel  at  Santa  Croce.  Gaddo  Gaddi  was 
still  living  in  1333,  but  probably  died  about  that 
year,  and  was  buried  in  the  cloisters  of  Santa 
Croce. 

^ADDI,  Giovanni,  an  inferior  artist,  was  a  son 
of  Taddeo  Gaddi,  and  a  pupil  of  his  brother  Agnolo. 
He  pamted  in  San  Spirito  at  Florence  a  'Dispute 
of  Chnst  with  the  Scribes  in  the  Temple,'  and 
some  similar  works,  but  they  were  all  destroyed 
on  the  rebuilding  of  the  church.  He  died  in 
looo. 

GADDI,  Taddeo,  the  son  of  Gaddo  Gaddi,  was 
born   at  Florence  about   1300,  and  was  first  in- 
ooi 


structed  by  his  father,  but  afterwards  by  his  god- 
father Giotto,  whose  assistant  he  became  for  twenty- 
four  years.  When  Giotto  left  Florence  to  visit 
Naples,  .the  Baroncelli  Chapel  in  Santa  Croce  was 
completed,  and  Taddeo,  after  painting  the  '  Virgin 
and  Child  between  four  Prophets  '  on  the  funeral 
monument  at  the  entrance,  executed  on  the  walls 
of  the  chapel  itself  scenes  from  the  life  of  the 
Virgin,  and  in  the  diagonals  of  the  double  ceiling 
the  Eight  Virtues.  One  of  these  works  was  an 
altar-piece  now  in  the  Berlin  Gallery,  and  inscribed 
"  Anno  Dni  MCCOXXXIIII  mensis  septeinbris  Tadeus 
me  fecit. "  The  centre  panel  represents  the  '  Virgin 
and  Child,'  with  the  patrons  kneeling  at  the  foot 
of  the  throne.  On  the  right  wing  is  the  'Birth 
of  the  Saviour,'  and  a  scene  from  the  life  of  St. 
Nicholas  of  Bari,  and  on  the  left  wing,  beneath 
two  prophets,  is  the  '  Crucified  Saviour,'  with  the 
Magdalen  grasping  the  foot  of  the  cross,  and  the 
Virgin  and  St.  John  on  either  side.  Another  is 
an  altar-piece  in  the  sacristy  of  San  Pietro  at 
Megognano,  near  Poggibonsi,  inscribed  "  Taddeus 
Gaddi  d  Floretia  me  pTxit  MCCCLV.,"  representing 
the  'Virgin  and  Child  enthroned  among  angels.' 
Taddeo's  activity  may  well  be  compared  with  that 
of  his  master,  though  but  few  of  his  works  survive. 
His  frescoes  in  San  Spirito,  the  altar-pieces  in  San 
Stef  ano  del  Ponte  Veochio,  the  frescoes  in  the  church 
of  the  Serviti,  the  allegories  in  the  tribunal  of  the 
Mercanzia,  have  all  disappeared.  He  laboured  also 
at  Pisa,  where  a  portion  of  his  work  executed  in 
San  Francesco  in  1342  still  remains.  He  afterwards 
worked  in  Arezzo  and  Casentino.  Taddeo  Gaddi 
died  at  Florence  in  1366,  and  was  buried  in  the 
cloisters  of  Santa  Croce. 

Giovanni  da  Milano  and  Jacopo  del  Casentino 
were  his  pupils.  He  was  also  celebrated  as  an 
architect.     The  following  are  among  his  works : 


Berlin. 


Florence. 


Gallery. 

Academy. 

&  Croce. 


Gotha. 
Paris. 


iS.  Maria 
Novella. 


S.  Felicitct. 

Gallery. 
Louvre. 


Virgin  adored  by  Saints  and 
Donators.     1334. 

History  of  St.  Francis. 

Scenes  from  the  Life  of  Christ. 

Subjects  from  the  History  of 
the  Virgin— ^rescogs. 

The  Last  Supper— /resco. 
1  Scenes  from  the  Life  of  Christ — 
J     frescoes. 

The  Triumph  of  St.  Thomas 
Aquinas.  {A  grand  compo- 
sition, attributed  to  Gaddi,  hut 
hearing  all  the  marks  of  the 
Sienese  school.) 

Virgin  surrounded  by  Saints — 
altar-^ece. 

Christ. 

Scenes  from  the  Beheading  of 
St,  John  the  Baptist ;  Calvary ; 
Christ  and  Judas  Iscariot; 
Martyrdom  of  a  Saint.  (Pre- 
della  in  three  compartments^ 

The     Apostles;     St.    Francis; 

several    Saints ;    Allegorical 

Figures     of     the     Virtues. 

Frescoes.     1342. 

1  Virgin  enthroned,  surrounded 

J     by  Saints.     1355. 

History  of  the  Girdle  of  the 
Virgin.    (A  predella.) 

GAEL,  Bakent.    See  Gaal. 

GAELEN,  Alexander  van,  who  was  born  at 
Amsterdam  in  1670,  was  the  scholar  of  Jan  van 
Huchtenburgh,  and,  like  his  master,  painted  battles 
and  subjects  of  the  chase,  which  he  treated  with 
great  fire  and  spirit.  Whilst  he  was  a  pupil  of 
Huchtenburgh,  he  had  an  opportunity  of  improving 


Pisa.  S.  Fra 


Poggibonsi.      S.  Pietro, 

Megognano. 

Prato.  Gallery. 


G-aesbeeck 


PAINTERS  AND  ENGRAVBES. 


Gainsborougli 


his  touch  by  copying  tne  worES  of  Wouwerman, 
Berchem,  and  other  eminent  masters,  as  his  in- 
structor was  a  dealer  in  pictures  as  well  as  a  painter ; 
and  he  was  perhaps  more  indebted  to  this  circum- 
stance, than  to  the  lessons  of  Huchtenburgh.  He 
soon  found  himself  able  to  dispense  with  further 
instruction,  and,  resolving  on  visiting  other  coun- 
tries in  search  of  improvement,  went  to  Germany, 
where  he  passed  some  time  at  Cologne,  in  the 
employment  of  the  Elector.  After  a  few  years 
passed  in  Germany  he  returned  to  Holland,  where, 
not  meeting  with  the  encouragement  he  expected, 
he  did  not  long  remain,  but  determined  to  visit 
England,  whither  some  of  his  pictures  had  preceded 
him.  He  accordingly  came  to  this  country  in  the 
reign  of  Queen  Anne,  and  is  said  to  have  painted 
a  picture  of  Her  Majesty  in  a  coach  drawn  by 
eight  horses,  and  attended  by  several  of  the 
nobility.  He  also  painted  three  pictures,  repre- 
senting two  of  the  principal  battles  between  the 
Royal  Army  and  that  of  the  Commonwealth  in 
the  time  of  Charles  I. ,  and  the  '  Battle  of  the 
Boyne.'  No  mention,  however,  is  made  of  Van 
Gaelen  in  Walpole's  'Anecdotes.'  He  died  in 
1728. 

GAESBEECK,  A.  van,  a  Dutch  painter  of  genre 
subjects  and  portraits,  flourished  from  about  1670 
to  about  1700,  but  no  particulars  of  his  life  are 
known.  His  works,  which  are  rare,  are  in  the 
manner  of  Gerard  Dou  and  Pieter  van  Slingeland. 
The  Berlin  Gallery  possesses  '  The  Seamstress,' 
and  the  Amsterdam  Museum  a  portrait  of  a  young 
Man. 
GAETA,  SciPiONE  DA.  See  Pulzonb. 
GAGLIARDI,  Baetolommeo,  bom  at  Genoa  in 
1555,  is  said  to  have  been  a  painter  of  some  repu- 
tation. He  executed  works  after  the  manner  of 
Michelangelo.  There  are  also  several  plates  by 
him,  both  etched  and  finished  with  the  graver, 
among  which  is  a  large  print  representing  an 
emblematical  subject,  executed  in  a  style  resem- 
bling that  of  Cherubino  Alberti,  though  very 
inferior.     He  died  in  1620. 

GAGLIARDI,  Bernardino,  was  born  at  Citta  di 
Castello  in  1609.  Although  he  was  a  scholar  of 
Avanzino  Nucci,  he  pursued  a  different  path  after 
he  had  made  a  journey  to  Rome,  where  he  was 
particularly  struck  with  the  works  of  the  Carracci 
and  of  Guido.  In  the  cathedral  at  Citta  di  Castello, 
he  painted  the  'Martyrdom  of  St.  Crescentianus,' a 
work  of  considerable  effect,  but  deficient  in  other 
respects.  He  appears  to  more  advantage  in  his 
two  pictures  of  the  history  of  Tobit ;  but  his  best 
performance  is  his  picture  of '  St.  Pellegrino,'  with 
two  laterals,  in  the  church  of  San  Marcello  at  Rome. 
He  died  in  1660. 

GAGLIARDI,  Filippo,  is  mentioned  as  having 
executed  architectural  paintings  about  the  year 
1640.  The  Madrid  Gallery  possesses  an  '  Interior 
of  St.  Peter's  at  Rome,'  by  him. 

GAGNERAUX,  BiiNlGNE,  bom  at  Dijon  in  1756, 
was  first  instructed  in  the  school  at  Dijon  under 
Prangois  Devosge,  from  whence  he  proceeded  to 
Rome,  where  he  acquired  a  reputation  by  his  picture 
of  the  '  Meeting  of  Gustavus  III.  of  Sweden  with 
Pope  Pius  VI.,'  which  is  now  in  the  King's  Palace 
at  Stockholm.  In  the  Dijon  Museum  are  pictures 
of '  Soranus  and  Servilius,'  '  Battle  of  Senef ,'  '  Pas- 
sage of  the  Rhine  by  the  French  Army  under  Cond^,' 
a  '  Bacchanal,'  a  '  Cavalry  Charge,'  and  a  '  Triumph 
of  Neptune.'  Owing  to  the  disturbances  in  Rome 
he  quitted  that  city,  and  retired  to  Florence,  where 


he  died  in  1795.  In  the  UfBzi  at  Florence  are 
his  own  portrait,  a  'Battle  Scene,'  and  a  'Lion 
Hunt' 

GAGNIEEES,  Jean.    See  Ganiebes. 

GAILLARD,  Robert,  a  French  engraver,  born 
in  Paris  in  1722,  executed  a  considerable  number 
of  plates  of  portraits,  historical  and  other  sub- 
jects, and  landscapes.  He  died  in  Paris  in  1785. 
The  following  are  his  best  prints : 

PORTRAITS. 

Cardinal  Etienne  Eeni  Potier  de  Gesvres;    after  P. 

Batoni, 
Christophe  de  Beaumpnt,  Archbishop  of  Paris ;  after 

Chevalier. 
Jean  Joseph  Languet,  Archbishop  gf  Sens ;  after  the 

same. 
The  Queen  of  Sweden ;  after  Lantinmlle. 

SUBJECTS   AFTER   VARIOUS  MAgTEES. 

Venus  and  Cupid ;  after  Boucher. 

Jupiter  and  Calisto ;  after  the  same. 

Bacchantes  sleeping ;  after  the  same. 

Sylvia  delivered  by  Amyntas ;  after  the  same. 

Villagers  fishing ;  after  the  same. 

The  Cabaret ;  «/*«•  J.  B.  Le  Prince. 

The  Bussian  Concert ;  after  the  same. 

The  Father's  Malediction ;  after  J.  B.  Greaze. 

The  Son's  Punishment ;  after  the  same. 

The  Lace-maker ;  after  Schenau. 

A  Girl  spinning ;  after  the  sam.e. 

GAILLARD  de  LONJUMEAU,  Pierre  Joseph, 
a  French  amateur  engraver,  etched  several  small 
plates  for  his  amusement ;  among  others,  a  set 
of  views  of  the  'Antiquities  of  Aix,'  dated 
1750. 

GAILLOT,  Bernard,  a  French  historical  painter, 
born  at  Versailles  in  1780,  was  a  pupil  of  David. 
He  died  in  Paris  in  1847.  His  principal  pictures 
are: 

Cornelia.    1817. 

St.  Martin.    (Val-de-GrSee, Paris.) 

Conversion  of  St.  Augustine.    1819.    (_JVotre-Dame-des- 

Victoires,  Paris.) 
Dream  of  St.  Monica.    1822.    (Thi  same^ 
St.  Louis  visiting  the  Holy  Sepulchre.    (Sacristy  of  St. 

Denis.) 
St.  Louis  bearing  the  Crown  of  Thorns.    1824.    {Sena 

Cathedral.) 
Holy  Angels.     1824.    (7n  a  Chapel  at  Lille) 
Dream  of   St.   Joseph.     1824.    (St.   Vincent-de-Faul, 

Paris.) 
The  Assumption.    1827.    (The  town  of  Eu.) 
Christ  blessing  little  Children.   1831. 

GAINSBOROUGH,  Thomas,  who  was  bom  at 
Sudbury  in  1727,  was  the  youngest  son  of  John 
Gainsborough,  a  clothier.  He  very  early  discovered 
a  propensity  for  art,  which  was  nursed,  as  he 
loved  to  acknowledge  in  after  years,  by  the  Suffolk 
scenery  with  which  he  was  surrounded.  Before 
he  was  ten  years  old  he  was  sent  to  the  Grammar 
School,  of  which  his  uncle,  the  Rev.  Humphrey 
Burroughs,  was  master ;  but  he  does  not  seem  to 
have  made  much  progress,  as  he  employed  himself 
chiefly  in  making  sketches.  At  last,  when  he  was 
in  his  fifteenth  year,  it  was  decided  to  send  him  to 
London,  and  so  in  1741  he  was  intrusted  to  the 
care  of  a  silversmith,  who  introduced  him  to 
Gravelot,  an  engraver  and  teacher  of  drawing, 
from  whom  he  learned  the  art  of  etching.  Grave- 
lot,  recognizing  his  talent,  obtained  for  him  ad- 
mission to  the  Martin's  Lane  Academy,  where  he 
worked  for  three  years  under  Frank  Hayman,  the 
historical  painter,  and  then  set  up  for  himself  in 
Hatton  Garden,  where  he  did  a  little  modelling  and 

535 


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A  BIOGRAPHICAL  DICTIONARY  OP 


Galantmi 


produced  a  few  landscapes.  After  a  year's  experi- 
ence of  Hatton  Garden,  he  returned,  in  1745,  to 
Sudbury,  where  he  set  up  as  a  portrait  painter,  and 
in  the  same  year  married  a  young  lady  named 
Margaret  Burr,  whose  brother  was  a  traveller  in 
his  father's  employ.  After  a  brief  residence  at 
Sudbury,  he  removed  to  Ipswich,  and  it  was  there 
that  he  made  the  acquaintance  of  Joshua  Kirby, 
which  ripened  into  a  warm  friendship,  and  lasted 
till  the  death  of  the  latter  in  1771.  When  Kirby  left 
Ipswich  for  London,  it  was  Gainsborough's  destiny 
to  become  acquainted  with  Philip  Thicknease,  who 
had  just  been  appointed  Governor  of  Landguard 
Fort,  Ipswich,  and  who  afterwards  influenced  the 
painter's  career,  and  became  his  first  biographer; 
for  it  was  at  his  suggestion  that  in  the  year  1760 
he  removed  to  Bath.  There  he  took  apartments  in 
the  newly-erected  Circus  at  the  rent  of  £60  a  year, 
and  business  came  in  so  fast  that  the  price  of  a 
portrait  was  raised  from  five  to  eight  guineas,  and 
eventually  settled  at  forty  guineas  for  a  half-length, 
and  a  hundred  guineas  for  a  whole-length.  On  the 
foundation  of  the  Royal  Academy  in  1768,  Gains- 
borough was  one  of  the  thirty-six  original  members, 
though  he  does  not  seem  to  have  taken  any  part  in 
the  work,  for  which  in  1776  the  Council  moved 
that  "the  name  of  Mr.  Gainsborough  be  omitted 
from  their  lists,"  which  was,  however,  rescinded  at 
the  next  general  meeting.  On  his  original  election 
to  the  Academy  he  contributed  '  A  Romantic  Land- 
scape, with  Sheep  at  a  Fountain.'  In  1774,  owing 
to  a  quarrel  with  the  Thicknesses,  Gainsborough 
left  Bath,  and  for  a  second  time  set  up  in  London, 
taking  up  his  residence  at  Schoraberg  House,  a 
noble  mansion  in  Pall  Mall,  where  commissions 
came  in  so  fast  that  he  was  unable  to  keep  up  with 
the  demand  made  on  his  services.  In  1779  he  was 
at  the  very  height  of  his  fame ;  all  the  eminent 
men  of  the  day  sat  to  him,  and  he  was  the  favourite 
painter  of  the  King  and  Royal  Family.  From 
1769  to  1783  (excepting  in  the  years  1773  to  1776) 
he  was  a  constant  contributor  of  portraits  and 
landscapes  to  the  exhibitions  of  the  Royal  Academy ; 
but  in  the  year  1783,  owing  to  a  disagreement  with 
the  Council  about  hanging  the  picture  of  the  three 
Princesses,  he  withdrew  his  pictures,  and  never 
again  contributed  to  the  exhibitions.  In  1788  a 
lump  in  his  neck,  which  he  first  felt  when  present 
at  the  trial  of  Warren  Hastings  in  Westminster 
Hall,  developed  into  a  cancer,  of  which  he  died  in 
the  same  year.  He  was  buried  at  his  own  desire 
in  Kew  Churchyard,  where  a  simple  flat  stone 
records  his  name,  age,  and  date  of  death.  Gains- 
borough will  always  occupy  one  of  the  highest 
places  in  the  English  school,  whether  as  a  portrait 
or  a  landscape  painter.  In  his  early  landscapes  he 
showed  traces  of  the  influence  of  the  Flemish 
school,  but  as  time  went  on  Nature  alone  became 
his  mistress.  As  a  colourist  he  ranks  with  Rubens, 
and  in  technical  work  Ruskin  says  that  "  Turner 
is  a  child  to  him."  In  his  life  and  character 
Northoote  says  that  "he  was  a  natural  gentleman, 
and  with  all  his  simplicity  had  wit  too."  The 
principal  features  in  his  character  were  his  kind- 
ness and  his  passionate  love  of  music.  His  failings 
seem  to  have  been  his  capriciousness  and  infirmity 
of  temper. 

Gainsborough  designed  and  etched  with  much 
spirit  at  least  eighteen  plates,  among  which  are : 

A  plate  for  Kirby's  '  Perspective.' 
An  Oak  Tree,  with  Gipsies. 
A  Man  ploughing. 
136 


The  TVatering  Place. 

Evening. 

Eepose. 

Besides  these  he  executed  three  plates  in  aqua- 
tint, one  of  which  is  most  carefully  finished.  His 
life  work  consisted  of  upwards  of  300  paintings, 
of  which  over  220  were  portraits.  George  III.  was 
painted  eight  times,  Pitt  seven  times,  Garrick  five 
times.  Among  other  names  are  those  of  Lord 
Camden,  Sir  William  Blackstone,  Dr.  Johnson, 
Laurence  Sterne,  Richardson,  Clive,  Burke,  Sheridan, 
Windham,  Franklin,  Canning,  Mrs.  Graham,  Lady 
Mary  Wortley  Montagu,  Lady  Vernon,  Lady  May- 
nard,  Quin,  and  Mis.  Siddons.  Lists  of  his  works 
are  to  be  found  in  Fulcher's  '  Life  of  Thomas 
Gainsborough,  B.A.,'  London,  1866.  The  follow- 
ing are  some  of  his  most  famous  pictures  in  public 
galleries  and  well-known  private  collections : 

ZoTtdon,  National  Gallery, 
The  Market  Cart. 
The  'Watering-Place. 
Musidora  bathing  her  Feet. 
Woody  Landscape,  Sunset. 
Landscape ; — '  Gainsborough's  Forest,' 
Kustic  Children. 
Study  for  a  Portait. 
Portrait  of  Mrs.  Siddons. 
Portrait  of  Balph  Schomberg,  M.D. 
Portrait  of  Orpin,  Parish  Clerk  of  Bradford,  'Wilt!'. 
Portraits  of  Mr.  J.  Baillie,  "Wife,  and  Four  Children. 
Portrait  of  Bev.  Sir  Henry  Bate  Dudley,  Bart 

Dulwich  Gallery. 
Portrait  of  Mrs.  Sheridan  and  Mrs.  Tickell. 
Portrait  of  P.  J.  de  Loutherbourg,  E.A. 
Portrait  of  Thomas  Linley. 
Portrait  of  Samuel  Linley,  E.IT. 
Portraits  of  Mrs.  Moody  and  her  Children. 

National  Portrait  Gallery, 
Portrait  of  Jeffery,  first  Lord  Amherst. 
Portrait  of  Charles,  first  Marquis  Comwallis. 
Portrait  of  George  Colman. 

Hampton  Court, 
Portrait  of  Fischer,  the  Musician. 
Portrait  of  Colonel  St.  Leger. 

Grosvenar  House, 
The  Blue  Boy  (Master  Buttall). 
The  Cottage  Door. 

Buckingham  Palace. 
Duke  and  Duchess  of  Cumberland, 


Cambridge. 

Dublin. 
Edinburgh. 
Glasgow. 
Greenwich. 


Fitzisilliam  ' 

Museum,  j 

Nat.  Gall. 

Nat.  Gall. 

Gallery. 

Hospital. 


London.  Eoyal  Academy. 
Stratford-on-Avon.  Mus. 
Windsor.  Castle. 


Hon.  W.  Fitzwilliam. 

Duke  of  ITorthumberland. 

Hon.  Mrs.  Graham. 

Donkeys  in  a  Storm, 

Lord  Sandwich, 

Portraits  of  the  Royal  Family, 

His  own  Portrait, 

David  Garrick. 

George  UI.;  full-length. 

Portraits  of  the  Boyal  Family. 

GALANINO,  II.    See  Aloisi. 

GALANTINI,  Ippolito,  called  II  Cappucino, 
and  sometimes  II  Peete  Genovese,  was  born  at 
Florence  in  1627,  and  was  for  some  time  a  scholar 
of  Padre  Stefaneschi,  through  whose  influencn  he 
became  a  monk  of  the  order  of  the  Capuchins, 
whence  the  two  names  by  which  he  is  frequently 
known.  He  was  sent  as  a  missionary  to  India, 
where  he  passed  several  years,  and  on  his  return 
to  Europe  painted  several  pictures  for  the  churches 
of  his  order.  In  the  UflSzi  is  his  own  portrait.  He 
died  in  1706,  in  the  monastery  of  Montughi,  near 
Florence, 


Galard 


PAINTERS  AND  ENGBAVEES. 


Galle 


GALARD,  GtrsTAVE  de,  Count,  a  French  painter 
and  designer,  was  bom  at  the  chSteau  of  Lille, 
near  Lectoure,  about  1777,  and  died  at  Bordeaux  in 
1840.  In  the  Bordeaux  Museum  there  is  by  him 
a '  View  at  La  Teste.'  His  son,  Geoeges  de  Galakd, 
was  bom  at  Bordeaux,  and  died  there  in  1834,  and 
there  is  in  the  Museum  of  that  city  a  '  Study  of 
a  Sweep,'  by  him. 

GALASSO,  (sometimes  called  Galasso  Alghisi,) 
the  son  of  a  tailor  and  master  painter  of  Ferrara, 
was  bom  in  the  early  part  of  the  15th  century. 
Prom  the  account-books  of  the  House  of  Este,  it 
appears  that  he  was  called  Maestro  Galasso  de 
Mattheo  Calegaro,  and  was  employed  in  the  decora- 
tions of  the  palace  of  Belreguardo  between  the 
years  1450  and  1463.  In  1455  he  composed  the 
'Assumption,'  and  finished  the  portrait  of  Cardinal 
Bessarion,  at  Santa  Maria  in  Monte,  Bologna. 
Amongst  his  early  paintings  were  the  '  Trinity,'  in 
the  Museum  of  Ferrara ;  and  the  '  Entombment,' 
and  a  '  Virgin  and  Child,  with  donor  and  patron 
Saint,'  in  the  Costabili  Gallery  in  the  same  city. 
Professor  Saroli  possesses  a  '  Christ  on  the  Mount 
of  Olives,'  and  the  Marquis  Strozzi  a '  Crucifixion,' 
both  in  Ferrara.  Galasso's  death  occurred  close 
upon  and  previous  to  1473. 

GALCEEAN,  Antonio,  who  was  a  pupil  of  Es- 
quarte,  was  brought  from  Italy  to  Zaragoza  in 
1580.  He  painted  in  the  palace  of  the  Bishop  of 
Barbastro,  and  enriched  the  cathedral  there  with 
historical  pictures. 

GALCERAN,  Vicente,  a  Spanish  engraver,  was 
born  in  1726,  and  studied  under  Ravanals  and 
Rovira,  executing  a  print  of  St.  Vincent  Ferrer, 
when  only  eleven  years  old.  Leaving  Valencia 
for  Madrid  in  1750,  he  was  soon  after  employed 
by  the  Chapter  of  Toledo  to  retouch  some  plates 
sent  from  Rome  by  Cardinal  Portocarrero.  He 
executed  plates  for  works  on  natural  history  and 
horsemanship,  and  the  portraits  of  the  kings  of 
Spain  for  Berni's  '  Titulos  de  la  Castilla,'  printed  at 
Valencia  in  1769,  the  last  but  little  to  his  credit. 
He  returned  to  Valencia  in  1768,  where  he  engraved 
portraits  of  Bishop  Cervera  of  Cadiz,  and  others. 
He  died  at  Valencia  in  1788,  leaving,  it  is  said,  no 
less  than  700  plates,  great  and  small. 

GALEAS,  Fray  Feancisco  db,  an  excellent 
Spanish  illuminator  and  miniaturist,  was  born  at 
Seville  in  1567.  He  studied  law  until  1590,  when 
he  entered  the  convent  of  Santa  Maria  de  las 
Cuevas.  He  was  afterwards  promoted  to  the  priory 
of  Cazalla,  but  he  resigned  this  dignity  after  two 
years,  and  returned  to  his  Sevillian  convent,  to  die 
of  vexation  in  1614.  The  convent  possesses  two 
of  his  miniatures,  'The  Saviour  dead'  and  'The 
Saviour  rising';  also  some  illuminations  in  books, 
which  display  great  clearness  and  beauty. 

GALEN,  'Thyman  van,  a  native  of  Utrecht,  who 
flourished  early  in  the  17th  century,  is  chiefly 
known  by  a  picture  of  the  '  Ruins  of  a  Temple ' 
placed  in  the  Hospital  of  St.  Job  in  Utrecht. 

GALEOTTI,  Sebastiano,  born  at  Florence  in 
1676,  first  studied  under  Alessandro  Gherardini, 
but  afterwards  went  to  Bologna,  where  he  be- 
came a  scholar  of  Giovanni  GiosefFo  dal  Sole. 
He  possessed  a  ready  invention,  and  was  a  good 
designer;  and  his  powers  were  well  adapted  to 
)  fresco  painting,  in  which,  according  to  Ratti,  he 
executed  some  considerable  works  in  the  church 
of  La  Maddalena  at  Genoa.  Few  of  his  works  are 
to  be  found  in  his  native  city,  from  which  it  would 
seem  that  he  was  not  held  in  so  much  reputation 


there  as  in  Upper  Italy ;  but  there  are  several  at 
Piacenza  and  Parma,  and  particularly  at  Turin, 
where  he  was  made  director  of  the  Academy.  He 
died  at  Turin  in  1746,  leaving  two  sons,  Giuseppe 
and  Giovanni  Battista,  who  were  also  painters. 

GALESTRUZZr,  Giovanni  Baitista,  a  painter 
and  engraver,  was  bom  at  Florence  in  1618.  He 
studied  painting  under  Francesco  Furini,  and  after- 
wards went  to  Rome,  where  he  was  received  into 
the  Academy  of  St.  Luke  in  1652.  The  date  of 
his  death  is  uncertain,  but  he  was  still  living  in 
1661.  He  was  the  friend  of  Stefano  della  Bella, 
whose  style  he  imitated,  and,  according  to  Huber, 
finished  some  of  the  plates  left  imperfect  at  his 
death.  He  etched  a  great  number  of  plates,  of 
which  there  is  a  catalogue  by  Giacomo  Rossi;  the 
following  are  among  the  principal : 

Paris  receiving  the  Golden  Apple  from  Mercury ;  after 

Annihale  Carracci. 
Beheading  of  St.  John  the  Baptist ;  after  Battista  Ricci. 
The  Apotheosis  of  the  Emperor  Claudius.     1657. 
Several  sets  of  Friezes  and  Bas-reliefs ;  after  Polidoro 

da  Caravaggio. 
A  set  of  Antique  Gems,  with  explanations  fay  Leonardo 

Agostino ;  published  at  Eome  in  1657  and  1659. 
Mausoleum  iu  honour  of  Cardinal  Mazarin ;  six  plates, 

from  the  designs  of  the  Ablate  Elpidius  Benedictua, 

1661. 

GALIMARD,  Claude.    See  Gallimard. 

GALIMARD,  Nicolas  Augdste,  a  French  his- 
torical, portrait,  and  landscape  painter,  was  bom 
in  Paris  in  1818.  He  studied  under  his  uncle, 
Auguste  Hesse,  and  with  Ingres,  and  soon  became 
known  for  his  pictures,  chiefly  of  Biblical  subjects. 
He  painted  the  '  Disciples  at  Emmaus '  for  St. 
Germain-l'Auxerrois,  and  mural  decorations  in  St. 
Germain-des-Prfes,  Paris.  His  picture  of  'The 
Ode,'  exhibited  at  the  Salon  in  1846,  is  now  in  the 
Luxembourg  Gallery.  Many  of  Galimard's  works 
have  been  engraved  by  Aubry-Lecomte  and  others. 
He  made  several  designs  for  stained-glass  windows, 
and  wrote  treatises  on  the  subject.  He  died  at 
Montigny-les-Cormeilles  (Seine-et-Oise)  in  1880. 

GALINDEZ,  Maktin,  a  Spanish  painter,  was 
born  at  Haro  in  Old  Castile,  in  1547.  In  1584  he 
entered  the  Chartreuse  of  Paular,  where  he  devoted 
his  leisure  to  the  arts  and  to  mechanical  pursuits, 
and  where  he  died  in  1627,  after  executing  a  num- 
ber of  tolerable  devotional  pictures,  and  a  variety 
of  wood-carvings,  sundials,  and  alarums. 

GALIZIA,  Fede,  (or  Gallizi,)  was  a  native  of 
Trento,  in  the  Milanese,  who  flourished  about  the 
year  1616.  She  was  the  daughter  of  Annunzio 
Galizia,  a  miniature  painter,  who  resided  at  Milan, 
from  whom  she  received  her  instruction  in  art. 
She  painted  historical  subjects  and  landscapes,  in 
a  pleasing  and  finished  style,  resembling  that  of  the 
Bolognese  school  anterior  to  the  Carracci ;  but  she 
excelled  in  small  portraits.  One  of  her  best  his- 
torical pictures  is  '  Christ  appearing  to  Mary  Mag- 
dalen,' in  the  Brera  at  Milan,  from  the  church  of 
La  Maddalena. 

GALLARDO,  Mateo,  was  a  Spanish  painter, 
who  resided  at  Madrid  in  1657.  There  is  a  figure 
of  Christ,  signed  with  his  name,  and  several  of  the 
Virgin,  of  the  size  of  life. 

GALLE,  Coknblis,  the  elder,  a  younger  son 
of  Philipp  Galle,  was  born  at  Antwerp  in  1576, 
and  was  taught  engraving  by  his  father.  He 
followed  the  example  of  his  brother  Theodoor  in 
visiting  Rome,  where  he  resided  several  years, 
and   acquired   a   correctness    of    design,    and    a 

537 


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A  BIOGBAPHICAL  DICTIONARY  OF 


Oalle 


freedom  of  execution,  in  which  he  greatly  sur- 
passed both  liis  father  and  his  brother.  After 
engraving  several  plates  at  Eome,  from  the  Italian 
masters,  he  returned  to  Antwerp,  where  he  carried 
on  the  business  of  a  printseller,  and  engraved  many 
plates  after  the  works  of  his  countrymen  and  his 
own  designs.  He  died  in  1656.  Previous  to  going 
to  Italy,  he  engraved  some  plates  in  the  dry,  stiff 
style  of  hib  father,  of  which  the  best  known  are  : 

A  part  of  the  plates  of  the  Life  of  Christ ;  after  Marten 

De  Vos. 
A  set  of  plates  of  the  Life  of  the  Virgin  Mary ;  after 

Stradan. 
A  set  of  plates  of  the  Life  of  St.  John  the  Baptist ; 

after  the  same. 
The  following  are  the  most  esteemed  of  his  later 
prints : 

PORTRAITS. 
St.  Charles  Borromeo,  Cardinal  Archbishop  of  Milan. 
Philipp  Eubens,  the  brother  of  Peter  Paul  Bubens. 
Ferdinand  III. ;  after  Van  Dyck. 
Jan  van  Havre ;  after  Ruhens, 
Charles  I.,  King  of  England ;  in  an  allegorical  border  ; 

after  Van  der  Horst. 
Henrietta  Maria,  Queen  of  Charles  I. ;  with  a  border  of 

flowers  and  figures ;  after  the  same. 
Leopold  "William,  Archduke  of  Austria;  after  A.  van 

de  Velde. 
Actus  Wolf  art,  painter ;  after  Van  Dyck. 
Jan  Wiggers ;  after  H.  lie  Smet. 
Isabella  of  Arenberg ;  after  Ch.  Wautier. 
Johannes  de  Falckenberg ;  after  Van  der  Jlorst. 
Abraham  Ortelius  ;  after  H.  Goltzms. 

SUBJECTS   AFTER   VARIOUS  MASTERS. 
Adam  and  Eve  ;  after  Giov.  Batt.  Paggi. 
The  Holy  Family  returning  from  Egypt,  with  a  Choir 

of  Angels  ;  after  the  sajne. 
Venus  caressing  Cupid ;  after  the  same. 
St.  Peter  baptizing  St.  Priscia ;  after  the  same. 
The  Virgin  and  Infant,  to  whom  St.  Bernard  is  offer- 
ing a  Book ;  after  Francesco  Vanni. 
The  Crucifixion,  with  the  Virgin,  St.  Francis,  and  St. 

Theresa ;  after  the  same. 
Venus  bound  to  a  Tree,  and  Minerva  chastising  Cupid ; 

aft&r  AgosttTW  Carracci. 
Procne  showing  the  Head  of    her  son  Itys  to  her 

husband  Tereus  ;  after  the  same. 
Seneca  in  the  Bath  ;  after  the  same. 
The  Virgin  caressing  the  Infant  Jesus ;  after  Raphael. 
The  Entombment  of  Christ ;  after  the  same. 
The  Virgin  Mary,  under   an  arch,  ornamented  with 

flowers  by  Angels ;  after  Rubens, 
Judith  cutting  off  the  Head  of  Holofernes ;  after  the 

same. 
The  Four  Fathers  of  the  Church ;  after  the  same. 
A  naked  "Woman  grinding  colours  ;  after  the  same. 
Autumn  and  "Winter ;  two  landscapes ;  after  the  same. 
A  Banquet,  with  Musicians ;   without  the  name  of  the 


GALLS,  CoRNELis,  the  younger,  the  son  of  Cor- 
nells Galle  the  elder,  was  born  at  Antwerp  in  1615, 
and  was  instructed  in  the  art  of  engraving  by  his 
father.  It  does  not  appear  that  he  had  the  advan- 
tage of  studying  in  Italy,  which  may  account  for 
his  drawing  being  less  correct  than  that  of  his 
father  or  his  uncle.  His  portraits  are  more 
meritorious  than  his  larger  pieces.  He  died  at 
Antwerp  in  1678.  The  following  are  his  most 
esteemed  prints  : 

POBTKAITS. 
The  Emperor  Ferdinand  III.;  after  Van  Dyck.    1649. 
Mary  of  Austria,  his  Empress ;  after  the  same.    1649. 
Henrietta  of  Lorraine ;  after  the  same. 
Jan  Meyssens,  painter  and  engraver ;  after  the  same. 
Jodocus  Christophorus  Kress  de  Kressenstein,  Senator 

of  Hamburg ;  after  Anselmus  van  Hulle. 
Ottavio  Piccolomini,  in  a  border  of  fruit  and  flowers ; 

after  the  same. 
638 


Godardus  a  Beede, 
Adrianus  Klaus, 
Otto  Gericke. 
Justus  Lipsius. 
Pieter  Collins. 

SUBJECTS   AFTER   VARIOUS   MASTERS. 
Job  and  his  wife ;  after  A.  Diepenheeck, 
St.  Dominic  receivmg  the  Eosary  from  the  Virgin- 

after  the  same. 
Descent  from  the  Cross ;  after  the  same. 
The  Crucifixion  ;  after  J.  van  den  Hoeck. 
Jupiter  and  Mercury,  with  Baucis  and  Philemon ;  after 

the  same. 
The  Nativity,  with  the  Angels  appearing  to  the  Shep> 

herds  ;  after  David  Teniers  the  elder. 
The  Eesurrection  ;  after  Gaspar  De  Craeyer. 
Venus  suckling  the  Loves  ;  after  Rubens. 
Flight  into  Egypt ;  after  the  same. 
Christ  in  the  Tomb ;  after  the  same. 
Christ  at  the  Pharisee's  Table ;  after  L.  dgoU. 

GALLE,  CoBNELis,  the  third,  bom  at  Antwerp 
in  1642,  is  supposed  by  some  to  have  been  the  son 
of  Comelis  Galle  the  younger,  and  by  him  to  have 
been  instructed  in  the  art  of  engraving.  His  pro- 
ductions are  but  little  known,  or  are  confused 
with  those  of  his  better-known  ancestors. 

GALLE,  HiERONYMUS.  In  the  UiBzi  Gallery  at 
Florence  is  a  picture  of  a  '  Festoon  of  Flowers,' 
signed  Hieronymus  Galle.  f.  A.  1655. 

GALLE,  Jan,  a  son  and  pupil  of  Theodoor 
Galle,  was  born  at  Antwerp  in  1600,  and  died  there 
in  1676.     Among  his  plates  are : 

The  "Wise  and  Foolish  Virgins ;  after  Marten  De  Vos. 
Twelve  plates  of  Old  Testament  History. 
Christ  surrounded  by  the  Instruments  of  His  Passion. 
The  fat  Cook  and  the  thin  Cook;  after  P.  Brueghel 

the  elder. 
Lubricitas  Vitse  Humanae ;  after  the  same.    1553. 
Judith  giving  the  Head  of  Holofernes  to  a  Slave ;  after 

H.  Goltzius. 

GALLE,  Philipp,  a  Dutch  engraver,  was  bom 
at  Haarlem  in  1537.  He  founded  a  family  of 
artists,  who  became  conspicuous  as  engravers.  He 
studied  under  Cuerenhert,  and  afterwards  estab- 
lished himself  as  an  engraver  and  printseller  at 
Antwerp,  where  he  died  in  1612.  The  number  of  his 
prints  is  considerable,  and  they  are  generally  marked 

with  one  of  the  annexed  ciphers:    fSr   or  ^, 

The  following  are  his  principal  plates : 

PORTRAITS. 
Jean  Calvin. 
Martin  Luther. 
Ulrich  Zwingli. 
"Wihbald  Pirkheimer. 
Sir  Thomas  More. 
Dante  Alighieri. 
Marten  van  Heemskerk,  painter. 
Willem  Philander,  architect. 
The  Statue  of  the  Duke  of  Alva.    1571. 

VARIOUS   SUBJECTS. 

The  Seasons ;  after  Marten  van  Heemskerk.    1563. 

The  Three  Young  Men  in  the  Furnace;  after  the 
same.     1565. 

Memorabiliores  Judaicae  Gentis  Clades ;  after  the  same. 

Acta  Apostolorum  ;  after  the  same. 

Histories  of  St.  John,  the  Prodigal  Son,  Samson,  Esther, 
and  Ahasuerus  ;  after  the  same. 

The  Passion,  Death,  and  Besurrection ;  after  Stradan. 

The  Battles  of  the  Tuscans ;  after  the  same. 

The  Victories  and  Triumphs  of  the  Medici  Family; 
after  the  same.     1583. 

A  set  of  thirty-four  plates  of  the  Life  and  Miracles  of 
St.  Catharine  of  Siena.    1603. 

A  set  of  prints  of  subjects  from  the  Old  .and  New  Testa- 
ment ;  after  Marten  van  Heemskerk,  Marten  De  Vos, 
A,  van  BlocMandt,  the  elder  Brueghel,  ^o. 


OaUe 


PAINTERS  AND  ENGRAVERS. 


Galli 


A  set  of  ten  plates  of  the  Sibyls ;  after  A .  van  BlocUandt. 

The  Trinity ;  after  MaHen  De  Vos.     1584. 

The  Seven  Wonders  of  the  World,  and  the  Bains  of 

the  Amphitheatre  of  Vespasian  at  !Eome ;  eight  plates ; 

after  Marten  van  Heemakerk. 
A  set  of  prints  of  the  Triumph  of  Death,  Fame,  and 

Honour ;  after  the  same. 
A  set  of  twenty-eight  plates ;    entitled  '  Divinarum 

Nuptiarum  conventus  et  acta ; '  dated  1580. 
Christ  with   the  two  Disciples  at  Emmaus;  after  P. 

Brueyhel  the  elder 
The  Death  of  St.  Anne ;  after  the  same. 
The  Good  Shepherd  ;  after  the  same. 
The  Trinity;  a  large  plate;  after  M.  De  Vos;  his  best 

print. 
Solomon  directing  the  building  of  the  Temple ;  after  F, 

Floris. 
Abraham  sacrificing  Isaac ;  after  the  same. 
Lot  and  his  Daughters ;  after  the  same.     1558. 
Mutius  Scsevola  in  the  Tent  of  Forsena ;  after  the  same. 

1563. 

GALLE,  Theodooe,  the  elder  son  of  Philipp 
Galle,  was  born  at  Antwerp  in  1671,  and  was 
instructed  in  the  use  of  the  graver  by  his  father. 
He  afterwards  went  to  Rome  to  study  the  an- 
tique, and  whilst  there  he  engraved  several  plates 
after  the  great  masters.  He  died  at  Antwerp  in 
1633  or  1634.  The  following  are  his  principal 
works : 

The  Portrait  of  Justus  Lipsius ;  oval. 

St.  Jerome  kneeling. 

St.  John. 

St.  Hildrude  and  St.  Hildegonde. 

A  set  of  emblematical  subjects ;  entitled  '  Litis  abusus, 

&c.' 
A  set  of  plates  of  the  Life  of  St.  Norbert ;  published  at 

Antwerp. 
Twenty-eight  plates  of  the  Life  of  tne  Virgin  and  St. 

Joseph. 
A  set  of  thirteen  figures,  each  with  a  title  and  explica- 
tion ;  entitled '  Typus  occasionis,  &o.'    1600. 
The  Infant  Jesus  regarding  the  Instruments  of  the 

Passion. 
St.  John  the  Evangelist. 
St.  Jerome. 
Coimt  Ugolino  and   his   Children  in   the  Tower  of 

Famine ;  after  J.  Stradan. 
Coriolanus  entreated  by  the  Boman  Women  ;  after  the 

same, 
Cornelia,  the  Mother  of  the  Gracchi ;  after  the  same. 
Phaethon  guiding  the  Chariot  of  the  Sun ;  after  the 

same. 
Susannah ;  after  the  same. 
A  Frontispiece  to  Masoard's  '  Silvarum  libri ' ;  after  a 

design  by  Rubens.     1622. 
A  Frontispiece  to  '  Las  Obras  en  Verso  '  of  Francisco 

de  Bona ;  after  the  same.     1654. 

GALLBGOS,  Feunando,  a  Spanish  painter,  was 
bom  at  Salamanca  in  1475.  It  is  said  that  he 
studied  under  Albrecht  Diirer,  but  it  is  more  likely 
that  Berruguete  was  his  master ;  and  he  only  fol- 
lowed the  taste  which  then  prevailed  in  Europe. 
Some  of  his  pictures  bear  so  strong  a  resemblance 
to  those  of  Diirer,  that  acknowledged  connoisseurs 
have  mistaken  them.  His  best  work  is  an  altar- 
piece  in  the  chapel  of  St.  Clement  at  Salamanca. 
Count  Eaczynski,  in  his  work  'Les  Arts  en 
Portugal,'  says  there  are  many  of  Gallegos's  pic- 
tures there,  but  neither  Palomino  nor  Cean  Ber- 
mudez  mentions  the  circumstance  of  his  having 
painted  in  Portugal.  He  died  in  1550.  There 
are  six  scriptural  subjects  by  him  in  the  Madrid 
Gallery. 

GALLETTI,  Era  Eilippo  Maria,  a  Florentine 
painter,  was  bom  in  1664,  and  died  in  1742.  His 
portrait  is  in  the  Dffizi. 

GALLI,  Alessandko,  called  Alessandko  da 
BiBlENA,  a  painter  and  architect,  was   a  son  of 


Ferdinando  Galli.  He  was  skilful  in  both  oil  and 
fresco  painting,  and  was  employed  at  the  court  of 
the  Elector  Palatine,  in  whose  service  he  died 
about  the  year  1760. 

GALLI,  Antonio,  was  a  brother  of  Alessandro 
Galli,  and,  like  him,  a  painter  and  architect.  He 
was  bom  at  Bologna  in  1700,  and  died  at  Milan  in 
1774.     He  painted  theatrical  decorations. 

GALLI,  Caklo,  a  son  of  Giuseppe  Galli,  was, 
like  his  father,  a  painter  and  architect.  He  visited 
the  various  courts  of  Germany,  as  well  as  those  of 
England,  France,  and  Italy,  and  is  known  to  have 
been  still  living  in  1769.  , 

GALLI,  Ferdinando,  called  Ferdinando  da 
BiBiENA,  the  son  of  Giovanni  Maria  Galli,  was 
born  at  Bologna  in  1657.  His  father  dying  when 
he  was  only  eight  years  of  age,  he  was  placed 
in  the  school  of  Carlo  Cignani,  who,  finding  the 
genius  of  his  pupil  led  him  to  architecture  and 
perspective,  rather  than  the  design  of  the  figure, 
recommended  him  to  devote  himself  to  that  par- 
ticular department,  which  he  thereupon  studied 
under  Aldrovandini,  Trogli,  and  Manni,  and  with 
such  success  that  he  became  the  most  distinguished 
master  of  his  time  in  the  ornamental  and  decorative 
branches  of  the  art.  There  was  scarcely  a  sove- 
reign in  Europe  who  did  not  invite  him  to  his 
court.  He  was  much  engaged  for  the  Dukes  of 
Parma  and  Milan,  and  was  invited  to  Vienna  by 
the  Emperor  Charles  VI.  The  public  festivals  on 
all  occasions  of  victories,  the  triumphal  entries  of 
princes,  &o.,  were  celebrated  under  the  direction 
of  Bibiena,  and  were  more  sumptuous  and  mag- 
nificent than  any  before  witnessed  in  Europe.  He 
became  blind,  and  died  at  Bologna  in  1743.  A 
painting  by  him  is  in  the  National  Gallery.  It  is 
entitled  the  'Teatro  Farnese,  Parma,'  and  represents 
the  pit  and  stage  of  a  theatre,  in  which  '  Othello '  is 
being  played.  To  him  the  theatre  is  indebted  for 
very  great  improvements  in  its  scenery,  and  the 
illusive  enchantment  of  its  decorations.  But  his 
talents  were  not  confined  to  scene-painting ;  he 
painted  also  many  admirable  architectural  and 
perspective  views,  which  are  placed  in  the  prin- 
cipal galleries  in  Italy.  In  these,  the  figures 
are  usually  painted  by  his  brother  Francesco. 
He  likewise  published  several  works  on  civil 
architecture. 

GALLI,  Francesco,  called  Francesco  da 
Bibiena,  the  younger  brother  of  Ferdinando  Galli, 
was  born  at  Bologna  in  1659.  He  first  studied 
under  Lorenzo  Pasinelli ;  but  he  was  afterwards 
instructed  in  the  school  of  Carlo  Cignani.  His 
knowledge  of  architecture  and  perspective  was 
considerable ;  but  he  excelled  in  figures.  He 
worked  successively  for  the  Emperors  Leopold  I. 
and  Joseph  I.,  and  was  invited  to  Madrid  by 
Philip  v.,  who  appointed  him  his  principal  archi- 
tect.    He  died  in  1739. 

GALLI,  Giovanni  Maeia,  called  Giovanni 
Mabia  da  Bibiena,  was  born  at  Bibiena,  in  the 
Bolognese  state,  in  1625.  He  studied  under 
Albani,  and  his  productions  have  often  been  mis- 
taken for  those  of  his  master.  He  died  in  1665. 
Of  his  larger  works  in  the  churches  at  Bologna  the 
following  are  the  most  esteemed :  '  The  Ascension,' 
in  the  Certosa ;  '  St.  Anne,'  in  La  Carita ;  '  St. 
Andrew,'  in  San  Biagio ;  and  '  St.  Francis  of 
Sales,'  at  the  Padri  Servi.  This  artist  was  the 
founder  of  a  family  of  whom  no  fewer  than  nine 
are  known  to  fame,  all  of  whom  bore  the  surname 
of  Bibiena. 

539 


Galli 


A   BIOGRAPHICAL   DICTIONARY  OF 


Gambarini 


GALLI,  Giuseppe,  a  painter  and  architect,  was 
a  son  of  Perdinando  Galli,  and  was  born  in  1696. 
After  studying  under  his  father,  he  worked  in 
conjunction  with  him  at  Barcelona  and  Vienna, 
and  afterwards  by  himself  at  several  German 
courts.     He  died  at  Berlin  in  1756. 

GALLI,  Mama  Oriana,  was  a  daughter  of 
Giovanni  Maria  Galli,  who  studied  painting  under 
Carlo  Cignani  and  Franceschini. 

GALLIARI,  Bernardino,  an  Italian  painter,  was 
bom  at  Andorno  about  1707,  and  died  about  1794. 
There  is  an  '  Adoration  of  the  Shepherds  '  by  him 
in  the  Brera  at  Milan. 

GALLIARI,  ■  Gaspare,  an  Italian  painter,  was 
born  at  Treviglio  about  1760,  and  died  at  Milan  in 
1818.  In  the  Brera  at  Milan  is  a  view  of  Venice 
by  him. 

GALLIMARD,  Claude,  a  French  engraver, 
was  born  at  Troyes,  in  Champagne,  in  1720.  He 
passed  some  time  at  Rome,  and  on  his  return  to 
France  became  a  member  of  the  Academy  at 
Paris.  We  have  by  him  several  plates  after  De 
Troy,  Subleyras,  and  S^bastien  Bourdon.  He 
also  engraved  a  number  of  ornaments  for  books, 
among  which  are  fourteen  frontispieces  and  vig- 
nettes after  Cochin  the  younger.  The  following 
also  are  by  this  artist : 

The  Bust  of  Nicolas  Vleughels;  after  M.'A.  Slodtz. 

1744. 
The  Queen  of  Sheba  before  Solomon;  after  J.  F.  de 

Troy. 

GALLIKA,  Remigio  Canta.  See  Canta- 
Gallina. 

GALLINARI,  Jaoopo,  who  was  probably  born 
at  Bologna,  worked  there  in  1676,  and  at  Padua 
in  1685.  He  is  known  by  two  etchings,  'A  Lady,' 
and  '  Venus  and  Cupid.' 

GALLINARI,  Pietro,  called  Pieteo  del  Signor 
GuiDO,  was  a  native  of  Bologna,  and  a  favourite 
scholar  of  Guido  Reni.  He  painted  a  few  historical 
pictures,  which  are  said  to  have  been  retouched 
by  Guido.     He  died  young  in  1664. 

GALLIS,  PiBTBR,  an  amateur  painter  of  flowers, 
fruit,  and  objects  of  still-life,  was  born  in  1633, 
and  lived  at  Enkhuysen,  where  he  died  in  1697. 

GALLIZI,  Fede.     See  Galizia. 

GALLO,  II  Prete.     See  Guillaumb,  Le  Frere. 

GALLO,  Bernardo  and  Giovanni.   See  Salomon. 

GALLO,  San.     See  Sangallo. 

GALLOCHE,  Louis,  a  French  painter,  born  in 
Paris  in  1670,  was  a  scholar  of  Louis  de  Boul- 
longne,  but  afterwards  studied  in  Italy.  Upon  his 
return  to  France  he  founded  a  school,  and  one  of 
his  first  pupils  was  Franyois  Le  Moine.  His  picture 
of  'Hercules  restoring  Alcestis  to  her  Husband' 
gained  him  his  election  to  the  Academy  in  1711,  of 
which  he  became  successively  professor  in  1720, 
rector  in  1746,  and  chancellor  in  1764.  He  died  in 
Paris  in  1761.  The  above  painting  is  now  in  the 
Louvre,  while  in  the  cathedral  of  Notre-Dame  in 
Paris  is  a  picture  by  him  of  the  'Departure  of  St. 
Paul  for  Jerusalem.'  His  chief  work  was  the 
'Removal  of  the  Remains  of  St.  Augustine  to 
Pavia,'  a  picture  which  has  disappeared. 

GALLUS,  Beenakdus  and  Joannes.  See 
Salomon. 

GALLUS,,  RicARDUs.    See  Taurini. 

GALOFRE  Y  COMA,  Jos^,  a  Spanish  histori- 
cal painter,  was  born  at  Barcelona,  and  died  in  the 
same  city  in  1877.  He  studied  in  Rome,  where 
he  became  an  associate  of  Overbeck.  In  1854  he 
painted  for  the  Queen  of  Spain  '  An  Episode  from 

640  ^ 


the  Conquest  of  Granada  in  1494.'  He  also  pub- 
lished a  book  on  '  Art  in  Italy  and  other  Countries 
of  Europe.' 

GALVAN,  Juan,  a  Spanish  painter,  was  bonj 
at  Luoena,  in  the  kingdom  of  Aragon,  in  1598. 
According  to  Palomino,  he  went  to  Rome  for  im- 
provement, where  he  remained  some  time,  and  on 
his  return  to  Spain  in  1624  resided  chiefly  at 
Zaragoza,  where  he  was  named  painter  by  the 
Corporation,  and  executed  various  pictures  for  the 
cathedral  and  Carmelite  convent.  For  the  cathedral 
of  Zaragoza  he  executed  pictures  of  the  '  Nativity,' 
'  Santa  Justa,'  and  '  Santa  Ruiina,'  as  well  as  other 
large  works,  which  Cean  Bermudez  praises  for 
their  colouring.  He  painted  the  cupola  of  Santa 
Justa  y  Rufina,  and  a  picture  of  the  '  Trinity '  for 
the  Barefooted  Carmelites  ;  but  his  principal  work 
was  the '  Birth  of  the  Virgin.'  He  died  at  Zaragoza 
in  1668. 

GAMARRA,  Juan  Cieilo  Magadan  t.  See 
Magadan. 

GAMBARA,   Lattanzio,  bom   at    Brescia    in 
1541  or  1542,  was  the  son  of  a  tailor,  who,  driven 
by  necessity  from  his   native   city,  took   refuge 
at  Cremona,  and  supported  himself  and  his  son 
by  the  exercise  of  his  trade,  which  he  destined 
the  latter  to  follow.     The  disposition  of  the  boy 
inclined  to  a  difEerent  pursuit,  and  he  employed 
all  his  leisure  moments  in  sketching,  for  which  he 
was  often  severely  chastised  by  his  father.    These 
quarrels,  and  their  cause,  came  to  the  knowledge 
of  Antonio  Campi,  a  painter  of  Cremona,  who  in- 
terested himself  in  favour  of  the  youth ;  and,  on 
examining  his  dravrings,  found  in  them  evidence 
of  genius,  and  prevailed  on  his  father  to  entrust 
him  to  his  care.     He  studied  in  the  school  of  the 
Campi  for  six  years ;  and  when  he  was  eighteen 
years  of  age,  he  was  placed  under  the  tuition  of 
Girolamo    Romanino,    who    entertained     a    high 
opinion  of  his  talents,  and  ultimately  gave  hira 
his    daughter    in  marriage.      He  surpassed    his 
father-in-law  both  in  the  correctness  of  his  design, 
and  in  the  grandeur  of  his  compositions.    To  the 
principles  he  had  acquired  under  the  Campi,  he 
added  the  charm  of  Venetian  colouring,  in  which 
he  approached  the  rich  tones  of  Pordenone.    In 
the  Strada  del  Gambaro  at  Brescia  are  several  fine 
fresco  paintings  by  him  of  mythological  and  clas- 
sical subjects ;  but  these  are  less  surprising  than 
his  admirable  works  in  the  cloisters  of  the  Bene- 
dictine Fathers  of  Sant'  Eufemia  at  Brescia.    They 
represent  '  Moses  and  the  Brazen  Serpent,' '  Cain 
slaying   Abel,'    'Samson    and    Delilah,'    'Judith 
with  the  Head  of  Holofernes,'  '  Jael  and  Sisera,'' 
and  a  '  Deposition  from  the  Cross.'    In  the  Castello 
at  Brescia  are  frescoes  of  the '  Triumphs  of  Bacchus.' 
The  most  studied  of  his  works  are  his  twelve  frescoes 
in  the  cathedral  at  Parma,  representing  subjects 
from  the  Life  of  our  Saviour,  which  captivate 
even  in  their  close  proximity  to  Correggio's  master- 
pieces.    Of  his  oil  pictures,  the  most  admired  are 
the  'Birth  of  the  Virgin,'  in  the  church  of  San 
Faustino  Maggiore  at  Brescia;  and  a  'Pieta,'  in 
San  Pietro  at  Cremona.     In  the  Glasgow  Gallery 
is  the  Head  of  a  Female.     He  died  in  1574,  in 
consequence  of  a  fall  from  a  ladder. 

GAMBARINI,  Giuseppe,  born  at  Bologna  in 
1680,  was  a  scholar  of  Lorenzo  Pasinelli,  until 
the  death  of  that  master,  when  he  entered  the 
school  of  Cesare  Gennari,  whose  style  he  fol- 
lowed in  his  colouring,  and  some  of  whose 
works  he  copied.     Finding  bimeelf  unequal  to 


Gamberucci 


PAINTERS  AND  ENGRAVERS. 


G-aniSres 


the  dignity  of  historical  painting,  he  abandoned 
it,  and  applied  himself  to  aubjeots  taken  from 
ordinary  life,  in  which  he  was  more  successful. 
He  died  in  1725.  There  are  some  of  his  works  in 
the  churches  at  Bologna :  in  Santa  Maria  Egiziaca, 
is  a  picture  of  that  Saint ;  and  at  the  Oaservanti, 
'  St.  Catharine  Vigri's  Entrance  into  Bologna.' 

GAMBERUCCI,  CosiMO,  a  Florentine  painter, 
flourished  about  the  year  1610,  and  was  a  scholar  of 
Battista  Naldini.  He  did  not  attain  to  great  cele- 
brity in  the  art,  although  some  of  his  works  in  the 
churches  at  Florence,  particularly  his  picture  of 
'  St.  Peter  curing  the  lame  Man,'  in  San  Pietro 
Maggiore,  just  amount  to  respectability.  He  also 
painted  easel  pictures,  which  are  found  in  the 
collections  at  Florence. 

GAMELIN,  Jacques,  a  French  painter,  was 
bom  at  Carcassone  in  1739,  and  died  at  Narbonne 
in  1803.  There  are  by  him  in  the  Bordeaux 
Museum, '  Socrates  drinking  Hemlock,' '  The  Depar- 
ture of  Abradates  for  the  Fight,'  and  '  The  Death 
of  Abradates.' 

GAMMON,  James,  was  an  English  engraver  of 
no  great  reputation,  by  whom  there  are  a  few 
portraits,  executed  in  a  stiff,  formal  style.  He 
was  working  in  London  about  1660.  Among 
others,  the  following  are  by  him  : 

Queen  Catharine  of  Braganza. 
Henry,  Duke  of  Gloucester. 
George,  Duke  of  Albemarle. 
Richard  Cromwell. 
Sir  Toby  Matthews. 
Bdward  Mascall,  the  painter. 

GAMPERLIN.     See  Graf,  Ues. 

GANDIA,  Juan  db,  was  a  Spanish  painter, 
celebrated  for  hia  pictures  of  architecture  and 
perspective  views.     He  lived  about  1720. 

GANDINI,  Antonio,  was  a  native  of  Brescia, 
who  had  the  advantage  of  being  educated  under 
Paolo  Veronese,  whose  style  he  followed,  together 
with  something  of  that  of  Palma.  He  possessed 
a  fertile  invention,  and  was  a  correct  designer,  as 
is  apparent  in  his  principal  work,  the  'Crucifixion,' 
in  the  old  cathedral  at  Brescia.  He  died  in  1630. 
He  left  a  son,  Beknaedino  Gandini,  who  was  also 
a  painter,  and  who  died  in  1661. 

GANDINI,  GiOKGio,  sometimes  called  Giokgio 
DEL  Geano,  from  the  family  name  of  his  mother, 
was  a  native  of  Parma,  who  died  in  1538.  Orlandi 
not  only  states  that  he  was  a  disciple  of  Cor- 
reggio,  but  also  asserts  that  his  pictures  were  occa- 
sionally retouched  by  that  master.  The  Padre 
Zapata,  in  his  description  of  the  churches  of 
Parma,  ascribes  to  this  painter  the  great  altar- 
piece  of  San  Michele,  which  had  erroneously  been 
attributed  by  Ruta,  in  his  'Guida  di  Parma,'  to 
Lelio  Orsi.  Correggio  had  been  engaged  to  paint 
the  tribune  of  the  dome  of  that  church,  but  died 
before  it  was  commenced  ;  and  the  commission 
was  offered  to  Gandini,  who  also  was  prevented  by 
death  from  executing  it.  In  the  Oldenburg  Gallery 
are  pictures  of  a  '  Penitent  Magdalen '  and  a  '  Holy 
Family.' 

GANDOLFI,  Gaetano,  an  Italian  painter  and 
etcher,  was  born  at  San  Matteo  della  Deciraa,  in 
the  Bolognese,  in  1734.  He  first  studied  under  his 
elder  brother,  Ubaldo,  then  he  went  to  Venice,  and 
from  thence  to  Bologna.  He  painted  several  pic- 
tures for  the  churches  at  Bologna,  and  other  cities 
in  Italy,  of  which  the  most  esteemed  are,  'The 
Assumption,'  in  the  ceiling  of  Santa  Maria  della 
Vita,  and  ''The  Marriage  at  Cana,'  in  the  church 


of  the  Santissimo  Salvatore,  at  Bologna ;  '  The  Mar- 
tyrdom of  St.  Pantaleone,'  in  the  church  of  the 
Girolimini  at  Naples,  and  his  own  portrait,  in  the 
Pinacoteca.  There  are  likewise  by  this  artist  an 
etching  of  the  '  Adoration  of  the  Shepherds,'  after 
the  picture  by  Niccol6  dell'  Abbate,  in  the  Palazzo 
Leoni  at  Bologna ;  also  '  St.  Peter  and  St.  Paul ' 
after  Guido  Reni.  He  died  at  Bologna  in 
1802. 

GANDOLFI,  Maueo,  an  engraver,  was  born  at 
Bologna  in  1764,  and  studied  under  his  father, 
Gaetano  Gandolfi.  Early  in  life  he  entered  the 
army,  and  came  with  his  regiment  to  Paris,  where 
he  devoted  himself  to  engraving.  He  afterwards 
visited  England,  and  there  studied  under  Sharp 
and  Bartolozzi,  returning  by  way  of  Rome  to 
Bologna,  where  he  for  a  while  pursued  oil  paint- 
ing. His  first  large  engraving  was  'Diogenes 
before  Alexander'  (1802),  after  his  father.  An 
unpleasant  critique  of  one  of  his  productions 
affected  him  so  much  that  he  left  Europe,  and 
travelled  in  America,  and  afterwards  in  Africa. 
In  1821  he  returned  to  Bologna,  engraved  several 
plates  after  Correggio,  and  Raphael's  '  St.  Cecilia,' 
of  which  he  also  made  a  beautiful  copy  in  water- 
colours.  He  also  engraved  '  The  Child  Jesus  sleep- 
ing on  the  Cross,'  'Judith  with  the  Head  of  Holo- 
fernes,'  and  various  other  subjects.  In  the  Bologna 
Gallery  is  his  portrait  painted  by  himself.  He  died 
in  1834. 

GANDOLFI,  Ubaldo,  the  elder  brother  of 
Gaetano  Gandolfi,  was  born  in  1728.  He  was 
both  a  painter  and  sculptor,  and  studied  under 
Torelli  and  Graziani,  His  principal  works  are 
'The  Prophets'  in  San  Giuliano  at  Bologna,  hia 
anatomical  preparations  for  pupils,  and  in  the 
Pinacoteca  a  '  Head  of  a  Girl,'  the  '  Resurrection  of 
Christ,'  and  a  '  Holy  Bishop.'  He  died  at  Bologna 
in  1781. 

GANDY,  Jambs,  a  portrait  painter,  born  at 
Exeter  in  1619,  is  said  to  have  been  instructed 
by  Van  Dyck.  He  went  to  Ireland  under  the 
protection  of  the  Duke  of  Ormond,  and  painted 
many  portraits  of  the  nobility  and  gentry.  He 
died  in  Ireland  in  1689. 

GANDY,  William,  a  portrait  painter,  was  bom 
in  the  second  half  of  the  17th  century.  He 
was  the  son  of  James  Gandy,  and  is  supposed  to 
have  studied  under  Caspar  Smitz.  He  chiefly 
lived  at  Exeter,  and  many  of  hia  works  are  to  be 
found  in  Devon  and  Cornwall.  He  died  after 
1715. 

GANGLOPF,  Kael  Wilhelm,  a  designer,  bom 
at  Leutkirch  in  1790,  was  one  of  those  artists  by 
nature  who  produce  works  of  great  promise  in  their 
youth  before  they  have  received  any  instruction. 
He  was  originally  employed  as  a  clerk,  but  on 
his  artistic  productions  becoming  in  some  degree 
known,  he  was  induced  in  1813  to  go  to  Stuttgart 
and  study  under  De  Necker.  Unhappily  he  died 
in  1814,  at  Merklingen  in  Wiirtemberg,  but  he  has 
left  several  compositions  from  the  Old  and  New 
Testament  and  the  '  Nibelungen  Lied  '  which  show 
much  originality  and  depth  of  feeling.  Uhland 
has  dedicated  three  sonnets  to  his  memory. 

GANI^RES,  Jean,  (or  GAGNitoES,)  a  French 
engraver,  flourished  in  Paris  about  the  year  1650. 
He  engraved  a  few  plates  after  Blanohard,  Valen- 
tine, &c.,  but  was  more  employed  on  portraits. 
His  plates  are  executed  with  the  graver  in  a  stifE 
and  tasteless  style.  Among  others,  the  following 
are  by  him : 

641 


Ganses 


A  BIOGRAPHICAL  DICTIONARY  OF 


Garcia 


The  Penitent  Magdalen ;  after  J.  Blanehard. 

A  Boy  sleeping,  with  a  skull  near  him.    1640. 

Louis  XIII.  of  France ;  an  oval,  with  ornaments.    1640. 

Cardinal  Flavio  Chigi. 

M.  de  La  Melleraye.     1679. 

GANSES,  Paul,  was  a  Neapolitan  painter  of 
sea  pieces  and  moon-light  effects,  who  lived  in  the 
17th  century. 

GANTREL,  Etibnne,  a  French  engraver,  was 
born  in  Paris  about  the  year  1646,  and  died 
there  in  1706.  There  are  by  this  artist  several 
plates  of  portraits  and  historical  subjects,  executed 
in  a  neat  style,  of  which  the  following  are  the 
best : 

POETEAITS. 
Louis  XIV.  of  France  ;  life-size. 
Sebastiano  Pisani,  Bishop  of  Verona. 
Antoine  Bruneau,  President  of  La  Tournelle ;  after  La 

Dame. 
J.  L.  de  La  Bourdonnaye,  Bishop  of  Lyons ;  after  Fon- 

tai-ne, 
M.  Poncet  de  La  Eivi^re.     1682. 
Lords  Berrier,  Counsellor  to  the  King.    1674. 

SUBJECTS   AFTER  VAEIOUS   MASTERS. 
The  Eod  of  Moses,  changed  into  a  Serpent,  devouring 

the  Eods  of  the  Magicians  of   Pharaoh;   after  N. 

Poussin. 
The  Israelites  passing  the  Eed  Sea ;  after  the  same. 
The  Israelites  dancing  round  the  Golden  Calf;  after 

the  same. 
The  Descent  from  the  Cross  ;  after  the  same. 
St.  Francis  Xavier  restoring  an  Indian  to  life;   after 

the  same. 
St.  Gervais  and  St.  Protais  before  the  Proconsul ;  after 

Le  Sueur. 
St.  Benedict  kneeling ;  after  Philippe  de  Champagne. 
St.  Francis  in  ecstasy ;  after  Carracci. 
The  Head  of  Christ ;  after  Le  Brun. 

GANZ,  JoHANN  Philipp,  &  German  engraver, 
born  at  Eisenach  in  1746,  was  appointed  engraver 
to  the  Court  of  Hanover. 

GAEAVAGLIA,  Giovita,  an  Italian  engraver, 
was  born  at  Pavia  in  1790,  and  studied  under 
Anderloni.  In  1803  he  entered  the  Academy  of 
Milan,  where  in  1813  his  'Herodias,'  after  Luini, 
gained  a  prize,  and  in  1817  another  was  adjudged 
to  him  for  his  '  Holy  Family  in  a  Landscape,'  after 
Raphael.  In  1833  he  was  elected  Professor  of 
Engraving  at  Florence,  where  he  died  in  1835. 
His  principal  works  are  : 

The  Madonna  and  Infant  St.  John ;  after  Gimignani. 

Hagar  and  Ishmael;  after  Barocci. 

Jacob  and  Eachel ;  aftei'  Appiani. 

The  Magdalen ;  after  C.  Dolci. 

The  Ascension  ;  after  Guido  Mem. 

Charles  V. ;  after  the  same. 

GARBIERI,  Carlo,  the  son  and  scholar  of 
Lorenzo  Garbieri,  painted  historical  subjects  in 
the  style  of  his  father.  In  the  church  of  San 
Giovanni  in  Monte,  at  Bologna,  is  a  picture  by 
him  of  the  '  Death  of  St.  Mary  of  Egypt ' ;  and 
in  San  Paolo  is  one  of  '  St.  Paul  taken  up  into 
Heaven.' 

GARBIERI,  Lorenzo,  called  II  Nipote,  was 
born  at  Bologna  in  1580,  and  was  brought  up  in 
the  school  of  Lodovico  Carracci,  of  whose  style  he 
was  one  of  the  most  successful  imitators.  Natur- 
ally of  a  dark  and  gloomy  turn  of  mind,  he  selected 
the  moat  austere  and  melancholy  subjects ;  and 
his  pictures  generally  represent  the  most  tragical 
and  terrible  events,  as  massacres,  martyrdoms, 
and  pestilence.  To  the  style  of  the  Carracci,  he 
added  something  of  the  vigorous  light  and  shadow 
of  Caravaggio.     Such  are  his  pictures  in  the  church 

642  ^ 


of  Sant'  Antonio  at  Milan,  which  Sant'  Agostino, 
in  his  '  Catalogo,'  has  attributed  to  the  Carracci. 
Iq  San  Paolo  de'  Barnabiti  at  Bologna  he  painted 
the  '  Plague  of  Milan,'  with  St.  Charles  Borromeo 
communicating  the  diseased ;  and  a  '  Penitential 
Procession.'  At  the  Filippini  at  Fano  is  an 
admirable  picture  of  '  St.  Paul  raising  Eutyohus,' 
painted  with  such  power  and  expression  that  it 
excites  both  terror  and  devotion.  In  San  Maurizio 
at  Mantua  is  his  celebrated  '  Martyrdom  of  St. 
Felicita  and  the  seven  Virgins.'  At  Bologna,  in 
the  church  of  San  Lodovico,  is  a  fine  picture  of 
the  '  Death  of  St.  Joseph '  ;  at  the  Cappuccini,  the 
'  Crucifixion '  ;  in  S.  Michele  in  Bosco,  scenes 
from  the  life  of  St.  Benedict  and  St.  Cecilia ;  and 
at  the  Pinacoteca,  '  The  Magician  Circe.'  In  con- 
sequence of  his  marriage  with  a  rich  lady,  he 
abandoned  his  profession  many  years  before  his 
death,  which  took  place  in  1654. 

GARBO,  Rafpabllino  del.    See  Capponi. 

GARCIA,  Bernab6,  a  Spanish  painter,  was  bom 
at  Madrid  in  1679,  and  died  in  the  same  city  in 
1731.  He  was  a  scholar  of  Juan  Delgado,  and 
painted  '  The  Four  Doctors  of  the  Church '  for  a 
church  at  Alcala  de  Henares. 

GARCIA,  Ferrer,  ('  the  Licentiate  Don  Pedro ',) 
though  an  ecclesiastic,  exercised  the  profession  of 
a  painter  at  Valencia  and  Madrid,  about  the  middle 
of  the  17th  century,  and  obtained  a  great  reputa- 
tion, especially  in  perspective.  He  painted  Cruci- 
fixions, one  of  which  bears  date  1632,  and  the  usual 
religious  subjects.  His  collection  of  pictures  by 
the  great  masters,  as  well  as  his  own  performances, 
was  sold  at  his  death  for  a  large  sum. 

GARCIA,  Francisco,  was  a  Spanish  painter  at 
Murcia,  at  the  commencement  of  the  17th  century, 
as  is  shown  by  the  inscription  on  an  altar-piece  in 
the  chapel  of  Los  Velez,  in  the  cathedral  of  that 
city ;  it  represents  '  St.  Luke  writing.'  The  artist 
was  in  the  employ  of  the  Marquis  de  los  Velez. 

GARCIA,  Miguel  and  Geronimo,  were  twin 
brothers,  and  canons  of  the  Collegiate  Church  of 
San  Salvador  at  Granada,  one  being  a  painter  and 
the  other  a  sculptor ;  the  first  coloured  the  images 
which  the  second  carved.  They  followed  the 
style,  and  perhaps  profited  by  the  instruction,  of 
Alonso  Cano. 

GARCIA  DE  MIRANDA,  Juan,  was  bom  of 
Asturian  parents  at  Madrid  in  1677,  and  studied 
painting  under  Juan  Delgado,  producing  chiefly 
devotional  pictures,  particularly  '  Immaculate  Con- 
ceptions,' for  private  patrons.  Born  without  a 
right  hand,  he  made  use  of  the  stump  of  the  arm 
to  hold  pencils,  maulstick,  &c.  He  was  appointed 
to  clean  and  restore  the  pictures  injured  in  the  fire 
at  the  Alcazar,  and  acquitted  himself  so  well  as 
to  be  appointed,  in  1735,  painter-in-ordinary  to 
Philip  V.  He  also  held,  with  Palomino,  from 
1724,  the  post  of  public  valuer  of  pictures.  He 
died  in  1749,  leaving  a  son  Juan,  of  great  promise 
as  a  painter,  who,  however,  died  at  the  age  of 
twenty-one.  His  brother  and  disciple,  Nicolas 
Garcia  de  Miranda,  who  was  born  in  1698,  and 
died  in  1738,  painted  landscapes  with  religious 
figures. 

GARCIA  HIDALGO,  Josef,  was  a  Spanish 
painter,  who  wrote  notes  of  his  life,  but  omitted  to 
state  where  and  when  he  was  born.  From  circum- 
stances narrated  by  him  it  is  conjectured  that  he 
was  a  native  of  Murviedro,  in  Murcia,  and  bom 
about  1656.  He  was  named  by  the  artists  of  the  day 
'  El  Castellano.'     He  studied  in  the  city  of  Murcia, 


Garcia 


PAINTERS  AND  ENGRAVERS. 


Garner 


under  Mateo  Gilarte  and  Nicolas  de  Villacis.  After 
passing  some  years  under  those  masters  he  went 
to  Italy,  and  at  Rome  became  a  scholar  of  Giacinto 
Brandi,  under  whose  tuition  he  made  considerable 
'.progress.  Pietro  da  Cortona,  Salvator  Rosa,  and 
/Carlo  Maratti  assisted  him  with  their  counsels  ; 
but  the  climate  of  Italy  proving  detrimental  to  his 
health,  he  returned  to  Spain,  where  he  attached 
himself  to  Carreno,  and,  though  far  advanced  in 
the  art,  worked  as  a  young  pupil.  In  1674  he 
went  to  Madrid,  and  was  employed  by  Charles  II. 
in  a  series  of  twenty-four  pictures  on  the  life  of 
St.  Augustine,  for  the  cloisters  of  San  Felipe  el 
Real,  which  occupied  him,  with  other  commissions 
from  the  king,  till  1711.  He  was  also  much 
employed  by  Philip  V.,  who  made  him  his  prin- 
cipal painter  in  1703,  and  shortly  after  a  cheva- 
lier of  the  order  of  St.  Michael.  In  the  latter 
part  of  his  life  he  retired  to  the  convent  of  San 
Felipe,  and  died  there  probably  soon  after  1711, 
but  in  what  year  is  not  known.  He  published 
'  Principios  para  estudiar  la  nobilissima  arte  de  la 
Pintura,'  1691,  and  several  other  works  on  anatomy 
and  painting  for  the  benefit  of  students.  His 
productions  are  at  Madrid,  Valencia,  Siguenza,  San 
Jago,  and  Guadalaxara. 

GARCIA  REYNOSO,  Antonio,  a  Spanish  painter, 
was  bom  at  Cabra,  in  Andalucia,  in  1623,  and 
studied  under  Sebastian  Martinez,  an  artist  of  some 
eminence,  at  Jaen.  He  painted  landscapes  and 
historical  subjects  ;  and  there  are  several  of  his 
works  noticed  by  Palomino,  particularly  an  altar- 
piece  in  the  church  of  the  Capuchins  at  Andujar, 
representing  the  '  Trinity,'  with  several  Saints. 
There  are  also  some  of  his  pictures  in  the  churches 
and  private  collections  at  Cordova,  in  which  city 
he  died  in  1677. 

GARCIA  SALMERON,  Ckistobal,  a  Spanish 
painter,  born  at  Cuenca  in  1603,  was  a  disciple  of 
Pedro  Orrente.  He  was  a  good  painter  of  his- 
torical subjects  and  of  animals,  one  of  his  most 
esteemed  works  being  a  picture  of  the  'Nativity,' 
in  the  church  of  San  Francisco  at  Cuenca.  He 
was  employed  by  Philip  IV.  to  paint  a  bull-fight 
in  honour  of  the  birthday  of  Charles  II.  of  Spain, 
and  he  executed  several  works  for  the  cathedral 
at  Cuenca  and  for  the  convent  of  Barefooted 
Carmehtes.     He  died  at  Madrid  in  1666. 

GARDELLE,  Robert,  born  at  Geneva  in  1682, 
studied  under  LargilliSre  in  Paris,  where  he  dis- 
tinguished himself  as  a  portrait  painter,  producing 
also  etchings  of  portraits  and  of  views  of  Geneva. 
He  died  in  1766. 

GARDELLE,  Theodore,  a  Swiss  miniature 
painter,  was  bom  in  1722  at  Geneva,  where  he 
was  apprenticed  to  an  engraver.  He  was  of  dis- 
sipated habits,  and  wandered  about  from  Geneva 
to  Paris,  Brussels,  and  finally  to  London,  where  he 
was  executed  for  murder  in  1761. 

GARDINER,  William  Nelson,  an  Irish  en- 
graver, was  bom  at  Dublin  in  1766.  He  studied 
at  the  Dublin  Academy,  and  then  came  to  London, 
where,  after  various  vicissitudes,  he  became  an 
assistant  to  Bartolozzi,  with  whom  he  prepared 
plates  for  Harding's  Shakespeare,  De  Grammont's 
'  Memoirs,'  and  Lady  Diana  Beauclerk's  illustrations 
to  Dryden's  '  Fables.'  He  subsequently  studied  at 
Cambridge,  with  a  view  of  taking  orders,  but  after- 
wards took  to  copying  portraits,  and  finally  became 
a  bookseller.  He  died  by  suicide  in  London  in 
1814. 

GARDNER,  Daniel,  an  English  portrait  painter. 


born  at  Kendal  in  1750,  studied  at  the  Royal 
Academy,  and  was  patronized  by  Reynolds.  His 
portraits,  which  were  in  oil  and  crayons,  were  suc- 
cessful, and  he  was  enabled  to  retire  early  from 
practice.     He  died  in  London  in  1805. 

GARDNER,  Thomas,  was  an  English  engraver, 
who  lived  in  the  first  half  of  the  18th  century. 
He  chiefly  worked  for  the  booksellers,  and  en- 
graved a  set  of  plates  for  the  'Book  of  Common 
Prayer,'  paraphrased  by  James  Harris  in  1735. 

GARDNOE,  Rev.  James,  an  English  landscape 
painter,  was  born  in  1729.  In  1767  he  received 
a  premium  at  the  Society  of  Arts,  and  his  works, 
both  in  oil  and  water-colours,  appeared  at  the 
Royal  Academy  from  1782  to  1796.  He  furnished 
illustrations  for  Williams's  'History  of  Monmouth- 
shire,' and  published  '  Views  on  the  Rhine  '  in  1788. 
He  was  Vicar  of  Battersea,  where  he  died  in  1808. 

GAREIS,  Franz,  a  painter,  bom  at  Marienthal  in 
1776,  studied  at  Dresden  under  Casanova.  He 
afterwards  went  to  Rome,  where  by  his  picture  of 
'  Orpheus  in  the  Lower  World,'  he  gained  a  con- 
siderable reputation,  but  unfortunately  he  died  at 
Rome  in  1803,  at  the  early  age  of  twenty-seven. 

GAREMYN,  Jan,  a  Flemish  painter  and  engraver, 
was  born  at  Bruges  in  1712,  and  studied  under 
Louis  Boons  and  Matthias  De  Visch.  He  painted 
numerous  altar-pieces  for  the  churches  at  Bruges 
and  Courtrai ;  and  others  for  private  persons  at 
Brussels  and  Ghent.  His  pictures  are  highly  es- 
teemed by  his  countrymen  for  their  warmth  of 
colouring.  He  painted  several  pictures  in  imita- 
tion of  Rembrandt  and  Teniers,  and  designed  and 
executed  several  of  the  plates  for  the  '  Chronicles 
of  Flanders,'  published  in  1736.  He  became  pro- 
fessor in  the  Academy  of  Bruges,  and  died  in  that 
city  in  1799. 

GARGIUOLI,  Domenioo,  called  Micco  Spadaro, 
an  historical  and  landscape  painter,  born  at  Naples 
in  1612,  was  a  fellow-student  with  Salvator  Rosa, 
in  the  school  of  Aniello  Falcone.  He  was  em- 
ployed in  decorating  the  architectural  views  of  his 
friend  Viviani  Codagora  with  a  number  of  small 
figures  in  the  style  of  Callot  and  Delia  Bella.  He 
died  in  1679.  "The  following  paintings  by  him  are 
known : 

Gotha.  Gallery.    Two  Men  playing  at  Cards. 

„  „  Two  Ship  Boys. 

Naples.  Museum.    Eevolntion  of  1647. 

„  „         The    Piazza    di   Mercatello    in 

1648. 
„  „         Court  of  the  Convent  of  Sau 

Martino. 
Paris.  louvre.    A  Combat  in  the  Crusades. 

GAKIBALDO,  Maec  Antonio,  a  Flemish  painter, 
was  born  at  Antwerp  in  1620,  and  in  1651-2 
became  a  member  of  the  Guild  of  Sfc.  Luke.  He 
painted  for  the  Jesuits'  College  at  Antwerp  a 
picture  of  'The  Virgin,  as  the  Queen  of  Martyrs.' 
The  date  of  his  death  is  unknown,  but  he  was 
living  in  1690.     There  are  by  him  : 

Flight  into  Egypt.    {Antmerp  Gallery.) 

St.  Bernard  reproving  William  of  Aquitaine.  {^St.  Gilles, 
Sruyes.) 

GARIGUE,  — ,  was  a  French  painter  of  the  18th 
century,  by  whom  there  is  a  portrait  of  Charles  de 
SifEredy  de  Mornas  in  the  Avignon  Museum. 

GARNER,  Thomas,  a  line-engraver,  was  born 
at  Birmingham  in  1789,  where  he  was  apprenticed 
to  a  Mr.  Lines.  In  the  early  part  of  this  century 
he  contributed  many  engravings  to  the  various 
Annuals  that  flourished  at  that  period  ;   he  also 

543 


Grarneray 


A  BIOGRAPHICAL  DICTIONARY  OF 


Garvey 


Boulogne. 
Marseilles. 
Nantes. 


Jtfvseum. 
Museum. 
Museum, 


Eochefort.    Museum. 


Eochelle. 
Kouen. 


Museum. 
Museum. 


Versailles.     Gallery. 


executed  several  plates  for  the  'Art  Journal,' 
of  which  that  of  '  L' Allegro,'  after  W.  B.  Frost, 
U.A.,  is  considered  one  of  his  best  works.  He 
passed  nearly  all  his  life  in  Birmingham,  where  he 
executed  many  portraits  of  local  celebrities,  and 
died  in  1868. 

GARNERAY,  Ambroise  Louis,  a  French  marine 
painter,  born  in  Paris  in  1783,  received  his  first 
instruction  from  his  father,  Jean  Francois  Game- 
ray.  At  the  age  of  thirteen  he  went  to  sea,  and 
after  various  adventures  (of  which  he  subsequently 
published  an  illustrated  history)  was  taken  prisoner 
by  the  English  in  1806.  He  remained  in  England 
till  1814,  and  on  his  return  to  France  was  patronized 
by  Louis  XVIII.  A  '  View  of  the  Port  of  London ' 
was  his  first  exhibited  work  in  1816,  and  he 
received  a  gold  medal  in  1819.  In  1833  he  was 
appointed  director  of  the  Rouen  Museum,  and  he 
subsequently  designed  for  the  Sfevres  manufactory 
for  six  years.  He  studied  aquatint,  and  designed 
and  engraved  sixty-four  views  of  the  principal 
ports  of  France,  and  forty  views  of  foreign  ports, 
which  were  published  with  text  by  Jouy  in  1821- 
32.  At  the  Paris  Exhibition  of  1855  he  received 
a  medal  for  his  invention  of  a  new  kind  of  artists' 
canvas.  He  died  in  Paris  in  1857.  Amongst  his 
works  are : 

View  of  Sidon ;  sun  setting. 

The  Canal  at  Furues. 

An    Incident    of    the    Battle    of 

Navarino.     1853. 
The  Frigate  'Virginie'  attacking 

an  English  Squadron. 
The  Capture  of  the  '  Kent.' 
Cod  Fishing  off  Newfoundland. 

1839. 
Battle  of  Augusta.    1836. 
Battle  of  Navarino. 
„  „  The  Beturn  from  Elba. 

GARNERAY,  Auguste,  the  second  son  of  Jean 
Francois  Garneray,  was  born  in  Paris  in  1785,  and 
died  there  in  1824.  He  studied  under  Isabey,  and 
painted  chiefly  in  water-colours.  Besides  numerous 
portraits,  he  has  produced  several  pictures  from 
tales  of  interest,  as  also  designs  for  vignettes,  and 
for  a  work  on  Egypt. 

GARNERAY,  Jean  Francois,  a  French  painter 
of  portraits,  architectural  views,  and  fanciful  sub- 
jects, was  born  in  Paris  in  1765,  and  died  at  Auteuil 
in  1837.  He  was  a  pupil  of  David,  and  his  earlier 
portraits  are  said  to  be  in  the  Flemish  style. 

GARNIER,  Antuine,  was  a  French  engraver, 
who  flourished  in  Paris  from  about  1625  to  1646. 
He  etched  his  plates  in  a  bold  style,  and  finished 
them  with  the  graver.  He  engraved  some  of  the 
paintings  by  Primatiocio  at  S'ontainebleau,  and 
a  set  of  twelve  plates  after  the  pictures  by  the 
same  painter  in  the  chapel  of  Pleury.  He  also 
engraved  some  plates  after  Nicolas  Poussin  and 
Michelangelo  da  Caravaggio,  and  the  following 
after  J.  Blanohard : 

The  Holy  Family. 

Chariby. 

St.  John  the  Baptist. 

St.  Sebastian.  j» 

He  usually  marked  his  plates  with  the  cipher /Sf- 
GARNIER,  Etibnne  BABXHiiLEMY,  a  French 
portrait  and  historical  painter,  was  born  in  Paris 
in  1759.  He  was  a  pupil  successively  of  Durameau, 
Doyen,  and  Vien,  and  obtained  the  "  grand  prix  "  in 
1788.  His  subjects  are  chiefly  from  the  ancient 
poets,  or  relating  to  the  popular  monarohs  of 
France,  such  as  Dagobert,  Henry  IV.,  and  Napoleon. 
544 


In  1828  he  was  an  unsuccessful  competitor  with 
Horace  Veyiet  for  the  directorship  of  the  School 
of  Rome.  At  Avignon  is  a  portrait  of  Cardinal 
Maury.     He  died  in  Paris  in  1849. 

GARNIER,  Louis  Hippolyte,  a  painter  and 
lithographer,  excelled  in  miniature  portrait  paint- 
ing. He  was  born  in  Paris  in  1802,  and  died  there 
in  1855.  Among  his  lithographs  are  'Rebekah,' 
and  '  Ruth  and  Boaz '  after  Chopin ;  '  On  the 
road  to  Market,'  after  Eugene  Dev^ria ;  and  others 
after  Ary  Schefier,  Schlesinger,  &c. 

GARNIER,  Noel,  one  of  the  earliest  French 
engravers,  was  bom  about  the  year  1490,  and  died 
later  than  1540.  He  engraved  some  grotesque 
ornaments,  with  the  Gothic  alphabet  in  forty-eight 
plates  of  figures  representing  the  Arts,  Sciences, 
Trades,  &c.  There  is  also  a  plate  by  him  of  several 
naked  men  fighting,  bearing  some  resemblance  to 
the  style  of  Hans  Sebald  Beham,  though  very  in- 
ferior; it  is  marked  TtOC  ^  on  a  tablet.  He 

is  called  '  The  Master  of  the  Knot.'  Other  plates 
of  his  are  a  '  St.  Anthony,'  copied  from  Albrecht 
Diirer,  and  'The  Triumph  of  Bacchus,'  from  6. 
Pencz. 

GAROFALO,  Benvenuto  da.    See  Tisi. 

GARRARD,  Geokge,  an  animal  painter,  was 
born  in  1760.  He  studied  under  Sawrey  Gilpin, 
and  in  1778  entered  the  schools  of  the  Royal 
Academy,  at  which  he  first  exhibited  in  1781.  He 
practised  largely  in  modelling,  and  in  1800  was 
elected  an  Associate  of  the  Academy.  He  died  at 
Brompton  in  1826.    Amongst  his  works  are : 

View  of  a  Erewhouse  Yard.    1784. 

Sheep  Shearing.    1793. 

A  Peasant  attacked  by  'Wolves  in  the  Snow.    1802. 

An  Agricultural  Show.    (^  WoJmrn  Abbey.) 

GARRARD,  Maec.     See  Geeraets. 

GARRET,  William,  a  wood-engraver,  prac- 
tised at  Newcastle  in  the  18th  century.  He  pub- 
lished a  series  of  thirteen  small  designs,  the  last 
of  which  is  '  Death  leading  a  Female  to  the 
Grave.' 

GARTNER,  Georg,  the  elder  and  the  younger, 
were  painters  who  lived  at  Nuremberg  in  the  17th 
century,  the  former  dying  in  1640,  and  the  latter 
in  1654.  The  elder  painter  executed  portraits  in 
water-colours,  whilst  the  younger  was  an  imitator 
and  copyist  of  Diirer. 

GARTNER,  Johann  Philipp  Eduard,  an  archi- 
tectural painter,  was  born  at  Berlin  in  1801.  He 
was  taught  painting  when  a  child  by  Miiller  at 
Cassel,  and  returned  to  Berlin  when  but  twelve 
years  of  age  to  paint  in  a  porcelain  factory.  In 
1821  he  made  a  student's  tour  to  the  North  Sea, 
and  then  engaged  himself  to  Gropius.  Three 
years'  study  in  Paris  followed,  and  he  then  devoted 
himself  to  architectural  painting.  In  1837-39  he 
worked  in  Russia  for  the  Emperor  Nicholas.  He 
died  at  Berlin  in  1877.  Many  of  his  arcliitectural 
pictures  are  in  the  royal  palaces,  and  one  is  in  the 
National  Gallery  of  that  city.  In  the  Leipsio 
Gallery  is  an  Italian  landscape. 

GARVEY,  Edmund,  a  landscape  painter  in  both 
oil  and  water-colours,  is  supposed,  from  his  con- 
nection, to  have  been  of  an  Irish  family.  In  1770 
he  was  elected  an  Associate  of  the  Royal  Academy, 
and  an  Academician  in  1783.  He  lived  at  Bath 
from  1769  to  1777,  and  died  in  1813.  He  imitated 
Richard  Wilson,  to  a  certain  extent,  in  his  maimer 
of  painting. 


Garzi 


PAINTERS  AND  ENGRAVERS. 


Oastineau 


GARZI,  LuiGi,  was  born  at  Pistoja  in  1638,  and 
studied  under  S.  Boccali,  in  his  native  city,  until 
he  was  fifteen  years  of  age.  In  1653  he  went 
to  Rome,  where  he  entered  the  school  of  Andrea 
Sacchi,  of  whom  he  was  the  favourite  disciple, 
and  became  one  of  the  most  eminent  painters 
of  his  time.  He  was  the  contemporary  and  rival 
of  Carlo  Maratti.  After  having  painted  several 
pictures  for  the  public  edifices  at  Rome,  he  was 
invited  to  Naples  to  paint  in  the  church  of  Santa 
Caterina  a  Formello,  and  in  the  royal  palace.  In 
tlje  cathedral  at  Pescia  he  painted  an  immense 
picture  of  the  '  Assumption,'  which  is  considered 
his  best  performance.  Of  his  works  at  Rome,  the 
principal  are  the  cupola  of  the  Cibo  chapel,  in  Santa 
Maria  del  Popolo ;  '  The  Maries  at  the  Tomb  of  our 
Saviour,'  in  Santa  Marta ;  and  the  celebrated  picture 
of  '  The  Prophet  Joel,'  in  San  Giovanni  in  Laterano. 
In  the  Liverpool  Institution  is  a  landscape  by 
Salvator  Rosa,  with  the  figures  by  Luigi  Garzi,  and 
in  the  Munich  Gallery  is  a  '  Flight  into  Egypt.' 
He  died  in  1721. 

GARZI,  Mario,  was  the  son  of  Luigi  Garzi, 
by  whom  he  was  instructed  in  art.  He  painted 
historical  subjects  in  the  style  of  his  father,  and 
was  an  artist  of  very  promising  talent,  but  died 
quite  young.  Two  of  his  pictures  are  noticed  in 
Pasooli's  '  Guida  di  Roma.' 

GARZON,  Juan,  a  Spanish  painter,  for  a  short 
time  the  pupil  of  Murillo,  was  associated  with 
Meneses  Osorio  in  many  of  his  works,  but  none  of 
his  own  are  known  to  survive.  He  died  at  Madrid 
in  1729. 

GAEZONI,  GlovANNA,  was  a  native  of  Asooli, 
who  flourished  about  the  year  1630,  and  resided 
chiefly  at  Rome,  where  she  distinguished  her- 
self as  a  painter  of  flowers,  and  of  portraits  in 
miniature.  At  Florence  she  painted  the  portraits 
of  some  of  the  Medici  and  other  nobility.  She 
died  at  Rome  in  1673,  and  bequeathed  all  her 
property,  which  was  considerable,  to  the  Academy 
of  St.  Luke,  where  a  marble  monument  is  erected 
to  her  memory. 

GASCAE,  Henri,  a  French  portrait  painter,  was 
bom  in  Paris  in  1635,  arid  visited  England  in  the 
reign  of  Charles  II.  He  was  greatly  patronized 
by  the  Duchess  of  Portsmouth,  and  met  with  so 
much  encouragement,  that  he  is  said  to  have 
realized  above  ten  thousand  pounds  during  a  resi- 
dence of  a  few  years.  He  left  England  about 
1680,  and  died  at  Rome  in  1701.  His  best  portrait 
was  that  of  Philip,  Earl  of  Pembroke.  He  scraped 
a  few  miserable  mezzotints,  after  his  own  pictures, 
among  which  is  the  portrait  of  the  Duchess  of 
Portsmouth,  and  that  of  James  II.  when  Duke  of 
York. 

GASPARI,  Giovanni  Pietro,  bom  at  Venice 
in  1735,  painted  the  decorations  for  the  Court 
Theatre  at  Munich,  and  etched  fourteen  archi- 
tectural plates. 

GASPARINI,  Gaspare,  was  a  native  of  Mace- 
rata,  who  flourished  about  the  year  1585.  He  was 
a  disciple  of  Girolamo  da  Sermoneta,  whose  style 
he  followed,  though  in  a  less  finished  manner ;  as 
appears  in  his  two  pictures  in  the  church  of  San 
Venanzio  at  Fabriano,  representing  '  The  Baptism 
of  Christ '  and  '  The  Last  Supper.'  He  is  seen  to 
more  advantage  in  his  picture  of  '  St.  Peter  and 
St.  John  curing  the  Lame  Man,'  m  the  same 
church,  a  grand  composition,  in  which  he  seems 
to  have  imitated  the  style  of  Raphael.  In  the 
church  of  the  Conventuali,  in  his  native  place, 
N  N 


there  is  a  fine  picture  of  '  St.  Francis  receiving  the 
Stigmata.' 

GASPARINI,  Sebastiano.  In  the  '  Descrizione 
delle  Pitture  d'Ascoli,'  by  Orsini,  a  painter  of  this 
name  is  noticed,  who  painted  several  pictures  in 
fresco,  in  a  chapel  in  the  church  of  San  Biagio,  in 
that  city. 

GASPAREI  Di  SPINELLO.    See  Spinelli. 

GASPERS,  Jan  BAPTiST,.(or  Jaspers,)  a  native 
of  Antwerp,  was  a  scholar  of  Thomas  Wille- 
borts.  He  visited  England  during  the  civil  war, 
and  was  much  employed  by  General  Lambert. 
After  the  Restoration  he  became  an  assistant  to  Sir 
Peter  Lely,  and  afterwards  to  Sir  Godfrey  Kneller. 
He  drew  well,  and  excelled  in  making  designs  for 
tapestry.  The  portrait  of  Charles  II.  in  Painter- 
Stainers'  Hall,  and  another  of  the  same  king,  in 
the  hall  of  St.  Bartholomew's  Hospital,  were  painted 
by  him.     He  died  in  London  in  1691. 

GASSEL,  Lucas  van,  called  also,  from  his 
birthplace,  Lucas  van  Helmont,  was  a  landscape 
painter,  who  was  born  about  1480.  It  is  sup- 
posed that  he  resided  chiefly  at  Brussels,  where 
he  died  about  1555,  but  certainly  not  later  than 
1560.  His  landscapes  are  very  rare:  they  are 
painted  sometimes  in  oil,  and  sometimes  in  water- 
colours.  There  is  a  picture  by  him  in  the  Vienna 
Gallery  bearing  his  monogram  and  the  date  1548, 
and  there  is  another  in  the  Lille  Museum.  His 
portrait  by  Jacob  Bink  is  in  the  collection  of 
"  persons  who  died  before  1572,"  engraved  by 
Jan  Wierix. 

GASSEN,  Pranoisoo,  a  painter  of  Barcelona,  was 
born  in  1598.  He  executed,  in  conjunction  with 
Pedro  Cuquet,  a  series  of  pictures  on  the  Life  of 
St.  Francis  of  Paola,  for  the  Minimite  convent  in 
his  native  city.     He  died  at  Barcelona  in  1658. 

GASSIES,  Jean  Bruno,  a  French  historical  and 
genre  painter,  was  born  at  Bordeaux  in  1786. 
He  studied  under  Vincent  and  Lacroix,  and  died 
in  Paris  in  1832.  He  chiefly  executed  historical 
subjects  from  the  Old  and  New  Testaments,  or 
from  French  history ;  but  the  pictures  exhibited 
by  him  embrace  a  great  variety  of  subjects — his- 
torical, poetical,  and  allegorical — landscapes,  marine 
views,  interiors  of  churches,  and  striking  scenes 
on  the  coasts  of  England  and  France.  Amongst 
his  works  are : 

Hagar  and  Ishmael.    1811.    {Brussels  Gallery.) 

Horace  at  the  Tomb  of  Virgil.     1817. 

Portrait  of  Louis  XVIII.    1819.    (Bordeaux  Museum.) '. 

The  Communion  of  St.  Louis.    1819. 

The  Clemency  of  Louis  XII.  1824.  ( Versailles  Gallery.) 

View  of  the  Church  of  Boulogne.    1826. 

A  Sivouac  of  the  National  Quard.    1831. 

GASSNER,  Simon,  a  painter  and  engraver,  was 
born  at  Steinberg  in  the  Tyrol,  in  1755.  He  studied 
in  Munich  under  Gallrap  and  Demel,  and  excelled 
in  historical  and  landscape  painting.  He  was 
engaged  by  the  Margrave  of  Baden  to  decorate  a 
room  at  Carlsruhe,  but  returned  to  Munich  in  1790, 
and  was  still  living  in  1825.  He  also  engraved 
with  the  needle  and  in  the  aquatint  manner,  and 
produced  an  etching  of  the  'Temple  in  the 
English  Garden  in  Munich,'  which  bears  his 
monogram. 

GAST,  Michel  de.    See  De  Gast. 

GASTINEAU,  Henry,  a  landscape  painter  in 
water-colours,  was  born  in  1797.  After  studying  in 
the  schools  of  the  Royal  Academy,  he  commenced 
work  as  an  engraver.  He  then  took  to  oil-painting, 
but  finally  joined  the  Water-Colour  Society  as  an 

545 


OasuU 


A   BIOGRAPHICAL   DICTIONARY   OF 


Gaucher 


Associate  in  1818,  being  elected  a  full  member  in 
1824.  He  was  intimately  connected  with  Turner, 
David  Cox,  Copley  Fielding,  and  others  of  the 
English  water-colour  school.  He  died  at  Camber- 
well  in  1876.     Amongst  his  works  are  : 

Penrhyn  Castle.     (South  Kensington  Museum.) 
Netley  Abbey.     (The  same.) 

The  Pass  of  Klamme,  Styria.     (Paris  Exhibition,  1855.) 
Glenarm,  Antrim.     (London  International  Exhibition, 

1862.) 
Hospice  and  Pass  of  St.  Gothard.     (Tlie  same.) 
The  Pass  of  Killiecrankie.    (Paris  Exhibition,  1867.) 

6ASDLL,  Agustin,  an  historical  painter  of 
Valencia,  studied  at  Rome  under  Carlo  Maratti. 
His  'St.  Andrew,'  'St.  Stephen,'  'La  Vierge  de 
I'Esp^rance,'  and  '  St.  Joseph,'  which  he  painted  for 
the  church  of  San  Juan  del  Mercado  at  Valencia,  are 
much  admired;  and  there  are  many  pictures  by 
him  in  other  churches  of  the  same  city.  He  died 
at  Valencia  at  the  commencement  of  the  18th 
century. 

GATTA,  Baktolommeo  della.  See  Della 
Gatta. 

GATTI,  Beenaedino,  called  II  Sojaeo,  or  So- 
GLIAKO,  was  born  at  Pavia  in  1495.  He  was  one 
of  the  ablest  disciples  of  Correggio,  and  approached 
nearer  to  the  style  of  his  instructor  than  any  other 
of  his  pupils.  Parma,  Piacenza,  and  Cremona  are 
rich  in  his  works,  among  which  are  a  '  Riposo,'  in  the 
church  of  San  Sigismondo,  and  a  '  Nativity,'  in  San 
Pietro,  at  Cremona  ;  and  a  '  PietA,'  in  the  church  of 
La  Maddalena  at  Parma.  He  succeeded  Pordenone 
in  the  work  left  unfinished  by  that  master  in  the 
tribune  of  Santa  Maria  di  Campagna  at  Piacenza ; 
where,  according  to  Vaeari,  the  whole  appears  to 
be  by  the  same  hand.  One  of  his  most  considerable 
works  is  the  'Assumption,'  in  the  cupola  of  the 
Madonna  della  Steccata,  at  Parma,  painted  in  1660, 
in  which  the  Madonna  is  of  the  most  captivating 
beauty.  In  the  refectory  of  the  church  of  San 
Pietro  at  Cremona  is  his  great  work  of  the 
'  Miracle  of  the  Multiplication  of  the  Loaves,' 
painted  in  1552,  a  composition  of  many  figures, 
larger  than  life,  admirably  varied  in  the  heads  and 
attitudes,  and  conducted  with  a  beauty  of  colour, 
and  a  harmony  of  efEect,  which  atone  for  some 
slight  defects  in  the  aerial  perspective.  An  '  Bcce 
Homo '  and  a  '  Crucifixion '  by  him  are  in  the 
Museum  at  Naples.     He  died  at  Parma  in  1575. 

GATTI,  Gbevasio,  called  II  Sojaeo,  was  a 
native  of  Cremona,  who  flourished  from  the  year 
1571  to  1631.  He  was  the  nephew  of  Bernardino 
Gatti,  under  whom  he  studied,  and  from  whom  he 
learned  to  copy  Correggio,  as  his  early  works 
testify,  whilst  his  later  ones  are  more  in  the  man- 
ner of  the  Carracci.  In  the  church  of  San  Pietro 
at  Cremona  is  a  fine  picture  of  the  '  Death  of  St. 
Cecilia,'  with  a  glory  of  angels,  truly  Correggiesque. 
He  was  also  an  excellent  painter  of  portraits,  upon 
which  he  was  much  employed. 

GATTI,  Girolamo,  was  born  at  Bologna  in  1662, 
and  was  a  scholar  of  Marc  Antonio  Franceschini, 
whilst  his  colouring  is  after  the  style  of  Cignani. 
Several  of  his  works  are  in  the  churches  and  palaces 
at  Bologna.  In  Santa  Maria  Incoronata  is  a 
picture  of  'St.  Augustine,  St.  Petronius,  and  St. 
Gregory,  interceding  for  the  Souls  in  Purgatory  ' ; 
in  the  church  of  La  Nativity,  the  '  Presentation  in 
the  Temple ' ;  and  in  the  Palazzo  Pubblico, '  Charles 
V.  crowned  by  Pope  Clement  VII.'  He,  however, 
painted  more  works  of  a  smaller  class.  He  died 
inl726. 
646 


GATTI,  Olivieeo,  an  Italian  painter  and  en- 
graver, was  a  native  of  Parma.  He  was  a  scholar 
of  Giovanni  Lodovico  Valesio,  and,  from  the  re- 
semblance of  his  style,  although  greatly  inferior,  to 
that  of  Agostino  Carracci,  was  probably  instructed  in 
engraving  by  that  master.  His  works  as  a  painter 
are  little  known  ;  but  he  engraved  several  plates, 
some  of  which  are  after  his  own  designs,  which 
possess  considerable  merit.  He  was  received  into 
the  Academy  at  Bologna  in  1626,  and  was  working 
in  that  city  up  to  1648.  The  following  prints  are 
by  him : 

St.  Francis  Xavier  kneeling  on  the  sea-shore,  and  taking 
up  a  Crucifix,  which  is  floating  on  the  water ;  after 
his  own  design. 

The  Virgin  caressing  the  Infant  Christ ;  after  Lorenzo 
Garbieri. 

St.  Jerome ;  after  Agostino  Carracci.    1602. 

St.  Eoch.    1605. 

An  emblematical  subject,  representing  an  Armorial 
Bearing,  supported  by  two  Eiver  Gods,  with  an  armed 
figure,  standing  alone,  surrounded  by  Jupiter,  Her- 
cules, Neptune,  ApoUo,  and  Minerva;  after  L. 
Carracci. 

A  set  of  four  small  plates,  representing  the  Deity 
forming  the  "World,  the  Creation  of  Adam,  the  Sacri- 
fice of  Abraham,  and  Judith  with  the  Head  of 
Holofemes ;  after  Pordenone. 

A  Drawing-book ;  after  the  designs  of  Guercino. 

GATTI,  ToMMASO,  born  at  Pavia  in  1642,  was 
a  scholar  of  Carlo  Sacchi.  He  afterwards  went 
to  Venice,  where  he  studied  the  works  of  the 
great  masters  of  that  celebrated  school ;  and  on 
his  return  to  Pavia  he  painted  several  pictures  for 
the  churches. 

GATTI,  Ueielb,  called  II  Sojaho,  flourished 
about  the  year  1601,  as  appears  from  the  date 
inscribed  on  a  picture  by  him  of  the  '  Crucifixion,' 
in  the  church  of  San  Sepolcro  at  Piacenza.  Lanzi 
conjectures  that  this  painter  was  a  brother  of 
Gervasio  Gatti. 

GATTY,  Margaeet,  an  amateur  etcher,  was  bom 
at  Bumham  in  Norfolk  in  1809.  She  was  the 
daughter  of  Dr.  Scott,  Lord  Nelson's  chaplain,  and 
married  the  Rev.  Alfred  Gatty,  D.D.,  vicar  of 
Ecclesfield,  near  Shefheld,  in  1839.  Between  1837 
and  1843  she  etched  several  landscapes,  but  she  is 
best  known  as  an  authoress  of  books  for  children. 
She  died  at  Ecclesfield  in  1873. 

GAD  BERT,  Pieere,  a  French  portrait  painter 
who  was  working  in  1701,  was  a  member  of  the 
Academy.  There  is  a  portrait  of  a  lady  by  him  in 
the  Dresden  Gallery. 

GAUCHER,  Chaeles  Etienne,  a  French  en- 
graver, born  in  Paris  in  1740,  was  first  a  pupil  of 
Basan,  and  afterwards  of  J.  P.  Le  Bas.  He  died 
in  Paris  in  1804.  He  engraved  several  portraits 
and  other  subjects,  of  which  the  following  are  the 
principal : 

POETRAITS. 

Maria  Cecilia,  Ottoman  Princess,  daughter  of  Achmet 

III. ;  after  his  own  design. 
M.  du  Paty,  celebrated  Advocate  ;  after  Notte. 
Louis  GiUet. 

Louis  Augustus,  Dauphin  of  France ;  after  Gautier. 
J.  P.  Timol^on  de  Cossfi,  Duke  of  Bri-sac ;  afier  St.  Aulin. 
Louis  de  Grimaldi,  Bishop  of  Le  Mans.    1767. 

VARIOUS  SUBJECTS. 

An  allegorical  subject,  to  the  memory  of  J.  P.  Le  Bas ; 

after  Cochin. 
The  Crowning  of  Voltaire  ;  after  Moreau. 
The  Card-players  ;  after  Tilborch. 
Bepose ;  after  Gaspar  Netscher. 


Gaudenzio 


PAINTERS  AND  ENGRAVERS. 


Gaultier 


GAUDENZIO  MILANESE.     See  Peeeaei. 

GAUDIN,  Luis  Pascual,  a  Spanish  painter,  was 
born  at  Villafranca  in  Catalonia  in  1556.  He  en- 
tered in  1695  the  Carthusian  monastery  of  Scala 
Dei,  where  he  painted  the  .'  Saviour  washing  the 
Disciples'  Feet,'  the  'Prayer  in  the  Garden,'  and 
two  series  of  Evangelists  and  Apostles.  For  the 
Carthusian  monastery  at  Seville  he  executed  a 
series  of  pictures  from  the  life  of  the  Virgin, 
whom  he  has  represented  dressed  in  a  Venetian 
robe  with  enormous  sleeves  and  no  veil — a  breach 
of  etiquette  which  endangered  his  reputation  for 
orthodoxy  ;  but  the  pictures  are  much  praised  by 
Cean  Bermudez.  He  also  executed  a  '  Last  Supper ' 
for  Portacoeli,  near  Valencia.  He  died  in  the 
monastery  of  Scala  Dei  in  1621. 

GAUERMANN,  Feiedeich,  a  landscape  and 
animal  painter,  was  born  at  Miesenbach  on  the 
Sehneeberg  in  1807.  He  was  the  son  of  Jakob 
Gauermann,  and,  in  spite  of  his  weak  state  of 
health,  he  showed  talent  very  early,  delighting 
in  the  study  of  animals.  He  wished  to  attend 
the  Academy  of  Vienna,  but  had  to  give  up 
the  idea,  on  account  of  his  health  ;  he  therefore 
had  to  content  himself  with  painting  the  scenery  of 
his  native  country  in  the  summer,  and  with  copying 
Dutch  pictures,  especially  those  of  Ruisdael,  Potter, 
Boos,  Berchem,  and  Wouwerman,  in  Vienna  in  the 
winter.  From  1825  to  1846  he  made  numerous 
excursions  in  various  parts  of  Germany,  and  in 
1836  became  a  member  of  the  Academy  at  Munich. 
He  died  at  Vienna  in  1862.  Amongst  his  works 
are: 

A  Feasant  digging. 

The  End  of  the  Chase. 

Halt  on  the  Moontaiu. 

A  Bear  Hunt. 

Wolves  and  Deer.    {South  Kensington  Museum.') 

■Wild  Boar  and  "WoU.    {The  same.) 

The  Harvest  Waggon. 

The  Approach  of  a  Storm. 

Styrian  Charcoal  Burners. 

Watering-Place  in  the  Tyrol.  {Berlin  National  Oallery.) 

Tyrolese  Village  Smithy.    {The  same.) 

The  Labourer.    (  Vienna  Gallery.) 

Feasants  reposing.     {The  same.) 

Wolves  and  a  Dead  Horse.  {Stddel  Institute,  Frankfort.) 

GAUERMANN,  Jakob,  a  German  landscape  and 
genre  painter  and  engraver,  was  bom  at  Oeffingen, 
near  Canstatt,  in  1773.  He  at  first  worked  as  a 
stone-mason  at  Hohenheim,  but  his  strong  inclina- 
tion for  drawing  brought  him  to  the  knowledge  of 
Duke  Charles  of  Wiirtemberg,  who  enabled  him  to 
receive  an  education  in  art.  After  this  he  travelled 
for  six  years  in  Switzerland,  but  in  1798  he  went  to 
Vienna.  After  this  he  visited  in  succession  the 
Tyrol  and  Styria,  making  sketches,  which  he 
worked  up  into  water-colour  drawings  and  oil 
pictures.  He  died  at  Vienna  in  1843.  He  also 
executed  several  etchings  of  landscapes. 

GAUFFIER,  Louis,  was  born  at  La  Bochelle  in 
1761.  He  was  a  pupil  of  Hugues  Taraval,  and 
he  won  the  first  prize  for  painting  in  1784,  at  the 
same  time  as  Drouais,  the  sul^'ect  being  the 
'  Woman  of  Canaan.'  He  exhibited  as  an  Associate 
of  the  Academy  in  1789,  but  his  health  necessitated 
a  residence  at  Florence,  where  he  died  in  1801. 
'  The  Three  Angels  with  Abraham  at  Mamre,'  and 
'  Cornelia,  the  mother  of  the  Gracchi,  giving  her 
jewels  for  the  public  good,'  represent  Gauffier  in 
the  Louvre.  Among  other  works  by  him  are 
'Cleopatra,'  'Jacob  and  Labari's  Daughter,'  and 
'  Alexander  and  Hephasstion.'  His  wife,  Pauline 
CHATlLliON,  to  whom  he  was  married  at  Rome,  was 

N  N  2 


a  painter  of  genre  subjects,  and  a  pupil  of  Drouais. 
Many  of  her  works  were  engraved  by  Bartolozzi, 
and  she  was  herself  an  exhibitor  at  the  Salon  of 
1798. 

GAUGAIN,  Thomas,  an  engraver,  born  at  Abbe- 
ville in  1748,  came  to  England  whilst  young,  and 
studied  under  Houston.  He  engraved  many  plates 
after  Reynolds,  Morland,  Cosway,  Northcote,  and 
others,  and  died  in  London  about  1806.  The 
following  are  his  principal  works  : 

The  Snow  Man ;  after  J.  Barney. 

The  Young  Pedlar ;  after  the  same. 

Maria ;  after  Muller. 

The  Death  of  Frince  Leopold   of  Brunswick;    after 

Northcote. 
Mary  Stuart  hearing  her  death-warrant ;  after  the  same. 

GAULLI,  Giovanni  Battista,  called  II  Baoiccio, 
was  bom  at  Genoa  in  1639.  After  acquiring  the 
first  principles  of  art  in  his  native  city  under  Bor- 
zone,  he  went  to  Rome,  where,  by  studying  the 
works  of  the  best  masters,  aided  by  the  counsel  of 
Bernini,  he  soon  rose  into  repute,  and  established  a 
style  of  his  own.  The  great  vault  of  the  church  of 
the  Gesu,  at  Rome,  representing '  St.  Francis  Xavier 
taken  up  into  Heaven,' is  one  of  his  most  considerable 
works.  He  possessed  the  talent  of  always  adapting 
his  style  to  the  character  of  his  subject.  In  his 
picture  of  'St.  Anne  kneeling  before  the  Virgin 
and  Infant,'  with  a  beautiful  group  of  angels,  in  the 
church  of  San  Francesco  a  Ripa,  he  exhibits  every- 
thing that  is  cheerful,  pleasing  and  graceful.  Con,- 
trasted  with  this  is  his '  Death  of  St.  Francis  Xavier,' 
in  Sant'  Andrea  al  Quirinale,  which  he  has  treated 
in  an  austere  style,  with  all  the  solemnity  and 
pathos  which  the  subject  requires.  In  the  church 
of  Sant'  Agnese  he  painted  the  '  Four  Cardinal 
Virtues,'  and  such  is  their  force  and  brilliancy,  that 
the  neighbouring  works  of  Giro  Ferri  are  nearly 
eclipsed  by  them.  His  best  efforts  were  intended 
for  fresco  designs,  and  he  excelled  more  par- 
ticularly in  his  figures  of  children.  He  also  painted 
portraits  with  distinguLshed  reputation ;  and  he  is 
stated  by  Pascoli  to  have  painted  seven  diiferent 
pontiffs,  and  a  great  number  of  the  distinguished 
personages  of  his  time.  His  own  portrait  is  in  the 
UfBzi  at  Florence,  and  '  St.  John  the  Baptist 
preaching,'  is  in  the  Dijon  Museum.  He  is  said 
to  have  etched  a  portrait  of  Cardinal  Celio  Picco- 
lomini.     He  died  in  1709. 

GAULT  DE  SAINT  GERMAIN,  Pibekb  Makib, 
was  born  in  Paris  in  1754.  He  studied  under 
Dumoreau,  and  died  in  1822,  leaving  a  very  large 
number  of  historical,  landscape,  and  fancy  pictures, 
besides  portraits.  Among  his  portraits  are  those 
of  Voltaire,  Mademoiselle  Clairon,  Cr^billnn,  and 
Stanislaus,  King  of  Poland.  He  wrote  accounts  of 
the  lives  and  works  of  Leonardo  da  Vinci  and  Nicolas 
Poussin ;  a  '  Guide  des  Amateurs  de  Tableaux  pour 
les  Ecoles  allemande,  flamande  et  hollandaise,' 
1818  ;  and  other  works  relative  to  painting,  in 
which  he  displayed  much  knowledge  and  judgment. 

GAULTIER,  J.,  a  French  engraver  little  known, 
was  probably  from  his  style  a  relation  of  Leonard 
Gaultier.  Among  others,  he  engraved  some  small 
plates  of  emblematical  subjects. 

GAULTIER,  Leonard,  (or,  as  he  sometimes  signs 
himself,  Galtee,)  a  French  engraver,  was  born 
at  Mayence  about  1561,  and  died  in  Paris  in  1641. 
His  style  of  work  resembles  that  of  Wierix  and 
Crispyn  van  de  Passe.  His  prints  are  executed  en- 
tirely with  the  graver,  with  great  precision,  but  in 
a  stiff,  formal  manner.     He  must  have  been  very 

547 


Gaultier 


A  BIOGRAPHICAL  DICTIONARY  OF 


Gaywood 


laborious,  as  the  Abb^  de  Marolles  possessed  up- 
wards of  eight  hundred  prints  by  him,  many  of 
which  were  after  his  own  designs.  They  consist 
of  portraits,  and  various  subjects,  of  which  the 
following  are  the  most  worthy  of  notice.  They 
are  sometimes  signed  with  his  name,  and  sometimes 

with  the  cipher  ffr^. 

POKTBAITS. 
Henry  IV.  of  France. 
Henry,  Duke  of  Montpensier. 
J.  Amyot,  Bishop  of  Auxerre. 
Alexandre  Bouohart,  Viscount  de  Blosseville. 
Philip  de  Momay,  Seigneur  du  Flessis.     1611. 
Charles  de  Gontaut  de  Biron,  Marshal  of  France. 
Etienne  Fasquier. 
Jean  Caron. 

VARIOUS  SUBJECTS. 
A  set  of  small  plates  of  subjects  from  the  Old  and  New 

Testament. 
A  set  of  the  Prophets,  Apostles,  and  Evangelists. 
Thirty-two  plates  of  the  History  of  Cupid  and  Psyche ; 

after  Raphael. 
The  Procession  of  the  League ;  a  satirical  print. 
The  Family  of  Henry  IV. ;  nine  figures. 
The  Assassination  of  Henry  IV. 
The  Coronation  of  Mary  de'  Medici.    1610. 
The    Cyclops   forging   the     Thunderbolts;    after   J. 

Cousin.    1581. 
A  Sacrifice ;  after  M.  Freminet. 
The    Last   Judgment ;    copied    from   Martin    Beta's 

engraving  after  Michelangelo. 

GAULTIER,  PiEERE,  a  French  painter  and 
engraver,  flourished  from  about  1730  to  1762,  or 
later,  and  resided  chiefly  at  Naples.  He  etched 
the  f oUovf ing  plates,  after  Francesco  Solimena  : 

David  and  Bathsheba. 

Ecce  Homo ! 

The  Visitation  of  the  Virgin  to  St.  Elizabeth. 

St.  Michael  discomfiting  the  Evil  Spirit. 

The  Defeat  of  Darius, 

The  Battle  of  the  Centaurs. 

The  Four  Quarters  of  the  "World ;  small  ovals. 

GAUTHEROT,  Claude,  who  was  bom  in  Paris  in 
1769,  and  died  there  in  1825,  was  a  pupil  of  David, 
whose  friendship  involved  him  in  the  troubles  of 
the  Revolution.  He  opened  a  school  of  design 
where  the  most  noted  artists  studied  under  his 
direction.  His  principal  work,  '  Napoleon  har- 
anguing his  troops  on  the  Bridge  of  the  Lech  at 
Augsburg,'  is  at  Versailles. 

GAUTHIER  DAGOTY,  Edguard,  an  engraver, 
the  son  and  pupil  of  Jacques  Fabien  Gauthier 
Dagoty,  was  born  in  Paris  in  1745,  and  died  at 
Florence  in  1785.  In  1780  he  issued  a  series  of 
twelve  plates,  printed  in  colours,  chiefly  from  the 
pictures  in  the  gallery  of  the  Duke  of  Orleans. 
He  has  also  left  plates  after  Correggio,  Raphael, 
Titian,  Van  Dyck,  and  others. 

GAUTHIER  DAGOTY,  Jacques  Fabien,  who 
was  at  the  same  time  a  painter,  engraver,  author, 
anatomist,  and  physical  scientist,  was  born  at  Mar- 
seilles in  1717,  but  came  to  Paris  in  1737,  and  there 
engaged  in  the  business  of  printing  in  colours  from 
several  mezzotint  plates.  He  was  for  a  time  an 
assistant  to  J.  C.  Le  Blond,  the  inventor  of  this  art, 
and  after  his  death,  in  1741,  succeeded  to  the 
privilege  of  his  patent.  He  died  in  Paris  in  1786. 
He  published  a  number  of  coloured  illustrations  of 
anatomy  and  natural  history,  as  also  some  portraits, 
including  those  of  Louis  XV.  and  Cardinal  Fleury. 

GAUW,  G.,  is  mentioned  by  Strutt  as  the 
-engraver  of  a  singular  plate  of  the  '  Head  of  Mer- 
cury,' after  J.  Mathan,  engraved  in  imitation  of  a 
pen-drawing. 


GAVARNI.    See  Chevalier. 

GAVASETTI,  CAMlLL0,wa8  a  native  of  Modena, 
who  flourished  about  the  year  1626.  He  studied 
under  his  father,  Stefano  Gavasetti,  a  miniature 
painter  and  gilder,  but  he  rather  followed  the 
Carracci.  His  principal  works  are  at  Piaeenza, 
where  he  is  better  known  than  at  Parma  or  Modena. 
He  was  engaged  with  Piarini  in  painting  Scriptural 
subjects,  and  at  the  Presbiterio,  or  parsonage  of 
Sant'  Antonio  at  Piaeenza,  is  a  fresco  representing 
a  subject  from  the  Apocalypse,  which  was  esteemed 
by  Guercino  the  finest  work  of  art  in  that  city. 
He  died  young  in  1628. 

GAVASIO,  Agostino,  was  probably  the  son  of 
Giovanni  Giacomo  Gavasio.  There  is  by  him  in 
the  parish  church  of  Nembro,  near  Bergamo,  an 
altar-piece  of  wood  called  "  di  Tutti  Santi " ;  in  San 
Niccol6,  a  repainted  altar-piece  with  '  St.  Augustine 
enthroned  between  St.  Stephen  and  St.  Lawrence ' ; 
in  San  Sebastiano,  an  altar-piece  with  the  '  Virgin 
and  Child  ; '  and  in  the  court  of  the  Casa  Longhi, 
a  fresco  of  the  'Virgin  and  Child,  with  Saints.' 
Tassi  notices  a  picture  by  this  master  in  the 
parochial  church  of  San  Giacomo  at  Piazzatore,  in 
the  valley  of  Brembana,  of  the  '  Virgin  and  Infant,' 
dated  1527. 

GAVASIO,  Giovanni  Giacomo,  a  native  of  Pos' 
cante,  in  the  valley  of  Brembana,  was  a  Bergamese 
artist  who  flourished  early  in  the  16th  century,  but 
of  whom  no  records  exist.  He  is  the  author  of 
five  arched  panels  with  figures  of  the  Apostles, 
and  of  three  paintings  in  tempera  of  half-length 
figures  of  Saints  and  Bishops  in  couples,  on  a  gold 
ground,  in  the  Lochis-Carrara  Gallery  in  Bergamo. 
There  is  also  a  painting  by  him  of  'The  Virgin 
crowned  by  Angels,'  dated  1512,  in  Sant'  Alessandro 
at  Colonna. 

GAVAZZl.    See  Gavasio. 

GAVIN,  Robert,  a  Scottish  landscape  and  genre 
painter,  was  bom  at  Leith  in  1827.  He  early 
manifested  a  taste  for  art,  and  when  about  twenty- 
one  years  of  age  he  entered  the  Edinburgh  School 
of  Design.  His  earlier  works  partook  much  of 
the  style  of  Sir  George  Harvey,  and  a  few  of  them, 
as,  for  instance,  his  '  Reaping  Girl '  and  '  Phoebe 
Mayflower,'  were  reproduced  in  chromo-litho- 
graphy,  and  became  very  popular.  Soon  after 
1870  he  made  a  tour  in  America,  and  afterwards 
went  to  the  continent ;  he  then  settled  for  a  time 
at  Tangier,  where  he  painted  numerous  Moorish 
subjects.  He  was  elected  an  Associate  of  the 
Royal  Scottish  Academy  in  1855,  and  an  Aca- 
demician in  1879,  when  he  painted  as  his  diploma 
picture  '  A  Moorish  Maiden's  First  Love.'  He  died 
at  Newhaven,  near  Edinburgh,  in  1883. 

GAWDIE,  Sir  John,  Bart.,  a  portrait  painter, 
was  born  at  West  Harling  in  Norfolk  in  1639. 
He  was  deaf  and  dumb,  and  studied  under  Lely. 
Succeeding  to  the  baronetcy-  on  the  death  of  hia 
father  in  1666,  he  pursued  art  only  as  an  amuse- 
ment, but  Evelyn  speaks  of  him  in  conunendatory 
terms.    He  died  in  1699. 

GAYWOOD,  Robert,  an  engraver,  was  bom 
about  1630,  and  died  about  1711.  He  was  a  pupil 
of  Hollar,  whose  style  he  imitated.  The  most  in- 
teresting of  his  works  are  his  portraits,  among 
which  are  the  following : 

Mary,  Queen  of  Soots,  with  a  Crucifix  in  her  hand. 
Charles  I. ;  oval,  Vfith  a  hat  and  cloak. 
Henrietta  Maria,  his  Queen,  in  mourning. 
Elizabeth,  daughter  of  Charles  I,  with  an  Angel  draw- 
ing a  veil  from  her  face. 


Gazan 


PAINTERS  AND  ENGBAVEES. 


Geelkerken 


Charles  II.  j  after  Hanneman. 

Charles  II. ,  on  horseback.    1661. 

The  same,  with  a  hat  and  feather. 

Catharine,  Queen  of  Charles  II. 

Oliver  Cromwell. 

Richard  Cromwell. 

George  Monck,  Duke  of  Albemarle. 

Jerome  Weston,  Earl  of  Portland. 

The  Countess  of  Portland. 

Sir  Bulstrode  "Whitelooke. 

Sir  Peter  Temple,  Bart. 

Sir  George  Croke,  Chief  Justice  of  the  King's  Bench. 

Sir  Kenelm  Digby. 

Sir  Peter  Paul  Hubens. 

Hans  Holbein. 

William  Camden,  historian  and  antiquary. 

William  Fairfax,  General  in  the  Palatinate.    1656. 

Inigo  Jones,  architect. 

Margaret  Lemon ;  after  Van  Syek. 

James  Shirley,  poet. 

William  Drummond,  the  Scottish  historian. 

John  Flayford,  musician. 

Matthew  Stevenson,  poet. 

John  Evelyn,  antiquary. 

Sir  Anthony  Van  Dyck. 

Lady  Van  Dyck. 

Countess  of  Arundel, 

Countess  of  Carlisle. 

Dr.  Sibbes. 

Archy,  the  King's  Jester. 

He  also  engraved  the  picture  of '  Venus  reclining, 
with  a  Man  playing  on  the  Organ,'  after  Titian,  as 
well  as : 

A  set  of  eight  plates  of  Birds ;  after  F.  Barlow. 

A  set  of  Animals ;  after  the  same. 

A  set  of  Lions  and  Leopards ;  after  Euiens, 

A  Hare ;  after  B.  Foel. 

GAZAN,  Francisco,  was  a  Spanish  engraver  of 
the  18th  century,  who  engraved,  about  1713,  a 
portrait  of  Qaevedo,  after  a  drawing  of  Salva 
Jordan. 

GEBAUEB,  Christian  David,  an  animal  painter 
and  an  etcher,  was  born  in  1777  at  Neusalz  in 
Silesia,  and  educated  at  the  Copenhagen  Academy 
from  1800  under  Lorentzen.  He  devoted  himself 
to  landscapes  as  well  as  animals,  executing  the 
latter  at  first  in  Indian  ink,  but  afterwards  in  oil. 
In  1813  he  proceeded  to  Dresden,  where  he  took 
to  drawing,  painting,  and  etching  military  scenes, 
and  in  1815  was  received  into  the  Academy  there. 
Later  in  his  life  he  established  a  school  of  design 
at  Aarhus,  where  he  died  in  1831.  His  pictures 
of  horses  and  dogs,  several  of  which  are  in  the 
Copenhagen  Gallery,  are  among  his  best  works. 

GEBHARD,  W.  M.,  a  German  landscape  painter 
and  engraver,  flourished  at  Nuremberg  from  1730 
to  1750.  There  are  by  him  'The  Sacrifice  of 
Iphigeneia,'  and  two  sets  of  landscapes  with  ruins 
and  waterfalls. 

GEDDES,  Andrew,  a  Scottish  portrait  painter, 
was  born  at  Edinburgh  about  the  year  1789.  He 
was  the  son  of  David  Geddes,  an  auditor  of  excise, 
and  was  educated  at  the  High  School  and  University 
of  Edinburgh.  He  showed  an  early  predilection  for 
the  fine  arts,  but  did  not  commence  his  career  as 
a  professed  artist  until  after  the  death  of  his  father. 
He  entered  the  schools  of  the  Royal  Academy 
in  1807,  about  the  same  time  that  Haydon,  Jack- 
son, and  Wilkie  were  students  there,  and  after 
some  years'  study  he  settled  down  to  practise  in 
Edinburgh.  In  1814  he  took  a  residence  in  London 
for  his  artistic  pursuits,  and  continued  annually 
to  spend  some  months  there.  About  this  time  he 
painted  the  portraits  of  Sir  David  Wilkie,  Henry 
Mackenzie  (the  author  of  '  The  Man  of  Feeling '), 
Dr.  Chalmers,  and  other  persons  of  note.     The 


approbation  which  these  portraits  elicited  induced 
him  to  put  down  his  name  as  a  candidate  for  the 
honours  of  the  Royal  Academy ;  but  he  was  un- 
successful, and  the  Associateship  was  not  awarded 
him  till  1832.  In  1818  he  painted  a  picture  of 
'The  Discovery  of  the  Regalia  in  Scotland,'  in 
which  he  introduced  the  portraits  of  several  of 
the  most  distinguished  men  of  his  native  city, 
among  them  Sir  Walter  Scott.  In  1828  he  visited 
the  continent,  and  passed  some  time  in  Italy, 
Germany,  and  Prance.  On  his  return  in  1831  he 
painted  an  altar-piece  for  the  church  of  St.  James, 
Garlick  Hill,  and  a  picture  of  'Christ  and  the 
Woman  of  Samaria.'  He  visited  Holland  in  1839, 
and  he  was  skilful  as  an  etcher  in  the  manner  of 
Rembrandt.  He  died  in  London  in  1844.  His 
principal  works  are : 
Edinburgh.  Nat.  Gallery.    Sammer. 

„  „  His  own  Portrait. 

„  »  Hagar. 

„  „  Portrait  of  the  Artist's  Mother. 

„  „  Portrait  of  George  Sanders. 

London.      Nat.  Gallery.    Dull    Reading    (Portraits    of 
Terry  and  his  Wife). 

"     '''""^»^:r^''"}AManSmoking. 

„  „  A  Study  from  Giorgione. 

GEDDES,  Margaret  Sarah.    See  Carpenter. 

GEEDTS,  Pierre  Joseph,  a  Belgian  historical 
painter,  bom  at  Louvain  in  1770,  studied  at  the 
Antwerp  Academy  under  Herreyns.  In  1800  he 
was  appointed  one  of  the  professors  of  the  new 
Academy  of  Louvain,  which  post  he  held  till  1833, 
when  he  was,  as  he  always  considered,  unjustly 
dismissed.  He  died  at  Louyain  in  1834.  His 
best  works  are  a  '  Calvary,'  and  '  The  Archbishop 
of  Cologne  delivering  a  miraculous  host  to  an 
Augustine  Monk  ;'  the  latter  is  in  the  church  of 
St.  Jacques  at  Louvain. 

GEEDTS,  Pierre  Paul,  the  son  of  Pierre  Joseph 
Geedts,  was  born  at  Louvain  in  1793,  and  studied 
under  ^is  father  and  at  the  Louvain  Academy, 
where  he  carried  off  the  principal  prizes.  He  was 
appointed  professor  of  modelling,  but  resigned  on 
his  father  being  dismissed.  He  was  a  good  por- 
trait painter,  but  there  is  only  known  by  him  one 
historical  picture,  painted  in  1824  for  the  church 
of  St.  Jacques.     He  died  at  Louvain  in  1856. 

GEEPS,  Aloys,  a,  Belgian  historical  painter  and 
sculptor,  was  born  at  Antwerp  in  1817,  and  died 
at  Auteuil  near  Paris  in  1841.  '  The  Scourging  of 
Christ '  was  one  of  his  best  paintings; 

GBEL,  JoosT  VAN,  a  Dutch  painter,  was  born  at 
Rotterdam  in  1631,  where  he  died  in  1698.  He 
was  a  scholar  of  Gabriel  Metsu,  whose  polished 
style  he  imitated  so  exactly,  that  it  is  not  always 
easy  to  distinguish  their  works.  He  also  painted 
marines  and  sea-ports,  which  are  highly  finished, 
and  very  agreeably  coloured.  In  the  Amsterdam 
Museum  is  a  portrait  of  Van  Geel,  by  himself, 
and  in  the  Hermitage,  St.  Petersburg,  '  A  Concert.' 

GEELEN,  Christiaan  van,  a  painter  born  at 
Utrecht  in  1765,  was  a  pupil  of  Jakob  Maurer.  He 
painted  portraits,  family  pieces,  and  landscapes, 
and  died  in  1826.  His  son,  also  named  Christiaan, 
born  in  1794,  showed  great  talent,  but  died  in 
1825  at  the  early  age  of  thirty-one  years. 

GEELKERKEN,  Nicolaas  van,  (or  Geilkerk,) 
was  a  native  of  Holland,  who  flourished  at  Ley- 
den  from  about  1624  to  1654.  He  was  chiefly 
employed  in  engraving  maps,  but  executed  also 
some  portraits,  among  which  is  that  of  Maurice, 
Prince  of  Nassau, 

649 


Oeeraerts 


A   BIOGRAPHICAL  DICTIONARY  OF 


Geimaert 


GEERAERTS,  Martin  Joseph,  a  Flemish  his- 
torical painter,  born  at  Antwerp  in  1707,  was  in- 
tended for  the  law,  and  studied  in  the  Jesuits' 
College.  Preferring  art,  however,  he  became  a 
pupil  of  Abraham  Godyn,  and  was  made  free  of 
the  Guild  of  St.  Luke  in  1731.  In  1741  he  became 
one  of  the  six  directors  of  the  Academy  of  Antwerp, 
who  filled  that  office  gratuitously.  He  died  at 
Antwerp  in  1791.  He  excelled  in  grisaille  painting 
in  imitation  of  bas-reliefs,  of  which  there  are  the 
following  examples : 

Antwerp.  Gallery.        The  Fine  Arts.     1760. 

Brussels.  Gallery.        Christ    and  the  Disciples  at 

Bmmaus. 

jj  „  The  Saviour  at  the  House  of 

Simon  the  Pharisee. 

^j  „  The  Sons  of  Aaron  punished 

by  Fire  from  Heaven. 

„  „  The  "Woman  taken  in  Adul- 

tery. 

„  „  Abraham  and  Melchisedeck. 

„  „  The  Sacrifice  of  Abraham. 

„  „  The  Sacrifice  of  Eli. 

Hague.  Museum.        Autumn. 

Lille.  Museum.        Children  with  Goat. 

Tienna.  Gallery.        Cupid  and  Psyche. 

GEERARTS,  Marc,  (whose  name  is  found  vari- 
ously written  Geraed,  Geraats,  Gheeraekts, 
GuERAEDS,  &c.,)  the  elder,  a  Flemish  painter  and 
engraver,  born  at  Bruges  in  the  16th  century,  was 
a  pupil  'of  Marten  De  Vos.  During  the  religious 
wars  he  came  to  England,  and  became  painter  to 
Queen  Elizabeth.  He  died  in  this  country  before 
1604,  as  Van  Mander,  in  his  book  published  in 
that  year,  complains  of  not  being  able  to  gain  any 
authentic  date  about  his  death  from  his  son.  He 
was  the  author  of  a  remarkable  plan  of  Bruges 
made  before  1666,  of  which  the  original  is  in  the 
possession  of  the  Corporation  of  that  city.  In  the 
Vienna  Gallery  are  two  portraits,  and  in  the  church 
of  Notre-Dame  in  Bruges  is  a  '  Descent  from  the 
Cross,'  by  some  assigned  to  Frans  Pourbus. 
Geerarts  painted  the  procession  of  Queen  Elizabeth 
to  a  marriage  that  took  place  at  Blackfriars  about 
1600,  which  he  himself  engraved,  and  which  was 
reproduced  by  Vertue,  who,  in  defiance  of  an  earlier 
and  well-grounded  tradition,  conjectured  that  it 
represented  a  royal  visit  to  Hunsdon  House,  Hert- 
fordshire, in  1571.  He  also  engraved  some  plates 
for  an  edition  of  .3ilsop's  '  Fables '  published  at 
Bruges  in  1667.  In  the  Burghley  House  collec- 
tion are  portraits  by  him  of  Queen  Elizabeth,  Lord 
Burghley,  and  the  Earl  of  Essex.  There  are  in 
the  National  Portrait  Gallery  portraits  by  him  of 
Mary,  Countess  of  Pembroke,  Lord  Burghley,  and 
William  Camden. 

GEERARTS,  Maec,  the  younger,  a  son  of  Marc 
Geerarts  the  elder,  was  born  at  Bruges,  and  was 
a  pupil  of  Lucas  De  Heere.  The  dates  of  his  birth 
and  death  are  alike  unknown.  He  is  supposed  to 
have  come  to  England,  but  some  confusion  exists 
between  the  works  of  the  father  and  son.  The 
most  important  of  all  the  works  attributed  to  this 
artist  is  the  '  Assembly  of  English,  Spanish,  "and 
Austrian  Plenipotentiaries  held  at  Somerset  House 
in  1604,'  recently  acquired  for  the  National  Portrait 
Gallery  at  the  Hamilton  sale,  which  formerly  bore 
the  forged  signature  of  Pantoja  de  La  Cruz.  There 
is  a  picture  of  Elizabeth,  signed  M.  G.,  belonging 
to  the  Duke  of  Portland,  a  head  of  Camden  in  the 
Bodleian,  a  full-length  portrait  of  Thomas  Cecil, 
first  Bari  of  Exeter,  painted  in  1612,  at  Woburn 
Abbey,  and  other  signed  specimens  at  Barrow 
Green  and  Penshurst. 

650 


GEERTGEN  van  SINT  JANS.  See  Haarlem, 
Geerit  van. 

GEEST,  Coenelis  van,  was  a  Dutch  engraver, 
by  whom  there  is  a  half-sheet  print  of  Gilbert 
Burnet,  Bishop  of  Salisbury. 

GEEST,  Wybrand  de.     See  De  Geest. 

GBPFELS,  Franz,  was  a  painter,  etcher,  and 
builder  from  the  Netherlands,  who  was  working  at 
Mantua  from  about  1661  to  1671.  He  has  left 
seven  plates  of  buildings  and  ruins,  the  best  of 
which  is  '  The  Card-players  by  a  Ruin  ;'  also  'The 
Catafalque  of  Charles  II.,  Duke  of  Mantua,'  and  'The 
Gala  on  the  Marriage  of  the  Emperor  Leopold  I.,' 
after  Burnacino. 

GEGENBAUER,  Joseph  Anton  von,  a  German 
historical  painter,  was  born  in  1800,  at  Wangen 
in  Wiirtemberg.  He  studied  under  Langer  at 
Munich,  and  during  his  stay  there  from  1815 
to  1823  produced  a  '  St.  Sebastian,'  an  altar-piece 
for  his  native  town,  and  two  idyllic  pieces  which 
attracted  great  notice.  In  1823  he  went  to  Rome, 
where  he  established  himself,  and  soon  became  dis- 
tinguished. Here  he  produced  'Adam  and  Eve 
after  their  Expulsion  from  Eden,'  and  'Moses 
striking  the  Rock,'  both  of  which  are  now  in 
the  palace  at  Stuttgart.  Upon  his  return  home 
in  1826  he  was  employed  to  decorate  the  new 
Palace  of  Rosenstein  near  that  city.  He  went 
again  to  Rome  in  1829,  and  was  employed  for  six- 
years  principally  in  fresco  painting,  and  afterwards 
up  to  the  end  of  his  life  was  occupied  in  the  same 
way  in  Stuttgart.  He  died  at  Rome  in  1876.  In 
addition  to  the  pictures  mentioned  above,  the 
following  are  among  his  oil  paintings : 

A  sleeping  Venus  and  two  Satyrs. 

Leda  and  the  Swan. 

Madonna  and  Child.    (^An  altar-piece  at  Wangen.) 

Several  portraits. 

Among  his  fresco  works  are : 
Scene  from  the  Story  of  Cupid  and  Psyche.  (Eoseiisfein 

Palace.) 
The  four  Seasons  and  Aurora.    (The  same^ 
Hercules  and  Omphale ;  fresco  pcdntini^  upon  canvTS. 

(The  Queen ) 
Ascension  of  the  Virgin.    (The  same.) 
The  Crucifixion.    (The  same.) 
Scenes    from    the    Life    of    Count    Eberhard    II.  of 

"Wiirtemberg.    (Residential  Palace  at  Stuttgart^ 

GEIGER,  Andreas,  a  mezzotint  engraver,  was 
born  at  Vienna  in  1773,  and  died  there  in  1856. 
Among  his  best  plates  are  'Antiochus  and  his 
Physician  Erasistratus,'  after  Fiiger,  'The  Death 
of  Cato,'  after  Caravaggio,  'Helen  and  Paris,'  after 
David,  and  '  The  Burial  of  Christ,'  after  Van  der 
Werfe. 

GEIKIE,  Walter,  a  Scottish  subject  painter, 
was  born  at  Edinburgh  in  1796.  He  became  deaf 
and  dumb,  and  studied  in  the  Trustees'  Academy. 
His  works  first  appeared  in  1815,  and  he  was 
elected  an  Associate  of  the  Royal  Scottish  Academy 
in  1831,  and  an  Academician  in  1834.  He  died  iu 
1837.  He  published  a  volume  of  etchings:  and 
there  is  in  the  National  Gallery  of  Scotland  a 
'  Cottage  Scene '  by  him. 

GEILKERK,  Nicolaas  van.    See  Geelkebken. 

GEIRNAERT,  Joseph,  a  Flemish  genre  painter, 
born  at  Eeoloo  in  Flanders,  in  1791,  was  a  pupil 
of  Herreyns  and  of  Paelinck.  From  1830  to  1836 
he  practised  at  the  Hague,  but  died  at  Ghent  in 
1869.     Amongst  his  works  are : 

The  Schoolmaster,    (Mechlin  Museum.)  , 

A  Consultation  at  the  Doctor's.     (Brussels  Gallery.) 

Leonardo  da  Vinci  painting  the  Gioconda. 


Geissler 


PAETTEBS   AXD  EXGBAVEBS. 


Gelibert 


Hoses  saved  from  the  Waters. 

Joseph  and  Fotiphar. 

Asking  in  Maniage. 

The  Card  Players. 

The  Little  Maraaders. 

The  Betam  of  the  Fishermen. 

An  Election. 

Albrecht  Durer  at  the  tomb  of  Van  Eyi^. 

The  Arrest  of  Connt  Egnumt.    1823. 

The  Lesson  on  the  Harp.    (Ghent  Museum.) 

Giving  a  Pledge.    {Ghent  Museum.) 

The  Visit  of  the  Doctor.    (Haariem  Museum^ 

GEISSLEB,  JoHA>-x  Maetis  Fbiedeich,  an  en- 
graver, bom  at  Xaremberg  in  1778,  was  first  in- 
structed by  Heinrich  Gnttenberg,  bat  spent  from 
1803  to  1814  in  further  study  in  Paris,  devoting 
himself  especially  to  architecture  and  landscapes. 
He  died  at  Nuremberg  in  1853.  The  best  of  his 
plates  are  from  his  own  designs,  but  he  also  executed 
views  of  churches,  &c.,  after  Ainmiller  and  others, 
and '  The  Betum  of  the  Herd,'  after  Bercbem,  '  The 
Boad  through  the  Beech-wood,'  after  Buisdael,  and 
'A  Landscape  with  an  Oak  and  a  fallen  Beech- 
tree,'  after  Wynants. 

GEIST,  AcGCST  Chbistiah,  a  landscape  painter, 
bom  at  Wurzborg  in  1835,  was  at  first  a  pupil  of 
his  father,  Andreas  Geist  (who  died  in  1860), 
under  whom  he  executed  many  landscapes,  archi- 
tectoral  and  marine  views,  and  heads,  both  in  oil 
and  water-colours.  In  1853  he  proceeded  to 
Munich,  and  improved  himself  in  landscape  work 
by  study  under  Friedrich  Bamberger.  In  1854  he 
travelled  in  the  Bhone  mountains,  and  produced 
therefrom  twenty-four  Indian  ink  drawings.  He 
then  established  a  studio  of  his  own  ;  but  in  1859 
be  made  a  tour  around  Carlsruhe  with  Schirmer ; 
in  1860  visited  the  Khine  and  Antwerp ;  in  1862 
the  Highlands  of  Bavaria;  in  1863  Franconian 
Switzerland ;  and  in  1864  the  AUgau.  The  years 
1865  to  1867  he  spent  in  Bome  on  account  of  his 
health ;  and  he  died  at  Munich  in  1868.  The 
following  are  some  of  his  best  works : 

Achach  Castle.    1853. 

Pleasnre  Party  at  Carlstadt.  1853. 

Wmter  Landscape  at  Scbaftiam.    1853. 

Landscape  near  Polling.    1856. 

Festal  Uoming  on  a  Monntain  Lake.    1863. 

TheldylL    1864. 

Thunderstorm  in  the  Campagna.. 

Pomitain  near  Ariccia. 

nieatre  of  Toscnlmn. 

He  also  etched  thirteen  '  Buins  of  Franconian  For- 
tresses'for  the  Polytechnic  Association  at  Wurz- 
bnrg,  for  which  also  the  above  Indian  ink  drawings 
w^crc  PTfwiT^wi , 

GELASIO  Dl  NICC0L6,  a  Ferrarese  painter  of 
the  13th  century,  is  said  to  have  studied  in  Venice 
under  the  Greek  Theophanes,  and  on  his  return  to 
Ferrara,  in  1240,  to  have  executed  various  works 
there  for  the  bishop,  Filippo  Fontana.  The  paint- 
ings usually  ascribed  to  him  belong  to  a  later 
date. 

GELDEB,  Abent  de.    See  De  Geldee. 

GELDER,  N.  van,  was  an  animal  painter  of 
the  Netherlands,  who  flourished  about  1660.  The 
Vienna  Gallery  contains  one  or  two  pictures  of 
game  by  him,  and  in  the  FitzwiUiam  Museum  at 
Cambridge  is  a  picture  of  'Boors  playing  at 
cards.' 

GELDER,  PlBTEB,  was  a  Dutch  painter,  sup- 
posed to  have  been  a  scholar  of  Rembrandt,  whose 
manner  he  imitated.     He  was  living  in  1655. 

GELDEBBLOEM,  Latjeest,  bom  at  Dordrecht 
about  1748,  was  a  pupil  of  Joris  Ponsen.     This 


artist  gave  promise  of  considerable  talent,  bat 
died  before  reaching  the  age  of  thirty. 

GELDERSilAN,  VixcKNTirs,  a  Flemish  painter, 
wa-s  bom  at  MechUn  about  1539.  It  is  not  known 
under  whom  he  studied,  bat  he  painted  historical 
subjects  with  some  success.  Among  his  most 
esteemed  works  may  be  noticed  a  picture  of 
'  Susannah  and  the  Elders,'  and  a  '  Descent  from 
the  Cross,'  in  the  cathedral  at  Mechlin  ;  also  a 
'  Leda '  and  '  Cleopatra  with  the  Asp.' 

GELDORP,  Geoeg,  a  portrait  painter,  was  bom  at 
the  end  of  the  16th  century,  probably  at  Cologne, 
though  Walpole  calls  him  a  native  of  Antwerp. 
He  certainly  studied  at  Antwerp,  and  then  went  to 
London,  where  he  was  appointed  keeper  of  the 
pictures  to  Charles  I.  Rubens  and  Van  Dyck  were 
successively  his  guests  on  their  arrival  in  England. 
He  died  in  London  about  1658.  Among  his  por- 
traits may  be  named  those  of  the  Duke  of  Lennox 
and  the  Karl  of  Lindsay,  both  of  which  have  been 
engraved,  and  one  of  George  Carew,  Earl  of  Totness, 
in  the  National  Portrait  Gallery. 

GELDORP,  GoETZius,  (or  Gualdoep,) — some- 
times known  by  his  Christian  name  alone — ^was  a 
Flemish  painter,  bom  at  Louvain  in  1553.  After 
learning  the  rudiments  of  art  in  his  native  city,  he 
went,  at  seventeen  years  of  age,  to  Antwerp,  where 
he  became  a  disciple  of  Frans  Francken  the  elder. 
On  the  death  of  that  master  he  passed  into  the 
school  of  Frans  Pourhns,  under  whom  he  be- 
came one  of  the  best  artists  of  his  time,  particu- 
larly in  portraits,  in  which  he  was  greatly 
employed.  His  talents  were  not,  however,  confined 
to  portraits :  he  painted  likewise  several  historical 
subjects  for  the  Duke  of  Terra  Nova  at  Cologne. 
Among  his  best  pictures  are : 

Cologne.  '^'^^^^^*«rt.|^^^„„^,^^^ 

Darmstadt.  Gallery.  Two  portraits. 

Gotba.  Gallery.  Four  portraits. 

Milan.  Brera.  Portrait  of  a  IjaAj. 

Hnnich.  Gallery.  Portrait  of  a  Man. 

Fetersborg.  Hermitage.  Locretia. 

„  „  Portrait  of  a  Man. 

He  died  at  Cologne  in  1616  or  1618. 

GELDORP,  Melchiob,  a  portrait  and  historical 
painter,  was  a  son  and  scholar  of  Gortzius  Geldorp. 
He  was  working  at  Cologne  from  1620  to  1640, 
and  some  works  of  his  are  there  preserved,  among 
which  may  be  named : 

Portrait  of  »i  Ecclesiastic.     1615. 
Portrait  of  a  Lady.     1618. 
Portrait  of  a  Child.    1624. 

Portrait  of  Wolfgang  William,  Connt  Palatine  of  the 
Khine  and  Dake  of  Bavaria. 

GELEE,  FEANgoia  Antoine,  a  French  engraver 
and  lithographer,  was  bom  in  Paris  in  1796,  and 
studied  under  Girodet  and  Panquet.  He  died  in 
Paris  in  1860.    Amongst  his  plates  are  : 

Daphnis  and  Chloe  ;^fter  Hersent. 

Justice  and  Divine  Vengeance  porsning  Crime ;  after 

Prud'hmi. 
Venus  and  her  Doves ;  after  Lambert. 
The  Shepherd  of  Virgil ;  after  Boissdier. 

GELENIUS,  SlGlSMUND,  was  a  German  engraver, 
who  flourished  about  the  year  1576.  Professor 
Christ  attributes  to  him  a  set  of  twelve  small 
woodcuts  of  the  '  Labours  of  Hercules,'  which  are 
executed  with  considerable  spirit 

GELIBEBT,  Jean  Pieeeb  Paul,  a  French 
animal  painter,  was  bom  in  1802,  and  died  at  Barthe- 
le-Neste,  Hautes  Pyrenfes,  in  1883. 

551 


A   BIOGRAPHICAL   DICTIONAEY  OP 


Gelissen 

GBLISSEN,  Maximilibn  Lambert,  a  landscape 
painter,  was  born  at  Brussels  in  1786.  l°J-»';" 
he  won  the  first  prize  medal  for  a  '  View  of  Ruys- 
broeck,'  now  in  the  Ghent  Museum,  and  later  in 
life  he  travelled  in  England  and  Scotland.  He 
died  at  Brussels  in  1867. 

GELL,  Sir  William,  an  Enghsh  topographical 
draughtsman,  was  born  in  1774.  He  studied  m 
the  schools  of  the  Academy,  and  practised  as  an 
architect,  but  is  best  known  by  the  illustrated  books 
he  published  on  the  topography  and  antiquities 
of  Greece  and  Italy.  In  1820  he  settled  in  Italy, 
where  he  acted  as  Chamberlain  to  Caroline,  Princess 
of  Wales.  He  died  at  Naples  in  1836.  Amongst 
the  works  he  published  are  : 

Topography  of  Troy.    1804. 

Geography  and  Antiqmties  of  Ithaca.    1807. 

Itinerary  of  Greece.    1810. 

Attica.    1817. 

Itinerary  of  the  Morea.    1818. 

Pompfciana.    1817-19. 

The  Walls  of  Bome.    1820. 

Narrative  of  a  Journey  to  the  Morea.    1823. 

Topography  of  Home  and  its  Vicinity.    1834. 

GELLE,  JoHANN,  a  German  engraver,  flourished 
about  the  year  1628,  and  resided  chiefly  at  Cologne. 
He  engraved  some  of  the  plates  for  the  '  Acadfemie  de 
I'Esp^e,'  published  at  Antwerp,  by  Gerard  Thibault, 
in  1628,  as  well  as  a  portrait  of  the  Emperor 
Ferdinand  II.  in  a  border  of  medals,  dated  1619. 
They  are  worked  entirely  with  the  graver,  in  a 
stiff,  formal  style. 

GELL^^E,  Claude,  commonly  called  Claude  de 
LOEEAIN,  a  French  landscape  painter  and  etcher, 
was  born  in  1600  at  Chamagne,  a  village  on 
the  Moselle  in  the  Vosges  country,  then  in  the 
ancient  province  of  Lorraine.  His  parents,  Jean 
Gellie  and  Anne  Pedose,  were  in  humble  cir- 
cumstances, and  had  five  sons,  of  whom  Claude 
was  the  third.  Concerning  his  early  life,  his 
biographers  differ  considerably  ;  their  information 
coming  from  two  sources.  The  first  is  Joachim 
von  Sandrart,  a  German  painter,  who  resided  for 
some  years  at  Rome,  where  he  became  intimate 
with  Claude,  and  whose  reminiscences  are  included 
in  his  '  Academia  Artis  Pictoriae.'  The  other  au- 
thority is  Filippo  Baldinucci,  a  Florentine  artist, 
whose  account  was  derived  from  the  two  grand- 
nephews  of  the  painter. 

According  to  Sandrart,  Claude  showed  so  little 
aptitude  for  study  when  at  school  that  his  parents 
apprenticed  him  to  a  pastry-cook.  He  afterwards 
found  his  way  to  Rome,  in  company  with  some 
other  young  Lorrainers  practising  the  same  voca- 
tion. Here  he  lived  for  some  time  in  the  house  of 
Agostino  Tassi,  a  Perugian  landscape  and  marine 
painter,  who  had  studied  under  Paulu^  Bril.  He 
acted  as  the  painter's  factotum :  looked  after  the 
kitchen  and  household  afEairs,  groomed  the  horse, 
ground  the  colours,  and  cleaned  the  palettes  and 
brushes.  While  engaged  on  these  duties  he  applied 
himself,  with  the  help  of  his  master,  to  a  diligent 
study  of  perspective  and  the  ground-work  of  art. 

According  to  Baldinucci,  when  Claude  was 
twelve  years  old  he  became  an  orphan,  and  had 
to  seek  the  shelter  of  his  eldest  brother's  home. 
Jean  had  settled  at  Freiburg,  on  the  opposite  bank 
of  the  Rhine,  where  he  pursued  the  arts  of  wood 
engraving  and  carving.  From  him  Claude,  who 
had  already  shown  a  taste  for  art,  received  his  first 
instruction  in  drawing.  His  stay  in  the  Swabian 
country  was  not  long,  for  about  a  year  after,  a 
552 


GeUSe 


kinsman,  passing  through  Freiburg  on  his  way  to 
Rome  in  pursuit  of  trade  as  a  lace  merchant,  took 
him  with  him  to  tlie  Eternal  City.  His  relative 
was  soon  compelled  to  leave  him,  and  Claude,  a 
boy  of  fourteen  years,  was  left  alone  in  a  foreign 
land.  For  some  time  he  remained  at  Rome  in 
lodgings  near  the  Pantheon,  eking  out  a  scanty- 
subsistence,  and  endeavouring  to  improve  his 
knowledge  of  art  by  such  humble  means  as  lay 
within  his  reach.  Owing  to  the  wars  which  then 
ravaged  Europe,  the  slender  remittances  he  re- 
ceived from  his  friends  at  length  entirely  ceased, 
and  he  had  to  trust  to  his  own  unaided  efforts  to 
maintain  himself.  Nothing  daunted,  he  set  out  for 
Naples  to  obtain  some  instruction  from  Gottfried 
Wals,  a  painter  of  Cologne.  With  this  master  he 
remained  about  two  years,  devoting  his  attention 
to  perspective  and  architecture.  He  then  returned 
to  Rome,  and  gained  admission  to  the  studio  of 
Tassi.  Baldinucci  states  that  he  lived  in  the 
painter's  house,  and  significantly  admits  that  ha 
looked  after  the  household  accounts. 

Comparing  these  two  accounts,  it  will  be  seen 
that  they  are   in  entire  agreement  on  one  point 
only :   the  fact  of  Claude  having  passed  some  time 
with  Tassi,  from  whom   he  received  instruction. 
As  to  the  precise  character  of  the  relationship  in 
which  they  stood  to  each  other,  it  is  evident  from 
the  admission  of  Baldinucci  that  Claude  did  not 
enter  Tassi's  house  simply  as  a  pupil,  but  as  some 
sort  of    a   dependent.      As  to  the  time  of  this 
sojourn,  it  appears  that  it  must  have  commenced 
before  1619.     A  deposition  by  Tassi  has'  lately 
been  disi^overed,  in  which  he  speaks  of  Claude  as 
one  of  his  assistants  in  some  decorations  which  he 
was  executing  for  Cardinal  Montalto  in  that  year. 
Thus  far  there  is  certainty.    Less  certain  is  the 
account  of  the  pupilage   at  Naples  under  Wals. 
Still  it  does  not  absolutely  conflict  with  Sandrart, 
and  may  be  accepted  as  supplying  a  link  in  the 
history.     As  regards  the  pastry-cook  incident,  and 
the   manner  in  which  Claude   originally  reached 
Rome,  the  two  accounts  are  entirely  at  variance, 
and  they  must  be  left  thus,  until,  perchance,  further 
research  shall  have  thrown  more  light  on  the  subject. 
In  the  spring  of  1625  Claude  left  Rome,  and  set 
out  on  a  series  of  wanderings.     The  first  point 
aimed  at  was  Venice.     On  his  way  thither,  he 
spent  a  few  days  in  devotion  at  the  well-known 
shrine  of  the  Virgin  at  Loretto.     At  Venice  he 
stayed   some  time   and   executed   several  works. 
He  had  then  intended  to  return  to  Rome,  but,  alter- 
ing his  plans,  he  determined  to  visit  his  native 
country.     Passing  through  Trent  and   Innsbriiok, 
he  made  a  short  sojourn  in  Bavaria  at  the  village 
of  Harlaching.     During  the  journey  he  was  laid 
low  by  sickness,  when  he  had  the  misfortune  to  be ' 
robbed  of  all  his  worldly  possessions.     In  this  for- 
lorn condition  he  returned  to  his  native  place,  and 
after  a  short  stay  there  proceeded  to  Nancy.     Here 
he  again  took  up  the  brush  as  assistant  to  De  Ruet, 
the  court-painter  to  the  Duke  of  Lorraine.    With 
him  he  continued  till  the  summer  of  1627,  employed 
on  various  works,  and  more  especially  on  the  de- 
coration of  the  Carmelite  church  at  Nancy.    His 
desire  to  return   to   Italy  was  quickened   by  an 
accident  to  the  scaflFolding  used  in  the  latter  work, 
in  which  he  had  a  narrow  escape,  and  he  set  out 
on  his  return  journey,  making  a  halt  of  a  few  days 
at  Lyons.     On  his  arrival  at  Marseilles  he  was 
seized  by  illness,  and  again  had  the  misfortune  to 
be  robbed  of  his  little  store  of  money.     Before  he 


GeUge 


PAINTERS  AND  ENGEAVEES. 


GeUee 


could  proceed  further  he  was  ohliged  to  raise  the 
means  to  continue  his  journey  by  painting  some 
pictures  for  a  local  patron  of  the  arts.  His  troubles 
were  not  even  yet  ended,  for  the  voyage  to  Civitk 
Vecchia  was  so  stormy  that  there  were  grave  doubts 
whether  the  vessel  would  reach  land. 

Claude  arrived  at  Rome  on  the  18th  October, 
1627.  The  years  which  immediately  succeeded  his 
settlement  there  appear  to  have  been  devoted  to  a 
close  and  direct  study  of  nature.  During  this 
period  he  became  acquainted  with  Sandrart,  his 
future  biographer,  to  whose  account  we  are  chiefly 
indebted  for  what  is  known  of  his  mode  of  work- 
ing. He  sketched  indefatigably  in  the  open  air, 
from  the  earliest  dawn  to  nightfall,  so  that  he 
might  be  thoroughly  imbued  with  the  ever-chang- 
ing aspects  of  nature  under  the  varying  conditions 
of  light.  He  mixed  his  colours  while  the  effects 
were  still  before  him,  and  then,  returning  home, 
applied  them  to  the  work  which  he  had  in  hand. 
The  German  mentions  Claude's  weakness  in  draw- 
ing men  and  animals.  He  says  that  though  he 
bestowed  great  attention  on  this  branch  of  art,  and 
for  many  years  studied  diligently  from  statues  and 
living  models  in  the  Academy,  yet  he  was  never 
able  to  remedy  this  failing.  That  he  was  well 
aware  of  it  is  testified  to  by  Baldinucci,  who  re- 
lates that  he  was  accustomed  to  observe  jocularly 
that  he  sold  his  landscapes  but  gave  the  figures. 
Following  the  example  of  many  other  painters,  he 
frequently  had  recourse  to  other  hands  for  the 
groups  which  serve  to  animate  and  give  titles  to 
his  works.  His  chief  assistant  in  this  way  was 
Filippo  Lauri,  the  son  of  a  Flemish  painter  who 
had  settled  at  Rome,  and  he  is  also  said,  though 
perhaps  doubtfully,  to  have  been  assisted  by  J. 
Miel,  F.  Allegrini,  and  the  two  Courtois. 

Sandrart  and  Claude  became  very  friendly; 
made  sketching  excursions  together,  and  exchanged 
specimens  of  each  other's  art.  This  acquaintance 
is  really  the  only  trace  of  the  Lorrainer  having 
been  intimate  with  his  brother  artists.  He  is 
mentioned  casually,  very  casually,  in  connection 
with  other  painters,  but  he  does  not  seem  to  have 
formed  any  other  close  intimacy.  This  isolation, 
combined  with  the  small  amount  of  information 
which  has  come  down  to  us  concerning  Claude's 
life  subsequent  to  his  settlement  at  Rome,  leads  to 
the  conclusion  that  his  whole  time  and  energies 
were  devoted  to  art.  Whether  in  his  studio  or 
in  the  short  excursions  he  made  into  the  surround- 
ing country,  his  devotion  to  art  never  flagged. 
He  remained  a  bachelor,  and,  to  secure  himself 
against  the  distractions  caused  by  the  care  of  a 
house,  he  induced  a  relative  to  migrate  from 
Lorraine  about  1636,  and  to  take  charge  of  his 
household.  He  carried  his  isolation  so  far  that  his 
name  only  occurs  once  in  connection  with  Nicolas 
Poussin,  the  chief  figure  amongst  the  French 
artists  then  resident  in  Rome,  and  it  is  likewisa 
absent  from  the  biographies  of  the  many  great 
painters  who  were  his  contemporaries.  There  is 
no  trace  of  his  name  in  the  records  of  the  Academy 
of  St.  Luke,  neither  was  he  included  amongst  the 
members  of  the  French  Academy  at  Paris,  which 
was  founded  while  he  was  in  the  heyday  of  his 
reputation. 

Claude  does  not  appear  to  have  at  once  sprung 
into  fame  after  settling  down  at  Rome.  Some  ten 
years  probably  elapsed  before  he  attracted  the 
attention  of  Cardinal  Bentivoglio,  one  of  the  lead- 
ing men  in  the  Papal  Court.     A  commission  which 


he  executed  for  this  patron  was  so  much  appreciated 
that  he  was  introduced  by  him  to  the  reigning 
Pope,  Urban  VIII.  This  Pontiff  ordered  four 
works  from  him,  two  of  which  are  now  in  the 
Louvre,  and  bear  the  date  1639.  Henceforth  his 
position  was  assured,  and  but  few  events  occurred 
to  disturb  the  even  tenor  of  his  career.  The 
chief  facts  of  his  subsequent  life  might  be  included 
in  a  list  of  the  works  he  painted,  and  of  the  patrons 
for  whom  they  were  executed.  It  must  suffice 
within  the  limits  of  this  notice  to  mention  among 
the  latter:  M.  de  Bethune,  French  Ambassador  at 
Rome ;  Cardinal  Giorio ;  Innocent  X.  and  his 
nephew,  Prince  Pamfili ;  the  Due  de  Bouillon ; 
the  King  of  Spain  ;  Cardinal  Giovanni  de'  Medici ; 
Pope  Alexander  VII. ;  the  Bishops  of  Montpellier 
and  of  Ypres ;  Cardinal  Eospigliosi,  afterwards 
Pope  Clement  IX.;  M.  de  Bourlemont;  the  Con- 
stable Colonna ;  Cardinal  Massimi ;  Prince  Altieri, 
and  the  Elector  of  Bavaria. 

There  is  an  incident  recorded  by  Baldinucci  of 
the  latter  part  of  Claude's  life  which  must  not  be 
omitted.  In  a  spirit  of  compassion  he  had,  about 
the  middle  of  his  career,  taken  into  his  studio  a 
deformed  and  friendless  boy,  named  Giovanni 
Domenico.  The  lad  grew  up  in  the  master's 
house,  and  remained  with  him  as  pupil  and  as- 
sistant for  twenty-five  years.  Then  the  enemies  of 
Claude  spread  a  report  that  the  works  which  issued 
from  his  studio  were  really  executed  by  Domenico. 
The  ungrateful  assistant  joined  the  cabal,  left  his 
benefactor,  and  brought  an  action  against  him  for 
the  payment  of  a  salary  during  all  the  years  he 
had  spent  with  him.  Without  waiting  for  the 
decision  of  the  court,  Claude  at  once  paid  the 
claim,  and  thenceforth  closed  the  door  of  his 
studio  to  all  assistants. 

It  now  remains  to  speak  of  what  is  known  as 
the  "  Liber  Veritatis."  This  is  a  collection  of  200 
drawings  of  Claude's  pictures,  executed  in  bistre, 
and  occasionally  touched  up  with  white.  Nearly 
all  bear  inscriptions  giving  details  as  to  when  and 
for  whom  the  pictures  they  represent  were  painted. 
The  volume  which  contains  them  was  bequeathed 
by  the  painter  to  his  nephews  as  an  heirloom,  but 
their  successors  in  the  trust  sold  it.  After  various 
vicissitudes  it  at  length  found  a  resting-place  in 
England  in  the  collection  of  the  Duke  of  Devon- 
shire. Until  of  late  years  it  was  considered,  fol- 
lowing the  account  of  Baldinucci,  that  the  drawings 
were  done  by  Claude  as  a  means  of  identifying  his 
works,  and  of  protecting  himself  against  the  spuri- 
ous productions  which  his  fame  caused  unscrupulous 
contemporary  artists  to  palm  off  as  his.  It  is  not 
necessary  to  enter  into  the  details  of  the  controversy, 
as  the  painter's  will,  which  has  recently  been  dis- 
covered, no  longer  leaves  it  open  to  doubt  that  the 
"  Liber  Veritatis  "  was  intended  by  him  as  a  record, 
whether  complete  or  not,  of  his  pictures  and  their 
destination. 

During  the  latter  part  of  his  life  Claude  suf- 
fered much  from  ill-health,  his  chief  foe  being  the 
gout.  A  severe  illness  in  the  early  part  of  1663 
caused  him  to  make  the  will  which  has  just  been 
mentioned.  From  it  we  learn  that,  besides  his 
relative  and  housekeeper,  Jean,  there  was  also 
living  with  him  an  adopted  daughter  named  Agn^s, 
then  11  years  old,  whom  he  affectionately  calls 
"mia  zitella."  To  her  he  leaves  for  life  the 
precious  "  Liber  Veritatis,"  and  makes  minute  and 
careful  provision  as  to  the  property  bequeathed  for 
her  maintenance.      After  his  recovery  from  this 

553 


Gellee 


A  BIOGRAPHICAL   DICTIONARY   OF 


Gellee 


attack,  the  painter  resumed  the  brush.  The  state 
of  his  health  in  the  remaining  years  of  his  career 
probably  precluded  his  •working  in  the  open  air  as 
formerly,  but  the  record  of  pictures  executed 
during  this  period  shows  that  he  manfully  per- 
severed, and  produced  many  important  works. 
The  inscriptions  on  two  designs  in  the  "Liber 
Veritatis  "  attest  that  he  painted  pictures  from  them 
as  late  as  1681.  The  end  came  in  the  November  of 
the  following  year,  probably  on  the  23rd,  and  not 
on  the  21st,  as  stated  in  the  inscription  placed 
on  his  grave  by  his  nephews.  He  was  buried, 
according  to  his  desire,  in  the  church  of  the  Trinita 
dei  Monti.  In  1840,,  however,  his  remains  were 
removed  to  the  French  church  of  San  Luigi,  where 
a  memorial  was  erected  to  him  by  his  country. 
Tlie  property  which  he  left,  estimated  by  Baldi- 
nucoi  at  10,000  scudi,  chiefly  consisted  of  obliga- 
tions in  the  Papal  "  monti."  There  were  twenty- 
two  of  these  "  luoghi,"  of  which  fourteen  were  left, 
either  absolutely  or  for  life,  to  his  adopted  daughter, 
and  eight  to  his  nephew  Jean.  A  codicil  made  in 
1670  somewhat  altered  the  disposition  of  his  posses- 
sions, but  Agnes  and  Jean  still  remained  the  chief 
legatees. 

Claude  devoted  considerable  attention  to  etching, 
and  many  of  his  works  in  this  medium  show,  no 
less  than  liis  pictures  his  peculiar  excellences. 
Meaume  gives  a  list  of  thirty-two  plates  executed 
by  him,  which  date  from  1630  to  1663.  Besides 
these,  there  is  a  series  of  etchings  of  the  fireworks 
exhibited  at  Home  on  the  election  of  Ferdinand  III. 
as  King  of  the  Romans  in  1637. 

The  pictures  painted  by  Claude  number  about 
400.  Of  these  the  majority  are  in  England,  where 
the  private  collections  are  very  rich  in  specimens 
of  his  art.  For  many  years  there  was  a  great 
rage  amongst  English  amateurs  for  his  works. 
The  galleries  of  the  Dukes  of  Devonshire,  Rut- 
land, and  Westminster,  Lords  Ellesmere,  Leicester, 
and  Northbrook,  alone  contain  nearly  half  a 
hundred. 

It  will  be  noticed  that  many  of  his  pictures  bear- 
as  a  title  some  scriptural  or  classical  incident.  But 
it  must  not  be  inferred  that  the  incident  occupies 
any  important  part  in  the  composition.  The  figures 
introduced  are  quite  subordinate,  and  frequently 
only  serve  to  give  a  title  to  the  work.  The  interest 
centres  in  the  landscape.  This  is  seldom  an  exact 
reproduction  of  any.  particular  view.  It  is  fre- 
quently a  scene,  more  or  less  idealized,  from  the 
neighbourhood  of  Rome.  In  other  cases  it  is  a 
composition  pure  and  simple,  in  which,  however, 
can  often  be  traced  many  existing  features,  such 
as  the  Colosseum,  the  temple  of  the  Sibyl,  and 
other  remains  of  classic  buildings,  the  heisirhts  of 
Tivoli,  &c. 

The  following  is  a  list  of  Claude's  pictures  in  the 
public  galleries  of  Europe : 


Augsburg. 
Berlin. 

Bordeaux. 
Brussels. 

Copenhagen. 
Dresden. 


Gallery. 
Gallery. 

Museum, 
Gallery. 

Gallery. 
Gallery. 


Dulwich.  Gallery. 


554 


Roman  Ruins. 

Landscape  ;  the  Arcadian  Shep- 
herds.   1642. 

Landscape. 

.^neas  li 'anting  the  stag  on  the 
coast  of  Lybia. 

Sunset. 

Flight  into  Egypt. 

Polyphemus  and  Acis  and  Galatea. 

The  Campo  Vaccine  (doubtful). 

The  Flight  into  Egypt. 

Jacob  and  La(>an, 

Embarkation  of  St.  Taula. 

Seaport. 


Dulwich. 

Gallery. 

Two  Landscapes, 

Epinal. 

Museum. 

Landscape. 

Florence. 

UffiH. 

Seaport.     . 

J, 

j» 

Landscape.'    1672. 

Gotha. 

Gallery. 

Marine  View. 

Grenoble. 

Museum. 

Seaport. 

» 

)) 

Landscape. 

Hague. 

Museum. 

Landscape. 

Innsbruck. 

Museum. 

Two  Landscapes. 

London.  JVatiorml  Gal. 

Cephalus  and  Procns.    1645. 

"' 

Seaport.     1644. 

David  at  the  Cave  of  Adullam 
1658. 

" 

» 

Marriage  of  Isaac  and  Rebecca. 
1648. 

J) 

» 

Embarkation  of  the   Queen    of 
Sheba.    1648. 

" 

Narcissus  and  Echo. 

1, 

Embarkation  of  St.  Ursula. 

» 

» 

Death  of  Procris. 
The  Annunciation. 
Anchises  and  .^neas  at  Delos. 

„ 

„ 

Landscape. 

„      Soutf 

Kensing- 

•  Landscape.    1670. 

Modena. 
Munich. 


Naples. 
Paris. 


„  Buckingham  Fal.  Rape  of  Europa.    1667. 

Madrid.  Galle^-y.  Burial  of  St.  Sabina. 

„  „  The  Finding  of  Moses. 

„  „  Embarkation  of  St.  Paula. 

„  „  Tobit  and  the  Angel. 

„  „  Temptation  of  St.  Anthony. 

„  „  The  Magdalen  before  the  Cross. 

„  „  Landscape  with  Hermit. 

„  „  The  Ford. 

„  „  Two  Landscapes  with  Shepherds 

and  Cattle. 

Estense  Gall.  Landscape. 

Gallery.  The    Expulsion   of    Hagar   and 
Ishmael. 

„  Hagar  in  the  Desert. 

„  Seaport. 

„  Three  Landscapes. 

Museum.  Marine  View. 

„  Diana  reposing  after  the  Chase. 

Louvre.  The  Campo  Vaccino.  ^ 

„  „  The  Village  Dance.    1639. 

„  „  Samuel  anointing  David.     1647. 

„  „  The  Ford. 

„  „  Siege  of  La  Rochelle. 

„  „  Forcing  the  Pass  of  Susa.    1651. 

„  „  Disembarkation  of  Cleopatra  at 

Tarsus. 

„  „  Ulysses  restoring  Chryseis, 

„  „  Six  Marine  Views. 

„  „  Two  Landscapes. 

Pesth.  Gallejy.  Landscape. 

Petersburg. .fferniiiaye.  Meeting  of  Jacob  and  RacheL 

„  „  Flight  into  Egypt. 

„  „  Tobit  and  the  Angel. 

„  „  Jacob  wrestling  with  the  Angel. 

„  „  Apollo  and  the  Cumsean  Sibyl. 

„  „  The  Journey  to  Emmaus. 

,1  ,,  Apollo  and  Marsyas. 

„  „  Ulysses  and  Diomede  received  by 

Lycomedes. 

,1  „  Landscape. 

„  Three  Seaports. 

Museum.  Landscape. 

„  Flight  into  Egypt  (doubtful). 
Academy  of)„  . 

^i.iate.j  Seaport. 

Museum.  Landscape. 

„  Arch  of  Constantiue  and  Colcs- 


Renues. 

Rome. 

Stockholm. 


Strassburg.  Museum.  Landscape. 

Stuttgart.  Gallery.  Two  Landscapes. 

Tarbes.  Museum.  Village  Fete. 

Turin.  Gallery.  Two  Landscapes. 

Vienna.  Academy.  Two  Landscapes. 

Windsor.  Castle:  Landscape  near  Tivoli. 

»  „  Landscape :  Claude  sketching. 

>•  „  Landscape. 

n  „  Seaport.    1643. 

»  ,)  Marine  View. 


Gellig 


PAINTEES  AND  ENGRAVERS. 


Oenillon 


BIBLIOQBAPHY. 

J.  von  Sandrart, '  Academia  Artls  Pictorise.'    1683. 

F.  Baldinucci,  '  Notizie  dei  professori    del  disegno.' 

1681—1728. 
Ccmte  Guillaume  de  L\eprieZ], '  (Euvre  de  Claude  Gell^e.' 

1806. 
J.  F.  Voiart, '  Eloge  historique  de  Clande  GeHfe.'    1839 
Victor  Cousin, '  Sur  Claude  Gellee,'  1853.     ('  Journal  du 

Mus^e  Lorrain.') 
G.  Biguet, '  Essai  biographique  sur  Claude  Gellte.'  1863. 

('  Journal  de  la  Soci^t^  d'Axchtelogie  Lorraine.') 
Sohert-Dumesnil, '  Le  Peintre-Graveur  francais,'  vol.  xi. 

1871.    (Claude  GeUfe,  par  E.  Meaume.) 
F.  del  Tal,  '  Le  Livre  des  Feux  d'artifice  de  Claude 

Lorrain '  ('  Gazette  des  Beaux  Arts,'  vol.  xi.),  1861. 
M.  F.  Sweetser, '  Claude  Lorrain.'    1878. 
Mrs.  Mark  Fattison, '  Claude  Lorrain.'    1884. 

O.J.D. 
GELLIG.    See  Gilliq. 
GEMIGNANI.     See  Gimignani. 
GEMIGNANO,    Vincenzo    da    San.     See   Ta- 

MAGNI. 

GEMINUS,  Thomas,  (or  Gbminib,)  who  v^^as  an 
engraver,  as  well  as  a  printer,  executed  several 
plates  to  ornament  his  publications.  In  the  year 
1545,  he  published  a  translation  of  Vesalius's 
'Anatomy,'  which  was  first  printed  at  Padua  in 
1542,  with  woodcuts.  Geminus  copied  them  on 
copper,  and  the  book  was  dedicated  to  Henry 
VIII.,  with  the  title  '  Compendiosa  totius  Anatomie 
Delineatio,  sere  exarata,'  and  published  in  folio  in 
1545.  These  plates,  according  to  Ames,  were 
some  of  the  first  rolling-press  printing  in  England. 
He  afterwards  published  an  English  translation 
of  the  same  work  by  Nicholas  Udal,  in  1562, 
dedicated  to  Edward  VI.  Geminus  lived  in  Black- 
friars,  where  he  published  a  'Prognostication,'  re- 
lating to  the  weather,  the  phenomena  of  the 
Heavens,  &c.,  with  a  number  of  plates,  engraved 
by  himself.  Vertue  states,  that  he  published 
another  small  work  on  Midwifery,  with  copper 
cuts  by  himself. 

GEMMEL,  Hermann,  an  architectural  painter, 
was  born  in  1813  at  Barten  in  Eastern  Prussia.  He 
was  instructed  by  B.  Biermann  and  W.  Schirmer, 
and  afterwards  travelled  in  Italy.  In  1865  he  was 
made  professor  of  perspective  and  architecture  at 
the  Academy  of  Painting  in  Konigsberg,  where  he 
died  in  1868.  Mention  is  made  of  the  following 
works  by  him  : 

Family  Room  in  a  mediseval  Castle.    1855. 

Chapel  of  Cardinal  Zeno  in  San  Marco. 

Baptistry  in  San  Marco. 

GENAELS,  Abraham.    See  Genoels. 

GENDALL,  John,  an  English  landscape  painter, 
was  born  about  the  year  1789.  He  assisted  in  the 
production  of  many  illustrated  books  of  scenery, 
notably  with  Pugin  in  '  Picturesque  Views  of  the 
Seine,'  1821,  and  with  Westall  and  Shepherd  in 
'  Views  of  Country  Seats,'  1823-28.  Between  1846 
and  1863  he  exhibited  at  the  Eoyal  Academy  many 
oil  and  water-colour  views  in  Devonshire,  where 
he  lived.     He  died  at  Exeter  in  1865. 

6ENDR0N,  Ernest  Augustin,  a  French  his- 
torical painter,  was  born  in  Paris  in  1817.  He 
studied  under  Paul  Delaroche,  and  afterwards  spent 
six  years  in  Italy,  whence  he  sent  to  the  Salon  of 
1844  his  first  exhibited  picture — '  Dante  commented 
on  by  Boccaccio.'  There  also  he  painted  '  The 
Willis,'  which  has  been  often  lithographed,  and 
'  The  Nereids. '  Among  his  later  works  may  be 
mentioned  '  Sunday :  a  Florentine  Scene  in  the 
Fifteenth  Century '  (1855)  ;  '  The  Funeral  of  a  young 


Girl  at  Venice '  (1859)  ;  '  Nymphs  at  the  grave  of 
Adonis'  (1864)  ;  and  'Luoretia'  (1869).  He  like- 
wise decorated  the  chapel  of  St.  Catharine  in  the 
church  of  St.  Gervais  in  Paris.     He  died  in  1881. 

GENELLI,  Camillo,  who  was  born  at  Munich 
in  1840,  was  a  son  of  Buenaventura  Genelli,  and 
while  a  boy  drew  landscapes  under  his  father's 
tuition.  From  1856  to  1869  he  attended  the 
Munich  Academy,  and  went,  in  1864,  to  Vienna, 
where,  under  Rahl,  he  executed  oil  and  sepia 
compositions  from  Grecian  mythology,  among 
which  is  'Ulysses  slaying  the  Suitors.'  In  1865 
he  removed  to  Weimar,  where  he  died  in  1867. 

GENELLI,  Janus,  the  father  of  Buenaventura 
Genelli,  was  born  at  Copenhagen  in  1771,  and 
died  at  Berlin  in  1813.  He  was  instructed  in 
Rome,  and  painted  warmly-coloured  landscapes, 
particularly  from  the  Harz  mountains. 

GENELLI,  BuoNAVENTUBA,  a  German  historical 
painter,  was  born  at  Berlin  in  1798.  He  was  the 
son  of  the  landscape  painter,  Janus  Genelli,  and 
received  his  first  tuition  from  Bury  and  Hummel, 
and  from  his  uncle,  Hans  Christian  Genelli,  the 
architect,  who  obtained  for  his  pupil  the  assistance 
of  the  Queen  of  the  Netherlands,  who  enabled  him 
to  go  to  Italy  in  1820.  In  1832  he  was  recalled 
to  paint  some  wall-pictures  for  Dr.  Hartel,  and 
in  1836  he  went  to  Munich,  where  he  remained 
until  1869.  He  then  settled  at  Weimar,  where  he 
died  in  1868.  A  '  Rape  of  Europa'  by  him  is  in 
the  Berlin  National  Gallery. 

GENGA,  Bartolommeo,  the  eon  of  Girolamo 
Genga,  was  born  at  Cessna  in  1518.  According  to 
Vasari,  he  painted  some  historical  pictures  in  the 
style  of  his  father,  but  he  is  more  known  as  a 
sculptor  and  an  architect,  than  as  a  painter.  He 
died  at  Malta  in  1658. 

GENGA,  Girolamo,  was  born  at  Urbino  in  1476, 
and  was  first  a  disciple  of  Luca  Signorelli,  whom 
he  assisted  in  several  of  .his  works,  particularly  at 
Oi-vieto.  After  some  years  he  entered  the  school 
of  Pietro  Perugino,  at  the  time  when  Raphael  was 
a  student  under  that  master,  and  there  he  re- 
mained three  years  and  became  an  intimate  friend 
of  his  greater  fellow-pupil.  He  then  lived  for  a 
time  at  Florence  and  Siena,  but  returned  to  Urbino 
to  execute  a  commission  for  Duke  Guidobaldo  II. 
He,  however,  worked  as  a  coadjutor  with  Signo- 
relli, and  with  Timoteo  Viti,  and  afterwards  with 
Raflfaello  dal  Colle  in  the  Imperiale  at  Pesaro.  His 
services  to  the  Duke  of  Urbino  were  more  in  the 
capacity  of  an  architect  than  a  painter,  though  he 
made  many  designs  for  the  decorations  of  the 
theatre.  He  afterwards  resided  at  Rome,  where  he 
painted  a  fine  picture  of  '  The  Resurrection '  for 
the  church  of  Santa  Cattarina  di  Siena.  About 
1512  he  returned  to  Urbino  at  the  bidding  of  the 
Duke  Francesco  Maria,  whom  he  afterwards  fol- 
lowed into  banishment  to  Cesena,  and  there  painted 
an  altar-piece  representing  '  God  the  Father,  with 
the  Virgin  and  Four  Fathers  of  the  Church,'  which 
is  now  in  the  Brera  at  Milan.  In  the  Pitti  Palace 
at  Florence  is  a  '  Holy  Family '  by  him.  He 
died  at  Urbino  in  1651.  He  was  also  a  sculptor 
and  modeller.  Among  his  pupils  were  Francesco 
Menzocchi,  and  Baldassare  Lancia. 

GENILLON,  Jean  Baptiste  FRANgois,  a  marine 
painter  of  the  school  of  Joseph  Vernet,  was  born 
about  1749.  His  subjects  are  naval  combats,  ship- 
wrecks, sea-ports,  eruptions  of  Vesuvius  by  moon- 
light, and  conflagrations  at  sea  under  a  similar 
aspect.     He  died  in  Paris  in  1829. 

5£5 


OSuisson 


A  BIOGRAPHICAL  DICTIONAEY  OF 


Oenoels 


G^NISSON,  Victor  Jules,  a  Flemish  painter, 
was  born  at  St.  Omer  in  1805.  He  studied  at 
Antwerp  under  the  brothers  Van  Bree,  and  died 
at  Bruges  in  1860.  He  excelled  in  painting 
the  interiors  of  churches,  and  amongst  his  works 
are: 

The  Archduke  Albert  and  Archduchess  Isabella  visiting 
Toiirnai  Cathedral  m  1600.    {Brussels  Galhry.) 

Interior  of  the  Chapel  of  the  Holy  Sacrament,  St. 
Gadule,  Brussels.     1835. 

Interior  of  St.  Jacques,  Antwerp.  1836  {Dublin  National 
Gallery.) 

Interior  of  Antwerp  Cathedral.    1837. 

Confessional  in  St,  Paul,  Antwerp. 

Interior  of  Strassburg  Cathedral. 

Interior  of  Amiens  Cathedral. 

GENNARI,  Baktolommeo,  son  of  Benedetto  Gen- 
nari  the  elder,  was  born  at  Cento  in  1594.  He  was 
nearly  of  the  same  age  with  Guercino,  and  rather 
emulated  his  style  than  copied  him.  In  the  church 
of  Santa  Maria  del  Carobio,  at  Bologna,  is  a  fine 
picture  of  the  '  Assumption '  by  this  master.  He 
died  in  1661. 

GENNARI,  Benedetto,  the  elder,  who  was  born 
at  Cento  in  1570,  and  died  there  in  1610,  was  the 
instructor  of  Guercino,  and  has  left  a  painting 
of  '  Christ  at  Emmaus,'  now  in  the  Capuchin 
monastery  at  Cento,  which  has  passed  for  a  work 
of  that  master.  He  also  produced  a  number  of 
portraits. 

GENNARI,  Benedetto,  the  younger,  born  at 
Cento  in  1633,  was  the  nephew  and  the  scholar 
of  Guercino,  with  whom  he  soon  became  associated 
in  his  work.  Finding  that  his  uncle's  productions 
were  highly  valued  by  Louis  XIV.  of  France, 
he  proceeded  to  Paris  in  1672,  where  he  was 
well  received.  Lanzi  states,  that  he  saw  in  the 
Palazzo  Ercolani,  a  picture  of  '  Bathsheba '  by 
Gi'ercino,  together  with  a  copy  of  the  same  by 
Gennari,  and  remarks  that  the  former  appeared  to 
be  freshly  painted,  and  the  copy  to  be  the  older 
picture.  He  also  painted  some  pictures  of  his 
own  composition  for  the  churches  at  Bologna  and 
Cento.  He  came  to  England  in  1674,  and  was 
for  some  time  in  the  service  of  Charles  II.  and  of 
James  II.  When  the  latter  was  dethroned  he  re- 
turned to  France,  and  in  1690  went  to  Bologna, 
where  he  died  in  1715.     His  principal  works  are : 

Bologna.  iS'.  Domenico.  St.  Bosa. 

„  8.  Giovanniin  Monte.  St.  Anianus  baptizing  a  Pagan 
King. 

„  Finacoteca.  Head  of  St.  Peter. 

„  Cappuccini,  Sfc.  Anthony  of  Padua. 

Dresden.  Gallery.  Painting  and  Drawing. 

Florence.         Fitti  Palace.  David. 

Forli.  Filippini.  St.  Zaoharias. 

Madrid.  Gallery,  St.  Jerome, 

Mod'ena.     Estense  Gallery.  St.  Justin. 

„  „  St.  Peter. 

„  „  Head  of  an  Apostle. 

„  Philip  II. 

Osimo.  Cathedral.  St.  Leonard. 

Vienna.  Gallery.  St.  Jerome. 

GENNARI,  CESARE,the  younger  brother  of  Bene- 
detto Gennari,  was  born  at  Cento  in  1637,  and  was 
also  instructed  by  his  uncle  Guercino,  whose  style 
he  followed  with  success.  He  painted  several  pic- 
tures, from  designs  of  his  own,  for  the  churches  at 
Bologna.  In  San  Martino  Maggiore  is  a  picture 
of  '  St.  Mary  Magdalen  of  Pazzi,'  painted  entirely 
in  the  style  of  Guercino  ;  in  San  Nioool6,  '  St. 
Nicholas  kneeling  before  the  Virgin ; '  at  the  Padri 
Servi, '  St.  ApoUonia ; '  in  San  Bartolommeo, '  Christ 
praying  in  the  Garden,'  and  in  the  Pinacoteoa  the 

656 


'  Vision  of  the  Virgin  and  Child  to  St.  Nicholas.' 
In  the  Pitti  Palace  at  Florence  is  a  '  Madonna  and 
Child.'     He  died  at  Bologna  in  1688. 

GENNARI,  Ebcole,  a  son  of  the  elder  Bene- 
detto Gennari,  was  born  at  Cento  in  1597,  and  died 
there  in  1658.  He  was  instructed  by  his  brother- 
in-law  Guercino,  whom  he  closely  imitated  in  his 
works. 

GENNARI,  Giovanni  Battista,  was  a  native  of 
Cento,  who  flourished  about  the  year  1606.  He  is 
stated  by  Lanzi  to  have  been  one  of  the  masters 
of  Guercino,  and  to  have  been  a  successful  historical 
painter.  In  the  '  Guida  di  Bologna '  is  noticed  a 
picture  by  this  master  in  the  church  of  the  Trinita 
representing  the  '  Madonna  in  glory,  with  Saints,' 
painted  in  the  style  of  Procacoini.   It  is  dated  1606. 

GENNARI,  Lorenzo,  was  probably  related  to 
Benedetto  Gennari.  He  was  a  scholar  of  Guercino, 
and  flourished  about  the  year  1660.  One  of  his 
best  pictures  is  at  the  Cappuccini  at  Rimini. 

GENNARO  DI  COLA.    See  Cola. 

GENOD,  Michel  Philibbrt,  a  French  genre  and 
historical  painter,  was  bom  at  Lyons  in  1796,  and 
died  there  in  1862.  He  was  instructed  by  R^voil, 
and  became  one  of  the  most  noted  artists  of  his 
native  city.  '  The  Family  Festival '  (1855)  is  one 
of  his  best  paintings. 

GENOELS,  Abraham,  sometimes  called  Archi- 
medes, was  born  at  Antwerp  in  1640.  When  he 
was  twelve  years  of  age,  he  became  a  pupil  of 
Jacob  Baokereel,  with  whom  he  remained  until  be 
was  fifteen.  His  ambition  confined  itself  at  first 
to  portrait  painting;  but  having  made  some  suc- 
cessful attempts  at  landscapes,  he  attached  him- 
self to  that  branch  of  the  art,  to  which  his  genius 
was  more  adapted.  To  perfect  himself  in  per- 
spective, he  studied  for  some  time  under  Fierlants, 
a  native  of  Bois-le-Uuc,  who  resided  at  Antwerp, 
and  who  was  esteemed  the  most  correct  professor 
of  that  science  of  his  time.  His  desire  for  improve- 
ment prompted  him  to  travel ;  and  he  visited  Paris 
at  the  time  when  Poussin,  Mignard,  and  Le  Brun 
were  in  the  zenith  of  their  fame.  It  was  not  long 
before  his  talent  distinguished  itself  in  that  metro- 
polis ;  and  he  was  employed  to  paint  the  cartoons 
for  eight  large  landscapes  to  be  executed  in  tapestry 
for  M.  de  Louvois,  in  which  the  figures  were  painted 
by  De  Seve.  He  was  engaged  by  Le  Brun  to  paint 
the  backgrounds  of  his '  Battles  of  Alexander ;'  and 
in  1665  was  made  a  member  of  the  Academy  at 
Paris,  under  the  auspices  of  Le  Brun.  These  flatter- 
ing distinctions  could  not,  however,  detain  him  at 
Paris ;  and  after  having  in  1 672  been  made  a  member 
of  the  Guild  of  St.  Luke  in  his  native  city,  he  pro- 
ceeded to  Rome,  where  he  arrived  in  1674,  and  was, 
received  into  the  Bentevogel  Society,  who  conferred 
on  him  the  name  of  '  Archimedes,'  on  account  of 
his  knowledge  of  mathematics,  and  with  this  title 
he  sometimes  signed  his  etchings.  He  painted 
several  large  pictures  of  views  in  the  vicmity  of 
Rome,  for  Cardinal  Rospigliosi ;  and  after  a  resid- 
ence of  eight  years  in  Italy,  he  returned  to  Flanders 
in  1682  with  an  ample  collection  of  drawings 
which  he  had  made  of  the  environs  of  Rome.  He 
died  at  Antwerp  in  1723.  Genoels  may  be  ranked 
among  the  ablest  landscape  painters  of  his  country. 
His  colouring  is  natural  and  vigorous ;  he  pos- 
sessed a  commanding  facility,  and  a  touch  which 
he  could  appropriate  to  the  particular  objects  he 
had  to  represent.  A  painting  by  him  of  'Minerva 
and  the  Muses '  is  in  the  Antwerp  Museum,  and 
two  of  his  landscapes  are  at  Brunswick. 


Genova 


PAINTERS  AND  BNGRAVEES. 


Q-grard 


We  have  by  this  painter  some  masterly  etchings 
of  landscapes,  from  his  own  designs,  executed  in  a 
bold,  free  style,  and  ornamented  with  figures  and 
cattle.     He  sometimes  marked  his  plates  with  the 

cipher  5»\.-   among  them  are  the  following : 

A  set  of  four  mountainous  Landscapes,  with  rains  and 

figures.    1684. 
Two  rocky  Landscapes,  with  figures.    1675. 
Two  grand  Landscapes,  with  ruins  and  figures. 
Four  mountainous  Landscapes,  with  ruins  and  waterfalls. 
Four  views  of  Gardens,  with  figures  and  statues. 
Two  large  Landscapes,  with  waterfalls. 

GENOVAr-LucHBTTO  da.    See  Cambiaso,  Luca. 

GENOVESB,  El.  See  Castello,  Giovanni 
Battista. 

GENOVESE,  II  Peete.     See  Galantini. 

GENOVESE,  II  Pbete.    See  Steozzi. 

GJNOVESINO,  II.    See  Calcia,  Giuseppe. 
"  GENOVESINO,  II.     See  Mieadori. 

GENSLER,  Jakob,  a  genre  painter,  was  born  at 
Hamburg  in  1808,  and  received  his  first  instruc- 
tion in  that  city  under  Gerold  Hardorf  the  elder. 
In  1824  he  was  placed  under  J.  H.  W.  Tischbein 
at  Eutin,  and  remained  with  him  for  two  years, 
after  which,  in  1828,  he  attended  the  Academy  at 
Munich.  After  a  short  stay  in  the  Tyrol  and 
Salzburg,  he  proceeded  in  1830  to  Vienna  for 
further  study,  and  returned  in  the  following  year 
to  Hamburg,  where  he  settled  down.  He  visited 
Holland  and  Belgium  in  1841,  and  died  at  Ham- 
burg in  1845.  His  pictures  are  chiefly  taken  from 
popular  life  and  from  special  localities,  and  are 
marked  by  great  regard  to  individuality  in  the 
characters,  and  to  costume,  furniture,  and  land- 
scape surroundings ;  the  subjects  chosen  being 
such  as  the  "gathering  of  fruit,  the  hauling  in  of 
fish,  women  spinning  or  drawing  water,  and  so  on. 
Gensler  also  etched  several  plates  for  the  '  Album 
of  German  Artists  at  Dusseldorf,'  among  which  is 
'The  Sailors.' 

GENTIL.     See  Alaux,  Jean  Paul. 

GENTILE,  LuiGi.     See  Peimo. 

GENTILE  DA  FABRIANO.     See  Massi. 

GENTILESCA,  Sofonisba,  a  French  lady,  illus- 
trious in  art,  is  mentioned  by  Palomino  as  coming 
from  France  in  the  train  of  Queen  Isabella  of  Valois, 
third  wife  to  Philip  II.  of  Spain.  She  painted  with 
great  skill  miniature  portraits  of  their  Majesties, 
the  Infant  Don  Carlos,  and  many  of  the  court 
ladies.     She  died  at  Madrid  in  1687. 

GBNTILESCHI,  Aetbmisia,  the  daughter  and 
the  disciple  of  Orazio  Gentilesohi,  was  born  at  Rome 
in  1590.  She  accompanied  her  father  to  England, 
where  she  painted  some  portraits  of  the  nobility, 
and  some  historical  pictures  for  the  king,  the  best 
of  which  was  '  David  with  the  Head  of  Goliath.' 
Her  portrait  by  herself  is  at  Hampton  Court.  But 
she  passed  the  chief  part  of  her  life  at  Naples  and 
Bologna,  where  she  was  much  admired  for  her 
accomplishments  and  her  talents  as  a  painter.  She 
was  favoured  with  the  friendship  and  advice  of 
Guido,  and  studied  attentively  the  works  of  Do- 
menichino.  In  the  Pitti  Gallery  at  Florence  are 
her  best  performances,  representing  'Judith  with 
the  Head  of  Holofemes,'  and  '  Mary  Magdalen  ; ' 
and  in  the  Madrid  Gallery  the  '  Birth  of  St.  John 
the  Baptist,'  and  a  Portrait.  She  married  Antonio 
Schiatessi.     She  died  in  1642. 

GENTILESCHI,  Feancesco,  who  flourished  in 
the  first  half  of  the  17th  century,  was  the  son  of 
Orazio  Gentileschi,  with  whom  he  came  to  Eng- 


land. He  studied  under  Domenico  Fiasella,  called 
Sarzana,  but  his  pictures,  which  are  said  to  have 
been  historical,  are  little  known. 

GENTILESCHI,  Orazio,  called  Lomi,  after  his 
step-father,  was  born  at  Pisa  in  1562.  He  studied 
under  his  half-brother,  Aurelio  Lomi,  and  his  uncle 
Bacci  Lomi,  and  then  went  to  Rome,  where  he 
improved  his  style  by  studying  the  works  of  the 
best  masters,  and  by  the  advice  and  assistance  of 
Agostino  Tassi,  with  whom  he  formed  an  intimate 
friendship,  and  whose  landscapes  he  frequently 
decorated  with  figures.  Several  of  their  joint  works 
are  in  the  Quirinal  and  Rospigliosi  Palaces,  and 
in  other  places  in  Rome.  He  also  painted  his- 
torical subjects  for  the  churches  and  public  edifices, 
particularly  for  La  Pace,  and  a  fine  picture  of  '  St. 
Cecilia  and  St.  Valerian,'  in  the  Palazzo  Borghese. 
Some  of  his  best  works  are  in  the  royal  palace 
at  Turin,  and  at  Genoa.  He  afterwards  visited 
France,  from  whence  his  repute  travelled  to  Eng- 
land, and  caused  Van  Dyck  to  send  for  him  to 
London,  where  he  was  employed  by  Charles  I. 
Nine  pictures  by  Gentileschi  in  the  royal  collection 
were  sold  after  the  king's  death  for  six  hundred 
pounds,  and  are  now  the  ornaments  of  the  hall  at 
Marlborough  House.  He  also  painted  two  pictures 
for  the  Duke  of  Buckingham — a  'Magdalen,'  and 
the  '  Holy  Family.'  Van  Dyck  painted  an  admir- 
able portrait  of  him,  which  has  been  engraved  by 
Vorsterman.  He  resided  in  England  twelve  years, 
and  died  in  London  in  1647.  The  following  are 
some  of  his  paintings : 

Compiegne.       Palace.    Meditation. 
Genoa.  S.  Siro.    The  Annunciation. 

„  Adorno  Pal.    The  Sacrifice  of  Abraham. 

„  „  Lucretia. 

„  „  Cleopatra. 

„  Spinola  Pal.    The  Child  Jesus  sleeping. 

Hampton  Ct.    Palace.    A  Sibyl. 

„  „         Joseph  and  Potiphar's  "Wife. 

Madrid.  Gallery.    Assumption. 

„  „         Moses     rescued     by     Pharaoh's 

Daughter. 
Milan.  Prera,     SS.  Cecilia,  Valerian,  and  Tibur- 

tius,  crowned  by  an  Angel. 
Paris.  I/mvre.    Eepose  of  the  Holy  Family. 

Vienna.  Galleiy.    The  Penitent  Magdalen. 

„  „         The    Best    on    the  Flight   into 

Egypt. 

GENTSCH,  Andreas,  was  a  German  engraver, 
who  resided  at  Augsburg,  and  flourished  early 
in  the  17th  century.  He  engraved  several  small 
copper-plates  of  grotesque  ornaments,  some  of 
which  are  dated  in  1616.  He  usually  marked  his 
plates  with  the  same  cipher  as  Heinrich  Aldegrever 

j^\_ ;  but  they  are  inferior  to  the  works  of  that 

artist,  and  the  date  also  furnishes  a  distinction. 

GEOFFROY,  Chaeles  Michel,  a  French  en- 
graver, was  born  at  Joinville  in  1819,  and  died  at 
Passy  in  1883.  He  engraved  the  'M^d^e'  of 
Delacroix,  the  '  Harem '  of  Diaz,  the  '  Watermill ' 
of  Ruisdael,  and  several  portraits  of  theatrical 
celebrities. 

GEORGI,  Friedeich  Otto,  a  German  painter, 
was  born  at  Leipsic  in  1819,  and  died  at  Dresden 
in  1874.  There  is  by  him  in  the  Dresden  Gallery 
a  picture  of  '  Jerusalem  and  Mount  Moriah.' 

GERA.    See  Jaoopo  di  Michele, 

GERAATS,  Marc.    See  Geeraets, 

GEIRARD.     See  Gbandville. 

GERARD,  FRANgois  Pascal  Simon,  Baron,  a 
French  historical  and  portrait  painter,  was  born  in 
1770  at  Rome,  where  his  father  was  in  the  service  of 

557 


GSrard 


A  BIOGRAPHICAL   DICTIONARY   OF 


Gerardiai 


the  ambassador  of  France.  About  1782,  he  came  to 
Paris,  and  studied  for  eighteen  months  in  an  aristo- 
cratic academy.  He  then  became  a  pupil  of  the 
sculptor  Pajou,  then  of  Brenet,  and  finally,  in 
1786,  of  David,  by  whom  his  style  was  chiefly 
influenced.  In  1789  he  competed  for  the  'prix  de 
Home,'  but  only  succeeded  in  obtaining  the  second 
place.  The  following  year  saw  the  death  of  his 
father,  which  caused  him  to  accompany  his  mother, 
who  was  a  native  of  Italy,  back  to  Rome.  On  his 
return  to  Paris,  he  managed  with  some  difficulty  to 
escape  the  whirlpool  of  revolutionary  politics,  and 
to  devote  himself  to  art.  One  of  his  best  works, 
'  Belisarius,'  appeared  in  1795,  and  was  bought  by 
the  Dutch  minister.  His  chief  support,  however, 
for  some  years  was  in  working  for  the  publishers, 
for  whom  he  produced  drawings  illustrating  editions 
of  Virgil  and  Racine.  He  at  length  won  a  position 
by  means  of  his  portraits,  and  was  patronized  suc- 
cessively by  Napoleon  I.,  Talleyrand,  Louis  XVIIL, 
the  Emperor  of  Russia,  the  King  of  Prussia,  Charles 
X. ,  Louis  Philippe,  and  others.  With  such  patrons 
he  did  not  lack  honours :  he  was  one  of  the  original 
knights  of  the  Legion  of  Honour,  he  was  elected  a 
member  of  the  Institute,  and  in  1819  he  was  created 
a  Baron.  In  his  latter  years  his  house  was  the 
resort  of  many  celebrities,  and  he  attracted  a  large 
circle  of  friends.  During  this  period  he  was  much 
occupied  in  the  completion  of  some  large  decora- 
tive works  at  the  Pantheon,  representing  'Death,' 
'Patriotism,'  'Justice,'  and  'Glory.'  GSrard  did 
not  keep  an  atelier  for  students  as  is  customary 
with  French  painters,  but  he  was  assisted  in  his 
numerous  works  by  Paulin  Gu6rin,  Steuben,  and  his 
only  pupil,  Mademoiselle  Godefroid.  He  died  in 
Paris,  after  a  short  illness,  January  11th,  1837. 
It  is  computed  that  Gdrard  produced  28  historical 
pictures,  87  full-length,  and  about  200  half-length 
portraits,  besides  a  great  number  of  subject  pic- 
tures. The  judgment  of  his  contemporaries  has 
been  ratified  :  Girard's  historical  and  subject  pic- 
tures lack  that  greatness  of  idea  and  power  of  execu- 
tion which  would  have  entitled  him  to  a  place  in  the 
front  rank  of  painters.  It  is  by  his  portraits  that 
he  is  to  be  judged,  and,  thanks  to  the  opportunities 
he  enjoyed,  few  portrait  painters  have  had  a  greater 
chance  by  the  distinction  of  their  sitters,  of  trans- 
mitting their  names  to  posterity.  He  may  be  con- 
sidered as  one  of  the  last  of  the  direct  followers 
of  David :  he  did  not  seek  for  any  new  or  striking 
inspirations  which  might  form  a  starting-point  for 
a  new  departure  in  art,  but  adhered  closely  to  the 
canons  of  classicism  as  enunciated  by  his  master. 

Baron  Gerard's  '  CEuvre '  was  published  with 
descriptive  text  by  his  nephew  in  1852-57,  in  three 
folio  volumes,  and  his  '  Correspondance '  with 
artists  and  distinguished  persons  of  his  time  in  1867. 
The  following  is  a  list  of  the  works  by  him  to  be 
found  in  some  of  the  chief  European  collations  : 

HISTOKICAT/  AND  SUBJECT  PICTURES. 

Joseph     recognized     by    his 

brethren.    1789. 
Achilles  and  Patroclus. 
10.    1810. 


Angers. 

Museum. 

Caen. 

Mtiseum. 

Frankfort. 

Siadellnst. 

London. 

Lansdowne 

House, 

LyoDB. 

Museum. 

Marseilles. 

Sante. 

Munich. 

Gallery. 

Naples. 

Museum. 

Orleans. 

Museum 

558 


I  Hope.    1829. 

Corinna  at  Misennm.    1819. 

The  Plague  at  Marseilles.  1835. 

Belisarius.    1795. 
.    The  Three  Ages.    1806. 
.    Christ    descending  on  earth 
aucl  dispelling  darkness. 


Paris.  Infirmerie  de  Marie )  gj.  ^pjigpg  J^ 
Therese.         j     ' 
„  Louvre.    Cupid  and  Psyche.     1798. 

„  „         History  and  Poetry. 

„  „         Daphuis  and  Chloe.    1825, 

„  „         Yict-ory  and  Kenown. 

Tarbes.  Museum.    Achilles  finding  the  body  of 

Patroclus. 
Versailles.  Gallery.    Battle  of  Austerlitz.    1810. 

„  „  Entry  of  Henry  IV.  into  Paris. 

1817. 
„  „  Philip  V.  called  to  the  throne 

of  Spain.     1824. 
„  „  Coronationof  Charles  X.  1829. 

„  „  Louis  Philippe  at  the  H6tel  de 

ViUe.    1836. 

POKTRAITS. 

Ajaccio.      H6tel-de-  Ville.  Louis  Bonaparte. 

„  „  Napoleon  I. 

„  Museum.  Louis  XVIII. 

Angers.  Museum.  Lareveillere-Lepeaux. 

„  „  Madame  de  St.  Jean  d'Angely. 

Arras.  Museum.  His  own  Portrait. 

Avignon.  Museum.  Queen  Hortense  as  a  child. 

Dijon.  Museum.  Due  de  Bassano. 

Dresden.  Gallery.  Napoleon  I. 

Hatfield.  House.  Louis  XVIII. 

Marseilles.  Museu/m.  Louis  XVIH. 

Montpellier.         Museum.  Madame  Pasta. 

Nancy.  Museum.  Napoleon  I, 

Paris.  Louvre.  Isabey  and  his  Daughter.  1796. 

„  „  Antonio  Canova. 

„  „  Charles  X. 

Toulouse.  Museum.    Louis  XVIII. 

Versailles.  Gallery.     Madame  Bonaparte. 

„  „  Empress  Josephine. 

„  „  Empress  Marie  Louise,  and  the 

King  of  Eome. 
„  „  Joachim     Murat,     King     of 

Naples. 
„  „  Charles  X. 

„  „  Duke  of  Berry. 

„  „  Duchess  of  Berry  and  children. 

O.J.D. 
Gi^RARD,  Louis  Augurte,  a  French  landscape 
painter,  was  born  at  Versailles  in  1782,  and  studied 
under  Bertin.    He  died  in  Paris  in  1862.    Amongst 
his  works  are : 

View  of  the  Porte  d'Auteuil.    1819. 

View  of  Eouen.     1822. 

View  of  the  Chapel  of  Betharam.    1827. 

The  Bridge  of  Neuilly. 

View  at  Senlis. 

View  of  Chateau  de  Polignaxs.    {Narhonne  Museum^ 

GERARD,  Maec.     See  Geeraets. 

G!^RARD,  Maegubeitb,  born  at  Grasse  in  1761, 
was  a  pupil  of  Fragonard.  There  are  by  her  in 
the  Bordeaux  Museum  full-length  portraits  of  M. 
Tallien  and  M.  E6camier,  and  at  Fontainebleau  a 
picture  entitled  '  Les  Torterelles.' 

GERARD  OF  ST.  JOHN.    See  Haarlem,  Gerrit 

VAN. 

GERARDI,  Antonio,  is  mentioned  by  Le  Comte 
as  an  engraver  of  funeral  pomps,  monuments,  &c. 

GERARDIN,  Jean,  a  French  engraver,  flour- 
ished about  the  year  1680.  He  worked  entirely 
with  the  graver,  in  a  neat  style,  but  without  taste. 
He  engraved  a  set  of  plates  after  the  pictures  by 
Pietro  da  Cortona,  in  the  palace  at  Florence. 

GERARDINI,  Melchioere,  (Gheeardini,  Giral- 
DiNi,  or  Gilardino,)  a  painter  and  engraver,  was, 
according  to  Orlandi,  a  native  of  Milan,  and  was 
a  scholar  of  Giovanni  Battista  Crespi,  called  Cerano. 
After  the  death  of  that  master,  Gerardini  was 
employed  to  finish  the  pictures  he  left  imperfect ; 


G-erards 


PAINTERS  AND  ENGRAVERS. 


Gt-Sricault 


and  he  also  painted  for  the  churches  several  altar- 
pieces  of  his  own  composition.  At  San  Celso, 
a  small  town  near  Milan,  is  a  picture  by  him  of 
St.  Catharine  of  Siena,  of  which  Lanzi  speaks  in 
favourable  terms.  He  etched  some  plates  after 
Pietro  da  Cortona,  Guido,  and  others,  as  well  as 
several  from  his  own  designs  in  the  style  of  Gallot, 
representing  battles  and  other  subjects,  executed 
with  neatness  and  spirit.     He  died  in  1675. 

GEHARDS.     See  Zyll,  Geraebd  P.  van. 

GERBIER,  Sir  Balthasab,  Baron  d'Ouvilly, 
was  born  at  Middleburg  in  1592,  and  distinguished 
himself  as  a  miniature  painter,  at  a  period  when 
the  ablest  artists  of  his  country  were  in  their 
greatest  celebrity.  He  came  to  England  as  a 
retainer  of  the  Duke  of  Buckingham  in  1613,  and 
painted  the  portraits  of  the  principal  nobility  of 
the  time.  He  accompanied  the  Duke  of  Bucking- 
ham to  Spain,  where  he  was  sent  to  bring  about 
the  treaty  of  marriage.  Among  the  Harleian 
manuscripts  is  a  letter  from  the  Duchess  of  Buck- 
ingham to  her  lord,  when  in  Spain,  in  which  she 
Bays,  "  I  pray  you,  if  you  have  an  idle  time,  sit  to 
Gerbier  for  your  picture,  that  I  may  have  it  well 
done  in  little."  The  Earl  of  Denbigh  possesses 
a  portrait  of  Donna  Maria,  Infanta  of  Spain,  by 
Gerbier.  On  it  is  inscribed :  "  This  is  the  picture  of 
the  Infanta  of  Spain  that  was  brought  over  by  the 
Duke  of  Bucks.  She  was  to  have  married  King 
Charles  the  First."  In  the  collection  of  the  Duke 
of  Northumberland  is  a  large  oval  miniature  of  the 
Duke  of  Buckingham  on  horseback,  by  him,  dated 
1618.  The  head  is  well  painted,  and  it  is  finished 
with  great  labour.  The  head  of  the  horse  is  spirited. 
In  a  letter  dated  1628,  it  is  said,  "  That  the  King 
and  Queen  were  entertained  at  supper  at  Gerbier's, 
the  Duke's  painter's  house,  which  could  not  stand 
him  in  less  than  one  thousand  pounds."  In  1641 
he  was  appointed  master  of  the  ceremonies,  and  the 
same  yeai:  was  naturalized  as  an  English  subject, 
and  also  made  successor  to  Inigo  Jones  as  surveyor 
of  the  royal  palaces.  But  falling  into  disfavour  soon 
after,  he  left  England  and  went  to  Surinam,  where 
he  was  seized  as  a  Dutch  subject  and  sent  back 
to  Holland.  He  returned  to  this  country  during 
Cromwell's  Protectorate,  and  founded  an  academy, 
which,  however,  had  but  very  slight  success.  He 
was  employed  on  the  decorations  for  Charles  II.'s 
triumphal  entry  into  London,  and  met  with  con- 
siderable occupation  as  an  architect.  He  died  in 
London  in  1667,  while  engaged  upon  the  building 
of  Lord  Craven's  residence,  Hempstead  Marshall, 
and  there  he  was  buried.  He  published  several 
works,  including  an  '  Encyclopaedia  of  Art.'  Van 
Dyck  painted  a  fine  picture  of  Sir  Balthasar  Gerbier 
and  his  family,  which  is  now  at  Windsor  Castle. 

GERBO,  Louis,  a  Flemish  painter,  was  born  at 
Bruges  in  1761,  but  went  to  Paris,  where  he  was 
engaged  as  a  decorative  painter.  In  the  church  of 
St.  Jacques  in  Ghent  is  a  '  Holy  Family,'  and  several 
pictures  are  at  the  ch&teau  of  St.  Andrd  near  Bruges. 
He  died  in  1818. 

GERCO,  B.,  a  Dutch  engraver,  executed  some 
plates  in  imitation  of  the  charming  prints  of  Water- 
loo. After  etching  the  plates  he  scratched  upon  them 
with  the  graver,  and  from  not  having  afterwards 
cleared  away  the  barb,  has  left  a  clumsy  efEect. 

GERHARD,  Otto,  a  painter  of  Regensburg, 
flourished  about  the  year  1720.  His  historical 
pictures  and  other  works,  which  are  in  the  style  of 
Bourguignon,  show  considerable  talent. 

GERHARD  van  HAARLEM.     See  Haaelem. 


GBRICAULT,  Jean  Lonis  Ande^  ThjSodoee, 
a  French  animal  and  historical  painter,  was  born  at 
Rouen,  September  26th,  1791.  He  was  the  son  of 
an  advocate  in  good  circumstances,  and  was  sent 
to  Paris  to  complete  his  education  at  the  Lycee 
Imperiale.  While  still  at  school,  the  bent  of  his 
inclinations  was  plainly  to  be  seen.  His  holidays 
were  spent  at  the  circus,  and  in  the  streets  there 
was  no  greater  attraction  to  him  than  the  horses  in 
a  well-appointed  equipage.  In  1808  he  became 
for  a  short  time  the  pupil  of  Carle  Vernet.  He 
then  studied  under  Gu6rin,  with  whose  academic 
traditions  he  had  but  little  sympathy.  His  art- 
training  was  really  due  to  his  study  of  the  old 
masters  in  the  Louvre,  and  the  works  of  Eubens 
exercised  a  very  powerful  influence  on  him.  His 
family  was  much  opposed  to  his  becoming  a  painter, 
and  his  ardent  spirits,  checked  in  one  direction, 
sought  other  pursuits.  He  became  a  member  of 
the  Jockey  Club,  and  plunged  into  all  the  dissipa- 
tions of  the  '  jeunesse  dor6e.'  At  length,  in  1812,  he 
was  enabled  to  have  a  studio  of  his  own,  and  the 
first-fruits  of  his  work  in  it  was  the  '  Chasseur  de 
la  Garde,'  now  in  the  Louvre.  On  the  Restoration 
in  1814,  he  served  for  three  months  in  the  Royal 
Musketeers,  and  for  the  next  two  years  he  did  but 
little  painting.  In  1816  he  set  out  for  Italy,  where 
he  occupied  himself  in  making  copies  from  the  old 
masters.  Hitherto  he  had  devoted  his  attention 
chiefly  to  animal  painting,  but  on  his  return  to 
Paris  he  produced  what  is  really  his  only  great 
historical  work,  '  The  Raft  of  the  Medusa.'  It  was 
exhibited  at  the  Salon  of  1819,  where  it  evoked  a 
great  storm  of  criticism,  and  its  appearance  may 
be  said  to  mark  the  commencement  of  the  struggle 
between  the  Classic  and  Romantic  schools  in 
France.  G^rioault  shortly  after  visited  England, 
in  company  with  his  friend  Charlet,  and  by  the 
exhibition  of  this  work  in  London  realized  the 
sum  of  £800.  During  his  stay  in  this  country,  he 
practised  the  then  new  art  of  lithography  with 
much  ardour.  Many  of  his  works  in  this  medium 
represent  English  scenes,  amongst  which  mention 
should  be  made  of  'The  Coal  Waggon.'  On  his 
return  to  France,  his  health,  sorely  tried  by  dis- 
sipation, began  to  give  way,  and  his  condition  was 
aggravated  by  a  fall  from  his  horse.  He,  never- 
theless, produced  at  this  time  a  great  number  of 
sketches,  studies,  &c.,  and  also  made  some  pro- 
gress in  sculpture.  His  death  took  place  in  Paris 
on  January  18th,  1824.  The  following  is  a  list  of 
G^ricault's  works  in  public  galleries : 


Chalons-  )  jf„..„„, 
sur-Saone.  J  ^«««'""- 
Grenoble.  Museum. 
Moutpellier.  Museum. 


Nantes. 
Paris. 


Museum., 
Louvre, 


Boueu. 


A  Negro. 

Tv7o  Horses  in  a  stable. 

Portrait  of  Lord  Byron. 

Two  Horses  in  a  stable. 

Sketches. 

Officer  of  Chasseurs  of  the  Guard. 

{A  study  for  the  Louvre  picture.) 
The  Derby  at  Epsom.     1821. 
Wounded  Cuirassier  quitting  the 

field.    1814. 
Head  of  a  Bull-dog. 
Turkish  horse  in  a  stable. 
Spanish  horse  in  a  stable. 
A  Carabineer. 
Stable  with  five  horses. 
The  Lime-kiln. 
Officer  of  the  Chasseurs  of  the 

Guard.     1812. 
The  Raft  of  the  Medusa.    1819. 
Study  of  a  horse. 
Study  of  heads  of  goats. 

O.J.D.  ' 
569 


Oerike 


A  BIOGRAPHICAL  DICTIONARY  OF 


Oertner 


GERIKE,  Samuel  Theodob,  an  historical  painter, 
was  born  at  Spandaii  in  1665,  and  studied  under 
Romandon.  He  was  court-painter  in  Berlin,  and  is 
also  known  by  two  etchings, '  The  Virgin  kissing  her 
Son's  Body  at  the  Tomb,'  and  '  John  the  Baptist  in 
the  Wilderness.'     He  died  at  Berlin  in  1730. 

GERINI,  Lorenzo  di  Niccol6,  the  son  of  Niocol6 
di  Pietro  Gerini,  flourished  in  the  15th  century. 
In  the  passage  leading  to  the  chapel  of  the 
Medici  in  Santa  Croce  at  Florence  is  a  'Corona- 
tion of  the  Virgin,  with  attendant  Saints,'  painted 
by  him  in  1410 ;  but  his  principal  work  is  an  altar- 
piece  in  San  Domenico,  Cortona,  representing  the 
'Coronation  of  the  Virgin,'  with  a  predella  con- 
taining the  'Adoration  of  the  Magi,'  signed  by 
Lorenzo  in  1440.  Little  is  known  about  his  life 
or  death,  but  the  following  works  by  him  are 
preserved : 

Florence.  Academy.    Coronation    of    the   Virgin. 

1401.    (The  central  panel  of 
an  altar-piece.'} 
San  Gimignano,     Gallery.    Glorification  of  St.  Bartholo- 
mew.   1401. 
„  „  „  Virgin  and  Child. 

„  „  „  Four  scenes  from  the  lives  of 

SS.  Fina  and  Gregory. 

GERINI,  Nicocl6  di  Pietro,  who  flourished  in 
the  closing  years  of  the  14th  century,  probably 
received  his  early  instruction  from  Taddeo  Gaddi, 
but  afterwards  became  the  pupil  and  assistant 
of  Spinello  d'Arezzo.  His  earliest  existing  work 
is  a  series  of  frescoes  representing  scenes  from 
the  '  Passion,'  with  the  '  Resurrection,'  the  '  Noli 
me  tangere,'  the  '  Ascension,'  and  the  '  Descent 
of  the  Holy  Ghost,'  in  the  convent  of  San  Fran- 
cesco, Pisa,  which  are  signed  by  him  and  dated 
1392.  At  Prato,  in  the  convent  of  San  Fran- 
cesco, is  likewise  a  series  of  frescoes  by  Niccolo, 
representing  scenes  from  the  life  of  St.  Matthew, 
and  other  subjects  from  the  New  Testament. 
At  San  Bonaventura  he  painted  scenes  from  the 
Passion,  of  which  but  fragments  remain.  The 
sacristy  of  the  church  of  Santa  Croce,  Florence, 
contains  frescoes  that  are  assigned  to  this  artist. 
His  latest  known  work  is  dated  1401.  It  is 
the  right  side  of  an  altar-piece  in  three  compart- 
ments, preserved  in  the  Academy  at  Florence,  and 
contains  the  figures  of  '  St.  Peter,  St.  John  the 
Evangelist,  St.  James,  and  St.  Benedict.'  The 
central  panel  contains  the  '  Coronation  of  the 
Virgin,'  by  his  son  Lorenzo,  whilst  the  left  side 
consists  of  figures  of  Saints  by  Spinello  Aretino. 
An  '  Entombment,'  likewise  in  the  Florence 
Academy,  assigned  to  Taddeo  Gaddi,  is  by  Crowe 
and  Cavalcaselle  ascribed  to  Niccol6  di  Pietro 
Gerini. 

GERINO  DA  PISTOJA,  a  native  of  Piatoja,  was, 
according  to  Vasari,  a  friend  of  Pinturicchio  and  a 
follower  of  Vannuooi.  His  earliest  recorded  work 
was  the  '  Virgin  of  Succour '  at  Sant'  Agostino  in 
Borgo  San  Sepolcro,  where  also  are  some  frescoes 
by  the  same  artist.  In  1505  he  was  employed  in  the 
cathedral  of  his  native  city,  and  in  1509  he  fur- 
nished for  the  church  of  San  Pietro  Maggiore  an 
altar-piece  of  the  '  Virgin  and  Child,  with  Saints.' 
About  1513  he  was  labouring  in  the  Convent  of  San 
Luchese,  near  Poggibonsi,  and  two  scenes  from  the 
life  of  Christ,  signed  and  dated,  are  preserved  in  a 
refectory.  His  later  works,  a  fresco  of  '  St.  Agatha 
and  St.  Eulalia '  in  San  Paolo,  a  '  Coronation  of  the 
Virgin '  in  the  Palazzo  della  Community,  Pistoja, 
and  the  '  Virgin  with  Saints,'  of  1529,  originally  in 
the  Gonvento  di  Sala  at  Pistoia,  and  now  in  the 

660  ■* 


Ufiizi  Gallery  at  Florence,  are  decidedly  inferior  to 
his  earlier  works. 

GERMAIN,  Lonis,  a  French  engraver,  was  bom 
in  Paris  in  1733.  There  are  by  him  some  spirited 
etchings  of  the  '  Ruins  of  Paestura,'  published  in 
1769,  from  the  designs  of  Dumont. 

GERMAN  LLORENTE,  Beknabdo,  a  Spanish 
portrait  painter,  the  son  of  an  obscure  artist, 
was  born  at  Seville  in  1685.  He  studied  under 
Cristobal  Lopez,  whom  he  soon  surpassed ;  and 
upon  Philip  V.  visiting  Seville,  he  was  made  choice 
of  to  paint  the  portrait  of  the  Infant,  Don  Philip, 
in  the  execution  of  which  he  gave  such  satisfaction, 
that  he  became  the  favourite  painter  of  the  court. 
He,  however,  refused  the  offer  of  the  post  of  court 
painter,  and  preferred,  though  in  the  prime  of  life, 
to  betake  himself  to  the  seclusion  of  a  hermitage, 
in  which  he  pursued  his  art  in  accordance  with  his 
own  simple  taste.  He  was  called  '  Pintor  de  las 
Pastoras,'  because  he  painted  many  of  his  Virgins 
in  the  attire  of  shepherdesses,  one  of  the  best 
specimens  of  which  adorned  the  chapel  of  St.  John 
Nepomuk  in  the  church  of  Sanlldefonso.  He  gave 
to  his  heads  so  much  grace,  sweetness,  and  relief, 
that  many  were  sold  as  the  work  of  Murillo,  and 
pass  for  such  out  of  Spain.  At  the  latter  part 
of  his  life,  for  the  purpose  of  increasing  the  force 
of  his  chiaroscuro,  he  darkened  his  pictures  with 
a  kind  of  brown  varnish,  which  was  very  detri- 
mental, as  it  made  them  almost  unintelligible.  He 
died  at  Seville  in  1757.  The  following  works  by 
him  may  be  mentioned : 
Madrid.  Gallery.    The  Virg^  as  a  Shepherdess. 

„  Merced  Calzada,    The  Virgin  with   the   dead 

Body  of  Christ. 

GERMYN,  Simon,  a  native  of  Dordrecht,  bom 
in  1660,  was  a  scholar  of  G.  Schalcken,  whose 
manner  he  for  some  time  followed  ;  he  afterwards 
studied  under  Ludowyk  Smits,  called  Hartcamp, 
who  instructed  him  in  his  peculiar  manner  of 
painting  fruit ;  but  his  productions  in  that  way  are 
not  much  esteemed.  He  next  turned  his  attention 
to  landscape  painting,  which  he  practised  till  his 
death, in  1719. 

GEROLA,  Antonio.    See  Giaeola. 

GERON,  Matthias,  a  painter  and  wood-engraver 
of  Lauingen  in  Bavaria,  is  known  by  a  picture  of 
the  'Siege  of  Lauingen  by  Charles  V.,'  dated  1651, 
and  also  by  the  large  tapestry  in  Neuburg,  repre« 
senting  the  '  Expedition  of  the  Count  Palatine 
Otto,'  and  the  paintings  of  the  '  History  of  Paris ' 
and  the  '  Destruction  of  Troy,'  executed  in  1540, 
in  the  gallery  of  Duke  Litta.  Some  woodcuts  in 
a  Missal  for  the  use  of  the  diocese  of  Augsburg, 
printed  in  1555,  are  also  attributed  to  him,  and  it 
is  judged  from  them  that  he  was  a  pupil  of  Hans 
Burgkmair.  His  best  wood-cuts  are  '  Christ  on  the 
Cross,'  and  the  '  Deposition  from  the  Cross.' 

GERRIT  van  HAARLEM.    See  Haarlem. 

GERRIT  VAN  SINT  JANS.    See  David,  Ghee- 

RARDT. 

GERST,  JoHANN  Karl  Jakob,  a  painter  of  land- 
scapes and  of  theatrical  scenes,  was  born  at  Berlin 
in  1792,  and  was  in  1818  appointed  royal  decora- 
tive painter  in  that  city,  where  he  died  in  1854. 
He  executed  several  of  the  grand  designs  of 
Schinkel,  as  scenes  for  the  '  Zauberflote,'  'Nur- 
mahal,'  'Fernando  Cortez,'  &o.,  as  well  as  a  host 
of  splendid  original  decorations  for  operas,  ballets, 
and  plays. 

GER'TNER,  Johan  Vilhelm,  a  Danish  por- 
trait painter,  etcher,  and  lithographer,  was  born 


Geselschap 


PAINTEES  AND  ENGRAVERS. 


Geyer 


at  Nyboder  in  1818.  He  studied  at  Copenhagen, 
but  afterwards  travelled  a  great  deal.  Among 
his  portraits,  -which  are  much  esteemed,  are 
those  of  King  Frederick  VII.,  Count  von  Frysen- 
berg,  Thorvaldsen,  Dahl,  Eckersberg,  and  Count 
Moltke.  At  first  Gertner  painted  also  landscapes 
and  interiors,  and  his  earliest  important  work  was 
'A  Shepherd  driving  a  Flock  of  Sheep,'  painted 
in  1839,  and  now  in  the  Copenhagen  Gallery.  He 
died  at  Copenhagen  in  1819. 

GESELSCHAP,  Eddard,  a  genre  and  historical 
painter,  was  bom  in  1814  at  Amsterdam,  where 
his  parents  had  taken  refuge  from  the  storming 
of  Wesel,  their  native  place.  Upon  their  return  to 
Wesel,  Eduard  obtained  his  first  lessons  in  draw- 
ing from  a  painter  named  Welsch.  In  1831  he 
settled  in  Diisseldorf,  and  attended  the  Academy 
there  from  1834  to  1841,  receiving  the  instructions 
of  Schadow.  He  died  after  many  years'  illness  at 
Diisseldorf  in  1878.  Many  of  his  pictures  have  been 
engraved  by  Martinet,  Fritz  Verner,  and  others. 
Among  them  may  be  named : 

Faust  in  his  Study. 

Tlie  Bride  at  ttie  Grave  of  her  Lover. 

66tz  vou  Berlichingen  before  the  Council. 

Valentine's  Death. 

Eomeo  and  Juliet  in  the  Vault. 

The  Burial  of  Christ. 

The  Discovery  of  the  dead  body  of  Gustavus  Adolphus. 

1848. 
The  Eve  of  St.  Nicholas.    1852. 
The  Eve  of  St.  Martin. 
The  Grandmother's  Picture  Bible. 
Old  Woman  at  the  Spinning  Wheel. 

GESSI,  Eecolb  and  Giovanni  Battista  del. 
See  EuGGlEEi. 

GESSI,  Francesco,  was  bom  at  Bologna  in  1588. 
He  studied  under  D.  Calvaert  and  Cremonini,  and 
was  afterwards  one  of  the  ablest  scholars  of  Guido 
Eeni,  so  that  he  obtained  the  name  of  a  second 
Guido,  and  was  employed  by  that  master  to  finish 
many  of  his  pictures.  He  possessed  a  vivacity  of 
genius,  and  a  facility  of  execution,  which  are  said 
by  Lanzi  to  have  excited  the  jealousy  of  his  master. 
His  '  Assumption '  in  the  church  of  La  Morte  at 
Bologna ;  his  '  Martyrdom  of  St.  Catharine,'  in 
the  church  of  that  Saint ;  and,  above  all,  his  '  St. 
Francis,'  at  the  Nunziata,  have  frequently  been 
mistaken  for  the  works  of  Guido.  In  later  years 
he  left  Guido,  and  founded  a  school  of  his  own, 
but  his  want  of  application  impaired  his  genius,  so 
that  his  works  of  this  period  are  very  indifferent. 
There  are,  however,  several  early  pictures  by  him 
in  the  churches  at  Bologna,  which  are  greatly 
admired,  such  as  his  picture  of '  St.  Charles  Borromeo 
interceding  for  the  Plagiie-strioken,'  in  the  church 
of  La  Compagnia  de'  Poveri ;  '  St.  Anthony  of 
Padua,'  in  Santa  Maria  delle  Muratelle ;  and  the 
'Descent  of  the  Holy  Ghost,'  at  the  Cappuccini. 
He  died  at  Bologna  in  1649.  The  following 
pictures  by  him  are  in  public  galleries : 
Bologna.  Finacoteca.  St.  Francis  of  Assisi  receiving  the 
Stigmata. 

„  „"  The  Madonna  and  Child. 

„  „  Christ  praying  to  the  Eas''. 

„  „  The  HolyFamily  with  two  Angels. 

„  „  St.  Bonaventura. 

„  „  Madonna  and  Child,  with  Angels. 

Dresden.         Gallery.    A  Magdalen. 
Madrid.  Gallery.    Cupid. 

Milan.  Brera.    Madonna  and  Child,  with  Saints. 

Modena.   Estense  Gal,    St.  Francis. 
Stockholm.      Gallery.    Christ  as  a  Child. 

„  „  Christ  with  the  Crown  of  Thorns. 

Stuttgart.        Gallery.    Diana  and  Actseon. 
Vienna.  GaUery.    Morpheus  appearing  to  Halcyon. 

0  0 


GESSNER,  KoNEAD,  a  painter  and  etcher  of 
horses  and  battle-pieces,  born  at  Zurich  in  1764,  was 
the  elder  son  of  Salomon  Gessner.  After  study- 
ing first  at  home,  and  then  under  Landolt  and  J.  H. 
Wiist,  he  went  in  1784  to  the  Dresden  Academy, 
where  he  received  the  instructions  of  Graff  and 
Zingg,  and  where  he  exhibited  his  first  large 
battle-piece  in  1785.  After  a  brief  term  at  home, 
he  proceeded  in  1787  to  Italy,  but  on  his  father's 
death  in  the  following  year  he  once  more  returned 
to  Zurich,  where  he  remained  till  1796,  when  he 
proceeded  to  England,  and  continued  successfully 
working  here  till  1804.  He  again  returned  home, 
and  prosecuted  his  experiments  in  etching  upon 
stone,  which  he  had  commenced  in  England  with 
Senefelder.  He  died  in  1826.  Among  his  best 
etchings  are  those  of  '  A  Riding  Horse  at  the 
Water-trough,'  '  Horses  at  a  Manger,'  and  '  A 
Dragoon  leading  a  Horse.'  In  the  South  Kensing- 
ton Museum  are  two  water-colour  drawings  by 
him,  '  Horses  at  a  Pool,'  and  '  Soldiers  playing  at 
Cards  in  a  Stable.' 

GESSNER,  Salomon,  was  born  at  Zurich  in  1730, 
and  died  in  1788.  He  is  well  known  to  the  literary 
world  by  his  '  Death  of  Abel,'  and  other  poetical 
works,  but  he  claims  notice  here  as  a  landscape 
painter  and  engraver.  His  paintings,  which  are 
mostly  in  water-colours,  are  scattered  among  col- 
lections in  various  European  countries.  He  etched 
several  plates  of  vignettes,  and  other  ornaments, 
for  his  '  Death  of  Abel '  and  his  '  Pastorals,'  and 
over  three  hundred  etchings  by  him  are  known. 
He  practised  art  as  an  amateur  till  he  was  thirty 
years  of  age,  when  he  took  to  it  as  a  profession, 
studying  nature,  and  engravings  from  the  works  of 
Claude  and  Poussin.  He  also  executed  several 
landscapes  in  a  very  pleasing  and  finished  style,  of 
which  the  following  are  the  principal  : 

A  set  of  ten  Landscapes.    1764. 

Twelve  Pastoral  Landscapes.    1 767 — 1786. 

Ten  Landscapes,  with  mythological  figures.   1769 — 1771. 

Twenty  Idyllic  Scenes.    1772—1775. 

GESTELE,  Marcus  van,  a  native  of  the  Nether- 
lands, flourished  in  the  first  half  of  the  16th  cen- 
tury. In  conjunction  with  Van  Coudenberghe  he 
painted  for  the  church  of  Roselede,  and  in  1486  an 
altar-picture  for  the  church  of  St.  Martin  at  Courtrai. 

GEDZENDAM,  G.  J.,  a  native  of  Pekel-A,  a 
village  in  the  province  of  Groningen,  received  his 
education  from  G.  De  San  in  Groningen,  where  he 
established  himself  from  1801  to  1811  as  a  miniature 
portrait  painter.  After  that  time  he  travelled  in 
Russia  for  a  short  time,  and  died  shortly  after  his 
return  to  his  own  country,  either  at  Deventer  or  at 
Zutphen,  after  1815. 

GEYER,  JoHANN,  a  genre  and  historical  painter, 
was  bom  at  Augsburg  in  1807,  and  originally 
brought  up  as  a  cartwright.  He,  however,  attended 
the  school  of  the  high.er  arts  in  that  city,  and  in 
1826  went  to  the  Munich  Academy,  where  he 
studied  under  Clemens  Zimmermann.  He  then 
travelled  in  Belgium  and  France,  and  in  1833  was 
appointed  professor  of  figure  drawing  at  the  Augs- 
burg Polytechnic  School.  He  died  at  Augsburg  in 
1876.  Among  the  best  of  his  works,  in  which  he 
was  fond  of  introducing  the  costume  of  the  reign 
of  Louis  XIV.,  the  following  may  be  mentioned : 

The  Night  "Watchman. 

Rival  Preachers. 

The  Emperor  Louis  committing  himself  to  the  Pro- 
tection of  Augsburg.    (Augsburg  Town-hall.)    1844. 

The  Fornarina  in  the  Studio  of  Bapbael. 

Capture  of  a  Patrician.    {Bremen  Art  Coll.)    1863. 

661 


Geyn 


A  BIOGRAPHICAL  DICTIONARY  OF 


Gherardo 


Opeiiing  the  Wiil.    {Bremen  Art  Coll.)    1857. 

Eeception  of  a  Prince.     {Hanover  Gallery.) 

Gotz  von  Berlichiugen  in  Heilbronn.    {Erjurt  Art  Coll.) 

1859. 
Rehearsal  for  a  Concert.     (Leipsic  Museum.) 
Interior  of  a  Menagerie.     ( The  same.) 
Concilium  Medicum.     (Munich  Gallery.) 
End  of  a  Bal  Masqu^.     {The  same.) 
Christening  Feast. 
Betrothal. 

GEYN,  G.  D.,  (or  Geijn,)  an  obscure  Flemish 
engraver,  who  flourished  from  1640  to  1650,  was 
principally  employed  in  engraving  book  ornaments 
for  the  booksellers,  in  which  he  attempted  a  humble 
imitation  of  the  style  of  Paul  Pontius.  Among 
other  prints  by  him  is  the  portrait  of  Carolus 
Aleaspinaeus. 

GEYSER,  Christian  Gottlieb,  an  engraver, 
iras  born  at  Gorlitz  in  1740.  He  executed  several 
plates  for  different  works,  among  which  are  the 
vignettes  in  Heyne's  edition  of  Virgil,  after 
Fiorillo,  and  in  Hiuchf eld's  'Theory  of  Gardening.' 
He  died  at  Leipsic  in  1803.  His  son,  Christian 
Gottlieb,  born  at  Leipsic  in  1772,  was  also  an 
engraver. 

GFALL,  Anton,  was  born  at  Kaunserthal  in  the 
Tyrol,  in  1725,  and  educated  first  at  the  Imperial 
Academy  of  Vienna,  and  afterwards  under  Antonio 
Galli  and  Servandoni.  He  executed  historical 
pictures  in  oil  and  fresco,  but  was  especially 
successful  in  architectural  and  decorative 
painting.     He  died  at  Vienna  in  1770. 

GHANDINI,  Alessandro,  was  a  wood-engraver, 
who  worked  for  Andrea  Andreani  at  Rome  about 
1610.  One  of  his  productions  (marked  A.  G.)  is 
a  chiaroscuro  of  two  blocks,  representing  'St. 
Catharine.' 

GHEDINI,  GinsEPPE,  was  born  at  Ficarolo  in 
1707,  and  was  a  scholar  of  Giacomo  Parolini. 
There  are  several  of  his  works  in  the  churches  at 
Ferrara.  In  Santa  Cattarina  da  Siena  is  a  picture 
by  him  of  '  St.  Lucy ; '  in  San  Leonardo,  '  The 
Martyrdom  of  St.  Catharine ; '  in  Corpus  Domini, 
'The  Annunciation,'  and  'The  Death  of  St. 
Joseph  ; '  and  in  the  refectory  of  the  monastery  of 
Santa  Maria  degli  Angeli,  his  principal  work, 
representing  'The  Multiplication  of  the  Loaves,' 
painted  in  1755.     He  died  in  1791. 

GHEERAERTS,  Maec.     See  Gbbrarts. 

GHEIN,  De.     See  Db  Gheyn. 

GHENDT,  Emandbl  Jean  Nepomucenb  db.  See 
De  Ghbndt. 

GHENT,  Gerhard  of,  a  pupil  of  Hans  Memlinc, 
was  engaged  in  1479  in  assisting  his  instructor 
upon  the  miniatures  for  a  large  prayer-book  now 
in  the  Library  of  St.  Mark  at  Venice. 

GHENT,  JossE,  or  Justus  of,  who  was  born 
at  Ghent  in  1410,  and  flourished  up  to  the  last 
quarter  of  the  century,  was  probably  a  scholar  of 
the  Van  Eycks.  He  is  supposed  to  have  assisted 
those  masters  in  some  of  their  most  celebrated 
pictures  ;  and  Waagen  is  of  opinion  that  '  The 
Last  Judgment '  in  the  church  of  St.  Mary  at 
Dantzic  is  by  him,  though  long  held  by  connois- 
seurs to  be  the  work  of  Jan  van  Eyck.  This 
picture  is  ranked  by  Kugler,  who  has  given  a  very 
full  description  of  it,  among  the  greatest  master- 
pieces of  art.  Kugler,  however,  does  not  say  that 
it  is  by  Justus  of  Ghent ;  he  speaks  only  of  '  The 
Communion '  in  the  church  of  Sant'  Agata  at 
Urbino,  and  a  small  picture  in  the  collection  of 
M.  van  Huyvetter  at  Ghent,  of  '  The  Finding  of 
the   Cross,   and    its    Verification  by  the    raising 

662 


of  a  dead  woman  to  life.'  The  .picture  at  Urbino 
was  probably  finished  in  1475,  as  Justus  wag  paid 
in  that  year  the  sum  of  300  florins,  by  the  brother- 
hood of  the  '  Corpo  di  Cristo,'  for  whom  it  was 
originally  painted.  The  series  of  '  Poets,'  '  Philoso- 
phers,' and  '  Doctors  '  in  the  library  of  the  Duke 
Federigo  of  Urbino  are  probably  his,  but  there 
is  much  uncertainty  about  the  painters  of  this 
era.  The  late  Sir  Charles  Eastlake  possessed  a 
picture  by  this  arti.st  of  '  The  Burial  of  Bishop 
Hubertus  ; '  and  a  '  Last  Supper '  is  in  the  church  of 
the  Lion  at  St.  Petersburg. 

GHERARDI,  Antonio,  who  was  bom  at  Eieti 
in  1664,  and  died  at  Rome  in  1702,  was  a  pupil  of 
P.  F.  Mola,  and  afterwards  of  Pietro  da  Cortona. 
He  painted  for  various  churches  in  Rome,  and  has 
also  left  six  etchings  of  '  The  Torture  of  St. 
Martina.' 

GHERARDI,  Cristofano,  called  Doceno,  bom 
at  Borgo  San  Sepolcro  in  1500,  was  a  disciple 
of  RafFaellino  dal  Colle.  He  went  to  Florence, 
where  he  became  acquainted  with  Giorgio  Vasari, 
with  whom  he  remained  on  friendly  terras  until 
his  death.  He  excelled  particularly  in  fresco, 
and  assisted  Vasari  in  many  of  his  most  con- 
siderable works.  There  are  several  grotesque 
subjects  by  him  in  the  Casa  Vitelli.  Of  his  oil 
paintings  the  principal  are,  '  The  Visitation  of  the 
Virgin  to  St.  Elizabeth,'  in  the  clnirch  of  San 
Domenico  at  Citia  di  Castello ;  and  his  picture  of 
'  Santa  Maria  del  Popolo,'  at  Perugia,  painted  in 
conjunction  with  Lattanzio  della  Marca.  In  1539 
Vasari  induced  him  to  go  to  Bologna,  where  he 
assisted  in  painting  three  altar-pieces  for-  San 
Michele  in  Bosco.  He  also  assisted  Vasari  in  his 
fresco  paintings  for  the  brotherhood  of  the  Scalza 
at  Venice.  He  died  at  Borgo  San  Sepolcro  in 
1556,  whilst  in  the  course  of  an  engagement  for 
assisting  Vasari  with  the  frescoes  for  the  ducal 
palace  at  Florence. 

GHERARDI,  Filippo,  born  at  Lucca  in  1643, 
studied  under  Pietro  da  Cortona,  and  worked  with 
Giovanni  Coli  at  several  large  paintings.  His  work 
is  so  similar  to  that  of  Coli,  that  it  is  hard  to  dis- 
tinguish one  from  the  other.  Pietro  da  Cortona 
invited  him  back  to  Rome,  to  assist  him  in  paint- 
ing the  cupola  of  Santa  Maria  in  CampitelH.  In 
the  Colonna  Gallery  are  two  fine  pictures  by  him 
of  '  The  Battle  of  Lepanto,'  and  '  The  Triumph 
of  Marc  Antonio  Colonna.'  There  are  several 
pictures  by  him  in  the  churches  at  Lucca,  where 
he  died  in  1704. 

GHERARDINI,  Alessandro,  born  at  Florence 
in  1655,  was  a  scholar  of  Alessandro  Rosi.  He 
proved  a  distinguished  painter  of  history,  both  in 
oil  and  in  fresco.  In  the  Monastery  of  the  Augus- 
tines  at  Florence,  is  a  fine  picture  by  this  painter  ' 
of  '  The  Crucifixion  ; '  and  in  the  Casa  Orlandini, 
a  subject  from  the  life  of  Alexander  the  Great. 
He  died  in  1723. 

GHERARDINI,  Melchioere.     See  Gerardini. 

GHERARDINI,  Stefano,  was  a  bamboccia 
painter  of  Bologna,  who  studied  under  Giuseppe 
Gambarini,  and  died  in  1775. 

GHERARDINI,  Tommaso,  born  at  Florence  in 
1716,  was  a  pupil  of  Vinoenzo  Meucci.  Three 
masterpieces  by  him  are  in  the  Vienna  Gallery 
— '  An  OfiTering  in  Honour  of  Pan,'  '  Victory  and 
Fame  upon  a  Triumphal  Car,'  and  a  '  Triumphal  Pro- 
cession of  Ariadne.'     He  died  at  Florence  in  1797. 

6HERARD0,  one  of  ths  best  Florentine  minia- 
ture  painters,    was    employed    by    Lorenzo    the 


Gheringh 


PAINTERS  AND  ENGRAVERS. 


Ghisi 


Magnificent,  for  ■whom  he  worked  in  mosaic  in 
conjunction  with  Ghirlandaio  in  the  cathedral  of 
Florence,  and  by  Matthias  Corvinus,  King  of 
Hungary,  whose  Bible,  illuminated  by  him,  is  in 
the  library  of  the  Vatican,  and  is  a  lasting  memorial 
of  the  excellence  of  Gherardo's  art.  A  Missal 
of  the  year  1494,  in  the  Laurentian  Library  at 
Florence,  and  a  Breviary  in  the  National  Library 
in  Paris,  are  also  ascribed  to  him.  In  the  Bologna 
Gallery  is  a  picture  of  the  'Marriage  of  St. 
Catharine.' 

GHERINGH,  Antonius,  was  a  Flemish  painter 
of  the  17th  century.  He  decorated  churches  in 
the  Renaissance  style,  and  pictures  of  his  may  be 
seen  in  the  Dresden  and  Vienna  Galleries.  He 
was  made  free  of  the  Guild  of  St.  Luke  in  1662, 
and  died  at  Antwerp  in  1667  or  1668.  In  the 
Munich  Gallery  is  a  picture  of  the  '  Interior  of 
,the  Jesuit  Church  at  Antwerp,'  with  the  date  1663. 

6HERWETT, van,  a  pupil  of  Rembrandt, 

lived  in  the  middle  of  the  17th  century.  In  the 
Munich  Gallery  is  a  picture  by  this  artist  of 
'  Abraham  on  the  point  of  sacrificing  Isaac' 

GHERZO,  DoMENico,  commonly  known  as 
DoMENico  Di  Babtolo,  was  born  at  Asciano  in  the 
early  part  of  the  15th  century.  He  belongs  to  the 
decline  of  Sienese  art.  The  frescoes  which  he 
executed,  in  1435-40,  in  the  sacristy  of  the  cathedral 
of  Siena,  have  perished  ;  but  a  weak  production, 
illustrating  various  works  of  mercy  in  connection 
with  the  institution,  in  the  hospital  of  Santa  Maria 
della  Scala,  Siena,  still  exists,  with  the  exception 
of  the  Angel  of  Mercy.  This  work  was  painted 
between  1440  and  1444,  and  after  that  date  nothing 
further  is  recorded  of  him.  His  death  appears  to 
have  occurred  in  1449.  The  galleries  of  Berlin, 
Bruges,  Perugia,  Rouen,  and  Siena  have  works 
ascribed  to  Domenico  di  Bartolo. 

GHEYN,  De.     See  Db  Ghbyn. 

GHEYSELS,  Pebtek.     See  Gtsels. 

GHEZZI,  Giuseppe,  son  of  Sebastiano  Ghezzi, 
was  born  in  1634  in  the  Comunanza,  near  Ascoli, 
and  was  for  some  time  instructed  by  his  father ; 
but  he  afterwards  went  to  Rome,  where  he  studied 
the  works  of  Pietro  da  Cortona,  whose  style  he 
adopted.  He  was  employed  and  highly  esteemed 
by  Pope  Clement  XL,  and  at  the  time  of  his  death, 
in  1721,  was  secretary  to  the  Academy  of  St.  Luke 
at  Rome. 

GHEZZI,  Pier  Leone,  who  was  bom  at  Rome 
in  1674,  was  the  son  of  Giuseppe  Ghezzi,  and 
studied  under  his  father,  whom  he  surpassed.  In 
conjunction  with  L.  Garzi,  F.  Trevisani,  and  B. 
Luti,  he  was  employed  by  Benedict  XIV.  to  paint 
'  The  Prophets '  in  San  Giovanni  in  Laterano,  and 
in  other  works.  He  was  also  employed  in  several 
considerable  works  by  the  Duke  of  Parma,  who 
conferred  on  him  the  order  of  the  Golden  Spur. 
But  he  was  most  celebrated  for  his  talent  in  carica- 
ture, and  his  works  of  that  description  are  fre- 
quently found  in  the  collections  at  Rome,  where  he 
died  in  1755.  There  are  by  him  a  few  etchings, 
executed  in  a  clear,  neat  style,  from  his  own 
designs,  and  after  the  works  of  his  father.  Among 
them  are: 

The  Virgin  and  Infant  Jesus;  after  Giuseppe  Ghezzi. 
1700. 

Portrait  of  the  Abbate  Pietro  Palatio. 

Portrait  of  Nicola  Zabaglia,  engineer  of  St.  Peter  9. 

GHEZZI,  Sebastiano,  was  bom  in  the  Comu- 
nanza, near  Ascoli,  and  flourished  about  the  year 
1634.    He  was  a  scholar  of  Guercino,  and  painted 

00  2 


historical  subjects  with  some  success.  At  the 
Barefooted  Augustines  at  Monsammartino,  there  is 
a  fine  picture  by  him  of  '  St.  Francis  receiving  the 
Stigmata.' 

GHEZZO,  Guidons  da.    See  Siena. 

GHIRLANDAIO.     See  Bigoedi. 

GHISI,  Adamo.     See  Sculptore. 

GHISI,  Diana.    See  Sculptoeb. 

GHISI,  Giorgio,  called  Giorgio  Mantovano,  was 
born  at  Mantua  in  1520,  and  died  in  the  same  city 
in  1582.  He  was  tlie  elder  brother  of  Teodoro 
Ghisi,  and  like  him  a  pupil  of  Giulio  Romano.  He 
became  one  of  the  chief  artists  in  damascene  work. 
He  drew  the  nude  very  correctly,  and  excelled 
more  particularly  in  the  depicting  of  hands  and 
feet,  but  his  representations  are  all  very  much 
alike,  and  his  style  is  very  monotonous.  This  defect 
is  particularly  discernible  in  his  immense  print 
of  the  'Last  Judgment,'  after  Michelangelo. 
His  engravings,  especially  those  after  the  works  of 
Raphael  and  Michelangelo,  approach  in  the  excel- 
lence of  their  drawing  and  execution  those  of 
Marc-Antonio.  They  are  generally  signed  with  his 
name,  or  marked  with  the  cipher  ^  j^jrT\  aV/^ 
The  following  are  his  principal  v:»x\r  tlWL  • 
plates : 

Portrait  of  Pope  Julius  II. ;  after  Baphael. 

The  Holy  Pamily,  half-lengths ;  after  the  same. 

The  School  of  Athens ;  after  the  same.    Two  sheets. 

The  Dispute  of  the  Sacrament ;  after  the  same. 

An  emblematical  subject ;  sometimes  called  '  Eaphael's 
Dream,'  and  sometimes  '  The  Melancholy  of  Michel- 
angelo.' It  represents  an  old  man  looking  at  a  ship- 
wrecked vessel,  whilst  a  nymph  appears  approaching 
him;  in  the  background  are  seen  several  horrible 
and  fantastical  figures.  It  is  inscribed  Baphelis 
Vriinatis  inventum,  ^c,  and  on  a  tablet,  Georgius 
Ghisi  Mant.  F.    1561.  . 

The  Prophets  and  Sibyls ;  after  the  paintings  by  Michel- 
angelo, in  the  Sistine  Chapel.     Six  large  plates. 

The  Last  Judgment ;  after  the  same.    Ten  large  plates. 

An  allegorical  subject,  representing  the  Birth  of  a 
Prince  of  the  House  of  Gonzaga ;  after  Giulio  Romano. 
1568. 

Oupid  and  Psyche  crowned  by  Hymen  ;  after  the  same. 

The  Birth  of  Memnon ;  after  the  same  ;  very  fine. 

Cephalus  and  Procris ;  after  the  same. 

The  Interview  between  Hannibal  and  Scipio ;  after  the 
same. 

Eegulus  led  to  death  by  the  Carthaginians ;  after  the 
same. 

Eegulus  shut  up  in  the  Tun ;  after  the  same. 

Venus  in  the  Forge  of  Vulcan,  sharpening  the  Arrows 
of  Cupid ;  after  Perino  del  Vaga. 

Venus  and  Mars ;  after  Eaffaello  Motta. 

An  allegorical  subject,  representing  a  Judge  on  his 
Tribunal,  with  an  Ass's  Ears  ;  after  Luca  Penni. 

Endymion  carrying  Diana  to  the  Chase  on  his  shoul- 
ders ;  after  the  same. 

Hercules  conquering  the  Hydra;  after  Giovanni  Bat- 
tista  Sculptore. 

The  Judgment  of  Paris  ;  after  the  same. 

The  Siege  of  Troy ;  after  the  same. 

The  Taking  of  Troy  ;  after  the  same. 

A  print  representing  tombs,  skeletons,  &c.,  called 
'  The  Eesurrection  of  the  Dry  Bones ; '  after  the  same. 

Venus  and  Adonis ;  after  Teodoro  Ghisi. 

Angelica  and  Medora  ;  after  the  same. 

The  Birth  of  the  Virgin ;  after  £.  Spranger. 

The  Trinity ;  after  his  own  design.    1576. 

'The  Adoration  of  the  Shepherds;  after  Ange'o  Sron- 

zino ;  in  two  sheets.     1554. 
The  Last  Supper  ;  after  Lambert  Lombard. 
The  Visitation  of  the  Virgin  to  St.  Elizabeth ;  after  hxs 

own  design. 
The  Crucifixion ;  after  the  same. 


GHISI,  Giovanni  Battista. 


See  SotJLPTOEB. 
563 


GMsi 


A  BIOGRAPHICAL  DICTIONARY  OF 


Giarola 


GHISI,  Teodoeo,  called  Teodobo  Mantovano, 
■was  born  at  Mantua  in  1536.  He  was  the  younger 
brother  of  Giorgio  Ghisi,  and  had  the  advantage 
of  being  educated  under  Giulio  Romano,  one  of 
the  ablest  of  whose  scholars  he  was.  After  the 
death  of  Giulio,  he  was  selected  by  the  Duke  of 
Mantua  to  complete  the  works  which  were  left 
unfinished  by  that  great  master.  He  died  at 
Mantua  in  1601. 

GHISLANDI,  DoMBNico,  was  a  native  of  Ber- 
gamo, who  flourished  about  the  year  1662.  He 
excelled  in  painting  architectural  and  perspective 
views  in  fresco ;  though  he  occasionally  painted 
historical  subjects.  Tassi  mentions  some  pictures 
of  the  life  and  miracles  of  St.  Francis  of  Paola 
by  him,  in  the  cloisters  of  the  Padri  Minimi  at 
Bergamo ;  and  in  the  Palazzo  Terzi  is  a  saloon 
ornamented  with  architecture,  in  which  the  figures 
are  painted  by  Giacomo  Barbella. 

GHISLANDI,  Pra  Vittore,  called  'II  Frate 
Paolotto,'  the  son  of  Domenico  Ghislandi,  was 
born  at  San  Leonardo,  in  the  Bergamese  state,  in 
1655.  He  was  a  scholar  of  Sebastiano  Bombelli, 
but  he  soon  went  to  Venice,  where  he  in  1675  entered 
the  convent  of  St.  Francis  of  Paola,  and  became  a 
most  accomplished  portrait  painter.  He  died  at 
Venice  in  1743.  In  the  Bothan  Gallery  there  is  by 
him  a  lifelike  picture  of  a  young  Bergamese. 

GHISOLFI,  Giovanni,  (or  Geisolfi,)  born  at 
Milan  in  1632,  was  a  pupil  of  Salvator  Rosa.  There 
are  two  architectural  compositions  of  '  Ruins '  by 
him  in  the  National  Gallery  of  Scotland.  His 
'  Marius  among  the  Ruins  of  Carthage,'  and  several 
of  his  decorative  pictures  are  in  the  Dresden 
Gallery.     He  died  at  Milan  in  1683. 

GHISONI,  Fbrmo.     See  Guisoni. 

GHISSI,  Peancesouccio,  was  living  at  Fabriano 
in  the  14th  century,  and  is  the  author  of  an  altar- 
piece  of  the  '  Virgin  and  Child,'  with  rays  issuing 
from  the  person  of  the  Virgin,  which  illuminate  the 
darkness,  symbolised  by  a  crescent  moon  and  stars 
on  a  dark  blue  background ;  it  is  dated  1374,  and 
is  now  in  the  Augustine  church  of  San  Salvatore 
at  Monte  Giorgio.  The  Fornari  collection  at 
Fabriano  possesses  a  '  Virgin  and  Child,  between 
two  kneeling  Angels,'  which  is  signed  by  him  in 
1395.  Other  examples  by  this  artist  may  be  seen 
in  the  church  of  San  Domenico  at  Fermo ;  at 
Ascoli ;  and  in  the  Museo  Cristiano  at  Rome. 

GHISSONI,  Ottavio,  was  a  native  of  Siena, 
who  at  an  early  age  went  to  Rome,  where  he 
studied  several  years,  chiefly  under  Cherubino 
Alberti.  In  1610  he  visited  Genoa,  and  was  for 
some  time  a  scholar  of  Ventura  Salimbeni.  He 
painted  some  pictures  in  fresco  for  the  public 
edifices. 

GHITTI,  PoMPEO,  was  born  at  Marone,  a  small 
town  near  Brescia,  in  1631.  He  was  first  a  scholar 
of  Ottavio  Amigoni,  but  afterwards  went  to  Milan, 
where  he  studied  five  years  under  Giovanni  Bat- 
tista  Discepoli,  called  '  Lo  Zoppo  di  Lugano,'  to 
whom  he  subsequently  became  assistant.  His 
death  is  assigned  to  the  year  1703,  though  it  is 
stated  that  one  of  his  works  bears  the  date  1704. 
Four  etchings  by  him  are  known  ;  they  are,  '  The 
Holy  Family  ; '  '  The  Rest  in  Egypt,'  after  Disce- 
poli ;  '  The  Crowning  with  Thorns,'  after  Titian ; 
and  '  St.  Maurus  healing  the  Sick.' 

GHUENS,  BouDEWYN,  (Gheens,  or  Gebns,)  a 
Flemish  painter,  born  at  Mechlin  in  1599,  was  a 
son  of  Jan  Ghuens,  called^^  Prins.'  He  was  still 
living  in  1672. 

564 


GHUENS,  Jacob,  a  native  of  Mechlin,  was  a 
painter  who  flourished  about  1558. 

GHUENS,  Jan,  a  native  of  Mechlin,  painted  in 
1528  a  picture  of  '  Christ  on  the  Cross,'  surrounded 
by  different  figures. 

GHUENS,  Jan,  called  '  Peins,'  or '  Peinske  ' (the 
'Little  Prince'),  flourished  at  the  end  of  the  16th 
and  beginning  of  the  17th  century.  The  Museum 
at  Mechlin  has  a  picture  by  this  artist  of  the 
'  Siege  of  Lierre '  in  1595.  In  1696  he  executed  a 
strategical  plan  of  Mechlin  and  its  surroundings. 
He  died  at  Mechlin  after  1617. 

GIACCHINETTI  GONZALEZ,  Juan,  called  II 
BoEGOGNONB  DALLE  Testb,  a  Spanish  portrait 
painter,  was  born  at  Madrid  about  1630.  It  is 
not  known  by  whom  he  was  instructed,  but  his 
best  studies  were  from  the  works  of  Titian.  He 
excelled  in  portrait  painting,  and  from  his  extra- 
ordinary talent  in  that  branch,  acquired  the  name 
of  '  II  Borgognone  dalle  Teste.'  About  the  middle 
of  his  life  he  went  to  Italy,  and  painted  many 
portraits  at  Brescia  and  Bergamo.  He  died  at 
the  latter  city  in  1696. 

GIACHETTO.     See  Jaquet. 

GIALDISI,  Feancesco,  or  Giovanni.  According 
to  Zaist,  in  his  'Notizie  de'  Pittori  Cremonesi,' 
this  painter  was  of  Parma,  but  flourished  at  Cre- 
mona about  the  year  1720.  He  excelled  in  painting 
flowers  and  fruit,  and  particularly  in  his  pictures 
of  still-life,  such  as  carpets,  with  musical  instru- 
ments, books,  &c.,  which  he  represented  with  a 
fidelity  of  form  and  a  truth  of  colour  which  are 
admirable. 

GIAMBONO.     See  Boni,  Michele  Giovanni. 

GIAMPICCOLI,  GiULiANO,  an  Italian  engraver, 
was  born  at  Venice  in  1698.  He  was  the  nephew 
of  Marco  Ricci,  and  his  style  renders  it  probable 
that  he  was  brought  up  in  the  school  of  Wagner. 
He  was  still  living  in  1765.  He  engraved  several 
plates  after  Marco  Ricci  and  others,  among  which 
are  the  following : 

A  set  of  twelve  Landscapes,  with  a  frontispiece ;  after 

Marco  Hied. 
A  set  of  four  pretty  Pastoral  Subjects. 
A  set  of    four  Landscapes;    after  M.   Sicci   and  F. 

Zuccarelli. 

GIANCARLI,  PoLiFiLO.     See  Zancarli. 

GIANNETTI,  Filippo,  was  a  landscape  painter 
of  Messina,  who  studied  under  the  Dutch  painter 
Casembroodt.  He  excelled  his  master  in  the  great- 
ness of  his  designs,  but  was  not  his  equal  in 
execution.  He  painted  so  quickly  that  he  was 
called  '  The  "  Fa  presto  "  of  Landscape  Painters.' 
He  died  at  Naples  in  1702. 

GIANNICOLA  m  PAOLO  MANNI.   See  Mannj. 

GIANNUZZI,  Giulio  del     See  Dei  Giannuzzi. 

GIANOLI,  Pieteo  Feancesco,  bom  at  Camper- 
togno  about  1620,  was  a  pupil  of  Antonio  Rossi. 
His  portrait  is  in  the  Brera  at  Milan,  where  he 
died  about  1690. 

GIAQUINTO,  Coeeado.    See  Coerado. 

GIAROLA,  Antonio,  (or  Gerola,)  called  'II 
Cavaliere  Coppa,'  was  born  at  Verona  in  1595,  and 
studied  at  Bologna  under  Guido  and  Albani.  In 
the  church  of  San  Bernardo  at  Bologna  is  a  picture 
by  him  of  '  St.  Maurus  kneeling  before  the  Virgin 
and  Infant ; '  but  he  is  seen  to  more  advantage  in 
his  '  Magdalen  in  the  Desert,'  in  the  church  of 
the  Padri  Servi.  In  the  refectory  of  the  seminary 
at^  Verona  is  a  fine  picture  by  Giarola  of  '  Christ 
with  the  Disciples  at  Emmaus.'  His  pictures  are 
crowded  with  figures.     He  died  in  1665. 


Griarola 


PAINTERS  AND  ENGEAVERS. 


Gierymski 


GIAROLA,  Giovanni,  a  painter  of  Reggio,  who 
died  in  1557,  is  said  to  have  heen  a  pupil  of 
Correggio.  He  executed  paintings  at  Parma,  which 
have  perished,  but  wall-pictures  of  his  are  still  to 
be  seen  in  the  Donelli  Palace  at  Reggio. 

GIBB,  Robert,  a  Scottish  landscape  painter,  was 
born  at  Dundee  about  the  beginning  of  the  19th 
century,  and  on  the  formation  of  the  Royal  Scottish 
Academy  in  1830,  was  elected  one  of  its  first 
members.  He  died  in  1837.  The  following  works 
by  him  are  in  the  National  Gallery  of  Scotland : 

Craigmillar  Castle. 

Borthwiok  Oastle. 

View  near  Edinburgh. 

GIBBON,  Benjamin  Phelps,  a  line-engraver, 
was  bom  in  1802.  He  was  the  son  of  the  vicar 
of  Penally,  Pembrokeshire,  and  after  having  been 
educated  at  the  Clergy  Orphan  School,  learned  en- 
graving under  Scriven  and  J.  H.  Robinson.  He 
died  in  London  in  1851.     Amongst  his  plates  are : 

The  Twa  Dogs ;  after  Sir  Edwin  Landseer. 
Suspense ;  after  the  same. 
Jack  in  Office ;  after  the  same. 
A  Fireside  Party ;  after  the  same. 
The  Highland  Shepherd's  Home ;  after  the  same. 
The  Shepherd's  Chief  Mourner ;  after  the  same. 
The  Shepherd's  Grave ;  after  the  same. 
There's  no  Place  like  Home ;  after  the  same. 
Roebuck  and  Bough  Hounds ;  after  the  same. 
The  Wolf  and  the  Lamb ;  after  MvXready. 
Portrait  of  Queen  Victoria ;  full-length. 

GIBBLIN,  Esprit  Antoine,  a  French  historical 
painter,  was  bom  at  Aix  in  1739.  He  studied 
under  Arnulfi  at  Florence,  and  resided  for  a  long 
time  in  Italy,  receiving  in  1768  a  prize  from 
the  Academy  of  Parma.  He  returned  to  France 
in  1771,  and  revived  fresco  painting  in  mono- 
chrome. The  frescoes  decorating  the  School  of 
Medicine  in  Paris  are  by  him.  He  died  at  Aix  in 
1813.  There  is  in  the  Museum  of  Aix  a  picture 
by  him  entitled,  '  Post  equitem  sedet  atra  cura.' 

GIBERTONI,  Paolo,  was  a  native  of  Modena, 
who  flourished  about  the  year  1760.  He  resided 
chiefly  at  Lucca,  and  excelled  in  grotesque  subjects 
in  fresco,  in  which  he  introduced  little  animals  of 
every  description.  He  also  painted  landscapes, 
which  were  esteemed  in  his  time,  and  have  in- 
creased in  value  since  his  death. 

6IB0Y, ,  a  French  engraver,  who  flourished 

from  1810  to  1824,  executed  a  print  of  '  Apollo  and 
the  Hours,'  and  vignettes  for  Tasso's  'Gerusa- 
lemme  liberata,'  after  Perrenot,  as  well  as  plates 
after  Swebach  de  Fontaine,  and  others,  for  the  work 
of  the  Comte  de  Clarac  on  the  Louvre.  Among  his 
other  plates  the  following  may  be  mentioned  : 

Gaspard  I'AvisS ;  after  Horace  Vemet. 
The  Year,  drawn  by  the  twelve  months ;  after  Perrenot. 
The  Miraculous  Draught  of  Fishes ;  after  Jouvenet. 
The  Entry  of  Henry  IV.  into  Paris ;  after  Girard. 

GIBSON,  David  Cooke,  a  Scottish  genre  painter, 
was  bom  at  Edinburgh  in  1827.  He  was  at  first 
taught  by  his  father,  who  died  early.  He  then,  by 
his  own  exertions,  was  enabled  to  enter  the  schools 
of  the  Royal  Scottish  Academy,  and  afterwards  to 
study  in  London,  Belgium,  and  Paris.  His  works 
first  appeared  at  the  Royal  Academy  in  1865,  and 
he  was  showing  much  promise,  when,  after  a  visit  to 
Spain,  he  died  in  London  in  1856.  His  exhibited 
pictures  were : 

The  Little  Stranger.    1855. 
Rustic  Education.    1855. 
Un  Corrillo  Andaluz.     1856. 
Gipsies  of  Seville.    1857. 


GIBSON,  Edward,  an  English  portrait  painter  of 
the  17th  century,  was  the  son,  or  near  relative,  of 
Richard  Gibson  the  Dwarf,  and  was  also  his  pupil 
He  died  in  his  33rd  year. 

GIBSON,  Patrick,  a  Scottish  landscape  painter, 
was  born  at  Edinburgh  in  1782.  He  received  a 
good  general  education,  and  then  studied  under 
Nasmyth,  and  in  the  Trustees'  Academy.  He  did 
much  literary  work,  contributing  to  the  'Encyclo- 
paedia Edinensis,'  the  'Edinburgh  Encyclopaidia,' 
the  'Edinburgh  Annual  Register,'  and  the  'New 
Edinburgh  Review. '  In  1818  he  published  a  volume 
of  etchings  of  Edinburgh.  He  left  Edinburgh  in 
1824,  and  settled  as  a  teacher  at  Dollar,  where  he 
died  in  1829.  His  works  are  in  the  classic  style, 
and  there  is  a  characteristic  '  Landscape  Composi- 
tion '  by  him  in  the  National  Gallery  of  Scotland. 

GIBSON,  Richard,  usually  called  '  The  Dwarf,' 
from  his  diminutive  size,  being  only  three  feet  ten 
inches  in  height,  was  born  in  1615,  probably  in  Cum- 
berland. He  was,  when  a  boy,  page  to  a  lady  at 
Mortlake,  who,  perceiving  in  him  a  disposition  for 
art,  placed  him  under  the  care  of  Franz  Cleyn, 
under  whom  he  made  considerable  progress.  His 
talent  attracted  the  notice  of  King  Charles  I.,  who 
made  him  one  of  his  pages.  It  is  reported  in 
Walpole's  'Anecdotes  of  Painting,'  that  he  was 
married  to  a  little  lady  of  his  own  height,  named 
Anne  Shepherd,  and  that  their  marriage  was  cele- 
brated in  the  presence  of  Charles  I.  and  his  Queen, 
who  ordered  a  diamond  ring  for  the  bride ;  but 
the  troubles  coming  on,  she  never  received  it. 
The  union  of  this  diminutive  couple  was  com- 
memorated by  Waller  in  one  of  his  prettiest  poems. 
After  the  death  of  the  king,  Gibson  was  taken  under 
the  protection  of  Philip,  Earl  of  Pembroke,  and  is 
said  to  have  painted  the  portrait  of  Oliver  Crom- 
well several  times.  When  Sir  Peter  Lely  visited 
England,  Gibson  improved  himself  greatly  by  copy- 
ing the  portraits  of  that  master ;  and  he  rose  into 
such  repute  that  he  was  sent  to  Holland  to  teach 
the  Princess  Mary  to  draw,  and  had  also  the  honour 
of  instructing  Queen  Anne.  He  lived  to  the  age  of 
75,  and  died  in  1690.  His  widow  died  in  1709,  at 
the  age  of  89.  They  had  nine  children,  five  of 
whom  lived  to  grow  up  to  the  ordinary  stature  of 
mankind. 

GIBSON,  Susan  Penelope,  a  miniature  painter, 
the  daughter  of  Richard  Gibson  the  Dwarf,  was 
born  in  1653,  and  died  in  1700.  There  is  a  portrait 
of  Bishop  Burnet  by  her. 

GIBSON,  Thomas,  a  portrait  painter,  was  bom 
about  1680.  His  art  was  good,  and  he  had  a 
large  practice.  Highmore  said  that  Thomhill  was 
much  indebted  to  him.  He  retired  to  Oxford  in 
1730,  but  returned  again  to  London,  where  he  died 
in  1751.    Amongst  his  works  are : 

Flamstead,  the  astronomer.    (Boyal  Society/,  London.) 

Vertue,  the  engraver.    (Society  of  Antiquaries,  London.) 

Archbishop  Wake.     {National  Portrait  Gallery.) 

GIBSON,  William,  a  miniature  painter,  born  in 
1644,  was  a  nephew  of  Richard  Gibson  the  Dwarf, 
under  whom  and  Lely  he  studied.  He  made  many 
copies  of  the  latter's  works,  and  purchased  part  of 
his  collection.     He  died  in  1702. 

GIERYMSKI,  Max,  a  Polish  genre  painter,  was 
born  at  Warsaw  in  1846.  His  father,  a  military 
administrative  ofEcer,  sent  him  to  the  Polytechnic 
School  in  Pulawy  to  learn  mechanics.  In  1863  he 
took  part  in  the  Polish  Revolution,  and  remained 
till  January,  1864,  an  ofScer  of  the  national  troops. 
He  visited  the  University  of  Warsaw  after  peace 

663 


GiesmanXL 


A  BIOGRAPHICAL  DICTIONAEY  OF 


Gilardi 


had  been  signed,  and  showed  a  great  inclination  for 
music  ;  but  the  Governor,  General  Berg,  persuaded 
him  to  devote  himself  to  painting,  and  helped  him 
with  an  allowance,  by  which  he  was  enabled  to  visit 
the  University  of  Munich,  where  his  great  talent 
was  developed  under  Alexander  Wagner  and 
Franz  Adam.  In  1870  he  estabhshed  a  studio  of 
his  own.  In  1872  he  revisited  his  native  land,  but 
had  to  go  to  Meran  in  1873  on  account  of  his 
health,  which  his  life  as  a  soldier  had  greatly  im- 
paired ;  he  spent  the  summer  at  Eeichenhall,  and 
the  winter  at  Kome,  but  returned  to  Eeichenhall 
in  a  worse  condition,  and  died  there  in  1874. 
His  first  picture  was  'An  Attack  by  Cossacks.' 
He  afterwards  devoted  his  time  to  winter  scenes, 
rainy  landscapes,  moonlight  nights,  and  so  forth, 
all  more  or  lees  of  a  melancholy  cast.  Other  well- 
known  pictures  by  him  are  : 

A  Polish  Spinning-room. 
Duel  with  Pistols  on  Horseback. 
Jews  at  the  Evening  Prayer. 
A  Visit  by  Moonlight. 
The  Meet  for  the  Hunt. 
Cossafiks  in  a  Country  Street. 

Hunting  in  the  reign  of  Louis  XIV.    {Berlin  National 
Gallery.) 

GIESMANN,  Feiedeich,  an  historical  painter, 
born  at  Leipsic  in  1810,  was  the  son  of  a  sculptor 
and  wood-engraver,  and  devoted  himself  to  the 
study  of  sculpture  for  a  while,  but  afterwards 
abandoned  it  for  painting.  He  took  to  the  depict- 
ing of  scenes  from  nature,  and  in  particular  of 
wild  beasts  from  a  menagerie  ;  further  on  he  pro- 
duced portraits.  He  received  the  patronage  of 
the  King  of  Saxony  during  a  two  years'  stay  at 
Dresden,  but  in  1832  he  left  that  city  for  Munich, 
with  the  intention  of  devoting  himself  exclusively 
to  historical  painting.^  He  died  there  in  1847.  He 
executed  numerous  wall  paintings,  as  well  as  de- 
corative and  encaustic  work,  and  he  assisted  Schnorr 
von  Karolsfeld  in  adorning  the  halls  of  the  new 
royal  residence  at  Hohenschwangau,  where  he 
painted  from  Schnorr's  cartoons  five  large  wall 
pictures  from  the  lives  of  Charlemagne,  Eudolf  of 
Hapsburg,  and  Frederick  Barbarossa,  as  well  as 
four  friezes  from  his  own  designs.  Of  his  easel 
paintings,  '  The  Parable  of  the  Prodigal  Son '  is 
specially  praised. 

GIFiTLEUGEN,  Josse,  a  painter  and  engraver, 
was  a  native  of  Courtrai,  who  was  living  in  1545. 
His  original  name  was  Van  Gulleghem,  hut  he 
changed  it  for  some  unknown  reason.  He  engraved 
the  wood-cuts  for  Hadrianus  Junius's  '  Emble- 
mata,'  printed  at  Antwerp  in  1685. 

GIFFAET,  PlEREE,  was  born  in  Paris  in  1638. 
He  engraved  a  considerable  number  of  portraits 
and  book  ornaments,  which  are  neatly  executed 
with  the  graver,  but  without  much  taste,  though 
his  merit  was  sufficient  to  procure  him  admission 
into  the  Academy  in  1682,  and  the  distinction  of 
engraver  to  the  king.  He  died  in  Paris  in  1723. 
The  following  prints  are  by  him : 

PORTRAITS. 

Marie  Anne  Victoire  of  Bavaria,  Dauphiness  of  France. 
Fran9oise  d'Aubigud,  Marchioness  de  Mainteuon. 
Philip,  sou  of  Thomas  XIII.,  Count  of  Savoy. 
Edward,  son  of  Amadeus  XV.,  Count  of  Savoy. 

VARIOUS   SUBJECTS. 
A  set  of  Medals  from  the  French  King's  Cabinet. 
A  Bet   of  designs  for  Chimney-pieces ;  twenty  plates, 
engraved  in  conjunction  with  Scotin  ;  after  Berain. 

566 


GIFFOED,  George,  an  engraver  of  portraits, 
flourished  about  the  year  1640.  He  was  chiefly 
employed  by  the  booksellers,  and  his  plates  are  very 
indifferently  executed.  Among  others,  he  engraved 
the  following : 

Hugh  Latimer,  Bishop  of  'Worcester. 

Sir  Edward  Marmion. 

John  Bate ;  prefixed  to  his  '  Mysteries  of  Nature,'  1635. 

GIFFOED,  Sandeoed  Eobinson,  an  American 
landscape  painter,  was  born  at  Greenfield,  in  Sara- 
toga county,  New  York,  in  1823.  He  studied  art 
at  Hudson,  New  York,  where  he  was  influenced  by 
the  works  of  Thomas  Cole,  and  in  tlie  National 
Academy  of  Design,  New  York.  In  1850  he  visited 
England  and  the  Continent,  and  on  his  return,  in 
1851,  he  was  elected  an  Associate  of  the  National 
Academy,  and  became  a  full  member  three  years 
later.  He  subsequently,  in  1860,  started  on  a 
journey  through  parts  of  Europe,  Asia,  and  Africa, 
and  in  1870  he  visited  the  Eocky  Mountains.  His 
works  bear  ample  proof  of  the  results  of  his  travels. 
He  died  in  New  York  in  1880.  The  following  are 
some  of  his  best  paintings  : 

Mount  Mansfield.    1869. 

Twilight  on  Mount  Hunter.  (ExMMted  at  Paris  in  1867.) 

Morning  in  the  Adiroudacks.    1867. 

San  Giorgio,  Venice.   18T0.  (Exhibited  at  Fans  in  ISIS.) 

Fishing  Boats  on  the  Adriatic.    1871. 

Near  Palermo.     1876. 

The  Ruins  of  the  Parthenon.    1880. 

Sunrise  on  the  Matterhorn.     1880. 

GIGANTE,  GIAOINTO,  an  Italian  painter,  litho- 
grapher, and  etcher,  born  at  Naples  in  1806,  was 
descended  from  a  family  of  artists.  He  was  at 
first  a  geographer,  but  studied  painting  under 
Pitloo,  and  then  executed  water-colour  drawings 
for  H.  Wolfensberger,  etchings  of  the  '  Bay  of 
Naples,'  along  with  Vianelli,  and  landscape  studies 
in  lithography.  In  1846  he  accompanied  the 
Emperor  and  Empress  of  Eussia  to  Sicily,  and 
composed  an  album  of  the  island,  after  which  he 
was  appointed  drawing-master  in  the  family  of 
King  Ferdinand  II.  He  died  at  Naples  in  1876. 
He  chiefly  produced  landscapes  and  architectural 
pictures  in  water-colours,  for  which  he  received 
the  principal  prize  at  Brussels.  Two  of  his  best 
works  are :  '  The  Interior  of  the  Treasury  of  St. 
Januariua  on  the  Miracle  Day '  (Gallery  of  Capo- 
dimonte),  and  '  The  Tomb  of  Giovaimi  Caracciolo 
at  Carbonara.' 

GIGOLA,  Giovanni  Battista,  was  bom  at 
Brescia  in  1796,  and  after  studying  five  years  in 
Eome,  where  he  painted  numerous  portraits,  and 
further  in  Paris,  became  first  a  miniature,  and  after- 
wards an  enamel  painter.  He  died  at  Milan  in 
1841.  He  executed  miniatures  on  vellum  for  '  Gli 
Amori  di  Dafne  e  Cloe,'  and  Da  Porto's  '  Giulietta 
e  Eomeo,'  as  well  as  for  Byron's  '  Corsair.'  The 
Ambrosian  Library  at  Milan  also  contains  several 
admired  miniatures  by  him. 

GIL,  Geeonimo  Antonio,  a  Spanish  painter  and 
engraver,  born  at  Zamora  in  1732,  was  a  pupil  of 
Tomas  Prieto.  His  works  show  correct  drawing 
and  attention  to  technical  detail.  He  died  at 
Madrid  in  1798. 

GILAEDI,  PiETEO,  was  born  at  Milan  in  1679, 
and  was  instructed  in  art  by  Federigo  Bianchi,  hut 
he  afterwards  went  to  Bologna,  where  he  became 
a  scholar  of  Marc  Antonio  Franceschini  and 
Giovanni  GiosefEo  dal  Sole.  He  was  successful  in 
historical  painting,  and  especially  excelled  in  large 
fresco  works,  his  talents  being  particularly  adapted 


Oilardino 


PAINTERS  AND  ENGEAVEES. 


GiUot 


to  the  embellishment  of  cupolas,  ceilings,  and  other 
extensive  operations.  Such  are  his  frescoes  in  the 
refectory  of  San  Vittore  at  Milan.  The  year  of 
his  death  is  not  recorded,  but  he  was  in  his  best 
repute  from  1700  to  1718.  Sassi  completed  such 
of  his  works  as  were  left  imfinished  at  liis  death. 

GILARDINO,  Melchioreb.     See  Gbraedini. 

GILABTE,  Matbo,  a  Spanish  painter,  was  born 
at  Valencia  about  1648.  He  was  a  scholar  of 
Francisco  Eibalta,  and  proved  an  eminent  painter 
of  history,  both  in  oil  and  in  fresco,  working 
principally  in  Murcia,  where  he  formed  a  great 
friendship  with  Juan  de  Toledo,  the  battle  painter, 
with  whom  he  worked.  In  the  Madrid  Gallery  is 
a  picture  of  tiie  '  Birth  of  the  Virgin.'  In  the 
church  of  Nuestra  Senora  del  Eosario  are  three 
large  pictures  in  fresco,  representing '  Esther  before 
Aliasuerus,'  '  Jacob  wrestling  with  the  Angel,'  and 
'St. Dominic  with  other  Saints.'  For  the  convent 
of  that  church  he  painted  the  'Miracle  of  the 
Loaves  and  Fishes.'  He  died  at  Murcia  in  1700. 
His  daughter,  Magdalena  Gilaete,  painted  much 
in  his  style  for  the  cloisters  of  Murcia,  Toledo, 
and  Madrid. 

GILBERT,  Aethub.     See  V^^illiams. 

Gilbert,  John  Geaham.  See  Gbaham-Gilbebt. 

GILBERT,  Joseph  Feancis,  a  landscape  painter, 
was  born  in  1792.  He  resided  at  Chichester,  and 
exhibited  at  the  Royal  Academy  and  the  British 
Institution.  He  contributed  to  the  Vfestminster 
Hall  competition  a  picture  of  'Edwin  and  Emma.' 
He  died  in  1855.     Amongst  his  works  are  : 

View  of  East  Street,  Chichester. 

Goodwood  Race-course:  Priam  winning  the  Gold  Cup. 

View  of  the  Kuins  of  Cowdray. 

GILES,  James  William,  a  Scottish  landscape 
painter,  the  son  of  an  artist  of  local  reputation  in 
Aberdeen,  was  born  at  Glasgow  in  1801.  After 
having  studied  painting  under  his  father,  he  passed 
a  short  time  in  Italy.  In  1830  he  was  elected  a 
member  of  the  Eoyal  Scottish  Academy,  and  about 
this  time  sent  several  works  to  the  Royal  Academy. 
His  pictures  chiefly  depict  Highland  scenery, 
especially  fishing,  to  which  sport  he  was  much 
addicted.  A  picture  by  him,  '  The  Weird  Wife,' 
is  in  the  National  Gallery  of  Scotland.  He  died  at 
Aberdeen  in  1870. 

GILFILLAN,  John  A.,  a  Scottish  painter,  was 
in  his  early  life  in  the  Royal  Navy.  He  afterwards 
devoted  himself  to  art,  and  from  1830  to  1840 
held  the  appointment  of  professor  of  painting 
in  the  Andersonian  University  at  Glasgow.  He 
afterwards  emigrated  to  New  Zealand,  where  he 
died.  In  the  Glasgow  Corporation  Galleries  is  a 
picture  of  'Robinson  Crusoe  landing  stores  from 
the  Wreck ; '  and  in  the  South  Kensington  Museum 
is  a  picture  of  a  '  Scotch  Loch.' 

6ILI0,  a  native  of  Siena,  painted  a  book-cover, 
preserved  in  the  Academy  of  Arts,  representing  a 
monk  of  St.  Galgano  in  a  white  dress,  seated  in 
profile  on  a  chair,  dated  1257. 

GILIOLI,  GlAciNTO,  a  Bolognese  painter,  born 
in  1584,  was  brought  up  in  the  school  of  the  Car- 
racci.  Of  his  works  at  Bologna,  the  most  esteemed 
are  his  picture  of  the  '  Death  of  St.  Joseph '  in 
Santa  Mattia,  and '  David  with  the  Head  of  Goliath ' 
in  San  Salvatore.     He  died  in  1665. 

GILL,  Charles,  a  portrait  painter,  was  the  son 
of  a  pastry-cook  at  Bath.  He  became  a  pupil 
of  Sir  Joshua  Reynolds,  and  exhibited  a  few 
portraits  at  the  Royal  Academy  between  1772 
and  1819. 


GILLAEDINI,  Melchioeee.  See  Geeabdini. 
GILLBEEG,  Jacob,  a  Swedish  engraver,  was 
born  in  Wermland  in  1724.  He  engraved  several 
portraits  of  distinguished  personages  of  Sweden  ; 
and  afterwards  went  to  Paris,  where  he  executed 
several  plates  in  imitation  of  chalk  drawings ; 
among  which  were  sonie  heads  after  Raphael,  and 
some  landscapes  engraved  jointly  with  Demarteau. 
He  died  in  1793. 

GILLBERG,  Jacob  Axel,  a  Swedish  miniature 
painter,  the  elder  son  of  Jacob  Gillberg,  was  bom 
in  Westmanland  in  1769.  He  is  known  by  his 
equestrian  portrait  of  Charles  XIII.,  and  his  por- 
traits of  Charles  XIV.  (Bernadotte)  and  his  Queen, 
after  Gerard.  The  date  of  his  death  is  not  known. 
GILLE,  Jean  Baptiste.  See  Colson. 
GILLEMANS,  Jan  Paulo,  a  fruit  and  flower 
painter,  born  at  Antwerp  in  1650,  was  the  pupil  of 
Georgius  van  Son.  In  1673,  along  with  his  brother, 
Pieter  Matthias,  he  was  made  free  of  the  Guild  of 
St.  Luke.  He  then  went  to  Paris,  and  from  there 
in  1713  to  Amsterdam.  He  is  said  to  have  fallen 
into  a  canal  and  been  drowned  about  1742.  There 
are  by  him  a  signed  picture  in  tlie  Museum  at  Lille, 
and  another  in  the  South  Kensington  Mu.seum. 

GILLEMANS,  Pietee  Matthiap,  brother  of 
Jan  Paulo,  was  born  at  Antwerp,  where  he  also 
died  in  1692.  He  had  a  high  reputation  as  a  fruit 
and  flower  painter. 
GILLES  OF  Antweep.  See  Congnet. 
GILLIG,  Jakob,  (or  Gellig,)  a  Dutch  painter, 
was  born  at  Utrecht  about  the  year  1636,  and 
is  stated  by  Balkema  to  have  died  there  in  1688. 
He  excelled  in  painting  fish,  which  he  represented 
with  great  fidelity.  He  also  painted  portraits,  and 
it  is  said  landscapes.  Several  of  his  works  are  in 
the  Berlin  and  Cassel  G  alleries,  and  the  Kunsthalle 
at  Carlsruhe.  He  married  a  daughter  of  Adam 
Willaarts,  the  landscape  painter. 

GILLIG,  Michiel,  a  Dutch  painter,  flourished 
in  the  latter  part  of  the  17th  century,  and  executed 
a  portrait  of  Gerard,  De  Vries  in  1685. 

GILUS,  F.,  a  painter,  bom  at  Besangon  at  the 
commencement  of  the  18th  century,  was  a  professor 
of  the  Academy  at  Tournai.  In  the  Museum  of 
that  town  are  a  '  Group  of  dead  Birds,'  a  portrait 
of  Jean  Baptiste  Fauqnez,  a  '  Head  of  an  old  Man,' 
and  'St.  Nicholas.'  He  died  at  Froidmont,  near 
Tournai,  in  1790. 

GILLIS,  Herman,  born  at  Antwerp  in  1783, 
was  a  pupil  of  Geeraerts,  and  painted  portraits  and 
historical  subjects.  In  1768  he  became  a  member 
of  the  Guild  of  St.  Luke,  and  afterwards  travelled 
in  Germany  and  Austria.  At  Vienna  he  painted  a 
portrait  of  the  famous  General  Laudon.  He 
executed  some  pictures  for  the  church  of  Hoog- 
straeten  on  the  legend  of  the  Holy  Blood,  and  in  1773 
was  appointed  Director  of  the  School  of  Design  at 
Louvain.     The  date  of  his  death  is  not  known. 

GILLOT,  Claude,  a  French  painter  and  engraver, 
was  born  at  Langres  in  1673.  He  was  sent  to 
Paris  when  young,  and  became  a  scholar  of  J.  B. 
Corneille.  He  chiefly  excelled  in  designing  fauns, 
satyrs,  and  grotesques,  in  which  he  acquired  some 
reputation,  and  was  received  into  the  Academy  in 
Paris  in  1716.  Antoine  Watteau  was  his  sdliolar, 
and  greatly  surpassed  him.  He  died  in  Paris  in 
1722.  His  works  as  a  painter  are  little  regarded  ; 
but  he  has  left  us  a  considerable  number  of  etch- 
ings, from  his  own  designs,  which  are  executed  in 
a  bold,  free  style.  Including  the  plates  he  en- 
graved for  the  ? Fables'  of  La  Mothe-Houdard, 

667- 


Gillray 


A  BIOGRAPHICAL  DICTIONAE?  OF 


Gillray 


Gersaint  makes  his  prints  amount  to  one  hundred 
and  eighty.  Among  others,  the  following  are  by 
him : 

The  Feast  of  Diana  disturbed  by  Satyrs ;  CI.  Gillot  fee. 

The  Feast  of  Bacchus  celebrated  by  Satyrs  and  Bac- 
chantes. 

The  Triumph  of  Pan  celebrated  by  Nymphs  and  Sy Ivans. 

The  Triumph  of  Faunus,  the  God  of  the  Forests. 

The  MiUc-jug  and  the  Upset  Pot. 

GILLRAY,  James,  the  most  eminent  of  English 
caricaturists,  was  born  in  1757,  and  is  supposed  to 
have  been  of  Irish  descent.  Scarcely  any  particu- 
lars of  his  early  years  are  known.  It  is  said  that 
he  was  the  son  of  a  Chelsea  pensioner,  and  a  person 
of  the  same  name,  who  was  probably  his  father, 
filled  the  office  of  sexton  to  the  Moravian  cemetery 
at  Chelsea  for  forty  years,  and  was  buried  there  in 
1799.  Like  the  illustrious  Hogarth,  and  the  cele- 
brated engraver  Sharp,  he  began  his  career  as  a 
letter  engraver,  though  we  have  been  unable  to  find 
any  specimens  of  his  works  of  that  description. 

Being  disgusted  with  this  monotonous  occupation, 
he  ran  away  from  his  employer,  joined  a  company 
of  strolling  players,  and  after  undergoing  the 
various  hardships  which  this  course  of  life  invari- 
ably entails,  he  returned  to  London,  and  became  a 
student  of  the  Royal  Academy,  where  he  pursued 
most  energetically  his  studies  in  the  art  of  design. 
That  he  must  have  attained  remarkable  proficiency 
is  very  evident  from  several  plates  which  he 
engraved  after  his  own  designs,  particularly  two 
subjects  from  Goldsmith's  '  Deserted  Village,'  in- 
scribed '  The  Village  Train '  and  '  The  Deserted 
Village,'  published  in  1784.  These  are  designed 
in  a  remarkably  free  and  picturesque  manner,  and 
have  some  resemblance  to  the  earlier  works  of 
Stothard.  They  are  exceedingly  well  engraved 
in  the  dotted  manner,  and  though  the  name  of 
his  instructor  in  this  art  is  not  known,  they  so  much 
resemble  the  works  of  the  unfortunate  Eyland, 
that  one  can  have  but  little  hesitation  in  assign- 
ing the  credit  of  the  tuition  to  him.  Among  other 
works  of  this  class,  and  executed  about  the  same 
time,  are,  a  capital  portrait  of  Dr.  Arne,  after 
Bartolozzi ;  '  Colonel  Gardiner's  last  Interview  with 
his  Children ; '  'The  Burning  of  the  Duke  of  Athole 
East  Indiaman,  1785  ; '  '  The  Wreck  of  the  Nancy 
Packet  off  Soilly,  1784 ; '  and  two  portraits  of 
William  Pitt,  all  after  his  own  designs.  The 
two  last,  though  admirable  representations  of  the 
man,  are  nevertheless  somewhat  approaching  to 
caricature.  He  also  engraved  a  few  plates  after 
Lady  Spencer's  drawings.  Either  for  the  pur- 
pose of  amusement  or  of  mystification,  he  occasion- 
ally adopted  fictitious  names.  Thus  the  following 
plates,  which  are  known  to  be  by  him,  have  other 
names  attached  to  them :  '  The  Nativity,'  after 
Copley,  J.  Hurd  fecit,  1785  ;  '  The  Return,'  a  child 
with  a  dog  in  a  landscape,  J.  Kent  fecit,  1781 ;  'A 
Storm,'  J.  Penn  fecit,  1786 ;  and  were  it  necessary, 
many  others  of  his  works  might  be  quoted  bearing 
these  names.  He  also,  on  many  of  his  earlier 
caricatures,  made  use  of  a  monogram  composed  of 
the  letters  J.  S-,  interlaced  in  such  a  manner  as  to 
resemble  that  used  by  Sayer  the  caricaturist,  which 
he  probably  adopted  to  mislead  the  public  as  to 
the  real  author  of  the  publications. 

In  1792  he  engraved  a  droll  representation  of 
« John  Bull  and  his  family  landing  at  Boulogne,'  for 
his  friend  Bunbury,  and  in  the  same  year  he  accom- 
panied De  Loutherbourg  in  his  travels  in  France 
and  Flanders  to  collect  materials  for  the  latter's 

568 


great  picture  of  the  '  Siege  of  Valenciennes.  The 
memorial  of  this  tour  is  preserved  in  two  groups, 
known  as  '  Flemish  Characters.' 

Gillray  appears  to  have  worked  as  an  engraver 
long  after  his  career  as  a  caricaturist  had  com- 
menced, for  he  engraved  in  1792  a  large  plate  after 
Northoote,  representing  the  delivery  of  the  prisoners 
from  the  Bastille,  inscribed,  '  Le  Triomphe  de  la 
Liberte,  ou,  L'Elargissement  de  la  Bastille ; '  and 
in  1794,  'Marquis  Cornwallis  receiving  the  royal 
Hostages  at  Seringapatam,'  after  the  same  painter : 
probably  the  last  of  his  productions  of  this 
description. 

Admirable  as  many  of  these  works  are,  it  is  as  a 
caricaturist  that  Gillray  is  best  known,  and  upon 
which  his  fame  entirely  rests.  In  this  art  he  has 
no  rival ;  and  the  exquisite  tact  with  which  he 
seized  upon  points,  both  in  polities  and  manners, 
most  open  to  ridicule,  is  only  equalled  by  the  con- 
summate skill  and  wit  with  which  he  satirized  them. 
His  earlier  works  are  more  carefully  than  spiritedly 
executed,  and  look  like  the  productions  of  an 
engraver  only.  The  earliest  of  his  undoubted 
caricatures,  though  many  others  antecedent  have 
been  with  great  reason  attributed  to  him,  is  dated 
1779  ;  it  is  probably  a  satire  on  the  Irish  Fortune- 
hunter,  and  is  called  'Paddy  on  Horseback,'  the 
so-called  horse  being  a  bull,  on  which  he  is  riding 
with  his  face  to  the  tail.  But  his  improveinent 
was  rapid  and  extraordinary,  and  he  soon  attained 
a  marvellous  freedom  both  of  design  and  m  the 
management  of  the  etching  needle.  It  is  said  that 
he  etched  his  ideas  at  once  upon  the  copper  without 
making  a  previous  drawing,  his  only  guides  being 
sketches  of  the  distinguished  characters  he  intended 
to  introduce  made  on  small  pieces  of  card,  which 
he  always  carried  about  with  him.  His  caricatures 
amount  to  more  than  twelve  hundred,  of  which  the 
following  are  a  few  of  the  more  important,  arranged 
according  to  the  dates  at  which  they  appeared. 

A  iV«w  Way  to  pay  the  National  DeJ>t.  George  III.  and 
his  Queen  are  coming  out  of  the  Treasury  loaded  with 
money,  which  is  overflowing  their  pockets ;  on  the 
right  is  the  Prince  of  Wales  in  a  very  shabby  condi- 
tion, gratefully  receiving  money  from  the  Duke  of 
Orleans.    April  21, 1786. 

Ancient  Music.  A  caricature  of  the  King  and  Queen  in 
ecstasy  at  a  concert  performed  by  the  ministers. 
May  10,  1787. 

Monstrous  Crates.  A  satire  on  the  grasping  avarice  of 
George  III.  and  Queen  Charlotte.     May  29,  1787. 

March  to  the  Bank.  An  etching,  executed  in  the  most 
masterly  style.    August  22, 1787. 

Market  Day.  Lord  Thurlow,  as  a  grazier,  is  attending 
Smithfleld  Market,  and  examining  the  beasts,  the 
heads  of  which  represent  the  leading  political  charac- 
ters of  the  day.    May  2, 1788. 

Election  Troops  bringing  in  their  Accounts  to  the  Pay 
Table.  A  satire  on  the  means  employed  by  ministers, 
unsuccessfully,  however,  to  frustrate  the  election  of 
Fox  for  "Westminster.  This  is  the  first  caricature  on 
which  the  name  of  Gillray  appears.     1788. 

Frying  Sprats,  and  Toasting  Mu^ns.  Two  small  but 
very  clever  caricatures  on  the  parsimonious  habits  of 
George  III.  and  Queen  Charlotte.    1791. 

Anti^Saccharites,  or  John  Bull  and  his  Family  leaving  off 
the  use  of  Sugar.  The  King  and  Queen,  from  eco- 
nomical motives,  are  enjoying  and  praising  their  tea 
without  sugar,  while  the  Princesses  are  evidently 
very  much  disgusted.  The  Eoyal  Family,  it  is  said, 
were  highly  delighted  with  this  caricature,  1792. 
A  Connoisseur  examining  a  Cooper.  A  very  bold  and 
happy  idea,  capitally  carried  out.  George  III.  is  re- 
presented almost  purblind,  looking  with  great  atten- 
tion at  a  miniature  of  Oliver  Cromwell,  by  Samuel 
Cooper,  which  he  holds  in  one  hand,  while  he  has  a 
caudle  in  the  other.    The  bitterness  of  this  satire  was 


Gillray 


PAINTERS  AND  ENGRAVEKS. 


Gilpin 


occasioned  by  the  disparaging  observations  the  King 
made  on  the  portraits  Gillray  had  sketched  during  his 
tour  in  Flanders  with  De  Loutherbourg.  The  King 
had  said, "  I  don't  understand  these  caricatures."  The 
exasperated  artist  made  this  drawing,  and  said, "  I 
wonder  if  the  royal  connoisseur  will  understand 
this?"    1792. 

Temperance  enjcn/iny  a  frugal  Meat,  and  A  Voluptuary 
under  the  fforrors  of  Digestion.  Two  most  admirable 
productions,  unsurpassed  in  humour,  design,  or 
execution.  The  temperate  habits  of  George  III.  in 
the  former,  and  the  Epicurean  manners  of  the  Prince 
of  "Wales  in  the  latter,  are  portrayed  with  the  most 
consummate  ability.    1792. 

BeTigal  Levee,  from  an  original  drawing  made  on  the  spot 
by  an  amateur.  A  very  large  and  skilfully-executed 
plate.     1792. 

The  Dagger  Scene,  or  the  Plot  discovered.  A  capital 
representation  of  a  well-known  scene  in  the  House  of 
Commons,  in  which  Edmund  Burke  was  the  chief 
performer.    1792. 

Fatigues  of  the  Campaign  in  Flanders.  The  Duke  of 
York  luxuriating  in  the  company  of  Flemish  women, 
attended  by  his  soldiers,  who  are  bringing  in  large 
bowls  of  punch.    1793. 

The  Loyal  Toast.  The  Duke  of  Norfolk  giving  his 
celebrated  toast,  "  The  majesty  of  the  people,"  at  the 
Crown  and  Anchor  Tavern,  for  which  he  was  dismissed 
from  his  offices.    1798. 

The  Consejuences  of  a  successful  French  Invasion.  A  set 
of  four  plates,  in  which  the  horrors  to  be  expected 
are  given  with  extraordinary  spirit. 

The  Cow-pock,  or  the  wonderful  effects  of  the  Tiew  Inocu- 
lation. A  very  humorous  burlesque  on  the  popular 
opinions  respecting  Jenner's  invaluable  discovery. 

L'Assemblie  Nationale,  or  a  grand  co-operative  Meeting 
at  St.  Anne^s  Hill  (the  residence  of  Charles  James 
Fox),  respectfully  dedicated  to  the  admirers  of  a  Broad- 
hotfom^d  Administration.  This  is  undoubtedly  the 
most  talented  caricature  that  has  ever  appeared. 
The  King  is  supposed  to  have  been  executed,  the 
Kepublic  proclaimed,  and  Fox,  as  first  consul,  is  hold- 
ing his  levte  at  his  house  at  St.  Anne's  Hill.  All  the 
leading  "Whigs  are  present,  of  whom  the  likenesses 
are  most  admirable,  and  in  the  right  corner  is  seen  a 
portion  of  the  figure  of  the  Prince  of  Wales,  to  whom 
this  caricature  gave  so  much  offence  that  he  offered 
a  large  sum  of  money  for  its  suppression,  which  being 
accepted,  he  ordered  the  plate  to  be  destroyed.  The 
plate,  however,  was  not  destroyed,  but  secreted,  and 
it  still  exists.    1804. 

The  King  of  Sroldingnag  and  Gulliver  (George  III.  and 
Bonaparte) ;  two  plates.    1803  and  1804. 

The  Middlesex  Election.  Sir  Francis  Burdett  dragged  in 
his  carriage  to  the  poll  by  the  Duke  of  Norfolk, 
Charles  James  Fox,  and  other  leading  Whigs.    1804. 

The  Seconciliation  (between  George  III.  and  the  Prince 
of  Wales).    Admirably  treated.    1804. 

The  Life  of  William  Cobhett,  ^oritten  by  himself.  Eight 
satirical  plates.    1809. 

Installation  of  the  Chancellor  of  Oxford  (Lord  Gren- 
ville),  August  8,  1810.  A  large  plate,  and  the  last 
political  engraving  bearing  GiUray's  name. 

Other  pieces  not  of  a  political  nature,  but  full  of 
humour,  and  sometimes  severely  satirical  on  the 
fashionable  frivolities  of  the  time,  wherein  he  did 
not  spare  the  persons  of  the  prime  leaders  of  society, 
may  be  added : 

A  Pic  Nic  Orchestra.  This  plate  contains  the  por- 
traits of  the  Marchionesses  of  Buckingham  and  Salis- 
bury, Lady  Mary  Cholmondeley,  Lord  Edgcumbe,  and 
Charles  Greville. 

Dilettanti  Theatricals.  The  same  characters  are  intro- 
duced as  in  the  preceding  plate. 

Bloitying  up  Pic  Nics.  The  same  parties  assailed  by 
Shendan  in  the  character  of  Harlequin,  assisted  by 
Mrs.  Siddons  and  John  Kemble. 

The  Bulstrode  Siren.  Mrs.  Billington  and  the  Duke  of 
Portland. 

Push-pin,    Duke  of  Queensberry  and  Miss  Vanneck. 

Twopenny  Whist.  The  party  consists  of  Betty  Marshall, 
the  assistant  to  Mrs.  Humphreys,  Mrs.  Turner,  Mr. 


Mortimer,  and  a  German  of  the  name  of  Schotter. 

Betty  Marshall  is  showing  the  trump  card. 
Cockney  Sportsmen ;  four  plates.    1800. 
Elements  of  Skating  ;  four  plates.     1805. 
Bake's  Progress  at  the  University  ;  five  plates.     1806. 

Gillray  executed  a  series  of  twenty  stippled 
plates,  usually  printed  in  a  red  colour,  bearing-  the 
title  '  Hollandia  Regenerata.'  They  have  Dutch 
inscriptions,  were  published  in  Holland,  and  were 
intended  principally  to  ridicule  the  republican  cos- 
tumes and  appointments.  The  last  plate  published 
during  his  life  was  'A  Barber's  Shop  in  Assize 
time,'  from  a  drawing  by  Bunbury.  It  is  dated 
January  9th,  1811,  but  was  engraved  much  earlier. 

Gillray  was  unfortunately  another  example  of  the 
imprudence  that  so  frequently  accompanies  genius 
and  great  talent.  His  habits  were  in  the  highest 
degree  intemperate,  and  for  many  years  he  resided 
in  the  houses  of  his  publisher,  Mrs.  Humphreys, 
in  New  and  Old  Bond  Streets,  and  lastly  in  St. 
James's  Street.  By  her  he  was  most  liberally 
supplied  with  every  indulgence,  and  during  his 
residence  with  her  he  produced  nearly  all  his  most 
celebrated  works,  which  were  bought  up  with 
unparalleled  eagerness,  and  circulated  not  only 
throughout  England,  but  all  over  Europe.  Though 
under  an  engagement  not  to  work  for  any  other 
publisher,  yet,  to  satisfy  his  insatiable  desire  for 
strong  drink,  he  now  and  then  etched  plates  for 
Mr.  Fores  of  Piccadilly,  disguising,  and  occasion- 
ally very  successfully,  both  his  style  and  handling. 

It  has  been  before  observed,  that  the  last  of  his 
works  is  dated  in  1811 ;  soon  after  this  he  sank 
into  a  state  of  mingled  imbecihty  and  delirium,  and 
died  in  London  in  1815. 

There  exists  a  specimen  of  his  practice  of  the  art 
of  lithography.  It  represents  a  '  Domestic  Musical 
Party  ; '  the  mother  is  playing  on  the  pianoforte, 
the  husband  stands  behind  her  playing  the  flute, 
the  children  are  singing.  It  exhibits  considerable 
ability,  and  is  excessively  rare.  He  engraved  on 
wood  a  medallion  portrait  of  William  Pitt,  placed 
against  a  rustic  monument  overshadowed  by  the 
branches  of  an  oak,  and  a  few  small  woodcuts, 
among  which  are  '  A  Woman  crying  Fish,'  '  A  Boy 
near  a  Cottage  drinking,'  and  '  A  Beggar  at  a 
Door.' 

GILPIN,  Sawrey,  an  animal  painter,  was  born 
at  Carlisle  in  1733.  He  was  the  son  of  a  captain 
in  the  army,  from  whom  he  received  some  instruc- 
tion in  drawing.  On  his  arrival  in  London,  he 
was  for  some  time  under  a  ship  painter.  His 
genius,  however,  led  him  to  drawing  animals  ; 
and  some  of  his  sketches  having  been  shown  to 
the  Duke  of  Cumberland,  he  took  Gilpin  under  his 
patronage,  and  employed  him  in  painting  the  por- 
traits of  his  favourite  racers,  and  other  subjects,  at 
Newmarket.  He  became  one  of  the  most  correct 
and  spirited  drawers  of  horses  that  the  art  has  pro- 
duced ;  and  that  he  possessed  powers  of  a  superior 
cast,  which  would  have  enabled  him  to  distinguish 
himself  in  the  more  elevated  walk  of  historical 
painting,  is  evident  in  his  pictures  of  the  'Election 
of  Darius '  and  the  '  Triumph  of  Camillus.'  Gilpin 
was  elected  an  Associate  of  the  Royal  Academy 
in  1795,  and  an  Academician  in  1797.  He  died 
at  Brompton  in  1807.  The  animals,  particularly 
the  horses,  in  Barret's  pictures,  are  generally  by 
Gilpin  ;  and  the  landscape  part  of  Gilpin's  picturps 
is  by  Barret.  In  the  South  Kensington  Museum 
is  a  picture  of  '  Cows  in  a  Landscape ; '  and  in 
water-colours,  '  Sketch  of  a  Lion  and  Lioness,'  and 

569 


G-ilpin 


A  BIOGEAPHICAL  DICTIONARY  OF 


Giordano 


'  A  Mansion  in  process  of  construction.'  There 
are  a  few  very  spirited  etchings  by  this  estimable 
artist ;  among  others,  the  following : 

A  set  of  OxeD,  Cows,  &c. 
A  small  Book  of  Horses. 

Some  Heads  for  his  brother's.  Rev.  William  Gilpin's, 
*  Lives  of  the  Keformers.*     1809. 

GILPIN,  William,  a  landscape  draughtsman, 
born  in  1724,  near  Carlisle,  was  the  brother  of  Sawrey 
Gilpin.  He  graduated  at  Oxford,  and  was  after- 
wards master  of  Cheam  School,  and  finally 
vicar  of  Boldre,  Hants,  where  he  died  in  1804. 
He  published  a  large  number  of  topographical 
works,  for  which  he  drew  and  engraved  the 
illustrations.  There  are  four  landscapes  in  Indian 
ink  by  him  in  the  South  Kensington  Museum. 

GILPIN,  William  Sawrey,  a  water-colour 
painter,  was  the  son  of  Sawrey  Gilpin.  He  was 
the  first  president  of  the  Water-Colour  Society 
(1804—1806),  exhibiting  there  till  1814;  and  he 
held  the  appointment  of  drawing-master  at  the 
Eoyal  Military  College  at  Great  Marlow.  He 
died  about  1815." 

GILSON,  Jean  Henei,  called  'Frere  Abraham 
d'Orval,'  was  born  at  Habay  la  Vieille  in  1741. 
He  established  himself  in  the  Ardennes  as  a  hermit, 
till  on  the  suppression  of  the  hermits  by  Joseph 
II.  he  entered  the  Abbey  of  Orval.  The  Prior, 
struck  by  his  talent,  made  him  travel  to  Rome, 
Antwerp,  Brussels,  and  Paris,  and  then  sent  him  to 
the  Academy  at  Diisseldorf.  There  he  carried  ofE 
the  first  prize  with  a  picture  of  '  Adam  and  Eve 
lamenting  the  Death  of  Abel.'  On  his  return  to 
the  Abbey  he  set  to  work  to  fill  the  refectory,  halls, 
and  church  of  the  Abbey  with  pictures.  In  1793 
the  Abbey  with  all  its  pictures  was  destroyed  by 
the  French,  and  Gilson  retired  to  Florenville,  where 
he  opened  a  studio,  and  died  in  1809.  He  executed 
a  large  number  of  portraits  and  religious  pictures. 

GILTLINGER,  Johannes  Gumpolt.     See  GtiLT- 

LINGER. 

GIMIGNANI,  GiAciNTO,  (or  Gemignani,)  was 
born  at  Pistoja  in  1611,  but  studied  at  Rome,  first 
under  Nicolas  Poussin,  and  afterwards  in  the  school 
of  Pietro  da  Cortona.  In  his  composition  and 
design  he  followed  the  classic  style  of  his  first 
instructor,  but  in  his  colouring,  and  the  taste  of 
his  architecture,  that  of  the  second.  He  worked 
in  competition  with  Andrea  Camassei  and  Carlo 
Maratti,  in  the  Baptistery  of  San  Giovanni  in  Late- 
rano,  where  he  painted  in  fresco  some  subjects 
from  the  life  of  Constantine.  Several  of  his 
works  are  in  the  Palazzo  Niccolini  at  Florence  ; 
and  a  fine  picture  of  '  Leander,'  in  the  DfSzi,  is  so 
much  in  the  style  of  Guercino,  that  Lanzi  says  it 
was  for  some  time  attributed  to  that  master.  In 
the  church  of  San  Giovanni  at  Pistoja  are  two 
pictures  of  subjects  from  the  life  of  St.  John; 
in  the  cathedral,  '  St.  Eoch  ;  '  and  in  the  Pitti 
Palace  at  Florence,  '  Rebecca  at  the  Well.'  He 
died  in  1681.  There  are  a  few  etchings  by  this 
master,  executed  with  great  spirit,  T  and  marked 
with  the  annexed  monogram :  yl  Among  them 
are:  ar 

The  Eape  of  the  Sabines.    1649. 

The  Siege  and  Capitulation  of  Toumai  in  1581. 

A  set  of  twelve  small  plates  of  the  Sports  of  Children. 

Anthony  and  Cleopatra. 

Queen  Semiramis  quelling  a  Revolt. 

GIMIGNANI,  LoDovico,  (or  Gemignani,)  was 
the  son  of  Giacinto  Gimignani,  and  was  born  at 
Rome  in  1644.    He  chiefly  excelled  in  fresco ;  and 

670  ' 


there  are  several  of  his  works  in  the  churches  at 
Rome,  as  well  as  others  executed  in  conjunction 
with  his  father.  The  vault  of  Santa  Maria  delle 
Vergini  is  one  of  his  most  admired  performances  ; 
the  principal  altar-piece  of  the  same  church  is  by 
him.     He  died  in  1697. 

GINDERICK,  Theodorioh  von,  painted  in  1475 
'  Two  Angels,'  and  a  baldacchino,  for  the  chapel  of 
St.  Michael  in  the  Victor's  church  at  Xanten. 
GINDTER,  Matha.  See  GiJN'j'HEB. 
GINNASI,  Cattaeina,  the  niece  of  Cardinal 
Domenico  Ginnasi,  was  born  at  Rome  in  1590.  She 
was  taught  painting  by  Giovanni  Lanfranco,  after 
whose  designs  she  painted  the  whole  of  the  pictures 
in  the  church  of  the  convent  of  Santa  Lucia  at 
Rome.     She  died  in  1660. 

GIOCCHIO,  Ulisse,  a  painter  of  the  Florentine 
school,  born  at  Monte  San  Savino,  flourished  in  the 
early  part  of  the  17th  century.  In  1616  he  painted 
a  lunette,  representing  '  St.  Dorainick  and  a  proces- 
sion of  Corpus  Domini,'  over  tlie  principal  entrance 
of  the  church  of  Santa  Maria  Novella  in  Florence, 
and  in  the  following  year  decorated  with  frescoes 
the  cloisters  of  San  Lorenzo  in  Pistoja. 

6I0JA,  Gaetano,  a  painter  of  Rimini,  who  lived 
in  the  last  quarter  of  the  18th  century,  studied  at 
Florence  and  Rome,  and  executed  historical  and 
mythological  pictures.  He  was  still  living  in  1824. 
GIOLFINO,  Niccol6,  called  by  Vasari  Nicola 
Uesino,  was  a  contemporary  of  Falconetto,  and 
born  at  Verona  about  1465.  His  paintings  are 
chiefly  to  be-  seen  in  the  churches  of  his-  native 
city.  The  Museum  of  Verona  possesses  two  of  the 
'  Madonna  and  Saints  ; '  and  the  Berlin  Gallery  has 
a  'Virgin  and  Child  between  four  Saints.'  The 
church  of  Santa  Maria  in  Organo,  Verona,  is  especi- 
ally rich  in  frescoes  by  him.  The  National  Gallery, 
London,  possesses  two  panels,  originally  in  one, 
containing  portraits  of  the  Giusti  family.  He  was 
a  friend  of  Mantegna,  and  the  master  of  Paolo 
Farinati,  a  celebrated  fresco  painter  of  Verona. 
The  exact  date  of  his  death  is  unknown,  but  he 
was  alive  in  1518. 

GIOLFINO,  Paolo,  a  painter  of  Verona  in  the 
16th  century,  was  a  brother  and  pupil  of  Niccolo 
Giolfino.  The  Verona  Gallery  contains  a '  Madonna 
enthroned,'  and  a  'Resurrection,'  by  him. 

GIOLITO,  Gabeiele,  was  a  native  of  Ferrara, 
who  resided  in  Venice,  where  from  1542  to  1567 
he  carried  on  the  business  of  a  printer,  and  also 
engraved  on  wood  the  illustrations  for  his  edition 
of  the  '  Orlando  Furioso  '  of  Ariosto,  first  issued  in 
1542.     He  died  before  1577. 

GIONCOY,  Michel,  (or  Gioncqtot,)  a  painter, 
was  a  native  of  Toumai,  who  studied  at  Rome.  In 
conjunction  with  B.  Spranger  he  produced  several 
works,  but  died  in  the  year  1600,  in  the  prime  of  life. 
GIONIMO,  Antonio,  bom  at  Padua  in  1697, 
was  first  instructed  by  his  father,  Simone  Gionimo, 
and  afterwards  studied  under  Aureliano  Milani 
and  Crespi.  His  principal  residence  was  at 
Bologna,  where  he  painted  some  pictures  for  the 
churches.  Among  his  best  works  are  the  '  Finding 
of  Moses,'  in  the  church  of  Santa  Cristina;  and 
the  '  Martyrdom  of  St.  Floriano,'  in  Sant'  Agata. 
He  died  at  Bologna  in  1732. 

_  GIONIMO,  Simone,  the  father  of  Antonio  Gio- 
nimo, was  born  in  Dalmatia  in  1665,  but  after- 
wards removed  to  Vienna.  He  painted  somewhat 
after  the  manner  of  Guercino. 

GIORDANO,  LucA,  called  'Fa  Presto,'  was 
born   at  Naples   in   1632.     He  was  the  son  of 


Giordano 


PAINTERS  AND  ENGRAVERS. 


Giordano 


Antonio  Giordano,  an  obscure  artist,  whom  he 
had  surpassed  when  he  was  only  eight  years  old, 
and  the  astonishment  which  he  created  caused 
the  Viceroy  of  Naples  to  place  him  under  the  care 
of  Giuseppe  Ribera,  called  Lo  Spagnoletto.  Before 
he  was  thirteen  years  of  age  he  had  acquired  a 
fertility  of  invention,  and  a  readiness  of  hand,  that 
are  perhaps  without  example.  Animated  by  the 
report  he  had  heard  of  the  wonders  of  Rome,  he 
withdrew  himself  from  his  father's  house,  and 
made  the  best  of  his  way  to  that  city.  He  there 
habitually  copied  the  works  of  Raphael,  Michel- 
angelo, and  Caravaggio.  His  talents  recommended 
him  to  the  notice  of  Pietro  da  Cortona,  who  em- 
ployed him  to  assist  him  in  the  many  considerable 
works  in  which  he  was  at  that  time  engaged.  The 
brilliant  style  of  this  master  was  particularly  con- 
genial to  the  taste  of  Luea  Giordano ;  and  he  appears 
to  have  aimed  at  excelling  him  in  the  facility  and 
splendour  of  his  execution.  His  father,  who  had 
lived  in  a  state  of  indigence  and  obscurity,  followed 
him  to  Rome  ;  and  from  the  produce  of  the  talent 
of  his  son,  whose  designs  after  the  works  of  the 
great  masters  were  esteemed  and  sought  after,  he 
received  a  considerable  emolument.  Such  was  the 
demand  for  his  drawings  and  sketches,  that  his 
father  continually  urged  him  to  despatch,  by  repeat- 
ing to  him, '  Luca,  fa  presto,'  ('  Luke,  make  haste,') 
and  hence  he  came  to  be  designated  by  this  phrase. 
In  the  last  edition  of  Bellori's  'Vite  de'  Pittori,' 
in  which  is  introduced  the  life  of  Luca  Giordano, 
he  is  said  to  have  made  twelve  different  copies 
of  the  paintings  by  Raphael  in  the  Loggie  of  the 
Vatican,  and  twenty  drawings  after  the  '  Battle  of 
Constantine,' by  Giulio  Romano;  besides  those  from 
Michelangelo,  Caravaggio,  and  others.  The  fruits  of 
his  industry  enabled  him  in  company  with  his  father 
to  make  a  journey  tHrough  Lombardy  to  Venice, 
where  he  studied  the  works  of  Titian  and  Paolo 
Veronese.  He  then  returned  by  way  of  Florence 
and  Leghorn  to  Naples.  His  first  public  works  in 
his  native  city  were  a  picture  of  the  '  Holy  Rosary ' 
for  the  church  of  San  Potito,  three  small  frescoes 
from  the  life  of  St.  John  the  Baptist  for  the  chapel 
of  San  Giacomo  della  Marca,  and  some  oil  paintings 
for  the  church  of  Santa  Teresa.  In  1655  he  painted 
in  competition  with  Giacomo  Farelli,for  the  church 
of  Santa  Brigida,  a  picture  of  '  St.  Nicholas  borne 
away  by  Angels,'  which  was  a  work  of  such 
power  as  to  establish  his  reputation  at  the  early 
age  of  twenty-three.  In  1678,  on  peace  being 
established  between  France,  Spain,  and  Holland, 
he  painted  an  immense  picture  to  commemorate 
the  event.  In  1679  he  was  invited  to  Florence  to 
paint  the  chapel  of  Sant'  Andrea  Corsini,  and  was 
overwhelmed  with  kindness  by  the  Grand-Duke 
Cosmo  III.  On  his  way  to  Florence  he  was  received 
by  the  Marquess  of  Heliche,  the  Spanish  Ambassador 
to  Rome,  who  afterwards  became  viceroy  of  Naples, 
by  whom,  as  also  by  his  successor,  the  Count  of 
Santistevan,  he  was  largely  patronized.  By  imitat- 
ing the  style  of  every  distinguished  painter,  he 
formed  one  which  partook  of  the  manner  of  each. 
He  is  compared  by  Bellori  to  the  bee,  that  collects 
honey  from  the  sweets  of  every  flower.  It  would 
have  been  better  for  his  fame  if  he  had  estab- 
lished a  character  of  his  own,  and  if  imitation 
were  not  so  apparent  in  all  his  productions.  Some 
of  his  pictures  having  reached  Spain,  he  was 
invited  to  Madrid  by  Charles  It,  in  1692,  where 
he  was  appointed  painter  to  the  king.  He  has 
nowhere  left  greater  proofs  of  that  despatch  for 


which  he  is  so  celebrated.  In  the  space  of  two 
years  he  painted  in  fresco  the  immense  ceiling  of 
the  church,  and  the  staircase  of  the  Escorial ;  the 
latter,  representing  the  famous  '  Battle  of  St.  Qiien- 
tin,'  and  the  'Taking  of  Montmorency,'  is  considered 
as  one  of  his  finest  works.  His  next  productions 
included  the  great  saloon  in  the  Buen  Retire,  the 
saoristry  of  the  cathedral  at  Toledo,  the  chapel 
of  Our  Lady  of  Atocha,  and  the  vault  of  the  Royal 
Chapel  at  Madrid.  After  the  death  of  Charles  II.  he 
was  retained  in  the  service  of  Philip  V.,  and  during 
a  residence  of  ten  years  in  Spain  he  completed  a 
prodigious  number  of  pictures,  which  might  reason- 
ably have  been  supposed  to  have  occupied  a  long 
life  of  the  most  industrious  painter.  In  1702  he 
accompanied  Philip  V.  to  Naples,  where  the  high 
reputation  he  had  acquired  in  Spain  rendered  his 
reception  enthusiastic.  It  was  with  difiSculty  that 
even  he  could  keep  pace  with  the  eagerness  of  his 
fellow-citizens  to  possess  his  works.  It  is  reported 
of  him,  that  the  Jesuits,  having  engaged  him  to 
paint  a  picture  of  '  St.  Francis  Xavier,'  complained 
to  the  viceroy  that  they  could  not  prevail  on  him 
to  finish  the  picture,  though  it  was  to  be  placed  at 
their  principal  altar  on  the  day  of  the  festival  of 
that  saint.  Luca  Giordano,  finding  himself  pressed 
on  all  sides,  painted  the  picture  in  a  day  and  a 
half.  Perhaps  no  painter  has  left  so  many  pictures, 
without  even  excepting  Tintoretto.  To  such  un- 
common powers  it  would  not  be  reasonable  to 
refuse  the  claim  to  genius ;  but  it  was  certainly 
that  species  of  mechanical  skill  which  produced 
little  that  was  marked  with  depth  and  originality. 
He  died  at  Naples  in  1706.  His  pupils  were  his 
son,  Paolo  de'  Matteis,  Aniello  and  Niccol6  Rossi, 
Pavelli,  Tommaso  Fasano,  Simonelli,  Francisqnito, 
and  some  others.  The  following  paintings  by 
him  are  preserved  in  the  galleries  of  Europe : 

Berlin.                 Gallery.  The  Judgment  of  Paris. 

Bordeaux.           Museum.  Sleeping  Venue. 

„                        „  Hercules  and  Omphale. 

„                         „  Head  of  an  old  Woman. 

Brunswick.         Museum,  Jacob's  Dream. 

„                         „  Moses  and  the  Burning  Bush. 

„                       „  The  Sorceress  Circe. 

„                        „  Eoman  Envoys  to  .fflscnlapios. 

Cassel.                 Gallery.  The     Presentation      in     the 
Temple. 

„                             „  The  Birth  of  the  Virgin. 

Copenhagen.       Gallery.  The  Judgment  of  Paris. 

„                       „  Eoman  and  Sabine  Women. 

„                       „  The  Death  of  Abel. 

,j                       „  Adam  and  Eve  weeping  over 
Abel. 

Darmstadt.         Gallery.  The  Rape  of  Buropa. 

Dresden.              Gallery.  Hercules  and  Omphale. 

,,                          „  Perseus    with    the    head    of 
Medusa. 

„  Lucretia  and  Tarquinius. 

„  TheEapeoftheSabine  Women. 

"                            „  The  Death  of  Seneca. 

„  Bacchus  and  Ariadne. 

„  Abraham  expelling  Hagar. 

"                            „  David  with  the  head  of  Goliath. 

„  Jacob  and  Eachel  at  the  Well. 

"                          „  The  Slaughter  of  the  Amalek- 
ites. 

„  Lot  and  his  Daughters. 

„  Susanna. 

„  Virgin  and  Child. 

"                          „  The  Penitent  Magdalen. 

"                          „  Gideon's     slaughter     of    the 

"  Midianites. 

„  Burial  of  St.  Sebastian. 

"                          „  Eliezer  giving  presents  to  Ee- 
becca. 

„  Two  Portraits. 

571 


Giordano 

A  BIOGRAPHICA] 

Florence. 

Uffizi. 

His  own  Portrait. 

)) 

^  Pitti  Pal. 

The  Conception. 

Piccardi  Pal. 

Olympus  {frescoes). 

G-enoa. 

Spinola  Pal. 

St.  Anne  and  the  Virgin. 

Hague. 

Museum. 

The  Musicians. 

Hampton 

Court.  Palace. 

The  "Wise  Men's  Offering. 

M 

)» 

Cupid  and  Psyche  (12  pictures). 
Combat  of  Turnus  and  jEneas. 

LiUe. 

Museum, 

» 

j» 

JEneas  healed  by  Venus. 

Liverpool 

Royal  Inst. 

Dionysius,  the  Tyrant  of  Syra- 
cuse, as  a  Schoolmaster. 

Madrid. 

Galle7y. 

Twenty  Scenes  from  the  Old 
Testament. 

»» 

»» 

Ten   Scenes    from    the    New 
Testament. 

ij 

St.  Jerome. 

J, 

St.  Anthony. 

J) 

J, 

The  Assumption. 

»» 

Battle  of  St.  Quentin. 

V 

Five  Allegorical  pictures. 

» 

f) 

Flight  of  .ffineas  from  Troy. 

» 

» 

Scenes  in  the  lives  of  Hercules, 
Andromeda,  Ixion,  Tantalus, 
and  Prometheus. 

1) 
•  > 

" 

Tancred  and  Clorinda. 
Portrait  of  Charles  II. 

)J 

» 

Portrait  of  a  Cardinal. 

Milan. 

57-fira. 

Virgin  and  Child,  with  Saints 
and  Angels. 

Munich. 

Gallery, 

The   Massacre   of    the   Inno- 
cents. 

)» 

fi 

Christ  raised  on  the  Cross. 

Portrait  of  the  Artist's  Father. 

*} 

)> 

Portrait  of  the  Artist. 

j» 

)> 

Death  of  Lucretia. 

» 

Christ  blessing  the  Loaves  and 
Fishes. 

» 

)) 

A  Cynical  Philosopher. 

)} 

jj 

Archimedes. 

)j 

» 

An  old  Man. 

» 

}} 

Christ  in  the  "Wilderness. 

»j 

» 

Christ  at  the  Well. 

)r 

») 

Two  Scholars. 

Naples. 

^S.  Restituta. 

St.  Eestituta  carried   by  the 
Angels. 

" 

S.  Maria  degli 
Angeli. 

Birth  of  the  Virgin. 

)> 

)» 

The  Presentation  in  the  Temple. 

„ 

,, 

The  Annunciation. 

I' 

»» 

The  Nativity. 

„ 

G^esi  iVMODo. 

Virgin  and  Saints. 

)» 

)» 

St.  Charles  Borromeo. 

-6'.  Martina. 

The  Triumph  of  Judith. 

„        S.  Filippo  Neri. 

Christ  driving  the  Dealers  from 

the  Temple  (fresco). 

)» 

Museum. 

The  Virgin  with  the  Eosary. 

)> 

it 

A  Pieta. 

■  J) 

f) 

St.  Francis  Xavier  baptizing 
the  Indians. 

») 

ft 

Consecration  of  Monte  Cassino. 

f> 

Herodias. 

»» 

» 

Semiramis. 

» 

Marsyas. 

" 

5» 

Venus  asleep. 

Paris. 

Louvre. 

Diana's  Hunt. 

»» 

j» 

Marriage  of  the  Virgin. 

»» 

» 

Adoration  of  the  Shepherds. 

» 

Tarquinius  and  Lucretia. 

») 

}) 

Death  of  Seneca. 

»> 

» 

Circle  of  the  Loves. 

„ 

»* 

Mars  and  Venus. 

PetersbTirg.     Hermitage. 

Sleep  of  Bacchus. 

'   >» 

jj 

Mater  Dolorosa. 

>» 

»» 

The  Judgment  of  Paris. 

_     » 

)» 

The  Entombment. 

Rome. 

Capitol. 

The  Golden  Fleece. 

» 

Corsim  Pal. 

Jesus  with  the  Doctors. 

.r^"  . 

Borghese  Pal. 

Death  of  St.  Ignatius. 

Venice. 

Academy, 

Descent  from  the  Cross. 

Vienna. 

Gallery. 

The  Expulsion  of  Hagar. 

if 

„ 

The  Massacre  of  the  Innocents. 

a 

» 

The    Martyrdom  of    St.  Bar- 
tholomew. 

i» 

» 

The  Promise  to  St.  Joachim. 

672 


DICTIONARY  OF  Giottino 

Vienna.  Gallery.  The  Birth  of  the  Virgin. 

^  „  The  Presentation  in  the  Temple. 

I,  „  The  Marriage  of  the  Virgin. 

„  „  The  Visitation. 

„  „  The  Adoration  of  the  Shep- 
herds. 

„  „  The  Dream  of  St.  Joseph. 

„  „  The  Death  of  St.  Joseph. 

„  „  The  Death  of  the  Virgin. 

„  „  The  Archangel  Michael.    1666. 

There  are  some  very  spirited  etchings  by  Luca 
Giordano,  executed  in  a  free,  masterly  style; 
among  them  are : 

Elijah  calling  Fire  from  Heaven  to  destroy  the  Priests 

of  Baal. 
The  Virgin  and  Infant  Jesus. 
St.  Joseph  and  St.  John. 
The  penitent  Magdalen. 
The  Adulteress  before  Christ. 
Christ  disputing  with  the  Doctors. 
St.  Anne  received  into  Heaven  by  the  Virgin. 

GIOEDANO,  Sofia,  was  bom  of  poor  parents 
at  Turin  in  1779.  She  vcas  placed  under  the  tuition 
of  M.  de  Maron,  the  sister  of  Raphael  Mengs,  at 
Rome,  but  she  returned  to  Turin  in  1801,  and 
married  a  surgeon  named  Giordano.  Her  chief 
works  were  in  miniature  and  pastel.  She  died  at 
Turin  in  1829. 

GIORDANO,  Stefano,  was  bom  at  Messina, 
and  is  known  by  a  splendid  picture  of  '  The  Last 
Supper,'  produced  in  1641,  in  the  cloister  of  San 
Gregorio  at  Messina. 

GIORGBTTI,  GiAGOMO,  bom  at  Assisi  about 
the  year  1610,  was  a  scholar  of  Giovanni  Lan- 
franco.  He  excelled  in  historical  paintings  and 
frescoes,  and  several  of  his  works  are  in  the 
churches  of  his  native  city,  the  most  considerable 
being  the  dome  of  the  principal  church.  In  the 
sacristy  of  the  Conventual!  he  painted  some  pictures 
of  the  'Life  of  the  Virgin.' 

GIORGIO,  a  miniature  painter  of  the  16th 
century,  was  a  son  of  Alberto  of  Germany.  In 
1441  he  was  employed  by  the  Marquis  Leonello  of 
Ferrara  in  the  preparation  of  breviaries  and  other 
ecclesiastical  work,  which  occupied  him  till  1462. 
He  left  a  son,  who  is  known  in  art  as  Martino  da 
Modena. 

GIORGIO,  Giovanni,  was  an  Italian  engraver, 
who  was  employed  chiefly  by  the  booksellers.  He 
resided  at  Padua,  where  he  engraved  the  plates 
for  a  work  on  antique  lamps,  published  in  1653, 
entitled  '  De  Lucemis  Antiquomm  reconditis.' 
He  also  .engraved  a  frontispiece  with  figures  to 
Vesling's  'Anatomy,'  published  at  Padua  in  1647. 
There  is  also  by  him  a  ludicrous  print,  called 
'  The  Bath  of  the  Anabaptists,'  after  Raphael.  He 
died  at  the  age  of  77. 

GIORGIO  DE  FLORENTIA,  flourished  from  1314 
to  1326,  and  was  probably  a  pupil  of  Giotto.  He 
is  supposed  to  have  painted  at  Borghetto  and  at 
the  castle  of  Chamb^ry. 

GIORGIONE.     See  Barbarelli. 

GIOTTINO,  whose  real  name  is  not  known  with 
certainty,  is  supposed,  fi-om  late  researches,  to  have 
been  Giotto  di  Maestro  Stefano,  who  lived  in  the 
14th  century,  and  was  evidently  a  careful  and 
conscientious  pupil  of  Giotto ;  another  account 
has  given  his  name  as  Tommaso  di  Stefano.  There 
are  still  in  the  chapel  of  San  Silvestro  in  Santa 
Croce,  at  Florence,  a  series  of  frescoes,  attributed 
to  Giottino,  illustrating  'The  Miracles  of  St. 
Sylvester. '  The  drawing  and  general  composition 
of  these  frescoes  is  admirable,  the  colouring  warm 


Giotto 


PAINTERS  AND  ENGRAVERS. 


Giovenoue 


and  clear,  and  plainly  show  that  the  maxims  and 
spirit  of  Giotto  aided  and  animated  this  artist. 
The  frescoes  in  the  crypt  chapel  of  the  Strozzi  in 
Santa  Maria  Novella,  which  represent  scenes  from 
the  life  of  Christ,  and  a  'Pieta,'  formerly  in 
San  Komeo,  but  now  in  the  Uffizi  Gallery,  are 
also  to  be  attributed  to  him.  All  the  above-men- 
tioned works  are  of  the  latter  half  of  the  14th 
century.  The  frescoes  in  the  chapel  of  the  Holy 
Sacrament  at  Assisi,  representing  scenes  from  the 
life  of  St.  Nicholas,  and  now  much  damaged  by 
damp  and  partly  obliterated,  are  considered  by 
many  to  be  by  Giottino.  Nothing  authentic  is 
known  concerning  the  birth  or  death  of  this  artist. 

GIOTTO.    See  Bondone. 

GIOVANI,  Feancesco,  (or  Juvanis,)  an  en- 
graver, is  stated  to  have  been  born  in  1635, 
and  to  have  studied  under  Carlo  Maratti.  Plates 
by  him  are  known  of  '  The  Child  Jesus  upon  a 
Cloud  beside  the  Manger,'  '  The  Adoration  of  the 
Shepherds,'  after  Maratti,  and  '  Saturn  enthroned.' 

GIOVANNARIA,  a  monk  of  the  Carmelite  order, 
born  at  Brescia  about  1460,  excelled  in  per- 
spective. His  brother,  Giovanni  Antonio,  was 
also  a  painter. 

GIOVANNI,  Maestro.     See  Boccaedi. 

GIOVANNI  BATTISTA   Di  FEANCIA.     See 

MOLA. 

GIOVANNI  BATTISTA  di  RAPPABLLO.  See 
Gbassi. 

GIOVANNI  di  FEANCESCO.    See  Tossicani. 

GIOVANNI  DI  MARTINI.     See  Maetini. 

GIOVANNI  DI  PAOLO,  called  Giovanni  del 
PoGGlo,  was  a  contemporary  and  occasional  assistant 
of  Sano  di  Pietro  ;  he  was  already  known  in  1423, 
and  was  on  the  roll  of  the  Guild  at  Siena  in  1428. 
He  died  about  1481.  The  Academy  at  Siena 
possesses  a  '  Last  Judgment '  by  him,  dated  1453, 
and  several  panels  of  his  production  are  in  the  col- 
lection of  M.  Ramboux  of  Cologne.  Giovanni  del 
Poggio  has  also  some  repute  as  a  miniature  painter. 

GIOVANNI  di  PIERO,  who  was  born  at  Naples, 
lived  in  the  14th  century  at  Pisa,  where  he  kept  a 
shop,  and  had  as  partner  Martino  Bartolommei,  with 
whom  he  painted  an  altar-piece  for  the  hospital  of 
Santa  Chiara,  Pisa,  in  1402,  for  the  sum  of  ninety- 
five  golden  florins.  This  painting  represents  the 
'  Virgin  and  Child  enthroned  between  four  Saints,' 
with  a  Trinity,  and  SS.  Mark  and  Luke  in  its 
pinnacles.  In  1403  and  1404  he  also  furnished  a 
canvas,  and  did  other  work  in  the  hospital ;  and  in 
1405  he  executed  the  '  Crucifixion '  on  canvas 
that  is  now  hanging  in  the  inner  choir  of  the 
church  of  San  Domenico,  Pisa,  with  his  signature 
and  date.  No  dates  can  be  given  of  this  artist's 
birth  or  death. 

GIOVANNI  di  pietro,  who  flourished  in  the 
15th  century,  was  an  occasional  assistant  of  Sano 
di  Pietro,  and  is  of  little  note.  In  the  choir  of 
Santa  Maria  dei  Servi,  at  Siena,  is  a  '  Virgin  of 
Mercy'  by  him.  No  further  details  concerning 
him  are  known. 

GIOVANNI  DI  PIETRO,  called,  from  his  nation- 
ality, Lo  Spagna,  (or  Giovanni  Spagnuulo,  also 
Juan  de  Espana  and  Juan  el  Espanol,)  first 
appears  as  his  own  master  at  Todi  in  1507.  His 
instructors  in  the  art  seem  to  have  been  Perugino 
and  Pinturicchio  ;  he  was  the  companion  of  Raphael 
at  Perugia,  and  his  style  shows  a  mixture  of  Peru- 
ginesque  and  Raphaelesque,  without  the  higher 
qualities  of  either  school.  His  death  took  place 
at  Spoleto    between    1528  and   1630.      Amongst 


other  paintings   by   him,  the  following  may  be 
cited : 

Assisi.         S.  Francesco.     Virgin  enthroned,  with  Saints. 

1516. 
Berlin.  Gallery.    Adoration  of  the  Magi.     (For- 

merly ascribed  to  Raphael.) 
London.    Natiimal  Gall.    Virgin  in  Glory. 

„        Stafford  Souse.    Christ  crowned  with  Thorns. 

%ailml }  ^''"'*  °°  *^«  *I°"''*  °f  Olives. 
„  Earl  Dudley.     Six  Saints  (in  two  frames). 

„  „  St.  Catharine. 

Paris.  Zouvre.    The  Nativity. 

I,  „         The  Virgin  and  Child. 

Perugia.  Gallery.    Virgin  and  Child,  with   four 

Saints. 
Petersburg.   Hermitage     Adoration  of  the  Infant  Christ. 
Rome.  Vatican.     The  Nativity. 

„  Colonna  Pal.     St.  Jerome. 

Spoleto.  Falazzo     \  Virgin  and  Child,  with  Saints. 

Comunale.  J      (Fresco. ) 
Todi.  m/ormati.     Coronation  of  the  Virgin.  1507. 

Trevi.       Madonna  delle )  Deposition    from   the     Cross. 
lagrime.     J      (Fresco.) 
jt  ,,  St.  Catharine. 

„  „  St.  Cecilia. 

GIOVANNINI,  Caelo  Cesare,  a  son  of  Jacopo 
Maria  Giovannini,  was  born  at  Parma  in  1695,  and 
died  at  Bologna  in  1758,  having  resided  in  the 
latter  city  from  1723.  It  is  not  said  by  whom 
he  was  instructed,  but  he  was  a  good  historical 
painter.  He,  however,  devoted  himself  rather  to 
the  restoration  of  pictures.  Several  of  his  works 
are  in  the  public  edifices  at  Bologna,  the  following 
being  the  most  esteemed :  '  St.  Anne  teaching  the 
Virgin  to  read,'  in  the  church  of  La  Morte  ;  '  Adam 
and  Eve  driven  from  Paradise,'  in  La  Madonna  del 
Piombo ;  and '  Christ  giving  the  Keys  to  St.  Peter,' 
in  San  Giovanni  in  Monte.  He  had  a  sister,  Bianca 
Giovannini,  a  portrait  painter,  who  died  in  1744. 

GIOVANNINI,  Jacopo  Maeia,  (Jovanninus,  or 
JoANNiNUS,)  was  born  at  Bologna  in  1667,  and  died 
at  Parma  in  1717.  He  was  a  scholar  of  Antonio 
Roll.  He  painted  some  pictures  for  the  churches  at 
Bologna ;  one  of  the  most  esteemed  being  that  of 
'The  Magdalen  worshipping  the  Cross,'  in  the 
church  of  San  Niocolo  degli  Alberi.  He  is  more 
known  as  an  engraver  than  a  painter.  There  are 
by  him  several  plates  after  the  great  masters,  par- 
ticularly after  Correggio  and  the  Carracci,  of  which 
the  following  are  the  principal : 

A  set  of  twenty  large  plates;  after  the  paintings  by 
Lodovico  Carracci,  and  others,  in  the  cloister  of  San 
Michele  in  Bosco,  at  Bologna. 

Twelve  prints  from  the  frescoes  by  Correggio,  in  the 
cupola  of  San  Giovanni  at  Parma. 

St.  Jerome ;  after  Correggio. 

The  Virgin  and  Infant,  with  St.  George ;  after  Correggio. 

St.  Sebastian ;  after  Lodovico  Carracci. 

The  Communion  of  the  Apostles ;  after  Mare  Antonio 
Franceschini. 

6I0VANNIN0  del  PIO.    See  Bonatti. 

GIOVENONE,  GiEOLAMO,  (or  Giuvbnonb,)  was 
a  native  of  Vercelli,  who  flourished  at  the  beginning 
of  the  16th  century,  as  appears  from  two  of  his 
pictures  in  the  church  of  San  Paolo  in  that  city, 
dated  1514  and  1516.  At  Vercelli,  in  the  church 
of  the  Augustines,  there  is  a  fine  picture  by  him  of 
the  '  Resurrection,'  with  two  laterals  representing 
St.  Margaret  and  St.  Cecilia.  Other  works  of  his 
are  in  the  same  town  and  in  Bergamo. 

GIOVENONE,  Giuseppe,  a  painter  of  Vercelli, 
appears  to  have  flourished  at  the  end  of  the  15th 
century.  His  pictures  are  peculiar  from  the  con- 
trasts they  exhibit.  One  of  them,  a  representation 
of  '  Christ's  Resurrection,'  is  in  the  Turin  Gallery. 

573 


Oiraldi 


A  BIOGBAPHICAL  DICTIONARY  OF 


Giraud 


GIRALDI,  Gdgliemo,  (called  Magei,  or  Del 
Magro,)  was  a  painter  of  Ferrara,  who,  between 
1450  and  1477,  painted  miniatures  for  various 
books,  including  a  Missal,  Breviary,  and  Psalter, 
and  the  works  of  TibuUus,  Appian,  and  Petrarch. 

GIRALDINI,  Melohioere.     See  Gerardini. 

GIRANDOLE,  Beenaedo  delle.     See  Buonta- 

LENTI. 

GIRARD,  Alexis  FRANgois,  a  French  engraver, 
was  born  atVinoennes  in  1789.  He  studied  paint- 
ing under  Regnault,  but  later  on  turned  his  atten- 
tion to  engraving,  in  which  he  achieved  much  suc- 
cess. He  succeeded  in  uniting  together  in  his 
works  the  mezzotint,  roulette,  and  Indian  ink  styles, 
He  died  in  Paris  in  1870.  The  following  are 
among  hia  best  plates : 

The  Virgin  with  the  Fish ;  after  Raphael. 

The  Virgin  with  the  Pearl ;  after  the  same. 

Portrait  of  Talma ;  after  Gerard. 

Corinna ;  after  the  same. 

Louis  XVIII.  in  his  Cabinet ;  after  the  same. 

Cardinal  Mazarin  on  his  Death-bed  ;  after  Delaroche. 

Cardinal  Richelieu  on  the  Ehone ;  after  the  same. 

The  Archangel  Gabriel ;  after  the  same. 

The  Last  Day  of  Pompeii ;  after  C.  Bruloff.     1839. 

Mary  Stuart ;  after  Decaisne. 

The  Happy  Mother ;  aftei'  Prud'hon. 

Dolce  far  uiente  ;  after  Winterhalter. 

Vintage  at  Naples ;  after  the  same.     1842. 

Daniel  in  the  Lions'  Den  ;  after  Ziegler.     1839. 

Bonaparte  crossing  the  St.  Bernard  ;  after  Steuben. 

Abduction  of  Rebecca ;  after  Coignet. 

GIRARD,  Jean  Georges,  a  French  painter,  born 
at  Epinal  in  1635,  was  a  pupil  of  Legrand.  He 
died  at  Nancy  in  1690. 

GIRARD,  ROMAIN,  a  French  engraver,  was  born 
in  Paris  in  1751.  He  engraved  after  Cipriani  'The 
Saoriiioe  of  Love,'  and  '  Love  caressing  Beauty  ; ' 
and  after  Greuze,  '  The  Broken  Pitcher  ; '  he  also 
copied  '  The  Death  of  Dido,'  from  Bartolozzi. 

GIRARDET,  Abraham,  an  engraver  and  etcher, 
was  born  at  Loole,  in  the  canton  of  NeufchS,tel,  in 
1764,  and  when  but  thirteen  years  of  age  engraved 
466  plates  to  a  Biblical  work.  He  then  became  a 
pupil  of  B.  A.  Nicolet  in  Paris,  and  in  1794  sought 
further  improvement  in  Rome.  The  vignettes 
which  he  engraved  for  editions  of  Horace  and  La 
Fontaine  are  his  best  works.  He  died  in  Paris  in 
1823.     The  best  of  his  larger  plates  are : 

The  Transfiguration ;  after  Raphael.     1806. 

The  Triumph  of   Titus  and  Vespasian ;    after  GivZio 

Romano.     1810. 
The  Rape  of  the  Sabine  "Women ;  after  Poussin. 
The  Dead  Saviour ;  after  Andrea  del  Sarto. 
The  Supper  ;  after  Philippe  de  Champaiyne, 
The  Death  of  Arnold  Winkelried. 

GIRARDET,  Charles  Samuel,  an  engraver  and 
lithographer,  was  born  at  Locle  in  1780.  He 
received  his  first  instruction  from  his  brothers 
Abraham  and  Alexander  Girardet,  and  completed 
his  studies  in  Paris.  At  first  he  engraved  views  of 
Swiss  scenery,  but  executed 'The  Resurrection  of 
Christ,'  after  Le  Brun,  in  1804.  In  1811  he 
turned  his  attention  to  lithography,  and  in  that 
medium  depicted  the  '  Biblical  Narratives,'  after 
Hiibner;  '  The  Transfiguration,' after  Raphael ;  'The 
Battles  of  Alexander,'  after  Le  Brun;  and  'The 
Death  of  Endamidas,'  after  Poussin.  From  1833  to 
1840  he  made  designs  for  the  '  Magasin  Universe!.' 
He  died  in  Paris  in  1863. 

GIRARDET,  Edouaed  Henri,  a  Swiss  painter 
and  engraver,  was  born  at  Neiifchatel  in  1819.  He 
studied  art_  under  his  father,  Charles  Samuel  Girar- 
det, and  with  his  brother  Karl,  and  became  famous 

674 


as  a  pamter  of  genre  subjects  and  landscapes. 
Journeys  in  Egypt  and  Algiers  resulted  in  several 
good  pictures  representing  those  countries  and  their 
people.  Among  his  most  successful  paintings  of 
Swiss  peasant-life  are  the  following : 

A  Sale  by  Auction  in  a  village. 

A  Dying  Peasant  blessing  his  family. 

A  Young  Mother  dying  in  the  snows  of  the  Great  St. 

Bernard. 
The  Doctor's  Visit. 
The  Little  Apple  Thieves. 

Girardet,  in  the  midst  of  work  such  as  this,  suddenly 
gave  it  up  in  favour  of  engraving,  and  worked  in 
aquatint,  mezzotint,  and  a  mixed  style,  with  as 
much  success  as  he  had  done  in  painting.  The 
following  are  his  best  prints : 

Divicon ;  after  Gleyre. 

The  Banquet  of  the  Girondins ;  after  Delaroche. 

The  Fainting  of  the  Virgin  ;  after  the  same. 

The  Return  from  Golgotha ;  after  the  same. 

The   Virgin  in  contemplation  before    the  Crown  of 
Thorns ;  after  the  same. 

The  Cenci ;  after  the  same. 

Moliere  at  the  table  of  Louis  XIV. ;  after  GerSme, 

The  Education  of  a  Prince ;  after  Zamacois. 

A  Spanish  "Wedding;  after  Fortuny. 

Raphael  in  his  Studio ;  after  Jalabert. 

The  Marriage  of  Henry  IV. ;  after  Zechevalier-Chevig- 
nard. 
He  died  at  Versailles,  in  1880. 

GIRARDET,  Jean,  an  historical  painter,  was 
bom  at  Nancy  in  1709.  He  studied  first  in  his 
native  city,  but  more  especially  in  Italy,  and  painted 
for  churches  and  palaces  in  oil  and  fresco.  He 
died  at  Nancy  in  1778.  Some  of  his  work,  of  a 
classical  character,  may  be  seen  in  the  town-hall 
of  that  city. 

GIRARDET,  Karl,  a  genre  and  landscape 
painter,  was  born  at  Locle  in  1810.  He  was  a 
son  of  Charles  Samuel  Girardet,  and  after  being 
instructed  under  L^on  Cogniet  he  travelled  in 
Switzerland,  Germany,  Italy,  Spain,  Egypt,  &c., 
and  from  1836  brought  out  landscapes  and  repre- 
sentations of  the  manners  of  those  countries.  In 
1842  he  excited  much  attention  by  a,  picture  of 
'  A  secret  Protestant  Meeting  in  a  cave  attacked 
by  Troops  and  Monks.'  He  succeeded  especially 
with  views  of  Swiss  lakes.  North  Italian  landscapes, 
scenes  from  popular  and  military  life,  children's 
games,  and  so  forth.  He  also  illustrated  Ariosto, 
and  Thiers's  Histories  of  the  Consulate  and  Empire. 
His  dsath  occurred  in  Paris  in  1871. 

GIRARDIN,  Alexandre  FEANgois  Louis  de, 
Count,  a  French  historical  and  landscape  painter, 
was  born  in  Paris  in  1767,  and  became  a  pupil  of 
Bidault.  He  exhibited  at  the  Salon  of  1822  a 
'  "View  of  Ermenonville,'  and  various  other  land- 
scapes at  the  subsequent  exhibitions  until  1835, 
after  which  year  there  is  no  further  record  of  him. 

GIRARDON,  Catherine.    See  Duchbmin. 

GIRAUD,  Antoine  Cosme,  a  French  engraver, 
born  in  Paris  in  1760,  was  a  pupil  of  Lingle,  and 
executed  vignettes  and  plates  for  booksellers.  His 
best  works  are  two  plates  after  Borel,  the  one 
representing  '  Two  young  "Women  lying  on  a  bed,' 
the  other  '  4  young  "Woman  bathing  her  feet.'  He 
died  after  the  commencement  of  the  19th  century. 

GIRAUD,  "Victor,  a  French  genre  painter,  bom 
in  Paris  in  1840,  was  a  pupil  of  Picot  and  Eugene 
Giraud.  His  best  known  picture,  'The  Slave- 
Market,' was  formerly  in  the  Luxembourg  Gallery; 
he  also  painted  'The  Bird-Charmer.'  .  He  died  in 
1871,  from  disease  brought  on  by  exposure  on  the 
fortifications  of  Paris  during  the  siege. 


Girling 


PAINTERS  AND  ENGRAVERS. 


Girtin 


GIRLING,  Edmund,  an  amateur  etcher,  who 
flourished  in  the  early  part  of  the  19th  century, 
was  a  clerk  in  a  bank  at  Yarmouth.  He  etched 
after  Rembrandt,  Cr&me,  and  the  Dutch  masters, 
and  his  works  were  exhibited  at  the  Norwich 
Society. 

GIRODET-DE-ROUSSY-TRIOSON,  Anne  Loms, 
a  French  historical  painter  and  writer,  was  born  at 
Montargis  in  1767.     Having  lost  his  parents  when 
very  young,  be  was  adopted  by  an  army  surgeon, 
M.  TriosoQ,  whose  name  he  subsequently  added  to 
his  own.    After  some  elementary  instruction  from 
a  painter  named  Luquet,  be  entered  the  studio  of 
David  in  1785.    In  1787  and  1788  he  unsuccessfully 
competed  for  the  '  prix  de  Rome,'  but  at  length,  in 
1789,    obtained   the    coveted    distinction  vrith    a 
picture  of  '  Joseph  making  himself  known  to  his 
brethren.'    He  spent  some  time  in  Rome,  and  there 
painted  the  'Endymion,'  which  first  brought  his 
name  into  notice.     The  political  troubles  of  the 
time  obliged  him  to  fly  to  Naples,  and  thence  to 
Venice,  but  on  his  way  home  he  fell  ill  at  Genoa, 
and  was  carefully  tended   by  Gros.     Once  more 
settled  in  Paris,  be  devoted  himself  assiduously  to 
historical  painting,  and  he  met  with  such  success 
that  at  the  decennial  competition  in  1810,  he  was 
awarded  the  '  grand  prix '  for  his  '  Scene  from  the 
Deluge,'  in  preference  to  David's  '  Sahines.'  In  1812 
Girodet's  adopted  father  died,  and  with  the  pro- 
perty bequeathed  to  him  he  was  enabled  to  indulge  a 
taste  for  architecture.  This  amateur  house-building, 
and  his  literary  pursuits — for  he  wrote  a  poem  on 
painting,  and  contributed  freely  to  the  art  Mterature 
of  the  day — did  not  leave  him  much  leisure  during 
the  next  few  years  for  the  production  of  any  large 
works.     In  fact,  throughout  his  career,  he  painted 
but  few  pictures.     His  time  was  greatly  occupied 
with  studies  and  sketches,  and  he  executed  an  im- 
mense number  of  designs  for  the  illustration  of  the 
classic  authors,  notably  for  editions  of  Anacreon, 
Virgil,  and  Racine.     In  his  latter  years  Girodet 
suffered  much  in  health,  and  he  owed  much  to  the 
attention  of  his  friend,  the  great  physician  Larrey. 
He  died  in  Paris  in  1824,  and  previous  to  his 
■  burial  at  Pere-la-Chaise,  Louis  XVIII.  ordered  the 
cross  of  officer  of  the  Legion  of  Honour  to  be 
affixed  to  his  breast.     Like  David  himself,  and 
'  most  of  his  disciples,  Girodet  lacked  a  mastery 
over  colour.     His  power  of  drawing  was  his  forte, 
and  to  this  is  due  the  charm  of  many  of  his  works. 
He  is  seen  at  his  best  in  his  less  ambitious  sub- 
jects, such  as  the  '  Atala '  and  the  '  Endymion  ; ' 
whilst  in  such  works  as  the  '  Insurrection  at  Cairo ' 
and  the  '  Deluge,'  he  is  strained,  not  to  say  thea- 
trical.    The  following  is  a  list  of  some  of  his 
works : 


Portrait  of  Charles  Bonaparte. 
The  Burial  of  Atala.  (A  replica 

of  the  JLouvre  picture.) 
Eomulus  and  Tatius.    1788. 
Head  of  a  Turk. 
Portrait  of  a  Man. 
The  Four  Seasons. 
Apollo. 
Flora. 
Aurora. 
Tenus. 

Head  of  a  young  Man. 
Head  of  a  young  Woman. 
Erigone. 

Hippocrates  refusing  the  pre- 
sents of  Artaxerxes.    1792. 
Scene  from  the  Deluge.   1810. 
The  Sleep  of  Endymion.  1792- 


Ajaccio. 
Amiens. 

Hotel  de  ViUe. 
Museum. 

Angers. 
Avignon. 
Cherbourg 
Compiegne 
» 

Museum. 
Museum. 
Museum. 
.  Palace. 

»                 » 

T  •  "•             *■" 
Leipsic.         Museum. 

Le  Puy.        Museum. 

Lyons.         Museum, 

Orleans.    ,  Museum. 

Paris.      Ecolede  Midecine 

Louvre, 


Paris.  Louvre.  The  Burial  of  Atala.     1808. 

Quimper.      Museum.  Head  of  a  young  Girl. 

Tarbes.        Museum.  Head  of  a  Child. 

Versailles.     Gallery.  Napoleon  receiving  the  Keys 

of  Vienna.     1808. 
„  „  The    Insurrection    at    Cairo. 

1810. 
„  „  Portrait    of    Charles    Bona- 

parte. 
„  „  Portrait  of  J.  B.  Belley. 

O.J.D. 
GIROLAMO  DA  TREVIGI.    See  Pennacchi. 
GIROLAMO  DAI  LIBRI.    See  Dai  Libki. 
GIROLAMO  Di  TIZIANO.     See  Dante. 
GIROLAMO  PADOVANO.     See  Soedo. 
GIRODST,  A.  L.  C,  an  historical  and  portrait 
painter,  born  at  Versailles  about  1780,  was  a  pupil 
of  David.     He  was  still  living  in  1835. 

GIROUST,  Jean  Antoine  Th^igdobe,  a  French 
historical  painter,  was  born  at  Bussy-Saint-Georges 
(Seine  and  Marne)  in  1753.  He  was  a  pupil  of 
L^pici^,  obtained  the  'grand  prix'  in  1778,  and 
was  received  into  the  Academy  in  1788  upon  his 
'  (Edipus  at  Colonus.'  He  died  at  Mitry-Mory 
(Seine  and  Marne)  in  1817.  He  executed  a  great 
number  of  works,  among  which  were  '  St.  Theresa,' 
in  the  cathedral  of  Boulogne-sur-Mer,  'The  Tor- 
tures of  the  Maccabees,'  'Eponine  and  Sabinus,' 
and  'St.  Godeliva.' 

GIRSCHER,  Bernhabd,  a  landscape  painter, 
was  born  at  Rothenburg,  near  Gorlitz,  in  1822. 
He  at  first  studied  medicine,  but  in  1848  turned 
his  attention  to  art,  and  worked  under  the  portrait 
and  landscape  painter  Resch  at  Breslau.  In  1849 
he  proceeded  to  Munich,  where  he  remained  four 
years,  passing  the  summer  months  in  walking 
through  the  Bavarian  highlands  and  the  Tyrol. 
He  spent  some  time  at  Liegnitz,  and  then  in 
1854  removed  to  Berlin,  travelling,  however,  after 
this  in  the  Tyrolese  and  Styrian  Alps.  He  died 
in  1870.  Among  his  best  paintings  are  'Moon- 
light Night  in  the  Tyrolese  Highlands,'  '  Water- 
Mill  in  Silesia,'  and  those  in  which  glaciers  are 
represented. 

GIRTIN,  Thomas,  who  was  born  in  Soutbwark 
in  1775,  was  a  pupil  of  Edward  Dayes.  He  was 
one  of  the  founders  of  the  English  school  of 
painting  in  water-colours,  and  is  generally  classed 
next  to  Turner,  with  whom  he  was  on  terms  of 
intimaoj'.  He  exhibited  at  the  Royal  Academy 
from  3794  to  1801.  Many  of  his  pictures  repre- 
sented views  in  London,  while  others  were  from 
Scotland,  the  Lake  district,  Wales,  and  Devonshire  ; 
there  were  also  several  of  English  cathedrals.  On 
the  occasion  of  the  peace  of  Amiens,  Girtin  went 
to  Paris,  where  he  made  twenty  drawings  of  the 
principal  views  in  that  metropolis,  of  which  he 
etched  the  outlines,  and  the  plates  were  finished  in 
aquatint  by  other  artists.  He  afterwards  painted 
a  panorama  of  London.  Though  of  a  very  weak 
and  delicate  constitution,  such  was  hjs  attachment 
to  art  that  he  continued  to  exercise  -his  profession 
till  within  a  few  days  of  his  death,  though  in  a 
state  of  the  most  deplorable  debility.  He  died  in 
London  in  1802,  at  the  early  age  of  twenty-seven. 
The  British  Museum  possesses  a  fine  collection  of 
Girtin's  drawings  and  sketches,  many  of  which 
were  presented  by  Mr.  Chambers  Hall  in  1855,  or 
bequeathed  by  Mr.  Henderson  in  1878.  Some 
interesting  particulars  respecting  this  artist  are 
contained  in  Thomas  Miller's  '  Turner  and  Girtin's 
Picturesque  Views,  sixty  years  since,'  London, 
1854.  Among  his  works  in  public  collections  are 
the  following : 

575 


Gisbrant 


A   BIOGRAPHICAL  DICTIONARY   OF 


Glantsclmigg 


British  Museum, 


View  of  Bridgenorth. 

The  Great  Hall,  Conway  Castle. 

Ethel  Castle,  Northumberland. 

Laneroost  Priory,  Cumberland. 

Melrose  Abbey. 

Knaresborough  Castle. 

View  of  Kipon. 

York  Cathedral. 

Interior  of  Canterbury  Cathedral. 

View  of  Dartford,  Kent. 

Abbey  Gateway,  Bury  St.  Edmund's. 

South  Kensington  Museum. 

View  on  the  Wharfe,  Yorkshire. 

Eievaulx  Abbey.    1798. 

View  on  the  Thames. 

Street  in  Weymouth. 

Entrance  to  the  Grotto,  Posilippo. 

"Warkworth  Hermitage. 

National  Gallery  of  Scotland. 

View  of  'Westminster. 

Study  of  a  Sloop.     (Two  dramngs.) 

National  Gallery  of  Ireland. 
View  of  St.  Asaph. 
Jedburgh  Abbey. 

GISBRANT,  John,  was  an  English  historical 
painter  of  the  17th  century.  He  spent  many  years 
at  Lisbon,  where  he  painted  an  altar-piece  for  the 
church  of  St.  Mary  Magdalen. 

GISELAER,  N.  B.  In  the  Fitzwilliam  Museum 
at  Camhridge  is  a  picture  of  the  '  Interior  of  a  Hall,' 
signed  N.  B.  Giselaer,  fecit  Anno  Bni.  1631. 
The  colouring  and  perspective  are  good,  but  the 
fignares  are  too  large,  and  the  animals  bad. 

GISMONDI,  Paolo,  called  Paolo  Perugino,  was 
a  native  of  Perugia,  but  was  educated  at  Rome 
under  Pietro  da  (Jortona,  and  was  received  into 
the  Academy  in  that  city  in  1668.  Some  of  his  best 
fresco  works,  which  are  historical,  are  those  in  the 
church  of  Sant'  Agnese  and  in  the  tribune  of  Sant' 
Agata  at  Rome. 

GIUDICI,  Carlo  Mama,  a  painter,  sculptor,  and 
architect,  was  born  at  Viggiu,  in  the  Milanese,  in 
1723.  From  his  thirtieth  year  he  studied  the 
great  masters  in  Rome,  and  afterwards  settled 
down  in  Milan,  where  he  in  1760  started  a  school, 
by  means  of  which  he  sought  to  develope  a  purer 
style,  and  inculcate  closer  study  of  the  antique 
and  of  nature.  He  died  at  Milan  in  1804.  His 
works  as  a  sculptor  were  considerable  ;  as  a  painter 
he  executed  a  few  frescoes  in  San  Francesco  di 
Paola  at  Milan,  and  some  easel  pictures  from  both 
sacred  and  profane  history,  which  in  the  heads 
recall  the  style  of  Guido  Reni. 

GIUGNI,  Francesco.    See  Zdgni. 

GIULIANO  DI  ARRIGO.     See  GiuoOHl. 

GIUNTA  PISANO.     See  Pisano. 

GIUNTALODI,  Dombnico,  {i.e.  Giunta  di 
LoDO,)  was  a  painter  and  architect,  who  was  born 
at  Prato  in  1606,  and  learned  painting  under 
Niccolo  Soggi,  and  afterwards  at  Rome.  He  died 
at  Guastalla  in  1560.  He  executed  several  im- 
portant works  as  an  architect,  and  was  made 
engineer  to  Charles  V.  As  a  painter,  in  addition 
to  the  portraits  of  some  notable  persons  of  his 
time,  he  is  known  to  have  produced  a  picture  of 
'  The  Coliseum,'  which  was  engraved  by  Giro- 
lamo  Fagivoli,  and  of  '  An  Old  Man  in  his  Drawing 
Chair.'  engraved  by  Agostino  Veneziano. 

GIUOCHI,  GiULiANO,  called  Pesello,  the  son  of 
Arrigo  di  Giuocolo  Giuochi,  was  born  at  Florence 
in  1367.  He  was  more  of  a  sculptor  and  architect 
than  a  painter,  and  in  1390  was  commissioned  to 

676 


design  a  monument  to  Pietro  Famese  in  Santa 
Maria  del  Fiore.  In  1414-16  he  painted  flags 
for  the  interior  of  San  Giovanni,  and  in  1419  he 
unsuccessfully  competed  for  the  erection  of  the 
cupola  of  Santa  Maria  del  Fiore,  but  was  made 
Brunellesco's  substitute  in  the  following  year.  In 
1424  occurs  the  only  record  of  his  name  in  the 
Guild  of  St.  Luke.  He  died  in  1446  at  Florence, 
and  was  buried  in  the  church  of  the  Carmine. 
Owing  to  a  confusion  on  the  part  of  Vasari,  much 
doubt  exists  as  to  the  authorship  of  various 
works  attributed  indiscriminately  to  Giuliano  and 
his  grandson  Francesco,  who  resided  for  many 
years  in  his  grandfather's  atelier  in  the  Corso 
degli  Adimari.  In  the  UflBzi  Gallery  at  Florence 
is  an  'Annunciation,'  painted  for  the  church  of 
San  Giorgio  sulla  Costa  by  Giuliano,  who  is  said 
to  have  excelled  in  the  representation  of  animals. 
Both  grandfather  and  grandson  were  employed 
in  painting  '  cassoni.' 

6IUST1,  Antonio,  was  bom  at  Florence  in 
1624,  and  first  studied  under  Cesare  Dandini,  but 
afterwards  under  Mario  Balassi.  He  painted 
with  equal  success  historical  subjects,  landscapes, 
animals,  and  hunting-pieces ;  and  continued  to 
exercise  his  profession  with  unabated  vigour  until 
he  reached  his  eighty-first  year.     He  died  in  1705. 

GIUSTI,  Felice,  who  was  born  at  Pistoja,  and 
died  at  Bologna,  flourished  about  the  middle  of 
the  18th  century.  He  studied  under  Crespi,  and 
painted  sea-pieces  and  landscapes  with  figures. 
He  was  surpassed  by  his  brother,  GiACOMO  GinSTi, 
who  also  was  horn  at  Pistoja,  and  died  at  Bologna. 

GIUSTI,  Gregoeio,  who  was  born  at  Pistoja  in 
1732,  studied  at  Rome  under  Seblonca,  and  aiter- 
wards  under  Battoni.  In  1756  he  executed  several 
pictures  for  the  church  of  San  Vitale,  but  he  was 
principally  employed  by  the  Directors  of  the 
Kircher  Museum  in  painting  art  objects. 

GIUSTO  di  ANDREA.     See  Manzini. 

GIUSTO  DI  GIOVANNI  (or  Giusto  Padovano). 
See  Menabuol 

6IUVEN0NE,  Gieolamo.     See  Giovenone. 

GIXON,  Juan  Carlos  Ruiz.     See  Rniz  GixoN. 

GLADIATOR.     See  De  Baen,  Jacobus. 

GLAESER,  Geoeg,  a  portrait  and  historical 
painter,  was  born  at  Altorf,  near  Nuremberg,  in 
1719.  After  receiving  tuition  from  his  own  friends 
he  underwent  a  ten  years'  apprenticeship,  and  was 
then  appointed  court  painter  to  the  Margrave 
Friedrich  at  Baireuth,  who  sent  him  first  to 
Vienna,  where  he  twice  ohtained  the  prize,  and 
then  to  Italy,  from  whence  he  only  returned  after 
seven  years,  and  died  at  Baireuth  in  1748.  The 
following  paintings  by  him  are  in  the  gallery  of  the 
Landauer  Briiderhaus  at  Nuremberg : 

Luoretia  stabbing  herself. 

Cleopatra  applying  the  Asp  to  her  Breast. 

Alexander  on  entering  India  received  by  the  High  Priest. 

The  Baptism  of  Christ. 

Portrait  of  a  Eabbi.     1735. 

GLANTSCHNIGG,  Uleich,  was  born  at  Hall, 
in  the  valley  of  the  Inn,  in  1661,  and  after  studying 
at  Venice,  settled  in  1686  at  Botzen,  where  he  died 
in  1722.  He  chiefly  painted  altar-pieces,  but  also 
genre  scenes.   The  following  are  amon%  his  works : 

Botzen.  Franciscan  Ch.    St.  Francis   receiving  the  Stig" 
mata.   1712.    (Eestored  by  Siea 
in  1856.) 
„  Farish  Ch.    The  Three  Wise  Men  from  the 

East. 

Brixen.  Chapter  House.    The  Marriage  at  Cana. 


Glaser 


PAINTERS  AND  ENGRAVERS. 


Gleyre 


His  son  and  pupil,  Joseph  Anton  Glantschnigg, 
who  was  born  at  Botzen  in  1695,  and  died  there  in 
1750,  but  who  lived  chiefly  at  Wiirzburg,  was  a 
painter  of  historical,  genre,  and  landscape  subjects. 

GLASER,  Hans,  a  wood-engraver  and  card- 
painter,  lived  at  Nuremberg  about  the  middle  of 
the  16th  century.  His  works,  which  are  very  rare 
and  have  chiefly  an  historical  interest,  are  for  the 
most  part  views  of  old  castles  and  fortresses  ;  one 
of  them  represents  '  An  Owl  surrounded  by  other 
Birds.' 

GLASER,  JoHANN  Heineich,  was  a  Swiss  wood- 
engraver,  who  flourished  at  Basle  about  1630. 

GLASS,  JoHANN  KiLlAN,  (not  Klass,  as  given 
by  Nagler,)  was  bom  at  Dornsied  in  the  province 
of  Hanau  in  1701,  and  afterwards  settled  down  at 
Frankfort-on-the-Main.  He  worked  variously  at 
the  painting  of  portraits,  house  facades,  ornaments, 
snuff-boxes,  &c.  He  was  much  employed  by  Oppen- 
heimer,  the  Finance  Minister  of  Wiirtemberg,  and 
at  Lausanne  (in  1742)  for  the  Margrave  of  Baden 
and  some  English  noblemen.  He  afterwards  went 
to  Paris,  where  he  was  lost  sight  of. 

GLAUBER,  Diana,  the  sister  of  Johannes  and 
Jan  Godlieb  Glauber,  was  born  at  Utrecht  in  1650, 
and  was  instructed  in  design  by  her  elder  brother. 
She  painted  historical  subjects  and  portraits,  in 
which  she  distinguished  herself  at  Hamburg, 
where  she  chiefly  resided.  In  the  latter  part  of  her 
life  she  became  blind. 

GLAUBER,  Jan  Godlieb,  called  Myrtill,  the 
younger  brother  and  scholar  of  Johan  Glauber,  was 
bom  at  Utrecht  in  1656.  At  the  age  of  fifteen  he  ac- 
companied Johannes  Glauber  in  his  journey  through 
France  to  Italy.  Whilst  at  Paris,  he  studied  under 
Jacob  Knyf,  who  was  in  some  repute  as  a  painter 
of  architectural  views  and  seaports.  After  this  he 
rejoined  his  brother  at  Lyons,  and  went  with  him 
to  Rome  where  he  studied  two  years.  In  1684  he 
went  to  Hamburg,  and  met  with  great  encourage- 
ment, but  was  afterwards  invited  to  the  court  of 
Vienna,  where  he  passed  a  great  part  of  his  life. 
Jan  Godlieb  Glauber  painted  landscapes  in  the  style 
of  his  brother, — hence  his  nickname, — though  with 
a  less  masterly  handling ;  but  he  excelled  in  sea- 
ports, which  he  embellished  with  small  figures,  cor- 
rectly drawn  and  neatly  touched.  He  died  at 
Breslau  in  1703.  Some  good  landscapes  by  him 
are  in  the  Augsburg,  Munich,  Pommersfelden,  and 
Vienna  Galleries.  In  the  Glasgow  Gallery  is  a 
picture  of  '  The  Snake  in  the  Grass.' 

GLAUBER,  Johannes,  surnamed  Polydok,  was 
the  son  of  German  parents,  but  was  born  at  Utrecht 
in  1646.  He  studied  for  some  time  under  Nicolaas 
Berchem,buthavingseen  someltalian  landscapes  he 
was  seized  with  a  desire  to  go  to  Italy,  and  in  1671 
left  Holland  upon  a  journey  to  Rome,  travelling 
through  France  in  company  with  his  brother  and 
sister  and  the  brothers  Van  Dooren.  He  remained 
a  year  at  Paris  and  two  at  Lyons,  studying  under 
various  masters.  Arriving  at  length  in  Rome  he 
received  the  name  of  '  Polydor,'  upon  joining  the 
Artists'  Guild.  He  passed  two  years  in  that  city, 
sketching  the  most  remarkable  scenery  in  the 
vicinity ;  aaad  afterwards  visited  Padua,  Venice, 
Hamburg,  and  Copenhagen.  On  his  return  to 
Holland  in  1684,  he  settled  at  Amsterdam  ;  and 
formed  an  intimacy  with  Gerard  de  Lairesse,  who 
was  then  in  the  height  of  his  reputation,  and 
joined  him  in  his  studio.  The  landscapes  of 
Glauber,  decorated  with  the  classic  figures  of  the 
'Poussin  of  Holland,'  obtained   such  reputation, 


that  it  was  with  difficulty  they  could  execute  the 
commissions  which  they  received.  It  was  at  this 
time  that  Glauber  painted  the  fine  landscapes  in 
the  chateau  of  Soestdijk,  for  the  Prince  of  Orange, 
in  which  the  figures  are  painted  by  De  Lairesse. 
He  died  at  Schoonhoven  in  1726.  His  works 
exhibit  nothing  of  the  taste  of  his  country,  his 
forms  and  scenery  being  entirely  Italian.  Among 
his  principal  pictures  are  the  following : 
Amsterdam.  MMseum.    Diana  at  the  Bath. 

„  „  Mercury  carrying  off  lo. 

Berlin.  Gallery.    Italian  Landscape. 

Brunswick.  Museum.    Five  Landscapes. 

Odssel.  Gallery.    Landscape. 

Copenhagen.  Gallery.    Landscapes. 

Dresden.  Gallery.     Idyllic  Landscape. 

Hague.  Gallery.    Departure  of  Adonis  for  the 

chase, 
Madrid.  Gallery.    Four  Landscapes. 

Munich.  Gallery.    Two  Landscapes. 

Paris.  Louvre.     Landscape. 

Petersburg.        Hermitaye.    Mountain  Landscape. 

There  are  by  him  several  etchings,  executed  in  a 
slight,  spirited  style,  some  of  them  after  his  own 
designs,  and  others  after  Berchem  and  Gaspard 
Poussin.  He  also  etched  some  plates  from  the 
designs  of  Gerard  de  Lairesse.  The  following  are 
his  principal  prints : 

Various  Landscapes  and  Cattle  ;  after  Berchem. 

Two  Landscapes ;  after  Gasparcl  Poussin. 

A  set  of  six  oblong  Landscapes ;  from  his  own  designs. 

A  set  of  six  upright  Landscapes ;  from  the  same. 

A  set  of  circular  plates  of  allegorical  subjects,  from  the 
histories  of  the  four  great  Monarchies  of  Assyria, 
Persia,  Greece,  and  Borne ;  after  De  Lairesse. 

GLAUCION,  a  painter  of  Corinth,  is  only  known 
through  being  recorded  by  Pliny  as  the  instructor 
of  Athenion. 

GLEDITSCH,  Paul,  an  engraver  and  etcher, 
was  born  at  Vienna  in  1794.  He  was  instructed  by 
J.  F.  Leybold,  and  in  1819  obtained  the  first  prize, 
whilst  in  1848  the  King  of  Prussia  awarded  him 
a  gold  medal  for  his  plate  of  '  St.  Catharine,'  after 
Carlo  Dolci.  He  died  at  Vienna  in  1872.  Other 
engravings  by  him  are  : 

Mary  observing  the  sleeping  Child ;  after  Guido  Bent. 
Madonna  and  Child,  with  St.  Jerome  ;  after  Raphael. 
Madonna   and    Child,  with   the   Magdalen    and    St. 

Catharine ;  after  ^erugino. 
Madonna  Telata ;  after  Sasso  Ferrato. 
Cupid  the  Bow-Cutter ;  after  Pannigiano. 
Portrait  of  the  Emperor  Joseph  I. ;  after  Pompeo  Pattoni. 

GLEN,  Jan  de.    See  Db  Glen. 

GLEYRE,  Marc  Charles  Gabriel,  an  historical 
painter  belonging  to  the  French  School,  but  Swiss 
by  birth,  was  born  at  Chevilly,  a  small  village  near 
La  Sarraz,inthe  Canton  of  Vaud,  in  1806.  His  father, 
who  was  a  farmer,  encouraged  his  son's  predilection 
for  art.  He  first  studied  at  Lyons,  but  in  1824  he 
migrated  to  Paris,  and  became  a  pupil  of  Hersent. 
This  master  did  not  exercise  any  marked  influence 
on  him,  and  he  owed  more  to  his  study  of  the  old 
masters  in  Italy,  where  he  went  in  1828.  He  stayed 
chiefly  at  Padua,  Florence,  and  Rome,  and  whilst 
in  the  latter  city,  he  sent  some  water-colour  portraits 
to  the  Salon  of  1833 — his  first  appearance  at  the 
annual  exhibition.  He  then  made  a  long  tour  in 
the  Levant,  visiting  Egypt,  Greece,  and  Asia  Minor. 
The  fruits  of  his  travels  were  seen  in  two  decorative 
works,  a  'Nilbian  Girl,'  and  'Diana,'  typifying 
Egypt  and  Greece,  which  he  painted  in  1888  for  M. 
Lenoir  of  Paris.  Soon  after  his  return  he  suffered 
from  a  dangerous  attack  of  ophthalmia,  which  at  one 
time  threatened  him  with  loss  of  sight.     On  his 

577 


Gliemanu 


A  BIOGRAPHICAL  DICTIONARY  OF 


Glockendon 


recovery,  he  painted  the  well-known  '  Evening,' 
which  established  his  position,  and  henceforth  the 
history  of  his  life  is  almost  contained  in  the  list  of 
the  works  he  executed.  It  should  be  mentioned  that 
from  some  cause  not  clearly  ascertained,  he  did  not 
exhibit  his  pictures  at  the  Salon  after  the  year 
1849.  Paul  Delaroche  had  a  high  appreciation  of 
Gleyre's  art,  and  on  giving  up  his  atelier,  recom- 
mended his  pupils  to  him.  Amongst  those  who 
passed  through  his  studio  were  the  English  painters, 
Poynter,  Marks,  and  Calderon.  Gleyre  died  on  the 
4th  May,  1874,  from  the  rupture  of  a  blood-vessel 
while  visiting  the  exhibition  at  Paris  on  behalf  of 
the  expatriated  inhabitants  of  Alsace.  The  chief 
characteristics  of  his  works  are  the  softness  and 
poetic  feeling  with  which  they  are  imbued,  although 
in  some  of  his  productions,  as  the  '  Pentheus  '  and 
the  'Battle  of  Leman,'  he  exhibits  considerable 
strength  and  vigour.  The  following  are  some  of 
his  principal  pictures  : 

St.  John  in  the  Island  of  Patmos.    1840. 

Evening,  or  Lost  Illusions.    1843. 

The  Departure  of  the  Apostles.     1845. 

Dance  of  Bacchantes.    1849. 

The  Pentecost     1851.     {St.  Marguerite,  Paris.) 

Execution  of  Major  Duval.    1852.    {Lausanne  Museum.) 

Battle  of  Leman.     {Lausanne  Museum.) 

Venus  on  a  Goat. 

Hercules  at  the  feet  of  Omphale.    1863. 

Pentheus  pursued  by  the  Maenades.    {Basle  Museum,.) 

The  Charmer.    {Basle  Museum.) 

The  Bath.     1868. 

Joan  of  Arc  in  the  Forest, 

The  Deluge. 

Kuth  and  Boaz. 

Minerva  and  the  Graces. 

Portrait  of  General  J°™°^-^^  |  {Lausanne  Museum.) 


M.  W.  Haldimand. 
Thomas  Carlyle. 


O.J.D. 


GLIEMANN,  Philipp  Albert,  a  German  portrait 
painter,  was  born  at  Wolfenbiittel  in  1822.  He  had 
from  his  youth  to  struggle  for  his  subsistence,  so 
that  it  was  not  until  1844  that  he  was  able  to  re- 
sort to  the  Dresden  Academy  for  instruction.  After 
this  he  entered  Julius  Hiibner's  atelier,  and  then, 
with  the  exception  of  brief  trips  to  Paris  and 
Antwerp,  he  remained  settled  in  Dresden,  where  he 
died  in  1872.  There  is  a  '  Head  of  a  bearded  Jew  ' 
by  him  in  the  Dresden  Gallery. 

GIiINK,  Pbanz  Xavier,  a  German  historical 
painter,  was  born  at  Burgau  in  1796.  He  was  the 
son  of  a  carpenter,  and  learned  his  father's  trade ; 
he  went  with  his  parents  in  1809  to  Munich,  where 
his  talent  for  art  induced  him  to  attend  the 
Academy.  In  1824  he  went  to  Italy,  and  upon  his 
return  painted  the  altar-piece  for  the  chapel  of  the 
Military  Hospital  at  Munich  as  a  token  of  gratitude 
for  his  travelling  allowance.  He  painted  several 
church  pictures,  amongst  them  some  for  the  Frauen- 
kirche.  He  died  at  Munich  in  1873.  His  finest 
pictures  are : 

The  Flight  into  Egypt. 
The  Virgin's  Visit  to  Elizabeth. 
The  Virgin  and  Child. 
Christ  in  Gethsemane. 
Christ  in  Glory. 

GLINZER,  Karl,  (or  Glintzee,)  an  historical 
and  landscape  painter,  was  born  at  Breitenau,  near 
Cassel,  in  1802.  He  was  first  instructed  by  J. 
Krausskopf,  a  pupil  of  David,  next  passed  two  years 
at  the  Munich  Academy,  and  in  1825  made  a  brief 
stay  with  Schadowat  Diisseldorf ;  he  then  proceeded 
by  way  of  Belgium  to  Paris,  where  he  entered  the 
atelier  of  Baron  Gros.   In  1833  he  made  a  iourney  to 

678 


Rome  and  Naples,  which  had  much  influence  on  the 
character  of  his  subsequent  productions.  Later  in 
life  he  partially  abandoned  the  practice  of  art  in 
order  to  pursue  the  theoretical  department,  and  in 
1865  he  published  a  treatise  entitled  'Art  and 
School.'  On  the  reopening  of  the  Cassel  Gal- 
lery, however,  he  furnished  chalk  drawings  from 
Rembrandt,  of  the  size  of  the  originals,  for  the 
publication  of  the  Rembrandt  Album.  He  died  at 
Cassel  in  1878.  Among  his  paintings,  in  addition 
to  numerous  portraits,  are  the  following  : 

Joseph's  bloody  Coat.    1838. 

Susannah. 

The  Good  Samaritan. 

The  Slave  Dealer.     1840. 

Pan  and  Syrinx.     1852. 

GLOCKENDON,  Albert,  (or  Glockenton,)  the 
elder,  a  German  engraver  and  miniature  painter, 
was  born  at  Nuremberg  about  the  year  1432.  He 
was  educated  in  the  school  of  the  elder  Rogier  van 
der  Weyde,  and  was  working  at  Wiirzburg  in 
1481-85.  His  plates  are  wrought  entirely  with  the 
graver,  in  a  neat  but  stiff  style ;  and  he  appears 
to  have  imitated  the  manner  of  Martin  Schon- 
gauer,  some  of  whose  plates  he  copied.  He 
usually  marked    his   prints   with  his    initials   in 

The  following  plates 


Xg 


Gothic  letters,  thus : 
are  by  him : 
Twelve  plates  of  the  Passion  of  Christ ;  after  Martin 

Schonffauer. 
Ten  plates  of  the  "Wise  and  Foolish  Virgins ;  after  the 

same, 
Christ  bearing  His  Cross  ;  after  the  same. 
The  Death  of  the  Virgin ;  after  the  same. 
The  Virgin  and  Infant  seated  on  an  altar. 

GLOCKENDON,  Albert,  the  younger,  a  glass 
painter,  illuminator,  and  wood-engraver,  lived  at 
Nuremberg,  where  he  is  known  to  have  been  work- 
ing from  1531  to  1543.  He  is  probably  identical 
with  an  Albert  Glockendon  of  whom  Neudorffier 
speaks  as  a  brother  of  NikolauB,  and  as  a  diligent 
illuminator  and  "  half  a  poet."  The  Berlin  Library 
possesses  a  Calendar,  dated  1526,  under  this  latter 
name,  adorned  with  cuts  and  verses  to  each  month. 
By  the  former  (if  they  are  really  to  be  regarded  as 
two  distinct  men)  are  a  fine  engraving  of  '  Two 
Honourable  Women'  (1531),  and  thirty-two  plates 
of  various  Saints. 

GLOCKENDON,  Geohq,  the  elder,  a  wood- 
engraver  and  illuminator  of  Nuremberg,  was 
working  as  early  as  1480,  and  died  in  1520.  Two 
of  his  plates  are,  '  Mary  surrounded  by  five  holy 
Women,'  and  '  The  Ascension  of  Christ'  (1520). 

GLOCKENDON,  Gbokg,  the  younger,  who  was 
born  at  Nuremberg  in  the  year  1492,  executed 
miniatures  in  the  manner  of  Albrecht  Diirer.  He 
was  also  an  engraver  on  wood.     He  died  in  1653. 

GLOCKENDON,  Nikolaus,  of  Nuremberg,  the 
son  of  Georg  Glockendon  the  younger,  studied 
under  his  father,  and  became  a  miniaturist  of  great 
merit.  His  works  display  much  feeling  and  senti- 
ment in  addition  to  great  technical  knowledge ; 
they  are,  however,  often  incorrect  in  drawing.  In 
the  Royal  Library  at  Aschaffenberg  there  is  a 
Missal,  painted  by  Glockendon  for  Albrecht  of 
Brandenburg,  Archbishop  of  Mayence,  for  which 
he  received  500  gulden.  It  contains  twelve  illu- 
minated borders  to  a  calendar,  with  pictures  repre- 
senting the  twelve  months,  and  numerous  miniatures 
after  Schongauer,  Albrecht  Diirer,  and  Cranach. 
On  the  last  page  of  the  missal  is  written  the 
following  inscription,  "Ich  Niklas   Glokendon  zu 


Olovachevsky 


PAINTERS  AND  ENGRAVERS. 


Goddard 


Nurenberg  hab  disses  Bhuch  illuminiert  und  vollent 
im  jahr  1524. "  The  AschafEenberg  Library  contains 
also  a  prayer-book  with  designs  by  Grlockendon. 
This  artist  died  in  1560  ;  the  date  of  his  birth  has 
not  been  recorded.  He  had  twelve  sons,  all  of 
whom  he  brought  up  to  his  own  profession. 

GLOVACHBVSKY,  Kieil,  a  Russian  painter, 
bom  at  Korop  in  1735,  studied  at  Kiew,  but  after- 
wards went  to  St.  Petersburg,  where  he  became  a 
Professor  of  the  Academy  of  Fine  Arts,  and  died 
in  1823. 

GLOVER,  Geoegb,  an  engraver,  was  born  about 
the  year  1618.  He  worked  chiefly  for  the  book- 
sellers, and  engraved  several  portraits  of  persons 
distinguished  in  English  history.  They  are  exe- 
cuted in  a  bold,  open  style,  though  without  much 
taste.  He  also  engraved  some  frontispieces  and 
emblematical  subjects ;  but  his  portraits  are  his 
best  works.    The  following  are  by  him  : 

James  I. 

Charles  I. 

Henrietta  Maria,  Queen  of  Oharles  I. 

Mary,  Daughter  of  Charles  I. 

Charles  II. 

Catharine,  Queen  of  Charles  II. 

James  II. 

Mary  Beatrice,  Queen  of  James  II. 

Oliver  Cromwell. 

Francis  Bussell,  Earl  of  Bedford. 

■William  Bussell,  Duke  of  Bedford. 

Algernon  Percy,  Earl  of  Northumherland. 

Eobert  Devereux,  Earl  of  Essex. 

Henry  Bich,  Earl  of  Holland. 

Thomas  AVentworth,  Earl  of  Strafford. 

James  Ussher,  Archbishop  of  Armagh. 

Sir  Thomas  tTrguhart. 

Sir  Edward  Dering.     1640. 

Sir  James  Campbell. 

Sir  Henry  Oxendeu  of  Barham. 

Sir  Anthony  van  Dyck. 

John  Pym,  M.P.  for  Tavistock. 

John  Fox,  the  Martyrologist. 

Lewis  Boberts,  merchant.    1637. 

John  Goodwin,  presbyter.    1642. 

William  BarifE.    1643. 

John  Lilbume.    1641. 

Henry  Barton,  Eeotor  of  St.  Matthew's,  Friday  Street. 

1648. 
Katt.  Witt,  an  idiot. 

GLOVER,  John,  a  landscape  painter  in  water- 
colours,  was  born  at  Houghton-on-the-Hill,  Leicester- 
shire, in  1767.  He  received  no  instruction  in  art, 
and  in  1786  became  writing-master  at  Appleby  Free 
School.  He,  however,  employed  all  his  spare  time 
in  drawing,  and  in  1794  removed  to  Lichfield, 
where  he  devoted  himself  to  practising  and  teach- 
ing art.  In  1805  he  came  to  London,  and  joined 
the  newly-formed  Water-Colour  Society,  of  which 
he  was  President  in  1815.  He  resigned  bis 
membership  in  1818,  and  having  been  an  unsuccess- 
ful candidate  for  Academy  honours,  he,  in  1824, 
assisted  in  founding  the  Society  of  British  Artists, 
where  he  exhibited  till  1830.  In  the  following 
year  he  emigrated  to  Australia,  occasionally  sending 
home  works  until  his  death  in  1849  at  Launceston, 
Tasmania.     Glover's  art  was  fashionable,  and  his 

.   works  commanded  high  prices  during  his  lifetime. 

«  He  occasionally  painted  in  oils,  but  his  fame  rests 
on  his  work  in  water-colours.  Amongst  his  best 
drawings  are: 

Durham  Cathedral.    (Earl  of  Durham.) 
Loch  Lomond. 

Tivoli.    (South  Kensington  Museum.) 
Windsor  Castle.    {The  same.) 

Landscape :  "Windsor  Castle  in  the  distance.  (The  same. ) 
River  Scene.   (The  same.) 
PP  2 


Matlock  Bath — Mist  clearing  off. 

Chepstow  Castle. 

Landscape  near  Civiti  Vecchia, 

Elter  Water. 

Wingfield  Manor,  Antrim. 

GLUME,  JoHANN  Gottlieb,  who  was  born  at 
Berlin  in  1711,  and  died  in  1798,  was  a  pupil  of 
Pesne  and  Harper.  He  painted  historical  and 
genre  subjects  and  landscapes,  and  also  etched 
several  portraits,  &c. 

GMELIN,  WiLHELM  Friedeich,  an  engraver, 
was  born  at  Badenweiler  in  1745,  and  studied  under 
Christian  von  Mechel  in  Basle.  He  went  to  Rome 
in  1788,  and  died  there  in  1821.  His  engravings 
after  Claude  Lorrain  and  Poussin  are  of  a  high 
order  of  merit.     His  best  plates  are : 

The  Temple  of  Venus ;  after  Claude  Lorrain. 

The  Mill ;  after  the  same. 

Landscape  with  the  Flight  into  Egypt ;  aftej^  the  same. 

Acis  and  Galatea ;  after  the  same. 

The  Waterfalls  of  Tivoli ;  two  plates. 

The  Villa  of  Maecenas  at  Tivoli ;  two  plates. 

The  Grotto  of  Neptune  at  Tivoli ;  two  plates. 

Waterfall  of  Velino.    1795. 

The  Lake  of  Albano  near  Rome.'   1796. 

Rinaldo  and  Armida ;  after  G.  Poussin. 

View  of  Pozzuoli ;  after  Hackert. 

GNOCCHI,  Pietro,  was  a  native  of  Milan,  who 
was  born  about  1550,  and,  according  to  Morigia, 
flourished  about  the  year  1595.  He  was  a  scholar 
of  Aurelio  Luini,  and  surpassed  his  instructor  in 
the  elegance  and  taste  of  his  figures.  Lanzi  con- 
jectures that  this  artist  may  be  the  painter  called 
Pietro  Luini,  as  it  was  not  unusual  at  that  time  for 
the  disciple  to  adopt  the  name  of  his  master.  His 
best  performance  is  his  picture  of  '  Christ  giving 
the  Keys  to  St.  Peter,'  in  the  church  of  San  Vittore 
at  Milan. 

GOBAU.    See  Goubau. 

GOBBO,  Andeba.    See  Solaeio. 

GOBBO  DA  CORTONA,  II  (or  II  Gobbo  De' 
Caeracci,  or  dalle  Feutta).    See  Bonzi. 

GOBELL,  Geerit  Hendbeik,  a  Dutch  landscape 
painter,  was  born  at  Raalte  in  1786,  and  died  at 
Deventer  in  1833.  The  Amsterdam  Museum  has 
a  '  Winter  Landscape '  by  this  artist. 

GOBEL,  Karl  Petee,  an  Austrian  portrait  and 
historical  painter,  born  at  Wiirzburg  in  1791,  was 
educated  at  the  Academy  at  Vienna,  where  he 
died  in  1823.  The  Vienna  Gallery  has  a  picture 
by  him  of  'Jacob  blessing  the  Sons  of  Joseph.' 
Besides  this  may  be  mentioned  his  '  Moses,'  and 
'  Death  of  Dido.' 

GOBBRT,  Pierre,  a  French  portrait  painter,  was 
born  at  Fontainebleau  in  1666.  He  became  au 
academician  in  1701,  and  died  in  Paris  in  1744. 
There  is  by  him  in  the  Madrid  Gallery  a  portrait 
of  Louis  XV.  when  Dauphin. 

GODBY,  James,  an  English  engraver,  lived  at  the 
beginning  of  the  19th  century.  He  prepared  the 
illustrations  for  'The  Fine  Arts  of  the  English 
School,'  1812,  and  engraved  also  Raphael's  '  Mira- 
culous Draught  of  Fishes.' 

GODDARD,  John,  was  an  English  engraver,  of 
the  17th  century.  He  engraved  some  frontispieces, 
maps,  and  other  subjects,  for  the  booksellers. 
One  of  his  best  prints  is  the  portrait  of  Martin 
Billingsley,  a  writing-master,  dated  1651,  which 
is  prefixed  to  his  copy-book.  Strutt  mentions 
a  small  upright  print  of  a  woman  standing,  under 
which  is  inscribed   Vetura,  and  another  its  com- 


panion. 


679 


Goddyn 


A   BIOGBAPHICAL  DICTIONAKY  OF 


Goesin 


GODDYN,  PlETER,  a  Flemish  painter,  was  born 
at  Bruges  in  1752.  He  was  educated  at  the  Bruges 
Academy,  and  afterwards  in  Rome,  and  in  1782 
won  the  first  prize  at  Parma,  for  the  best  picture 
from  a  scene  in  Virgil's  '  Jilneid.'  In  1784  he  re- 
turned to  his  native  city,  where  he  died  in  1811. 

GODEPROID,  Maem  El^onoee,  a  daughter  and 
pupil  of  the  painter  Ferdinand  Joseph  Godefroid, 
was  born  in  Paris  in  1778.  In  1795  she  became  a 
teacher  of  art  and  music  in  the  Institute  of  St. 
Germain ;  but  in  order  to  devote  herself  more 
entirely  to  painting  she  renounced  this  position 
and  entered  the  atelier  of  Gerard,  whom  she 
assisted  in  his  works,  while  she  also  independently 
painted  portraits  in  oil,  water-colour,  and  pastel. 
She  had  an  elder  brother  a  painter,  who  completed 
her  education  after  their  father's  death.  She  died 
in  Paris  in  1849. 

GODBFBOY, ,  was  a  French  miniaturist,  who 

worked  at  Fontainebleau  early  in  the  16th  century, 
and  rivalled  Fouquet,  Beauneveu,  the  Pascals,  and 
other  celebrated  artists  of  that  time.  In  1519-20 
he  executed  for  Francis  I.  the  miniatures  in  the 
fine  manuscript  of  Caesar's  'Commentaries,'  of 
which  the  first  Volume  is  now  in  the  British 
Museum,  the  second  in  the  National  Library  at 
Paris,  and  the  third  in  the  collection  of  the  Duke 
d'Aumale.  He  also  painted  those  in  the  beautiful 
manuscript  of  the  French  translation  of  the 
'  Triumphs  '  of  Petrarch,  which  is  in  the  Kbrary  of 
the  Arsenal  in  Paris. 

GODEFEOY,  Fbanqois,  a  French  designer  and 
engraver,  was  born  at  Rouen  in  1748,  and  died  in 
Paris  in  1819.  He  was  the  father  of  Jean  Godefroy, 
and  one  of  the  best  scholars  of  Le  Bas,  under  whose 
tuition  he  engraved  landscapes  after  Casanova  and 
Claude  Lorrain,  genre  pieces  after  Fragonard,  and 
historical  subjects  from  the  Revolution  in  North 
America.    Among  his  best  plates  are : 

Landscape  with  a  Herd  of  Cattle ;  after  Villemont. 

A  pair  of  Landscapes,  called '  Le  Temple  des  Amours,' 

and '  La  Tour  des  deux  Amans ; '  after  Lantara. 
A  View  of  the  Village  of  Moutiers  Travers  ;  after  Cha- 

telet. 
Amusement  of  Brabant ;  after  Teniers. 
The  Georgian  Bath  ;  after  L.  de  La  Hire. 
A  pastoral  Landscape  ;  after  Casanova. 
A  Landscape,  with  a  Waterfall ;  after  Le  Prince. 
A  Landscape ;  after  Claude  Lorrain. 

GODEFROY,  Jean,  a  French  engraver,  the  son 
of  Fran9ois  Godefroy,  was  born  in  London  in  1771, 
and  was  a  scholar  of  J.  P.  Simon.  He  engraved 
the  works  of  the  most  eminent  French  painters  of 
his  time ;  particularly  those  of  Gerard,  Prud'hon, 
Carle  Vernet,  Isabey,  and  Chaudet.  There  are  also  by 
him  engravings  after  Raphael,  Correggio,  Poussin, 
and  the  Carracci.  He  died  in  Paris  in  1839.  He 
is  said  to  have  been  also  a  painter.  The  following 
are  among  his  best  plates : 

Cupid  and  Psyche ;  after  Glrari. 
The  Battle  of  Austeriitz  ;  after  the  same.     1813. 
Ossian  with  his  Harp  charming  up  Pictures  of  Phan- 
tasy ;  after  the  same. 
The  Congress  of  Vienna ;  after  Isabey.    1819. 
Bonaparte  at  Malmaison ;  after  the  same. 
The  Death  of  Hippolytus ;  after  Carle  Vernet. 

GODEFROY,  Petek  Ludwiq  de  Laeive.  See 
Laeive-Godepeoy. 

GODELER,  Elias,  (Jodann,)  an  Austrian  his- 
toncal  and  landscape  painter,  as  well  as  an  archi- 
tect, was  born  in  1620.  He  painted  in  oil  and  in 
fresco  prmcipally  at   Nuremberg,   Baireuth,   and 

580 


Hildburghausen,  and  died  in  the  last-named  town 
in  1693. 

GODEMAN,  an  English  monk  of  the  latter  half 
of  the  10th  century,  was  a  miniature  painter,  who 
executed  thirty  designs  in  gouache  and  gold  in  a 
Benedictional  of  Bishop  Athelwold  of  Winchester, 
now  in  the  possession  of  the  Duke  of  Devonshire, 
and  in  a  Benedictional  and  a  Missal  now  in  the 
Library  at  Rouen. 

GODETS,  Antoine  des.    See  Des  Godets. 

GODEWYCK,  Maegabita,  born  at  Dordrecht 
in  1627,  was  a  pupil  of  Nicolaas  Maes,  and  painted 
landscapes  and  flower-pieces.  She  possessed  a 
remarkable  talent  of  executing  similar  subjects 
in  needle-work.     She  died  at  Dordrecht  in  1677. 

GODFREY,  G.,  an  English  artist,  engraved, 
among  other  things,  some  of  the  plates  for  Grose's 
'  Antiquities  '  in  1785. 

GODFREY,  Richard  B.,  an  engraver,  was  born 
in  London  in  1728.  He  engraved  several  views 
and  antiquities,  and  some  English  portraits  for 
Bell's  '  British  Theatre '  and  the  '  Antiquarian 
Repository ; '  among  them  the  following : 

Edward,  the  Black  Prince. 

Thomas,  Duke  of  Gloucester. 

Margaret,  Countess  of  Salisbury. 

Sir  Henry  Upton,  British  Minister  in  France. 

Simon  Forman,  astrologer. 

Sir  Anthony  "Weldon,  historian. 

John  Evans,  astrologer. 

Abraham  Cowley,  poet. 

Bichard  Cromwell,  son  of  the  Protector. 

GODWIN,  James,  an  English  designer  for 
illustrated  books,  was  born  early  in  the  19th 
century.  He  studied  in  the  schools  of  the  Royal 
Academy,  and  exhibited  there  and  at  the  Society 
of  British  Artists  between  the  years  1846  and 
1851  some  works,  among  which  was  his  '  Hamlet 
and  Ophelia.'     He  died  in  London  in  1876. 

GOEBOUW,  Antoon.    See  Godbatj. 

GOBDAARD,  Johannes,  bom  at  the  beginning 
of  the  17th  century  in  Middelburg,  where  he  died 
in  1668,  painted  insects  and  other  objects  of 
natural  history. 

GOEDIG,  Heineioh,  (or  Goedigen,)  a  painter 
and  engraver,  was  a  native  of  Brunswick,  who  in 
1558  went  to  Dresden,  and  entered  the  service  of 
the  Elector  of  Saxony.  In  the  Ducal  Art  Cabinet  at 
Gotha  is  a  little  book  containing  thirteen  miniature 
pictures  by  him  representing  scenes  from  the  life 
of  Christ.  His  most  important  work  as  an  engraver 
is  a  series  of  subjects  taken  from  the  History  of 
Saxony  and  published  in  1597-98,  but  these  plates 
are  surpassed  by  seven  historical  landscapes  which 
he  executed  about  the  same  time.  After  1598  every 
trace  of  the  artist  disappears. 

60EIMARE,  Jan,  a  landscape  painter,  was  a 
native  of  Flanders,  who  flourished  at  the  beginning 
of  the  17th  century. 

GOEKINDT,  PlETER,  (or  Gobtkint,)  an  amateur 
painter,  was  a  native  of  Antwerp,  who  flourished 
about  1581,  and  was  the  first  master  of  Jan 
Brueghel. 

GOEREE,  J.,  was  a  Dutch  engraver,  who  resided 
at  Amsterdam  about  the  middle  of  the  17th  century. 
He  engraved  a  variety  of  frontispieces  and  other 
book  plates,  which  are  chiefly,  if  not  entirely,  from 
his  own  designs. 

GOES,  Hugo  van  der.    See  Van  dee  Goes. 

GOESIN,  Pierre  Antoine  FEANgois  db,  a 
Flemish  historical  painter,  was  bom  at  Ghent  in 
1753.  He  was  Professor  at  the  Academy,  and 
Director  of  the  Institute  at  Ghent,  but  he  abandoned 


Ooesteline 


PAINTERS   AND  ENGRAVERS. 


Goltzius 


art  in  order  to  take  the  management  of  the  printing 
office  which  had  been  carried  on  by  his  family  for 
upwards  of  a  century.     He  died  in  1831. 

GOESTELINE,  Willem,  a  native  of  Brussels, 
painted  in  1463  an  altar  picture  in  the  church  of 
St.  Nicholas  at  Ghent. 

GOETHE -MEYER,  Johann  Heinbich.  See 
Meter. 

GOETZ,  Gottfried  Bernard,  a  German  painter 
and  mezzotint  engraver,  was  born  at  Kloster- 
Welchrod,  in  Moravia,  in  1708.  He  was  instructed 
in  painting  by  Eckstein,  and  afterwards  was  a 
scholar  of  Johann  Georg  Bergmiiller,  at  Augsburg, 
where  he  died  in  1768.  His  works  as  a,  painter 
are  little  known  out  of  his  own  country ;  but  he 
has  scraped  some  plates  in  mezzotint,  among  which 
are  the  following : 

The  Emperor  Charles  VII. ;  after  a  picture  by  himself. 

Bust  of  Louis  XV. 

St.  Amandus ;  after  J.  G.  Bergmiiller. 

St.  Walburg ;  after  the  same. 

GOIEN,  Jan  van.    See  Goten. 

GOLCHI,  Peter,  is  mentioned  by  Walpole  as 
having  painted  in  England  in  the  reign  of  Queen 
Elizabeth. 

GOLD,  Charles,  a  colonel  of  the  Royal  Artillery, 
was  an  English  amateur  draughtsman.  He  entered 
the  army  in  1790,  and  after  having  served  in  India 
and  the  Netherlands,  and  at  Waterloo,  retired  from 
the  service  in  1825,  and  died  at  Leamington  in 
1842.  He  published  in  1806  '  Oriental  Drawings,' 
representing  Indian  costumes,  &c. 

GOIiDAR,  John,  an  engraver,  was  bom  at  Oxford 
in  1729,  and  died  of  apoplexy  in  Hyde  Park,  Lon- 
don, in  1795.  He  engraved  several  humorous 
subjects,  among  which  is  a  set  of  four  plates, 
after  John  Collet,  called  '  Modem  Love.'  He  also 
engraved  a  print  of  '  Ships  after  an  Engagement,' 
after  Wright. 

GOLDING,  Richard,  a  line-engraver,  was  bom 
in  London  of  humble  parentage  in  1785.  He  was 
apprenticed  in  1799  to  an  engraver  named  Pass, 
for  seven  years,  but  left  him  after  five,  when  his 
indentures  were  transferred  to  James  Parker,  who, 
however,  died  shortly  after ;  Golding  completing 
some  of  the  plates  he  had  left  unfinished.  Rapidly 
improving  in  his  profession,  Golding  soon  after 
obtained  through  a  Mr.  Fuller,  an  American  artist, 
for  whom  he  had  engraved  a  plate,  an  introduction 
to  West,  for  whom  he  executed  a  plate  of  the 
'Death  of  Nelson.'  He  also  became  known  toSmirke, 
from  whose  paintings  he  executed  many  beautiful 
engravings  for  book  illustration ;  among  the  best 
are  those  for  editions  of '  Don  Quixote '  and '  Gil  Bias.' 
In  1818  he  engraved  for  Sir  Thomas  Lawrence  his 
portrait  of  the  '  Princess  Charlotte  of  Wales,'  a  very 
fine  plate,  for  which  he  received  much  praise,  so 
that  he  now  became  famous,  and  obtained  many 
commissions.  Some  years  after,  however,  he  seems 
to  have  become  apathetic,  and  discontinued  work 
almost  entirely.  He  died  at  Lambeth  in  1865  in 
comparative  poverty.  The  chief  of  his  larger 
works  are : 

St.  Ambrose  refusing  the  Emperor  Theodosins  admission 

to  the  Church ;  «/*«•  Faolo  Veronese. 
A  Peep  into  Futurity ;  after  Maclise. 
The  Princess   Charlotte  of  "Wales;   after  Sir  Thomas 

Lavrejice. 
The  Princess  Victoria  (the  Queen)  in  her  ninth  year ; 

after  Westall. 
The  Princess  Victoria  (the  Queen) ;  after  Fowler,  1830. 
Henry  Calvert,  Esq. ;  after  T.  Phillips. 
Thomas  Hammersley,  Esq. ;  after  Hamilton. 


GOLDSCHMIDT,  Hermann,  a  painter,  but  more 
distinguished  as  an  astronomer,  was  bora  at  Frank- 
fort-on-the-Main  in  1802.  A  visit  to  Holland  in 
1832  decided  him  to  devote  himself  to  art,  and  he 
then_  studied  under  Schnorr  and  Cornelius  at 
Munich.  In  1834  he  took  up  his  residence  in 
Paris,  where  his  '  Romeo  and  Juliet '  was  purchased 
by  the  state.  He  became  an  astronomer  in  1847, 
and  has  left  a  name  in  that  science  by  his  discovery 
of  thirteen  of  the  asteroidal  planets.  He  died  at 
Fontainebleau  in  1866. 

GOLB,  Jacobus,  a  Dutch  engraver,  was  born  at 
Amsterdam  in  1660,  and  died  in  the  same  city  in 
1737.  There  are  by  him  several  prints,  some  of 
which  are  executed  with  the  graver,  and  others  in 
mezzotint ;  the  former  are  the  better.  Among 
them  are  the  following : 

line-engeavinqs. 

Charles  XI.,  King  of  Sweden.    1685. 
Duchess  de  La  Valliere.    1685. 
Mahomet  IV.,  Sultan  of  Turkey. 
Kara  Mustapha,  Grand  Vizier. 
Abraham  Hellenbroek,  Minister  of  the  Go.<ipel. 
Nicolas  Colvius,  Pastor  of  the  Walloon  Church  ;  after 
B.  Vaillant. 

MEZZOTINT   PORTRAITS. 
Charles  III.,  King  of  Spain. 
Frederick,  King  of  Poland. 

George  Augustus,  Elector  of  Brunswiok-Luneburg. 
Charles,  Landgrave  of  Hesse-Cassel. 
Cornells  Tromp,  Admiral  of  Holland. 
Balthasar  Becker. 

SUBJECTS  IN  MEZZOTINT. 

Peasants  smoking ;  after  ^driaan  van  Ostade. 
Dutch  Boors  regaling ;  after  Adriaen  Brouwer. 
The  Tooth-drawer ;  after  Tenters. 
The  Schoolmaster ;  after  B,  Seemslcerlc, 
Heraclitus ;  after  Cornells  Busart. 

GOLS,  CoNEAD  (or  Goltzius),  an  engraver,  was 
working  at  Cologne  at  the  end  of  the  16th  century. 
There  are  known  of  his  works : 

St.  Bernard  with  the  Instruments  of  the  Passion. 
The  History  of  Susannah ;  seven  plates. 
The  Annunciation. 
The  Seven  Sacraments. 

GOLTZIUS,  Hendrik,  a  painter  and  an  engraver 
both  on  metal  and  on  wood,  was  bom  at  Mulbreoht, 
in  the  duchy  of  Julich,  in  1558.  His  father,  Johann 
Goltzius,  was  an  eminent  glass-painter,  who  in- 
structed him  in  the  first  principles  of  art ;  and  he 
was  taught  engraving  by  Dirk  Cuerenhert.  His 
progress  was  such,  that  he  soon  surpassed  his  mas- 
ter, who  employed  him  to  engrave  some  plates, 
and  he  also  executed  several  for  Philipp  Galle.  In 
his  twenty-first  year  he  married  a  wealthy  widow, 
the  mother  of  Jakob  Matham,  which  enabled  him 
to  establish  a  printing  office  of  his  own,  but  did 
not  advance  his  happiness,  and  in  fact  the  con- 
tinued domestic  discord  so  preyed  upon  his  health 
that  it  led  to  his  travelling  to  southern  lands.  He 
passed  through  Germany  to  Italy,  where  his  studies 
were  particularly  directed  to  the  works  of  Michel- 
angelo, Raphael,  and  Polidoro  da  Caravaggio.  A 
too  vehement  desire  to  imitate  the  style  of  Michel- 
angelo led  him  frequently  into  outrageous  and  extra- 
vagant designs,  which  are  not  always  compensated 
by  the  extraordinary  excellence  of  his  graver. 
During  his  residence  at  Rome,  he  engraved  several 
plates  after  Raphael,  Polidoro,  and  others ;  and  on 
his  return  to  Holland  he  settled  at  Haarlem,  where 
he  engraved  several  plates  from  the  Flemish  and 
Dutch  masters.    He  imitated  with  the  greatest 

581 


Ooltzius 


A   BIOGEAPHICAL   DICTIONAEY  OF 


Ooltzius 


success  the  styles  of  Albreoht  Diirer,  Lucas  van 
Leyden,  and  other  admired  old  masters,  and  pro- 
duced a  set  of  six  large  plates,  called  the  '  Master- 
pieces of  Goltzius,'  not  because  they  are  his  best 
productions,  but  as  showing  how  perfectly  he 
could  copy  the  particular  manner  of  those  artists 
whose  works  were  held  in  higher  estimation  than 
his  own.  He  had  reached  his  forty-second  year 
when  he  commenced  painting.  His  first  picture 
represented  the  'Crucifixion,'  with  the  Virgin 
Mary  and  St.  John,  and  it  is  commended  by  Van 
Mander  for  the  excellence  of  the  colouring,  and  the 
boldness  of  the  design.  He  died  at  Haarlem  in 
1617.     His  principal  pictures  are: 


Petersburg.    Hermitacje. 


Kotterdam.        Museum. 


Adam  and  Eve. 
The  Circumcision  of  Christ. 
The  Adoration  of  the  Magi. 
The  Baptism  of  Christ. 
Juno    receiving   the   eyes    of 
Argus.    1615. 


Goltzius  is  more  famous  as  an  engraver  than  a 
painter,  and  his  prints  amount  to  more  than  five 
hundred  in  number ;  they  are  frequently  marked 
with  the  cipher  T/VY  The  following  are  his  prin- 
cipal plates :         J^?" 

POETEAITS. 

Henndrik  Goltzius. 

Henry  IV.,  King  of  France ;  oval.    1592. 

Frederick  II.,  King  of  Denmark ;  oval.     1588. 

■William,  Prince  of  Orange,  in  armour,  with  an  em- 
blematical border. 

Charlotte  de  Bourbon,  Prmoess  of  Orange. 

Dirk  Cuerenhert ;  after  his  own  design. 

Gerbrand  Adriaansz  Brederods  ;  with  an  oval  border  of 
laurels. 

Hans  Bol,  painter  of  Mechlin;  in  an  ornamental 
border. 

Jan  Stradan,  painter. 

Philipp  Galle,  engraver. 

Pieter  Forest,  or  Foresfcus,  physician.    1586. 

Justus  Lipsius.     1587. 

Johannes  Zurenus ;  after  M.  van  Seemskerh. 

M.  de  La  Faille ;  very  highly  finished. 

Madame  de  La  Faille,  with  a  Skull;  the  companion. 
1589. 

Christopher  Plantin,  the  printer. 

Fran^oise  d'Bgmont,  with  her  hand  on  a  Skull;  oval. 

Robert  Dudley,  Earl  of  Leicester ;  oval.    1586. 

S.  Sovius,  without  his  name ;  inscribed.  Bene  agere  et  nil 
timere,    1583. 

VAEIOrrS   SUBJECTS   FEOM   HIS  OWN  DESIGNS. 

Judah  and  Tamar ;  circular ;  supposed  to  be  one  of  his 

earliest  plates. 
The  Life  and  Passion  of  our  Saviour;  twelve  plates, 
executed  in  the  style  of  Albrecht  Diirer  ;  H.  Ooltz 
fee.    1597.    There  is  a  set  of  copies  after  these,  in  a 
stiff,  formal  style. 
Christ  and  the  Apostles ;  fourteen  plates.     1598. 
Six  large  plates,  known  by  the  name  of  the  '  Master- 
pieces of  Goltzius.'    They  are  executed  in  the  style 
of  each  of  the  masters  he  'Hished  to  imitate,  and  are 
as  follow: 
The  Annunciation ;  in  the  style  of  Raphael. 
The  Visitation  ;  in  imitation  of  JParmigiano. 
The  Annunciation  ;  in  the  manner  of  Bassano. 
The  Circumcision ;  in  the  style  of  Albrecht  Diirer. 
The  Adoration  of  the  Magi ;  in  imitation  of  Lucas 

van  Leyden. 
The  Holy  Family ;  in  the  manner  of  F.  JBarocci. 
The  Nativity ;  rmflnished  and  extremely  scarce.    1615. 
The  Adoration  of  the  Magi. 
The  Murder  of  the  Innocents ;  very  scarce ;  the  plate 

was  not  finished. 
The  Repose  in  Egypt ;  B.  Goltzius  fee.    1589. 
The  AVoman  of  Samaria.    1589. 
The  Wise  Men's  Offering ;  a  curious  composition. 
682 


The  Infant  Jesus  holding  a  globe,  with  a  glory  of 
Angels ;  S.  Goltzfec.     1597. 

The  Temptation  of  St.  Anthony. 

A  Female  Saint,  holding  a  book ;  very  scarce.  Some 
parts  of  the  plate  are  merely  traced. 

A  set  of  fifty-two  plates  for  the  '  Metamorphoses '  of 
Ovid.  It  is  supposed  that  Goltzius  was  largely  assisted 
by  his  scholars  in  these  plates. 

A  set  of  ten  plates  of  Eight  of  the  Heroes  of  ancient 
Rome,  with  the  introduction  and  conclusion.  1586. 
Engraved  in  a  free,  bold  style,  with  fine  back- 
groimds. 

Venus  reclining  against  a  Tree,  holding  a  bunch  of 
grapes,  whilst  Cupid  presents  to  her  a  handfrd  of 
corn ;  a  circular  plate,  of  highly  finished  and  beautiful 
execution. 

Three  plates ;  Bacchus,  Venus,  and  Ceres ;  dedicated  to 
Cornells  van  Haarlem. 

Three  plates ;  Juno,  Minerva,  and  Venus ;  ovals.    1596. 

Mars  and  Venus.    1585. 

Three  plates ;  Jupiter  and  Juno,  Neptune  and  Amphi- 
trite,  and  Pluto  and  Proserpine. 

Pygmalion  and  his  Statue.     1593. 

Mercury  and  Argus ;  a  small  plate,  very  scarce. 

Nine  plates  of  the  Muses ;  each  with  four  verses.    1592. 

Three  plates  of  the  Graces. 

The  Three  Fates ;  in  circular  plates. 

The  Apollo  Belvedere,  with  the  Portrait  of  the  De- 
signer, in  half-length. 

The  Hercules  Commodus. 

The  Famese  Hercules. 

The  three  prints  last  mentioned,  after  the  famous  an- 
tique statues,  are  executed  with  surprising  beauty  and 
energy. 

Hercules  holding  his  Club;  in  the  back-ground  are 
represented  his  labours.  1589.  In  this  plate  Goltzius 
has  overcharged  the  outline  of  the  figure  in  the  most 
barbarous  manner,  the  parts  are  scattered,  and  the 
whole  is  without  effect. 

The  Judgment  of  Midas.    1590. 

The  seven  Cardinal  Virtues ;  Faith,  Hope,  Charity,  Jus- 
tice, Prudence,  Fortitude,  and  Temperance ;  in  seven 
plates. 

Three  fine  plates,  of  Diligence,  Patience,  and  Wisdom ; 
personified  by  female  figures. 

Labour  and  Diligence ;  represented  by  a  male  and  female 
figure.     1580. 

An  emblematical  subject  of  Christian  Prudence,  in  a 
female  figure,  richly  clothed ;  small  circular,  highly 
finished. 

The  Blind  leading  the  Blind ;  circular. 

The  Chariot  of  War ;  an  immense  composition ;  Senrv- 
cus  Goltzius  fecit ;  very  scarce. 

The  Boy  and  Dog.  The  boy  is  supposed  to  be  the  por- 
trait of  the  son  of  Theodoor  iVisius,  a  painter  of 
Venice,  to  whom  Goltzius  dedicated  the  print.  It  is 
considered  one  of  his  finest  plates. 

Corydon  and  Sylvia ;  a  pastoral. 

A  Mountainous  Landscape,  with  the  story  of  Dsedalus 
and  Icarus  ;  an  etching. 

WOODCUTS   AFTER   HIS   OWN   DESIGNS. 

A  Landscape,  with  a  Cottage,  and  a  Woman  drawing 

Water  from  a  Well. 
A  Landscape  on  the  sea-coast,  with  a  large  Bock,  and  a 

Hermit  kneeling. 
A  pastoral  Landscape,  with  a  Shepherd  and  Shepherdess. 
A  Warrior,  with  a  Helmet  and  a  Spear ;  half-length. 
Hercules  slaying  Caous. 
A  set  of  seven  plates  of  the  Heathen  Divinities ;  fine. 

SUBJECTS   AFTER  VARIOUS   ITALUN  MASTERS. 
St.  Joachim ;  after  'Raphael. 
The  Triumph  of  Galatea ;  after  the  same. 
Bight  plates  of  the  Heathen  Divinities ;  in  niches ;  after 

the  paintings    by  Tolidoro  da    Caravaggio,  in  the 

Quirinal. 
Two  Sibyls ;  after  the  same. 
The  Last  Supper ;  after  Paolo  Veronese.    1585. 
The  Marriage  at  Cana;    after   G.  Salviati;    in  two 

sheets. 
St.  Jerome  in  the  Desert,  in  meditation ;  after  JPalma; 

fine. 


Ooltzius 


PAINTERS  AND  ENGRAVERS. 


Gonzalez 


SUBJECTS     AFTEK    VARIOnS     FLEMISH     AND     GERMAN 
MASTERS. 

The  Fall  of  Adam  and  Eve ;  after  B.  Spranger.     1585. 
The  dead  Christ  supported  by  an  Angel ;  after  the 

same. 
The  Banquet  of  the  Gods  on  the  Marriage  of  Cupid  and 

Psyche ;  in  three  sheets ;  after  the  same. 
The  Tenetian  Ball;  after  Theodore  Bernard;  in  two 

sheets. 
The  Dragon  devouring  the  Companions  of  Cadmus ; 

after  Oornelis  van  Aarlem.    1588. 
The  dead  Christ,  with  the  Four  Evangelists  at  the 

Tomb ;  after  A.  van  Bloeklandt. 

GOLTZIUS,  HuBRECHT,  (or  Goltz,)  an  eminent 
artist  and  learned  antiquary,  born  at  Venloo  in 
1526,  was  the  son  of  an  obscure  painter  of  Wiirz- 
burg,  named  Eudiger,  who  taught  him  the  rudi- 
ments of  design,  and  placed  him  under  the  tuition 
of  Lambert  Lombard  of  Li^ge.  He  assumed  his 
mother's  name  of  Goltz,  which  he  Latinized  into 
Goltzius.  Lambert  Lombard  had,  during  a  long 
residence  in  Italy,  made  drawings  from  the  most 
celebrated  remains  of  antiquity  :  these  were  given 
to  Goltzius  to  copy,  and  they  inspired  him  with  a 
wish  to  visit  Italy  himself.  He  therefore  went  to 
Rome,  and  resided  there  several  years.  On  his 
return  he  settled  at  Bruges,  where  he  published 
several  antiquarian  works  embellished  with  prints, 
in  which  he  was  assisted  by  Josse  Gietleugen  of 
Courtrai,  who  executed  the  woodcuts,  Little  is 
known  of  his  works  as  a  painter,  but  Van  Mander 
commends  a  set  of  pictures  by  him,  representing 
the  history  of  the  Golden  Fleece,  painted  for  the 
House  of  Austria.  All  he  did  must  have  been 
executed  before  1557.  In  1563  he  published  at 
Bruges  his  work  entitled  '  C.  Julius  Caesar,'  with 
forty-six  copper-plates  of  ancient  coins,  &c.  In 
1566  he  issued  at  Bruges  another  work  entitled 
'  Fasti  Magistratuumet  Triumphorum  Romanorum,' 
with  two  hundred  and  thirty-four  plates  and  wood- 
cuts. His  collected  works  appeared  at  Antwerp 
in  1644-45,  in  five  volumes,  as  '  Roman*  et  Graecse 
Antiquitatis  Monumenta  ex  priscis  numismatibus 
eruta.'  Goltzius  died  at  Bruges  in  1583. 
!■  GOLTZIUS,  Jakob,  an  engraver,  who  was  work- 
ing at  the  close  of  the  16th  century,  was  probably 
a  relative  of  Hendrik  Goltzius.  Two  plates,  en- 
graved after  the  latter,  are  known  of  his  work : 
'  Pallas  in  the  midst  of  a  number  of  Warriors,'  and 
'A  young  Man  endeavouring  to  bribe  an  old 
Woman  into  Love.' 

GOLTZIUS,  JuLitrs,  a  son  of  Hendrik  Goltzius, 
flourished  about  the  year  1580.  The  following 
engravings  are  by  him : 

The  Good  and  Bad  Shepherd;  a  set  of  middle-sized 

plates ;  after  Marten  De  Vos. 
Christ  appearing  to  the  Magdalen ;  after  F.  Zucchero. 
Part  of  the  plates  for  Boissard's  '  Habitus  Variorum 

Orbis  Gentium.'    1581. 
The  Virgin  suckling  her  Child ;  after  M.  De  Vos. 
The  Good  Samaritan  ;  after  S.  Bol. 
The  Evangelist  Matthew ;  a/«er  A.  van  Bloeklandt  (one 

of  a  series  of  four). 

GOMEZ,  Fbancisoo,  was  the  son  and  pupil  of 
Martin  Gomez.  He  executed  six  pictures  for  the 
Carmelite  Friars  in  Granada,  but  in  1750  he  went 
to  America,  and  died  in  Mexico  about  1755. 

GOMEZ,  Jacinto,  born  at  San  Ildefonso  in  1746, 
was  a  pupil  of  Francisco  Bayeu.  He  was  appointed 
chamber  painter  to  Charles  IV.,  and  died  in 
1812.  In  the  Madrid  Gallery  is  a  picture  by 
him  of  '  The  Angelic  Hierarchy  adoring  the  Holy 
Spirit.' 


GOMEZ,  Juan,  was  a  Spanish  historical  painter 
in  the  service  of  Philip  II.  in  1593.  He  painted 
the  large  picture  of  '  The  Martyrdom  of  St.  Ursula 
and  her  Companions,'  which  was  designed  and 
traced  by  Pellegrino  Tibaldi  to  supply  the  place 
of  the  same  subject  by  Luca  Cambiaso,  which  had 
been  removed  to  the  old  church  of  the  Escorial. 
He  painted  also  several  subjects  from  the  Life  of 
St.  Jerome.  He  restored  the  '  Annunciation,'  and 
the  '  St.  Jerome  penitent,'  by  Federigo  Zucchero, 
which  Philip  had  rejected,  and  ordered  to  be  re- 
touched.    He  died  in  1597. 

GOMEZ,  Juan  de  Alparo  y.    See  Alfaro. 

GOMEZ,  Luciano  Salvador.  See  Salvador 
Gomez. 

GOMEZ,  Martin,  a  Spanish  painter,  was  a 
brother  of  Sebastian  Gomez,  and  flourished  in  the 
latter  part  of  the  16th  century.  He  lived  at 
Cuenca,  for  the  cathedral  of  which  city  he  painted 
several  pictures. 

GOMEZ,  Sebastian,  called  El  Mulato  de 
Murillo,  bom  in  1646,  was  a  mulatto  servant 
of  the  celebrated  Murillo.  From  witnessing  the 
exercise  of  his  master's  talents  he  conceived  a 
liking  for  art,  and  passed  his  leisure  time  in 
efEorts  to  follow  it,  which  were  successful.  After 
the  death  of  Murillo,  in  1685,  he  painted  some 
pictures  for  the  churches  and  convents  at  Seville. 
In  the  portico  of  the  convent  of  the  Mercenaries 
Descalzos,  there  is  a  painting  by  him  of  'The 
Virgin  and  Infant  Christ ' ;  and  at  the  Capuchins, 
'  Christ  bound  to  the  Pillar.'  There  are  several 
other  works  by  him  at  Seville,  where  he  died  in 
1682.  In  the  Hermitage  at  St.  Petersburg  is  a 
picture  of  '  St.  Francis.' 

GOMEZ,  Sebastian,  a  painter  of  Granada,  who 
flourished  about  the  middle  of  the  16th  century,  was 
instructed  in  the  school  of  Alonso  Cano,  but  by  no 
means  approached  him  in  his  workmanship.  A 
picture  by  him  of  '  The  Virgin  with  Angels  and 
St.  Dominick'  is  at  the  monastery  of  San  Pablo 
at  Seville,  and  one  of  '  St.  Rosa  of  Viterbo  preach- 
ing '  is  in  the  Franciscan  convent  at  Bcija. 

GOMEZ,  Vicente  Salvador.  See  Salvador 
Gomez. 

GONDOLACH,  Matthaus,  (or  Gdndelach,)  a 
portrait  and  historical  painter  of  Hesse-Cassel,  was 
for  some  considerable  time  in  the  service  of  the 
Emperor  Rudolph  II.  at  Prague,  and  died  at 
Augsburg  in  1653.  The  Vienna  Gallery  contains 
a  'Madonna  and  Child  with  Saints,'  dated  1614. 

GONSALVEZ,  Nunc,  who  was  court  painter  to 
King  Alfonso  of  Portugal  (1438 — 1481),  painted  the 
altar  of  St.  Vincent  in  the  Cathedral  of  Lisbon, 
and  '  Christ  at  the  Pillar '  in  the  convent  of  the 
Trinity  in  the  same  city.  He  apparently  studied 
in  Italy,  as  he  was  a  good  imitator  of  the  great 
masters  of  that  country. 

GONZAGA, ,  (or  Gonsaqo,)  a  scene-painter, 

who  also  executed  landscapes  and  perspective 
pictures,  worked  for  theatres  in  Italy,  and  from 
1794  to  1804  in  St.  Petersburg.  He  is  known  to 
have  been  living  in  1827. 

GONZALEZ,  Bartolom^,  was  born  at  Valladolid 
in  1564,  but  he  visited  Madrid  when  young,  and  be- 
came a  pupil  of  Patricio  Caxes.  He  was  employed 
by  Philip  III.  to  paint  the  portraits  of  different 
branches  of  the  Austrian  royal-  family,  for  the 
palace  of  Pardo,  and  on  the  death  of  Castello  he  was 
made  painter  to  the  king.  There  are  many  of  his 
works  in  the  Escorial,  at  Valladolid,  and  at  Burgos. 

Of  his  historical  works,   the  principal    are  the 

583 


Gonzalez 


A  BIOGRAPHICAL  DICTIONARY  OF 


OoodaU 


angles  in  the  church  of  the  Augustines  at  Madrid ; 
and  an  allegory  of  the  Arts,  in  the  royal  collec- 
tion. In  the  Madrid  Gallery  are  portraits  of  Queen 
Margaret  of  Austria,  wife  of  Philip  III.,  and  the 
Infanta  Clara  Isabella  Eugenia,  daughter  of  Philip 
II.     He  died  at  Madrid  in  1627. 

GONZALEZ,  Cristobal,  a  Spanish  painter,  lived 
at  Madrid  about  1690,  and  executed  several  pictures 
for  the  convent  of  the  Barefooted  Carmelites. 

GONZALEZ,  Feekan,  was  a  painter  and  sculptor 
of  Toledo,  who  died  in  1399. 

GONZALEZ,  Fkanoisco  Miguel,  was  an  engraver, 
and  one  of  the  founders  of  the  school  of  design  at 
Seville  about  the  year  1660. 

GONZALEZ,  Juan  Giacchinetti.  See  Giacchi- 
NETTi  Gonzalez. 

GONZALEZ,  Pedko  Euiz.    See  Ruiz  Gonzalez. 

GONZALEZ  BECERRIL,  Juan,  a  Spanish 
painter,  who  lived  at  Toledo  in  the  16th  century, 
was  the  pupil  of  Pedro  Berraguette,  whose  daughter 
he  married.  He  assisted  his  father-in-law  in  decorat- 
ing the  cloisters  of  Toledo  cathedral  in  1498. 

GONZALEZ  DE  CEDILLO,  Antonio,  a  Spanish 
painter,  born  at  Toledo  about  1635,  studied  at 
Madrid  under  Rizi.  He  then  went  to  Rome,  where 
he  occupied  his  time  in  copying  the  best  masters, 
and  on  his  return  to  Spain  painted  several  pictures 
rich  in  colouring  and  pure  in  design.  He  died 
about  1680. 

GONZALEZ  DE  LA  "VEGA,  Diego,  was  bom  at 
Madrid  in  1622,  and  was  a  scholar  of  Francisco 
Rizi,  whose  style  he  followed.  After  marrying 
early  and  soon  becoming  a  widower,  he  entered  the 
convent  of  the  Fathers  of  the  Saviour.  There 
are  many  of  his  works  in  the  public  edifices 
at  Madrid,  and  some  of  his  easel  pictures  in  the 
private  collections.  In  the  cloister  of  the  Francis- 
cans are  several  pictures  by  him  of  the  Life  and 
Passion  of  our  Saviour ;  and  in  the  convent  of  the 
Eeligiosas  Meroenarias,  are  some  subjects  from  the 
Life  of  the  Virgin.     He  died  at  Madrid  in  1697. 

GONZALEZ  RUIZ,  Antonio,  a  Spanish  painter, 
was  instructed  first  under  Hovasse  at  Madrid,  and 
afterwards  successively  in  Paris,  Rome,  and  other 
Italian  towns.  In  1752  he  was  made  director  of 
the  Academy  of  San  Fernando,  and  in  1767  court 
painter.  He  died  in  1785.  He  was  a  member  of 
the  Academies  of  Valencia  and  St.  Petersburg. 
His  pictures  are  to  be  seen  in  Madrid  and  Sala- 
manca. 

GONZALEZ  VELAZQUEZ,  Alexandeo,  was  the 
second  of  three  brothers,  all  painters,  the  sons  of 
Pablo  Velazquez  Gonzalez,  a  native  of  Andujar, 
who  practised  carving  at  Madrid.  He  was  born  at 
Madrid  in  1719,  and  assisted  his  brother  Luis  in 
the  coronation  decorations  in  1746,  and  in  many 
subsequent  works.  He  painted  some  frescoes  in 
the  Bernardine  and  other  nunneries  at  Madrid,  and 
in  conjunction  with  one  Guillermo  TAnglois  (pro- 
bably a  Frenchman),  he  painted  a  ceiling  in  the 
palace  from  the  designs  of  Mengg.  He  was  also 
an  architect.  He  had  just  completed  some  scenery 
for  the  theatre  in  the  Calle  del  Principe,  when  he 
died  at  Madrid  in  1772. 

GONZALEZ  VELAZQUEZ,  Antonio,  the  young- 
est o%the  three  sons  of  Pablo  Velazquez  Gonzalez, 
and  the  most  famous,  was  bom  at  Madrid  in  1729. 
He  was  sent  with  a  pension  from  the  crown  to 
study  at  Rome,  where  he  became  the  pupil  of 
Giaquinto  Corrado,  and  acquired  some  reputation 
by  a  fresco  which  he  painted  in  the  church  of 
the  Trinitarian  friars  of  Castile,  and  a  picture  of 

584  ^ 


the  '  Anointing  of  King  David,'  which  he  sent  to 
the  new  Royal  Academy  at  Madrid.  In  1763  he 
returned  to  Spain  to  adorn  with  frescoes  the  chapel 
of  Our  Lady  of  the  Pillar  in  the  cathedral  of 
Zaragoza.  Prom  there  he  went  to  Madrid,  and 
assisted  his  brothers  in  painting  the  domes  of 
the  church  of  the  Incarnation  and  of  the  Royal 
Salesian  Nunnery.  He  likewise  executed  a  picture 
of  the  '  Assumption '  for  the  cathedral  at  Cuenca, 
In  1754  he  was  made  deputy  -  director  in  the 
Academy,  and  in  1765  full  director,  and  in  1757  he 
was  appointed  court-painter.  In  the  New  Palace 
he  executed  an  allegorical  fresco  on  the  ceiling  of 
the  Queen's  ante-chamber,  and  in  another  saloon  a 
fresco  of  '  Ferdinand  and  Isabella  receiving  the 
New  World  from  the  hands  of  Columbus.'  He 
executed  many  other  paintings  in  oil  and  fresco  in 
various  churches  and  convents,  and  as  court-painter 
executed  several  portraits,  including  that  of  Charles 
III.  He  died  at  Madrid  in  1793,  leaving  three  sons, 
of  whom  the  eldest  and  youngest  were  painters, 
and  the  second  an  architect. 

GONZALEZ  VELAZQUEZ,  Luis,  the  eldest  of 
the  three  sons  of  Pablo  Velazquez  Gonzalez,  was 
bom  at  Madrid  in  1715.  He  was  one  of  the  earliest 
students  in  the  School  of  Art,  established  in  1744, 
and  in  1746  he  furnished  the  decorations  for 
the  streets  and  the  theatre  of  Buenretiro  at  the 
coronation  of  Ferdinand  VI.,  who  appointed  him 
his  painter  in  ordinary.  He  was  a  member  and 
director  of  the  Academy  of  San  Fernando,  and  died 
at  Madrid  in  1764.  The  frescoes  on  the  dome  of 
the  church  of  San  Marcos  were  esteemed  his  best 
work,  but  are  pronounced  to  be  very  feeble. 

GONZALEZ  T  TAVE,  Federico,  was  born  at 
Cadiz  in  1823,  and  showed  so  much  talent  when 
young  that  the  municipality  paid  his  expenses  to 
Madrid  and  Paris.  Upon  his  return  he  became  a 
successful  painter  of  portraits,  made  many  copies 
of  the  works  of  Van  Dyck,  Velazquez,  and  Murillo, 
and  obtained  great  praise  for  his  picture  of  '  Pedro 
I.  consulting  his  Horoscope,'  now  in  the  Cadiz 
Museum.     He  died  at  Cadiz  in  1867. 

GOOCH,  T.,  was  an  English  animal  painter,  who 
exhibited  pictures  of  horses  and  dogs  at  the  Royal 
Academy  from  1777  to  1802,  when  he  retired  to 
Lyndhurst  in  Hampshire. 

GOOD,  Thomas  Sword,  an  English  genre  painter, 
born  at  Berwick  in  1789,  was  brought  up  as  a 
house-painter,  but  subsequently  devoted  himself  to 
art,  and  produced  works  in  the  style  of  Wilkie. 
He  came  to  London,  and  exhibited  at  the  Royal 
Academy  from  1820  to  1833,  when  having  inherited 
some  property  he  retired  to  Berwick,  where  he  died 
in  1872.    Amongst  his  works  are : 

A  Scotch  Shepherd.    1820. 

Practice.    1823. 

Music. 

Fishermen. 

The  Indastrious  Mother. 

Idlers.     1829. 

The  Truant.    1830. 

Medicine.    1831. 

The  Newspaper. 

No  News. 

Fisherman  with  a  Gun 

Study  of  a  Boy. 

GOODALL,  Edward,  a  line-engraver,  was  bom 
at  Leeds  in  1795.  Entirely  self-taught,  he  at  an 
early  age  practised  both  engraving  and  painting, 
but  having  attracted  the  attention  of  Turner,  he 
received  from  that  master  a  commission  to  engrave 
from   his  pictures   as  many  plates   as  he  would 


(National  Gallery,  London.) 


Goodall 


PAINTERS  AND  ENGRAVERS. 


Gori 


undertake,  and  by  these  engravings  Edward  Goodall 
is  chiefly  known.  Among  the  best  may  be  men- 
tioned those  after  the  great  landscape  painter's 
'  Tivoli,'  'Cologne,' '  Caligula's  Bridge,' '  Old  London 
Bridge,'  and  '  Richmond  Hill,'  and  others  in  the 
'England  and  Wales'  and  'Southern  Coast'  series, 
besides  some  of  the  exquisite  little  vignettes 
illustrating  Rogers's  'Italy'  and  'Poems.'  He 
also  engraved  many  plates  for  the  'Art  Journal,' 
and  several  after  the  works  of  his  son,  Frederick 
Goodall,  R.  A.  He  died  in  London  in  1870,  leaving 
behind  a  family  of  artists,  three  of  his  sons  being 
well-known  painters,  and  one  of  his  daughters 
having  exhibited  several  pictures  at  the  Royal 
Academy.  Besides  his  plates  after  Turner,  the 
following  are  his  moat  important  works : 

Raising  the  Maypole ;  after  Frederick  Goodall. 

The  Swing ;  after  the  same. 

The  Angel's  Whisper ;  after  the  same. 

The  Soldier's  Dream ;  after  the  same. 

The  Piper ;  after  the  same.    {Art  Union  of  London.) 

A  Summer  Holiday ;  after  the  same. 

Cranmer  at  the  Traitor's  Gate ;   after  the  same. 

The  Happy  Days  of  Charles  the  First ;  after  the  same. 

The  Castle  of  Ischia;  after  Stanfield.    {Art  Union  of 

London.) 
The  Bridge  of  Toledo ;  after  David  Roberts. 
Amalfi ;  after  G.  E.  Herring, 
The  Chalk  Waggoner ;  after  Rosa  Bonheur. 
Evening ;  a  composition ;  after  Guyp.    {Pye's  National 

Gallery.) 
An  Italian  Sea-Port ;  after  Claude  Lorrain.    {The  same.) 
The  Marriage  Festival  of  Isaac  and  Bebecca ;  after  the 

same.    (The  same.) 
The  Market  Cart ;  after  Gainsborough.    {The  same.) 
The  Ferry ;  after  F.  B.  Lee.   {Finden's  Royal  Gallery  of 

British  Art.) 

GOODALL,  Predebiok  Tbevelyan,  the  eldest 
son  of  Frederick  Goodall,  R.A.,  born  in  1848,  was 
a  student  of  the  Royal  Academy,  where  he  gained, 
in  1870,  the  gold  medal  for  his  painting  of  '  The 
Return  of  Ulysses.'  He  soon  after  went  to  Italy, 
but  unhappily  lost  his  life  by  an  accident  at  Capri 
in  1871. 

GOODALL,  Howard,  the  second  son  of  Frederick 
Goodall,  R.A.,  was  born  in  1849.  He  exhibited  at 
the  Royal  Academy  in  1870,  '  Nydia  in  the  House 
of  Glaucus,'  and  in  1873,  '  Capri  Girls  winnowing.' 
Tliis  promising  young  artist  died  at  Cairo  in  1874. 

GOODRICKE,  Matthew,  (or  Gothekicke,)  is 
mentioned  as  a  painter  in  the  reign  of  Charles  I. 
of  England. 

GOODWIN,  Edward,  a  landscape  painter  in 
water-colours,  exhibited  at  the  Royal  Academy  from 
1802  to  1808.  In  1806,  he  was  an  unsuccessful 
candidate  for  admission  to  the  Water-Colonr  Society, 
but  exhibited  at  its  open  exhibitions  from  1814  to 
1816. 

GOODYEAR,  Joseph,  a  line-engraver,  was  bom 
at  Birmingham  in  1799.  He  came  to  London,  and 
studied  under  Charles  Heath,  and  was  subsequently 
employed  on  Finden's  'Royal  Gallery  of  British 
Art,'  for  which  he  engraved  the  '  Greek  Fugitives,' 
after  Eastlake.  He  also  executed  several  plates 
for  the  '  Keepsake.'     He  died  in  London  in  1839. 

GOOL,  Jan  van,  a  Dutch  painter  and  writer  on 
art,  born  at  the  Hague  in  1685,  studied  under 
Terwesten  and  Simon  van  der  Does.  His  cattle 
pieces  are  praiseworthy,  but  not  to  be  considered 
as  masterpieces.  He  is  better  known  by  his  '  Lives 
of  the  Artists  of  the  Netherlands,'  published  in  1718, 
in  continuation  of  the  work  of  Houbraken.  He 
died  at  the  Hague  in  1763.  In  the  Rotterdam 
Museum  is  a  picture  of  a  '  Girl  milking  a  Cow.' 


GOOVAERTS,  Hbndrik,  a  Flemish  painter,  was 
born  at  Mechlin  in  1669,  but  on  his  father's  death 
he  went  to  reside  in  Antwerp,  where  he  com- 
menced his  artistic  studies.  In  his  twentieth  year 
he  travelled  through  Germany,  exercising  his  art 
in  Frankfort  and  other  cities.  He  then  went  to 
Prague  and  Vienna,  at  each  of  which  cities  he 
resided  about  three  years,  and  then  travelled 
through  Hungary  and  Slavonia.  After  an  absence 
of  nearly  ten  years  he  returned  to  Antwerp  in  1699, 
when  he  was  made  free  of  the  Corporation  of  St. 
Luke.  He  died  at  Antwerp  in  1720.  In  the 
Antwerp  Gallery  is  a  picture  of  the  '  Junior  Archers' 
Guild  inaugurating  the  portrait  of  their  chief,  Jean 
Charles  de  Cordes,'  dated  1713. 

GORDON,  Sir  John  Watson,  a  Scotch  portrait 
painter,  the  eldest  son  of  Captain  James  Watson, 
R.  N.,  was  born  at  Edinburgh  in  1790.  He  was 
originally  intended  for  the  army,  but  having  studied 
in  the  Trustees'  Academy,  he  preferred  an  artistic 
career,  and  at  first  turned  his  attention  to  historical 
painting.  It  was  not  long,  however,  before  the 
exigencies  of  life  compelled  him  to  devote  himself 
to  portraiture,  and  on  the  death  of  Raeburn  in 
1823,  he  became  the  chief  portrait  painter  in  Scot- 
land, when  he  assumed  the  name  of  Gordon.  He 
had  a  considerable  share  in  the  foundation  of  the 
Royal  Scottish  Academy,  of  which  he  was  one  of 
the  earliest  members,  and  he  became  its  president 
in  1850,  at  the  same  time  being  knighted  and 
appointed  Queen's  '  Limner.'  His  works  were  also 
exhibited  in  London,  where  he  was  elected  an 
Associate  of  the  Royal  Academy  in  1841,  and  an 
Academician  in  1860.  He  died  at  Edinburgh  in 
1864.    Amongst  his  portraits  are  the  following : 

S  of  gaTour  }  ^-'^-'  ^^'''  ^^'^^y^- 

Principal  Lee.    {Edinburgh  University.) 

Sir  James  Hall.    {Royal  Society,  Edinburgh.) 

Lord  Murray. 

Lord  Cockbum. 

Sir  William  Gibson  Craig,  Bart. 

Sir  John  George  Shaw  Lefevre. 

Sir  William  Johnston,  Lord  Provost 
of  Edinburgh. 

Lord  Eutherfurd. 

Sir  Walter  Scott,  Bart,  {unfinished). 

A  Grandfather's  Lesson. 

Eoderick  Gray,  Provost  of  Peter- 
head. 

Fancy  Portrait  of  a  Lady  in  White 
Satin. 

Professor  Terrier.    {United  College,  iSt.  Andrews.) 

Sir  David  Brewster.     {Wational  Gallery.) 

David  Cox.     {Birmingham  and  Midland  Institute.) 

Thomas  De  Quinoey.     {National  Portrait  Gallery.) 

GORDOT,  Claude  Marie,  was  a  French  painter 
of  the  18th  century,  by  whom  there  is  in  the 
Mus^e  Calvet,  at  Avignon,  a  picture  of  the  Pope's 
Palace  at  Avignon,  dated  1774. 

GORE,  Charles,  an  English  marine  draughts- 
man, flourished  about  the  end  of  the  18th  century. 
There  are  several  of  his  drawings  in  the  Craeherode 
Collection  in  the  British  Museum. 
'.  GORGASUS,  an  ancient  Greek  modeller  and 
painter,  was  engaged  along  with  Damophilus, 
about  B.C.  490,  in  adorning  the  Temple  of  Ceres  at 
the  Circus  Maximus  in  Rome  in  both  branches  of 
his  art.  It  is  stated  that  he  worked  upon  the 
left  and  Damophilus  upon  the  right  side  of  the 
edifice. 

GORI,  Angiolo,  a  Florentine  painter  of  the  17th 
century,  painted  genre  subjects,  and  fruit  and 
flower  pictures.     He  was  a  pupil  of  Chiavistelli, 

585 


{National  Gallery 
of  Scotland.) 


OOriz 


A  BIOGRAPHICAL  DICTIONARY  OP 


Oossart 


and  in  1658  was  engaged  with  others  in  decorating 
the  corridor  of  the  Public  Gallery  at  Florence. 

GORIZ,  CheistiIn,  was  a  native  of  Vienna,  who 
flourished  in  the  17th  century,  and  painted  Italian 
views. 

GORTZIUS.     See  Geldoep. 

GOSSART,  Jan,  (or  Gossabbt,)  commonly  called 
Mabuse,  was  born  about  1470  at  Maubeuge,  a 
email  town  in  Hainault.  He  frequently  signed 
his  pictures  Joannes  Malbodius,  and  he  is  regis- 
tered in  the  Guild  of  St.  Luke  at  Antwerp  as 
Jennyn  van  Henegouwe  (John  of  Hainault). 
He  probably  studied  in  the  school  of  Quentin 
Massys,  and,  as  long  as  he  painted  in  the  Flemish 
style,  he  equalled  that  master  in  power  of  colour 
and  execution.  It  is  frequently  stated  that  he 
visited  England  and  worked  here,  but  there  is 
nothing  to  bear  out  the  statement.  The  picture  at 
Hampton  Court,  which  was  formerly  supposed  to 
represent  three  children  of  Henry  VII.,  is  now 
generally  accepted  as  that  of  three  children  of 
Christian  II.  of  Denmark.  He  entered  the  Guild 
at  Antwerp  in  1503,  and  in  1508  went  to  Italy  with 
his  patron  Philip  of  Burgundy,  and  there  took  to 
copying  the  works  of  Michelangelo  and  Leonardo 
da  Vinci,  and  was  the  first  painter  of  his  country 
who  introduced  the  composite  style  of  Italianised 
Flemish  art  which  marks  this  epoch  of  painting  in 
the  Netherlands.  He  returned  to  the  Netherlands 
about  1509,  and  after  that  appears  never  to  have 
left  his  native  land.  He  was  employed  by  Mar- 
garet of  Austria  and  Christian  II.  of  Denmark. 
He  died  at  Antwerp  in  1532.  His  works  are 
numerous.  In  the  Antwerp  Gallery,  his  Flemish 
style  is  illustrated  in  the  '  Four  Maries  returning 
from  the  Sepulchre,'  and  in  the  '  Upright  Judges.' 
In  the  Berlin  Gallery,  two  diptychs  display  the 
composite  art,  half  Flemish,  half  Italian,  of 
Mabuse.  They  represent  'Adam  and  Eve,'  and 
'Neptune  and  Amphitrite.'  The  latter  is  signed 
by  the  painter  1516.  In  England  there  are  two 
good  specimens  of  his  earlier  style — '  The  Adora- 
tion of  the  Magi,'  at  Castle  Howard,  and  the 
'  Children  of  Christian  II.'  at  Hampton  Court.  His 
fondness  for  introducing  a  profusion  of  architect- 
ural detail  into  his  pictures  is  illustrated  in  his  '  St. 
Luke  painting  the  Virgin,'  at  Prague. 
■  The  following  is  a  list  of  Mab  use's  principal 
works  in  the  European  galleries  : 

Althorp.     Earl  Spencer.    The  Visitation. 

„  „  Bust  of  St.  Jerome.   ^Tke  centre 

panel  of  an  altaV'ptece.) 
n  »  Francesco    and     Massimiliano 

,  Sforza,  Dukes  of  Milan.    (TAe 
left  wing  of  a  triptych.) 
Amsterdam.      Museum.    Adoration  of  the  Magi. 
Antwerp.  Gallery.     Four  Maries  returning  from  the 

Sepulchre. 
>,  ,1  Upright  Judges. 

„  „  Ecce  Homo. 

),  „  Female  Portrait. 

„  „  Madonna  and  Child. 

>.  „  Portraitof  Margaret  of  Austria, 

Governess   of    the    Nether- 
lands. 
Berlin.  Gallery.    Adam  and  Eve  in  Paradise. 

»  J,  Adam  and  Eve  in  Paradise.   {A 

replica    of    the    picture    at 
Hampton  Court.) 
»  >>  Neptune  and  Amphitrite.  1516. 

»  »  Virgin  and  Child,  with  cher- 

ries ;  after  Andrea  Solaria. 
"  »  Virgin  offering  a  grape  to  the 

Child. 
586 


Berlin,  Gallery.    The  Gold  'Weigher:  a  young 

girl  weighing  gold  pieces. 
Bruges.    ^"'P^J^l^f  ^'- 1  Chriirt  bound  to  the  Pillar. 

Brunswick.        Museum.    The  Mocking  of  Christ. 
Brussels,  GtUlery.    Christ  at  the  house  of  Simon 

the  Pharisee.     (Hit  central 
panel  of  a  triptych.) 
„  The  Raising  of  Lazarus.   (The 

left  wing  of  the  above.) 
„  „  The  Assumption  of  the  Mag- 

dalen.   (The  right  wing  of 
the  aiove.) 
Castle  Howard.  Earl  of  lAdoTsAion  of  the  Magi.    (For- 
Carlisle.  J     merly  in  the  Orleans  Gallery.) 

''°'°^"       L^Mrch:l]  Tte  descent  from  the  Cross. 
Corsham.  Lord  Methuen.    Virgin  and   Child  enthroned, 
with  St.  Joseph,  St.  Catha- 
rine, and  another  saint,  who  is 
offering  a  pear  to  the  Virgin. 
Dresden.  Gallery.    Adoration  of  the  Magi. 

„  „  Portrait  of  a  Mother  and  Chil- 

dren. 
Dublin.        Nat.  Gallery.    Virgin  and  Infant  Christ. 
Genoa.       Ducal  Palace.    Virgin  enthroned. 
Hague.  Eoyal  Collection.    Twelve  subjects  from  the  life 
of  St.  Augustine ;   forming 
one    picture,    the    subjects 
being    separated   by    orna- 
ments. 
Hampton  Court.  Palace.    Three  Children  of  Christian  U., 
King  of  Denmark. 
„  „  Adam  and  Eve  in  Paradise.    (A 

replica  of  the  picture  in  the 
Berlin  Gallery.) 
Eensington.         Palace.    Christ  and  the  £ich    Tonng 

man. 
Scawby.  Sail.    Legend  of  the  Count  of  Tou- 

louse. 
London.  Nat.  Gall.    A  Man's  Portrait. 

„  „  A  Man's  Portrait. 

Lubeck.  St.  Jakob.    A  Pope  celebrating  Mass. 

Madrid.  Gallery.    Virgin  and  Child. 

Munich.  Gallery.    Danae  receiving  the  shower  of 

gold.    1527. 
„  „  Holy  Family  (SS.  Mary  and 

Anne  enthironed). 
„  „  Holy  Family. 

„  „  Virgin  and  Child,  on  a  cornice. 

1527. 
„  „  Crucifixion.      (In    a   separate 

compartment  is  the '  Flagel- 
lation,' and  the  '  Crowning 
with  thorns.') 
„  „  Christ  in  Glory ;  with  symbols 

of  the  Four  Evangelists. 
„  „  Archangel  Michael,  and  a  donor. 

Nuremberg.^^C^^e^^y I  ^^^^  ^,^^  ^,  g,  ^^^^ 

n  „  Virgin  and   Child,  on  a  cor- 

nice. 
Paris.  Louvre.    Jean  Carondelet.    1517. 

„  „         Madonna  and  Child.    1517. 

„  „        Portrait  of  a  Benedictine. 

Petersburg.    Hermitage.    Holy  Family. 
Prague.  Cathedral.    St.  Luke  painting  the  Virgin. 

Bome.  Vatican.    A  small  painting  on  one  of  the 

presses  in  the  Library. 
Vienna  Gallery.    Virgin  in  a  niche,  holding  the 

Infant  on  her  knees. 
„  Archduke  1  t    i.- 

CAarZes  Cb;;.  r        °^- 
>'  »  Abimelech  oiTering  presents  to 

Abraham. 
»    .  i>  Virgin  and  Child,  on  a  throne 

in  the  form  of  a  shell ;  with 
two    Saints,    and    a    third 
person. 
'•  »  The  Dead  Christ,  surrounded 

by  three  men  and  two  women. 
»  »  Albanacht      presenting       his 

_,..    ,  daughters  to  King  Alfred. 

Wurzburg.  Castle,    Adoration  of  the  Shepherds, 


Gosse 


PAINTERS  AND  ENGRAVERS. 


Goudt 


GOSSE,  Nicolas  Louis  Fbanqois,  a  French  his- 
torical and  portrait  painter,  was  horn  in  Paris  in 
1787.  He  studied  under  Vincent  in  the  Ecole  des 
Beaux-Arts,  and  died  at  Sonoourt  in  1878.  His 
hest  pictures  are : 

The  Adoration  of  the  Mag^. 
The  Birth  of  Christ. 
St.  Vincent  of  Paola. 

The  Death  of  St.  Vincent  Ferrer.     (Vannes  Cathedral.) 
Napoleon  receiving  the  Queen  of  Prussia  at  Tilsit. 
The  Meeting  of  Napoleon  and  the  Emperor  Alexander 
at  Erfurt. 

GOSSWYN,  Gebhaed,  a  Flemish  flower  and 
fruit  painter,  bom  at  Liege  in  1616,  was  a  pupil  of 
Gerhard  Douffet.  Whilst  still  very  young  he  went 
to  Italy,  and  worked  for  a  lengthened  period  in 
Some  and  Paris,  and  became  the  first  art  instructor 
of  the  Dauphin,  afterwards  Louis  XV.  He  died  at 
Li^ge  in  1691. 

GOTHERICKE,  Matthew.    See  Goodeicke. 

GOTTIj  Baetolommeo,  a  Florentine  painter, 
who  flounshed  in  the  17th  century,  was  a  pupil  of 
Ghirlandaio.  He  went  to  France  and  worked  for 
Francis  I. 

GOTTI,  ViNCENZO,  a  native  of  Bologna,  was  bom 
about  1580,  and  became  a  scholar  of  Dionysius 
Calvaert  at  the  time  that  Guido  Eeni  studied  under 
that  master.  At  twenty  years  of  age  he  went  to 
Rome,  in  company  with  Guido,  and  there  painted 
some  pictures.  He  was  then  invited  to  the  court 
of  Naples,  where  he  passed  the  remainder  of 
his  life.  This  painter  possessed  so  ready  an  in- 
vention, and  such  surprising  facility,  that  Orlandi 
states,  from  a  list  of  his  works,  found  after  his 
death,  that  he  had  painted  no  fewer  than  two 
hundred  and  eighteen  pictures  for  public  positions 
in  the  different  towns  of  the  kingdom  of  Naples. 
He  died  at  Reggio  in  1636. 

GOTTING,  Andeeas,  a  painter  who  flourished 
at  the  close  of  the  16th  and  beginning  of  the  17th 
century,  is  the  author  of  a  picture  in  the  Rotterdam 
Museum,  representing  'Diana  surprised  by  Ac- 
tseon ; '  signed  and  dated  1607. 

GOTTLANDT,  Petee,  called  also  Peter  von 
Eoddelstet,  was  a  painter  and  engraver  from  the 
town  of  Roddelstet  (Rudestedt?),  who  was  work- 
ing at  Weimar  from  1548  to  1572,  where  he  was 
made  court  painter  in  1553.  He  both  painted  and 
engraved  on  metal  and  on  wood  the  portraits  of  the 
three  Electors  Johann  Friedrich.  Besides  these  and 
other  portraits,  there  are  among  his  engravings : 

The  Victory  over  Death  and  Hell.    1552. 

The  Fall  of  Man ;  after  L.  Cranach.    1552. 

The  Prophet  Jonah.    1552. 

Madonna  in  a  Landscape.    1555. 

The  Redemption ;  after  L.  Cranach.    1556. 

GOTZENBERGER,  Jacob,  an  historical  painter, 
was  bom  at  Heidelberg  in  1800,  and  educated  after 
1820  in  Dusseldorf  under  Cornelius,  and  after  1824 
in  Munich.  It  is  stated  that  so  early  as  1823  Cor- 
nelius could  pass  off  as  his  own  a  painting  by 
this  artist.  He  was  employed,  together  with  Her- 
mann and  E.  Forster,  to  decorate  with  frescoes  the 
hall  of  Bonn  University,  and  in  1828  he  visited 
Rome  and  Naples  to  gain  ideas  for  this  work.  He 
returned  in  1832,  and  executed  his  undertaking, 
painting  alone  the  designs  for  Jurisprudence, 
Medicine,  and  Philosophy,  and  that  for  Theology 
in  conjunction  with  his  two  collaborators.  After 
this  he  obtained  the  two  appointments  of  court 
painter  at  Baden  and  inspector  of  the  gallery  at 
Mannheim.     He  visited  Paris  and  London  in  com- 


pany with  Cornelius,  and  on  his  retum  executed  a 
new  cycle  of  frescoes  in  the  chapel  at  Nierstein  in 
Rhenish  Hesse,  as  well  as  in  the  drinking  hall 
at  Baden-Baden,  the  latter  of  which,  painted  in 
1844,  represented  legends  from  the  Black  Forest. 
An  offence  led  to  his  dismissal  from  his  ofiSoes,  upon 
which  he  proceeded  to  England,  where  he  painted 
both  portraits  and  frescoes,  and  especially  dis- 
tinguished himself  by  his  performances  in  Bridge- 
water  and  Northumberland  Houses.  The  last  of 
these  works  was  accomplished  in  1863-5.  His 
death  occurred  at  Darmstadt  in  1866. 

GOTZLOFF,KAELWiLHELM:,alandscape  painter, 
was  born  at  Dresden  in  1803,  and  became  a  member 
of  the  Academy  there  in  1835.  He,  however,  went 
to  Italy  in  1823,  and  remained  there  painting  prin- 
cipally the  scenery  of  the  country.  He  died  at 
Naples  in  1866. 

GOUBAU,  Antoon,  (GoBAn,  or  Goebouw,)  who 
was  born  at  Antwerp  in  1616,  is  said  to  have 
studied  under  one  Jan  de  Farius.  He  was  admitted 
into  the  Guild  of  St.  Luke  in  1636-37.  He  visited 
Italy  in  later  life,  and  was  there  much  impressed  by 
the  works  of  Jan  Asselyn,  whose  style  he  after- 
wards copied.  In  1668,  he  received  as  a  pupil  the 
young  Nicolas  de  Largilli^re,  and  afterwards  Petrus 
Cornelia  Hessels.  Goubau  died  at  Antwerp  in  1698. 
His  works,  which  are  rather  scarce,  are  noteworthy 
for  good  drawing  and  colouring,  but  more  especi- 
ally for  excellence  of  composition.  The  Antwerp 
Gallery  possesses  two  good  examples  of  this  master, 
'Artists  studying  from  Ruins  near  Rome,'  signed 
and  dated  1660,  and  a  '  Market-scene  in  the  Piazza 
Navona  in  Rome,'  dated  1680  ;  and  in  the  church  of 
St.  Jacques  is  a  '  Last  Supper.'  In  the  Brunswick 
Museum  is  a  '  Landscape  with  old  ruins  ; '  at  the 
Hague  is  an  '  Italian  Landscape ; '  and  in  the 
Museum  at  Lille  is  an  'Italian  Market-place.' 
Specimens  of  his  early  style,  which  are  camp  scenes, 
are  in  the  galleries  at  Meiningen  and  Prague. 

GOUBAU,  Feans,  born  at  Antwerp  in  1622, 
is  supposed  to  have  studied  under  Gerard  Zegers, 
and  was  free  of  the  Corporation  in  1649.  He 
painted  for  the  Carmelite  Church  a  picture  of  '  St. 
Agabus  building  the  first  Chapel  to  the  Virgin ; ' 
and  for  the  church  of  St.  Willebrod,  a  portrait  of 
Pieter  Luycx,  both  of  which  pictures  have  disap- 
peared. In  the  Antwerp  Gallery  is  the  'Adoration 
of  the  Sacrament,'  dated  1650,  and  in  the  church 
of  St.  Jacques  a  'Dead  Saviour,'  and  a  portrait  of 
Frans  van  den  Bossche,  Dean  of  St.  Jacqiies. 
Goubau  died  about  1678. 

GOUDA,  Coenelis  van,  a  Dutch  painter,  was 
born  at  Gouda  in  1510,  and  was  the  best  known 
scholar  of  Marten  van  Heemskerk.  He  died  in 
1550. 

GOUDT,  Hendeik,  a  distinguished  amateur 
artist  of  a  noble  family  of  Holland,  and  a  Count 
of  the  Palatinate,  was  born  at  Utrecht  in  1685. 
A  passionate  admiration  for  art  led  him  to  an 
early  application  to  drawing,  and  when  he  was 
young  he  went  to  Rome  in  search  of  improvement. 
Arrived  in  that  capital,  he  was  one  of  the  most 
assiduous  students  of  his  time,  and  daily  frequented 
the  Academy  to  draw  from  the  model.  He  con- 
tracted an  intimacy  with  Adam  Elsheimer;  and 
purchased  some  of  his  most  finished  works,  which 
he  has  engraved  in  a  style  peculiar  to  himself, 
and  perhaps  better  adapted  to  express  the  polished 
finish  and  the  admirable  efiect  of  chiaro-scuro  of 
the  originals,  than  any  other  that  could  have  been 
adopted.    His  plates  are  wrought  entirely  with  the 

587 


Gouldsmith. 


A  BIOGRAPHICAL  DICTIONARY  OF 


Goya 


graver,  and  tlieir  extraordinary  effect  is  produced 
not  by  the  usual  mode  of  deepening  and  strength- 
ening the  stroke,  but  by  delicately  crossing  and  re- 
crossing  them  several  times  in  the  shadows.  The 
following  are  the  seven  prints  by  him,  after  Adam 
Elsheimer,  as  described  by  Strutt : 

Ceres  drinking  from  a  Pitcher.  An  old  woman  appears 
holding  a  caudle  at  the  door  of  a  cottage,  and  a  boy 
naked  standing  by  her,  is  laughing  and  pointing  at  the 
goddess,  for  which  contempt  he  was  metamorphosed 
Into  a  frog.  This  print  was  well  copied  by  Hollar. 
It  is  distinguished  by  the  name  of  '  The  Sorcery.' 

The  Flight  into  Egypt ;  a  night  scene. 

The  Angel  with  Tobit ;  who  is  drawing  a  fish  by  his 
side. 

The  Angel  with  Tobit  crossing  a  stream  of  water ;  Tobit 
holds  the  fish  under  his  arm.  Hollar  has  copied  this 
print  with  much  success. 

Baucis  and  Philemon  entertaining  Jupiter  and  Mercury ; 
a  small  plate,  nearly  square. 

Aurora,  representing  the  Dawn  of  Day ;  a  small  land- 
scape.   The  effect  Is  very  beautiful. 

The  Beheading  of  St.  John  the  Baptist  in  Prison ;  a 
very  small  oval  print,  very  scarce. 

GOULDSMITH,  Haeeiet.    See  Arnold. 

GOUPY,  Beenhaed,  a  French  miniature  painter, 
was  the  brother  of  Joseph  Goupy,  and  like  him 
he  practised  in  London  about  the  middle  of  the 
18th  century. 

GOUPY,  Joseph,  a  French  painter  and  engraver, 
was  born  at  Nevers  in  the  beginning  of  the  18th 
century.  He  came  to  England  when  he  was  young, 
and  about  1725  was  engaged  together  with  Tille- 
mans  in  painting  scenes  for  the  Italian  Opera. 
He  taught  drawing  to  Frederick,  Prince  of  Wales, 
and  to  Prince  George,  afterwards  King  George  III., 
who  on  his  accession  allowed  him  a  small  pension. 
He  resided  here  the  remainder  of  his  life,  and 
died  in  London  at  an  advanced  age  in  1763. 
He  excelled  in  painting  landscapes  in  water- 
colours,  which  he  treated  with  great  spirit  and 
intelligence.  His  pictures  in  the  style  of  Salvator 
Rosa  have  considerable  merit.  He  etched  several 
plates  in  a  very  spirited  and  masterly  style,  some 
of  which  are  from  his  own  designs.  Among  others, 
the  following  are  by  him : 

Mutius  Scaevola  burning  his  hand  before  Porsena  \from 

his  own  design. 
Zeuxis  painting  Helen ;  after  Solimena. 
Diana  hunting  with  her  Kymphs ;  after  Suiens. 
St.  Philip  baptizing  the  Eunuch  ;  after  Salvator  Mosa, 
St.  John  preaching  in  the  "Wilderness  ;  after  the  same. 
The  Calling  of  St.  Andrew  to  the  Apostleship,  in   a 

landscape  ;  after  Fietro  da  CortoTia. 
A  grand  Landscape,  with  the  story  of  Pyramus  and 

Thisbe ;  after  iV.  Foussin. 
A  View  of  Castel  Gandolto,  and  of  the  Campagna  near 

Eome ;  after  Bolognese. 
A  set  of  eight  Landscapes ;  after  Salvator  Rosa. 

GOUPY,  Louis,  was  a  miniature  painter  and 
copyist,  who  practised  in  London  early  in  the  18th 
century.  He  was  the  nephew,  and,  probably,  the 
pupil  of  Bernard  Lens. 

GOURAND,  Claude.    See  Gotrand. 

GOURDEL,  Pieeee,  a  native  of  Paris,  who  lived 
in  the  16th  century,  was  painter  to  Henry  III. 
He  drew  all  the  birds  in  a  work  by  Pierre  Belon 
entitled  '  Histoire  de  la  Nature  des  Oyseaux,' 
Paris,  1555. 

GOURMONT,  Jean  de,  a  French  painter  ana 
engraver,  was  living  in  1557,  and  is  supposed  to 
have  worked  chiefly  for  the  illustration  of  books. 
There  is  a  picture  in  the  Louvre  assigned  to  this 
artist,  entitled  '  The  Nativity,'  and  there  is  a  portrait 
engraved  by  him  of  Charles,  Duke  of  Bourbon. 

588 


GOUSBLOOM,  G,  (Gousblom,  Godtsbloem,  or 
GouDTSBLOEM,)  was  an  obscure  Dutch  engraver, 
by  whom  there  are  portraits  of  the  naval  heroes 
Jan  van  Galen  and  M.  H.  Tromp,  after  Jan  Lievens, 
and  others. 

GOUT,  JoHANN  Feanz,  a  landscape  and  archi- 
tectural painter,  and  an  etcher,  was  bom  at  Berlin 
about  the  middle  of  the  18th  century.  He  travelled 
through  Germany  and  Switzerland,  and  became 
theatrical  painter  at  Darmstadt ;  he  also  painted 
Swiss  landscapes  in  fresco.  In  1782  he  designed 
sixty  plates  of  Ruins  near  Spires  for  Counsellor 
Merk  at  Darmstadt.     He  died  after  1812. 

GOUWEN,  WiLLBM  VAN  DEE.    See  Van  deb 

GOUWEN. 

GOVAERTS,  A.,  was  a  landscape  painter  of  the 
17th  century,  who  adopted  the  style  of  Savery,  on 
what  has  been  called  a  mixture  of  those  of  Jan 
Brueghel  and  Paulus  Bril.  Mention  may  be  made 
of  the  following  works  : 

Augsburg.     Gallery.    Landscape  with  Peasant's  Cottage. 
Brunswick.  Gallery.     Landscape  with  the  Four  Elements 

as  Nymphs.     1624. 
Hague.  Museum.    Oak  Forest.    1612. 

Milan.  Brera.    A  Wood,  with  Abraham  and  Isaac. 

GOVERT,  — ,  a  painter  of  landscapes  with 
humorous  figures,  is  stated  by  Van  Mander  to  have 
been  a  pupil  of  Gerrit  Pietersz  at  Amsterdam  at 
the  commencement  of  the  17th  century. 

GOVERTZ,  Theodokus,  was  a  portrait  painter  of 
Utrecht,  and  the  master  of  H.  Verschuuring  and 
T.  Camphuysen,  who  lived  about  the  middle  of  the 
17th  century. 

GOWER,  Geoegb,  was  an  English  portrait 
painter,  who  was  appointed  in  1584  Queen  Eliza- 
beth's sergeant-painter  in  oils  for  life. 

GOWI,  I.  P.,  appears  to  have  been  a  painter  of 
the  Antwerp  school,  who  flourished  in  the  17th 
century,  but  the  dates  of  his  birth  and  death  are 
unknown.  The  Madrid  Gallery  has  two  pictures 
by  him  of  the  story  of '  Hippomenes  and  Atalanta,' 
and  '  The  Battle  of  the  Titans.' 

GOYA  Y  LUCIENTES,  Francisco  Jos^  de. 
This  peculiar  genius  and  imaginative  painter  was 
born  at  Fuendetodos  in  Aragon,  March  30th, 
1746.  His  parents  were  humble,  living  on  the 
produce  of  a  small  piece  of  land  surrounding  their 
cottage.  Here  Francisco  lived  to  the  age  of  sixteen 
without  any  knowledge  of  art,  when  his  passion 
for  painting  was  awakened  by  a  monk  of  Santa 
F6  near  Zaragoza,  after  which  he  got  admitted 
into  the  studio  of  Jose  Luxan  Martinez,  who  had 
been  educated  in  Italy.  Here  he  distinguished 
himself  not  so  much  in  the  studio  as  in  the  streets, 
in  the  quarrels  of  painters  and  confraternities, 
sometimes  ending  in  bloodshed.  After  one  of 
these  fights  he  saw  the  emissaries  of  the  Inquisi- 
tion approaching,  and  having  some  reason  to  fear 
them,  he  there  and  then  took  to  his  heels  and 
escaped  to  Madrid.  Even  at  that  late  time  the 
different  provinces  of  Spain  resembled  distinct 
countries,  so  he  lived  in  safety  till  similar  exploits 
exposed  him  to  new  dangers.  He  was  struck 
down  by  the  blow  of  a  poniard  in  the  back,  and 
had  to  secrete  himself  till  he  recovered,  when  he 
made  his  way  to  Italy.  He  settled  down  in  Rome, 
where  he  met  Louis  David,  with  whom  he  frater- 
nized, exchanging  ideas  not  only  on  art,  but  also 
on  religion  and  politics.  In  1774  he  returned  to 
Spain,  married,  and  began  industriously  to  follow 
his  profession. 


Goya 


PAINTERS  AND  ENGRAVERS. 


This  sketch  of  Goya's  youth  indicates  the  character 
of  his  painting :  bizarre  and  wild,  with  a  gleam, 
so  to  say,  of  infernal  splendour  in  his  choice  of 
beauty.  In  his  execution,  he  is  the  only  Spaniard 
of  extraordinary  quality  during  the  latter  half  of 
the  18th  century  and  the  beginning  of  the  19th. 
His  works  are  numerous— church  pictures  in  fresco 
and  in  oil ;  incidents  in  life  of  a  highly  fantastic 
kind ;  about  200  portraits  ;  and  many  miscellane- 
ous works,  came  from  his  hand.  Etchings  and  en- 
gravings in  aquatint  also,  now  much  prized,  were 
executed  by  him.  Of  these  '  The  Caprices '  are  the 
most  sui-prising,  showing  humanity  m  all  the  stages 
of  brutality  and  ugliness,  with  a  melange  of  beauty 
and  demonology  quite  unexampled.  All  through 
the  occupation  of  Spain  by  the  French,  and  during 
their  expulsion  by  Wellington,  he  lived  quietly 
without  taking  any  part  in  public  affairs.  He  had 
been  made  '  pintor  de  camera '  by  Charles  IV.  in 
1789,  and  in  1814,  on  the  return  of  Ferdinand 
VII.,  he  published  '  The  Disasters  of  War,'  in  seven- 
teen designs,  as  repulsive  and  fascinating  as  it  is 
possible  to  imagine.  He  also  engraved  thirty-three 
plates  of  scenes  in  the  Bull-ring.  Not  the  least 
valuable  productions  of  his  graver  are  his  etchings 
of  the  five  great  equestrian  portraits,  the  '  bor- 
raohos,'  '  meninas,'  dwarfs,  and  single  figures, 
executed  by  Velazquez.  The  British  Museum  pos- 
sesses an  exceedingly  fine  collection  of  Goya's 
etchings  and  aquatints.  He  died  at  Bordeaux, 
April  16th,  1828.  His  principal  paintings  are : 
Lille. 


Madrid. 


Young  Girls. 
„  Old  Women. 

„  A  Criminal  garotted. 

Gallery.    Equestrian  Portrait  of  Charles 
IV. 
„         Equestrian  Portrait  of  Maria 
Louisa,  Queen  of  Charles  IV. 
„  Charles  IV.  and  his  Family. 

„  Charles  IV. ;  full-length. 

„  Queen    Maria    Louisa;     full- 

length. 
„         A  Mounted  Picador. 
„         Episodes  of  the  French  Inva- 
sion.   1808. 
„         Portrait  of  the  Infanta  Maria 
„  Josefa. 

„  Portraits  of  the  Infants  Don 

Francisco  and  Don  Antonio. 

„  Portrait     of     the    Prince    of 

Parma. 
„  Portrait  of  the  Artist's  Wife. 

„  His  own  Portrait. 

„         Portrait  of  Ferdinand  VII. 
The  Crucifixion. 


Academy  of 
San  Fernando. 


St.  Francisco. 


„  Museo  de  Fomento 
Paris.  XiOuvre, 


Seville.  Cathedral. 

Toledo.  Cathedral. 

V^alencia.         Cathedral. 


■  La  Maja  clothed. 

La  Maja  nude. 

Portrait  of  Juan  de  Villa- 
Nueva. 

Portrait  of  La  Tirana. 

Equestrian  Portrait  of  Ferdi- 
nand VII. 

St.  Francis  preaching. 

Equestrian  Portrait  of  the 
Prince  of  Peace. 

The  Mad-House. 

A  BuU  Fight. 

Portrait  of  Bayeu. 

The  Crucifixion. 

Portrait  of  F.  GuiUemardet, 
French  Ambassador  to  Spain 
in  1798. 

A  young  Spanish  Woman. 

St.  Justina  and  St.  Bufina. 

The  Treason  of  Judas. 

Two  subjects  from  the  Life  of 
St.  Francis  of  Borja. 


Goyet 

Valencia.  Museum.    Portrait  of  Bayeu. 

,)  „  Portrait  of  Dona  Jacquina. 

Zaragoza.    Madonna  del }  ,^1.    -vy    ■    ■    r^i  ,-,. 

PiVai-.  J     "®  *^"Siu  m  Glory.   {Fresco.) 

W.B.S. 
GOYEN,  Jan  van,  who  was  bom  at  Leyden  in 
1596,  studied  under  Jan  Nicolai,  Schilderpoort, 
Jan  De  Man,  Hendrik  Klok,  and  Willem  Gerritsz, 
all  unimportant  masters.  While  still  young,  he 
made  a  journey  through  France,  and  on  his  return 
received  some  final  instruction  from  Esaias  van 
de  Velde.  After  a  short  stay  at  Haarlem  he 
settled  at  Leyden,  where  in  1618  he  married 
Annetje  Willems  van  Racist.  About  1631  he  went 
to  the  Hague,  and  in  1640  was  elected  a  member 
of  the  Painters'  Guild.  He  died  at  the  Hague 
in  1666.  Van  Goyen  was  one  of  the  earliest  of 
the  Dutch  landscape  painters,  and  has  etched  a 
few  landscapes.  He  was  father-in-law  to  Jan 
Steen.  The  following  are  some  of  his  principal 
works : 


Amsterdam. 

Museum, 

A  River.    1645. 

)» 

)j 

View  on  tlie  Meuse. 

)» 

» 

The  Castle  of  Valkenhof,  near 
Nymwegen. 

)j 

»» 

Landscape.     1641. 

Antwerp. 

Gallery. 

Tiandscape. 

Augsburg. 

Gall&iy. 

Landscapes  {seven). 

Berlin. 

Galler-y. 

Hilly  Landscape.    1629. 

'» 

)) 

Summer. 

jj 

)» 

Winter.     1621. 

jj 

)j 

"Winter  Landscape.    1650. 

}) 

» 

View  of  the  Town  of  Arnheim. 
1646. 

j» 

»» 

View  of  Nymwegen.    1649. 

j> 

)) 

Bank  of  a  River. 

Brunswick. 

Museum. 

A  Village  Scene. 

Brussels. 

Gallery. 

View  of  Dordrecht.    1644. 

Cambridge. 


Cassei. 
^Copenhagen, 
Darmstadt. 
Dresden. 


FitzwilUam,  1  _       „.       .,-. 
Musmm.  j  Two  Eiver  Views. 

„  View  near  Dort. 

„  Landscape. 

„  Sea-piece. 

„  Winter  Scene. 

Gallery.    Three  Landscapes. 
Gallery.     Dutch  Village  in  a  Flood. 
Gallery.    Sea-piece. 
Gallery.    Landscape.    1633. 
„  Skating  Scene.    1647. 

Eiver  Bank.    1643. 
Canal  with  boats. 
Four  Views  in  Holland. 
Eiver  Scene  in  Holland. 


Petersburg.    Hermitage. 


Frankfort      Stadel  Inst. 
Gotha.  Gallery, 

lille.  Museum. 

London.  Grosvenor )  i,..        -  -kt 

Hmse.  j  ^'^^  °f  Nymwegen. 
„  Bute  Coll.    Scene  at  Scheveningen.    1649. 

„  Kensington  Palace.    Biver  Scene. 
Paris.  Louvre.    Banks  of  a  Dutch  Eiver.   1653. 

„  „         Eiver  Scene. 

„  „  Sea-piece. 

Banks  of  a  Canal. 
The  Meuse  near  Dordrecht. 
The  Meuse. 
,','  „  Winter  Landscape. 

„  The  Dunes  near  Scheveningen. 

,"  „  Three  Landscapes. 

Eotterdam.        Museum.    Eiver  Scene. 
Vienna.  Gallery.    Landscape. 

GOYET,  EneiNB,  a  French  historical  and  genre 
painter,  was  born  at  Chalon-sur-Sa6ne  in  1798,  and 
died  in  Paris  in  1857.  His  best  pictures  are  '  The 
Death  of  St.  Paul,'  '  St.  Franoisca,'  and  a  portrait 
of  Pope  Pius  IX. 

GOYET,  Jean  Baptistb,  an  historical  and  genre 
painter,  the  father  of  Eugene  Goyet,  was  born  at 
Chalon-sur-Sa6ne  in  1779,  and  died  in  Paiis  in 
1854.  He  was  self-instructed.  A  '  Virgin  and  St. 
Anne '  by  him  was  exhibited  at  Paris  in  1865. 

589 


Goyrand 


A  BIOGRAPHICAL  DICTIONAEY  OF 


G-ozzdli 


GOYRAND,  Claude,  (or  Goueand,)  a  French 
engraver,  was  born  at  Sens  about  1620,  and  died 
in  1662.  He  resided  some  time  at  Rome,  as 
appears  from  the  inscription  on  one  of  his  plates. 
There  are  by  this  artist  a  variety  of  neat  and 
spirited  etchings  of  landscapes  and  views  after 
Callot,  Delia  Bella,  and  others,  of  which  the 
following  are  the  principal : 

A  set  of  -twenty  Landscapes,  &c. ;  after  Callot. 

A  set  of  four  Views ;  the  Castle  of  Bic6tre,  the  In- 

vali4,es,  the  Kuins  of  an  old  Tower,  and  the  Fountain 

in  the  Garden  of  Tivoli. 
Four  Landscapes  ;  after  Delia  Bella. 
Eight  Views  in  Paris  and  its  environs ;  after  the  same. 

•1645. 
The  Chapel  of  Santa  Maria  Maggiore  at  Eome  ;  after 

the  same. 
A  small  Head  with  an  ornamental  border ;  worked  with 

the  graver. 

GOZ,  Joseph  Fbanz  Fbiedeich,  a  painter  and 
etcher,  was  born  at  Hermannstadt  in  1754,  and 
after  studying  jurisprudence,  was  for  some  time  in 
the  state  service,  but  went  in  1779  to  Munich,  then 
to  Augsburg,  and  in  1791  to  Ratisbon,  where  he 
died  in  1815.  He  brought  out  a  series  of  character 
pictures  in  160  etchings  from  his  own  designs,  en- 
titled '  Impassioned  Outlines  for  Friends  of  Art  and 
the  Drama '  (Augsburg,  1784).  He  is  also  known 
by  his  scenes  from  '  Bavarian  Popular  Life,'  in 
gouache,  and  by  various  portraits  of  notables, 
some  etched  and  some  painted  in  oil. 

60ZZI,  Marco,  an  Italian  landscape  painter,  was 
born  about  1759,  and  died  about  1839.  There  are 
nine  landscapes  by  him  in  the  Brera  at  Milan. 

GOZZOLI,  Benozzo,  the  son  of  a  doublet  maker, 
was  born  at  Florence  in  1420.  He  followed  Fra 
Angelico  to  Rome,  and  having  acted  in  1447  as 
his  assistant  at  Orvieto,  he  in  1449  applied,  but  un- 
successfully, for  permission  to  finish  Fra  Angelico's 
frescoes  in  the  cathedral  of  that  city.  In  the  same 
year  he  went  to  Montefalco,  and  there  painted  in 
the  church  of  San  Fortunate  a  '  Virgin  and  Child,' 
the  '  Apotheosis  of  St.  Fortunatus,'  an  '  Annunci-' 
ation,'  and  '  St.  Thomas  receiving  the  Girdle ; '  the 
last-named  is  now  in  the  Museum  of  St.  John 
Lateran  at  Rome.  By  1452  he  had  completed  the 
frescoes  in  the  hexagonal  choir  of  the  monastery 
of  San  Francesco  at  Montefalco.  These  decorations 
consist  of  a  triple  course  of  twelve  scenes  from  the 
life  of  St.  Francis,  five  medallions  of  illustrious 
Dominicans,  and  portraits  of  Petrarch,  Dante,  and 
Giotto,  besides  numerous  figures  of  saints  and 
angels.  Benozzo  also  decorated  the  chapel  of  St. 
Jerome,  in  the  same  monastery,  with  a  fresco  of 
the  '  Madonna  and  Child  '  that  simulated  an  altar- 
piece,  the  'Crucifixion,'  the  Four  Evangelists, 
scenes  from  the  life  of  St.  Sebastian,  and  various 
figures  of  saints  and  angels.  It  is  considered  pro- 
bable that  he  remained  at  Montefalco  until  1456, 
in  which  year  he  executed  a  '  Virgin  and  Child, 
between  SS.  Peter,  pohn  the  Baptist,  Jerome,  and 
Paul,'  with  a  predella  representing  the  '  Resurrec- 
tion,' with  SS.  Thomas,  Laurence,  Sebastian,  and 
Bernard,  which  is  now  in  the  Academy  at  Penigia. 
Soon  afterwards  he  returned  to  Florence,  where  he 
was  employed  to  decorate  the  walls  of  the  chapel 
in  the  palace  of  the  Medici,  now  the  Eiccardi 
Palace.  He  there  painted  an  immense  fresco 
which  covers  the  walls  of  the  body  of  the  chapel ; 
it  represents  the  Magi,  with  a  long  train  of 
attendant  knights,  pages,  servants,  hunters,  and 
followers  of  every  description,  wending  their  way 


through  a  splendid  landscape  towards  Bethlehem. 
The  sanctuary  of  the  chapel  is  decorated  with 
various  groups  of  angels,  who  are  represented  as 
being  in  a  beautiful  garden  typifying  the  heavenly 
Eden.  The  altar-piece  is  lost,  but  the  predella, 
containing  the  '  Resurrection,'  and  the  '  Marriage  of 
St.  Catharine,'  is  in  the  UflBzi  Gallery  at  Florence. 
About  1464,  Benozzo  went  to  San  Gimignano, 
where  he  executed  a  large  series  of  frescoes  in 
the  church  of  Sant'  Agostino,  under  the  patronage 
of  Fra  Domenico  Strambi,  called  Parasinus. 
His  first  prod,uction  there  was  a  painting  of  'St. 
Sebastian,'  represented  standing  erect  on  a  pillar, 
with  a  long  mantle  held  by  angels  so  as  apparently 
to  shield  a  crowd  of  people  from  the  thunder- 
bolts cast  by  the  Eternal,  whilst  the_  Virgin 
baring  her  breast,  and  the  Saviour  showing  His 
wounds,  seem  likewise  to  implore  the  Divine  pity. 
This  subject  was  probably  intended  to  commemor- 
ate the  delivery  of  the  city  from  the  plague  in 
1464.  Beneath  the  above  design  is  a  '  Crucifixion,' 
and  four  adoring  saints,  vrith  twelve  medallions 
and  a  miniature  likeness  of  Parasinus,  the  donor  of 
the  frescoes.  Gozzoli  next  decorated  the  choir  of 
the  same  church  with  a  triple  course  of  seventeen 
scenes  from  the  life  of  St.  Augustine,  aiid  other 
designs  from  the  lives  of  Tobit,  St.  Sebastian,  and 
St.  Bartolus,  as  well  as  figures  of  various  saints 
and  martyrs.  His  assistant  in  this  immense  work 
was  Giusto  di  Andrea.  Having  finished  his  com- 
missions for  Sant'  Agostino,  he  in  1465  decorated 
the  space  between  the  portals  of  the  CoUegiata 
with  the  '  Martyrdom  of  St.  Sebastian,'  and  figures 
of  Christ  and  the  Virgin,  in  a  glory  of  Seraphim 
and  Cherubim,  with  figures  of  difEerent  saints  and 
martyrs.  In  1466  he  painted  the  two  Madonnas 
and  saints  which  are  now  in  the  churches  of  Santa 
Maria  Maddalena  and  Sant'  Andrea  in  San  Gimi- 
gnano  ;  as  also  the  '  Marriage  of  St.  Cathariae,'  in 
the  church  of  San  Francesco  at  Terni.  He  re- 
mained at  San  Gimignano  until  1467,  when  he 
restored  the  frescoes  of  Lippo  Memmi,  in  the 
Palazzo  del  Podesta  in  that  town.  Early  in  1469 
Benozzo  commenced  his  largest  and  most  im- 
portant work,  the  frescoes  in  the  Campo  Santo 
at  Pisa.  These  consisted  of  a  series  of  twenty- 
four  designs,  three  of  which  are  now  obliterated, 
drawn  from  Bible  History,  commencing  with  the 
curse  of  Ham,  and  including  the  lives  of  Abraham, 
Isaac,  Jacob,  Esau,  Joseph,  Moses,  the  fall  of 
Jericho,  the  story  of  David  and  Goliath,  and  the 
visit  of  the  Queen  of  Sheba  to  King  Solomon.  This 
enormous  work  took  Benozzo  and  his  assistants, 
among  whom  was  Zanobi  Macchiavelli,  sixteen 
years  to  complete,  the  last  payment  being  made 
in  May,  1485.  During  the  execution  of  this  work, 
the  authorities  of  the  Campo  Santo,  in  testi- 
mony of  their  appreciation  of  Gozzoli' s  talents, 
presented  him  in  1478  with  a  tomb  therein,  in 
order  that  he  might  rest  in  the  midst  of  the 
glorious  achievements  of  his  life.  Notwithstand- 
ing this  immense  undertaking,  he  yet  found  time 
to  decorate  a  chapel  on  the  road  to  Meleto,  near 
Castel  Fiorentino,  in  1484,  with  frescoes  of  the 
'  Virgin  and  Child,  with  Saints,'  over  the  altar,  and 
also  the  'Death,  Burial,  and  Ascension  of  the 
Virgin,'  and  the  'Gift  of  the  Miraculous  Girdle  to 
St.  Thomas.'  In  1497  he  valued  the  frescoes  of 
Alesso  Baldovinetti  in  the  Gianfigliazzi  Chapel  in 
Santa  Trinita  at  Florence.  Benozzo  Gozzoli  died 
in  1497  or  1498.  The  following  are  some  of  his 
extant  paintings : 


Graaf 


PAINTERS  AND  ENGRAVERS. 


(Jraf 


Dublin. 
Florence 

National  Gallery. 
Biccardi  Pal. 

London. 

Vffizi. 
National  Gallery. 

Montefaloo. 

7t 

S.  Francesco. 

Paris. 

Louvre. 

Perugia. 

Academy. 
Pinacoteca. 

Pisa. 

Camipo  Santo. 

Borne.      Lateran  Museum. 

„  Vatican. 

SaaGimignano.  S.Agostino. 


Collegiata. 


Vienna. 


Gallery, 


History  of  Lucretia. 

Procession  of  the  Magi 
(fresco).    1450. 

A  Predella. 

Virgin  and  Child  enthroned, 
with  Angels  and  Saints. 

The  Bape  of  Helen. 

Scenes  from  the  Life  of  St. 
Francis  (fresco).    1452. 

Apotheosis  of  St.  Thomas 
Aquinas. 

Virgin  and  Saints. 

Altar  -  piece  and  Predella. 
1456. 

Subjects  from  the  Old  Testa- 
ment (frescoes).  1469-1485. 

Virgin  and  Child,with  Saints. 

The  Conception. 

Study  for  the  fresco  in  the 
Campo  Santo  of  the  Queen 
of  Sheba. 

The  Virgin  giving  her  girdle 
to  St.  Thomas. 

Miracles  of  St.  Hyacinth. 

Life  of  St.  Augustine  (fres- 
coes).    1465  and  1467. 

St.  Sebastian  preserving  the 
town  of  San  Gimiguano 
from  the  Plague  in  1464. 

Virgin  surrounded  by  Saints. 
1466. 

Martyrdom  of  St.  Sebastian. 

1465. 
Virgin  and  Child,  with  Saints. 


GEAAP,  Hans,  (or  Gkaf,)  bom  at  Vienna  in 
1680,  waa  a  scholar  of  Van  Alen,  and  painted  fairs 
and  market-places,  horses,  and  other  animals.  He 
was  also  a  good  landscape  painter.  He  died  at 
Vienna  in  1734.  A  '  Tovyer  of  Babel '  by  him  is 
in  the  Landauer  Briiderhaus  at  Nuremberg. 

GEAAF,  JosTiA,  (or  Grave,)  a  painter  of  land- 
scapes and  views  of  cities,  fortified  places,  &c., 
lived  at  the  end  of  the  17th  century,  and  was  an 
officer  in  the  service  of  Holland.  In  the  Cassel 
Gallery  are  two  landscapes  by  this  artist. 

GBAASBBEK,  Joost  van.    See  Ceaesbbeck. 

GRAAT,  Baeend,  (or  Geaet,)  a  Dutch  painter, 
was  born  at  Amsterdam  in  1628.  Whilst  very 
young  he  was  placed  under  the  care  of  his  uncle,  a 
reputable  painter  of  landscapes  and  animals,  under 
whom  he  made  rapid  progress.  The  pictures  of 
Pieter  De  Laer,  called  Bamboocio,  were  then  in  the 
highest  estimation,  and  he  applied  himself  to  study 
and  imitate  the  style  of  that  master,  in  which  he 
was  so  successful,  that  some  of  his  pictures  were 
mistaken  for  those  of  Bamboocio.  The  success  he 
met  with  in  that  branch  of  the  art  disposed  him  to 
attempt  historical  painting,  in  which  he  was  not  un- 
successful. To  perfect  himself  in  the  design  of  the 
figure,  he  established  a  kind  of  school  or  academy 
in  his  house,  where  his  contemporary  artists  and 
himself  occupied  themselves  in  drawing  from  life. 
TheDutch  biographers  speak  highly  of  his  talents 
in  historical  painting,  and  particularly  commend  a 
picture  he  painted  for  the  Council-chamber  at 
Amsterdam,  representing  'Time  discovering  Truth.' 
Another  admired  picture  by  him  was  '  David  and 
Bathsheba.'  A  '  Home  Scene,'  in  the  Queen's  col- 
lection at  Buckingham  Palace,  is  also  much  praised. 
He  also  painted  portraits  with  great  success,  and 
produced  some  admired  pen-and-ink  and  pencil 
drawings,  as  well  as  etchings  upon  copper.  He 
died  at  Amsterdam  in  1709. 

GRAAUW,  Hbndbik,  a  Dutch  historical  painter, 
was  bom  at  Hoorn,  in  North  Holland,  in  1627. 
He  was  successively  the  scholar  of  Pieter  De 
Grebber  and  of  Jacob  van  Kampen  the  younger, 


and  on  leaving  those  masters,  he  waa  employed  by 
Prince  Maurice  of  Nassau  to  paint  four  frescoes 
in  the  cupola  of  the  Palace  in  the  Wood,  which 
established  his  reputation  as  one  of  the  most 
promising  artists  of  his  time.  Ambitious  of  im- 
provement, and  elated  with  the  description  he  had 
heard  of  the  wonders  of  Italy,  he  resolved  to  visit 
that  country,  and  in  1648  he  embarked  for  Leghorn, 
and  made  the  best  of  his  way  to  Rome.  For  three 
years  he  was  assiduously  employed  in  designing  ; 
and  he  returned  to  Holland  with  an  ample  store  of 
materials  for  his  future  studies.  On  establishing 
himself  at  Amsterdam,  he  was  loaded  with  com- 
missions. He  painted  for  the  family  of  Bronck- 
horst  a  series  of  historical  and  fabulous  subjects, 
of  which  two,  the  'Triumph  of  Julius  Csesar,'  and 
the  'Education  of  Bacchus,'  were  particularly 
admired.  He  resided  chiefly  at  Amsterdam  and 
Utrecht,  and  died  at  Alkmaar  in  1682. 

GRACE,  Mrs.,  a  portrait  painter  and  copyist, 
whose  maiden  name  was  Hodgkise,  was  born  early 
in  the  18th  century.  She  waa  self-taught,  and 
exhibited  at  the  Society  of  Artists  from  1762  to 
1769,  but  in  the  latter  year  she  retired  with  a 
competence  to  Homerton,  where  she  died  about 
1786. 

GRACHT,  Jacob  van  der.   See  Van  dee  Geacht. 

GRADILLA,  Juan  Maetinbz  de.  See  Maetinez 
DE  Gkadilla. 

GRADO,  Feancesco  db,  an  engraver,  who  resided 
chiefly  at  Naples,  flourished  about  1690.  He  en- 
graved the  plates  of  the  '  Illustrious  Personages ' 
published  at  Naples  in  1693,  and  executed  part  of 
the  portraits  for  Bellori's  '  Vite  de'  Pittori,  Soultori, 
et  Architetti  moderni,'  1672. 

GRAEF,  TiMOTHEUs  de.    See  Db  Geaef. 

GRAFT,  Baeend.     See  Geaat. 

GRAF,  Hans.    See  Geaaf. 

GRAF,  Hans,  (or  Geave,)  waa  a  wood-engraver 
from  Amsterdam,  who  worked  at  Frankf  ort-on-the- 
Main,  where  in  1653  he  executed  a  view  of  that 
city  for  the  widow  of  the  painter  Konrad  Faber, 
and  also  engraved  on  wood  a  plan  of  the  same, 
which  Faber  himself  had  designed.  He  likewise 
worked  on  Sebastian  Miinster's  '  Cosmographia.' 

GRAF,  Ues,  who  baa  also  been  known  by  the 
names  of  Ues  Gampeelin  or  Gembeelin,  and  Van 
GOAR,  was  a  wood-engraver,  who  at  early  periods 
in  his  life  was  a  goldsmith,  painter,  and  engraver 
on  copper.  He  was  bom  at  Solothum  between 
1485  and  1490,  and  after  working  with  a  goldsmith 
at  Zurich,  he  in  1515  took  part  in  the  Swiss  war  in 
Lombardy,  and  again  in  1522,  being  taken  prisoner 
in  the  following  year.  He  died  at  Basle  between 
1529  and  1635.  He  appears  to  have  been  a  wild 
and  reckless  character,  but  he  managed  to  execute 
327  woodcuts,  chiefly  book  illustrations,  many  of 
which  are  marked  with  one  or  other  of  the  annexed 


of 


monograms:    \/  f^  ^      (Si       '^^^  earliest 

these  was  a  set  of  twenty-ftve  woodcuts  ior  the 
'  Passion  of  our  Saviour,'  printed  at  Strasaburg  by 
Johann  Knoblauch  in  1506.  They  are  neatly  cut,  but 
very  incorrectly  drawn.  ■  He  has  written  the  names 
of  the  different  figures  over  their  heads,  as  was  not 
unusual  at  the  time.  Single  plates  of  his  are,  'The 
Monk  crowned  by  two  Bishops,'  '  Death  lying  in 
wait,'  '  The  Satyr  Family,'  and  '  The  Raising  of 
Lazarus.'  He  also  produced  a  few  copper-plates 
and  etchings,  as  well  as  nielli.  The  Basle  Art  Col- 
lection, and  the  Albertina  at  Vienna,  possess  many 
of  his  pencil-drawings. 

591 


Graff 


A  BIOGRAPHICAL  DICTIONARY  OF 


Grambs 


GRAFF,  Anton,  a  portrait-painter,  was  bom  at 
Winterthur  in  Switzerland  in  1736,  and  died  _  at 
Dresden  in  1813.  He  studied  under  Johann  Ulrich 
Sohellenberg  in  his  native  town,  but  soon  went  to 
Augsburg,  and  thenoe,  on  the  invitation  of  the 
court,  to  Dresden,  where  he  was  appointed  court- 
painter  in  1766.  He  was  often  summoned  to  Berlin, 
Leipsio,  and  other  places,  where  he  painted  many 
of  his  more  celebrated  contemporaries,  as  Leasing, 
Herder,  Moses  Mendelssohn,  Schiller,  Gluck,Weisse, 
and  Frederick  William  II.  The  following  also  are 
by  him : 
Berlin.  Gallery.    Two  Portraits  of  Johann  Joachim 

Spalding. 
Brunswick.     Museum.    Portrait  of    Friedrich  Albrecht, 

Prince  of  Anhalt-Bernburg. 
Dresden.  Gallery.    His  own  Portrait. 

„  „         Portrait  of  Frederick  Augustus, 

King  of  Saxony. 
„  „         Portraits  of  Karl  Hommeyer  and 

his  wife. 
„  „         Portraits  of  Christian  Voight  and 

his  daughter. 
„  „  Portraitof  Johann  Jakob  Mesmer. 

Gotha.  Gallery.     Portrait  of  Eckhoff. 

Leipsic.  Museum.     Portrait  of  Frau  Gabain. 

Munich.  Gallery.    His  own  Portrait. 

GRAFF,  Johann  Andkeas,  a  painter  and  en- 
graver, bom  at  Nuremberg  in  1637,  was  instructed 
in  art  under  Haberlin  and  the  ilower  painter 
Marrel,  in  Frankfort,  after  which  he  studied  for 
two  years  in  Vienna  and  four  years  in  Rome.  In 
1664  he  returned  to  Nuremberg,  where  he  married 
the  artist  Maria  Sibylla  Merian.  Twenty  years 
later  he  removed  to  Frankfort,  but  returned  to 
Nuremberg,  where  he  died  in  1701.  He  designed 
and  engraved  numerous  landscapes,  plans,  and 
figure  subjects,  among  which  are  : 
Interiors  of  the  churches  of  St.  Lawrence  and    St. 

Sebald  at  Nuremberg. 
The  Eomerberg  at  Frankfort. 
John  Maurice,  Prince  of  Nassau-Orange.     1658. 
The  Emperor  Leopold  and  the  Seven  Electors ;  after 
Marrel. 

GRAFF,  Johanna  Helena.    See  Heeold. 

GRAFF,  Kael  Anton,  a  landscape  painter,  the 
son  of  Anton  GrafE,  was  born  at  Dresden  in  1774, 
and  was  first  instructed  there  under  Professor 
Zingg,  but  he  afterwards  devoted  six  years  to 
travelling  in  Switzerland  and  Italy.  He  died  in 
1832.  His  best  works  were  mountain  landscapes 
from  Bavaria  and  Switzerland. 

GRAFF,  Maeia  Doeothea  Heneica.   See  Gsell. 

GRAFF,  Maeia  Sibylla.    See  Meeian. 

GRAFFICO,  Camillo,  was  a  native  of  Friuli, 
who  flourished  about  the  year  1588.  He  engraved 
several  plates  of  devotional  subjects,  among  which 
is  one  representing  the  '  Holy  Family,'  after  Ber- 
nardino Passari.  He  worked  entirely  with  the 
graver,  in  a  style  resembling  that  of  Comelis  Cort, 
but  very  inferior  to  it. 

GRAFIONE,  a  Florentine  painter,  who  lived  in 
the  16th  century,  was  a  pupil  of  Baldovinetti. 
He  painted  a  '  God  in  Glory '  over  the  door  of  the 
hospital  of  Santa  Maria  degli  Innocenti  in  Florence. 

GRAHAM,  G.,  an  English  engraver,  worked  in 
the  latter  half  of  the  18th  century.  He  produced 
some  of  the  illustrations  for  Campbell's  '  Pleasures 
of  Hope'  in  1799,  and  also  some  of  Rowlandson's 
works.  He  engraved  chiefly  in  the  dotted  manner, 
but  the  following  mezzotint  plates  are  also  by  him : 

John,  Earl  of  Bute ;  after  Eamsay. 

Mrs.  Collier;  after  Sir  Joshua  Reynolds. 

Van  Tromp  ;  after  Rembrandt. 

Poverty ;  after  Rising, 
692 


GRAHAM,  John,  an  English  historical  painter, 
was  bom  about  1706.  He  studied  in  Paris,  London, 
and  Italy,  and  finally  settled  at  the  Hague,  where 
he  was  stiU  living  in  1776. 

GRAHAM,  John,  a  Scottish  historical  painter, 
bom  in  1754,  was  at  first  apprenticed  to  a  coach- 
painter  in  Edinburgh,  but  coming  to  London  he 
entered  the  schools  of  the  Royal  Academy,  where 
he  exhibited  from  1780  to  1797.  In  1798  he  was 
appointed  master  of  the  Trustees'  Academy  in 
Edinburgh,  where  he  had  amongst  his  pupils 
Wilkie,  Allan,  Burnett,  and  Watson  Gordon.  He 
died  at  Edinburgh  in  1817.     His  chief  works  are: 

Daniel  in  the  Lions'  Den.     1780. 

Una.    1783. 

Ceres  in  search  of  Proserpine.     1786. 

The  Escape  of  Mary,  Queen  of  Scots,  from  Lochleven. 
1788.     (Stationers^  Hall,  London.) 

Portraitof  Alderman  Boydell.  {Stationers^ Hall^London.) 

The  Funeral  of  General  Fraser  at  Saratoga. 

Queen  Mary,  the  morning  before  her  Execution.    1792. 

King  David  instructing  Solomon.     1797. 

The  Disobedient  Prophet.  (Ifational  Gallery  of  Scot- 
land.) 

GRAHAM-GILBERT,  John,  a  Scottish  portrait 
painter,  the  son  of  a  West  India  merchant  named 
Graham,  was  bom  at  Glasgow  in  1794.  When 
about  twenty-four  years  of  age  he  came  to  London, 
and  having  .entered  the  schools  of  the  Royal 
Academy,  he  gained  in  1821  the  gold  medal  for 
painting,  afterwards  proceeding  to  Italy  to  study 
the  old  masters,  especially  those  of  the  "Venetian 
school.  The  collection  of  pictures  which  he 
formed  was  bequeathed  by  his  widow,  who  died 
in  1877,  to  the  city  of  Glasgow,  and  forms  a 
most  valuable  feature  of  the  Corporation  Galleries. 
After  having  been  in  Italy  two  years  he  returned 
to  London,  but  in  1827  he  went  to  Edinburgh, 
and  was  elected  a  member  of  the  Royal  Scottish 
Academy  in  1830.  Soon  after  this  he  married 
and  settled  in  Glasgow,  at  the  same  time  adding 
his  wife's  name,  Gilbert,  to  his  own.  He  was  an 
occasional  contributor  to  the  Royal  Academy  in 
London  from  1844  to  1864,  having  also  exhibited 
a  few  pictures  there  after  his  return  from  Italy. 
He  died  at  Yorkhill,  near  Glasgow,  in  1866.  He 
executed  many  fancy  studies  of  young  girls, 
especially  Italian,  and  other  subjects,  besides  many 
portraits  ;  his  drawing  was  good  and  natural,  and 
his  colouring  rich  in  tone,  his  portraits  especially 
recalling  the  Venetian  richness  of  painting.  Among 
his  subject  pictures  may  be  mentioned  '  Females 
at  a  Fountain '  (Royal  Academy,  1846), '  A  Roman 
Girl '(Royal  Academy,  1864),  and  a  portrait  of 
Charles  Lawson,  Provost  of  Edinburgh,  exhibited 
at  the  Royal  Scottish  Academy  in  1866,  the  year  of 
his  death.  In  the  National  Portrait  Gallery  is  a  por- 
trait of  Sir  Walter  Scott  by  him,  and  in  the  National 
Gallery  of  Scotland  are : 

Sir  John  Watson  Gordon,  P.E.S-A. 
John  Gibson,  K.A.,  sculptor. 
An  Italian  Noblemaji. 
The  Bandit's  Bride. 

GRAHL,  Konead,  (Geahlen,  or  GEAHLElN,)was 
an  engraver  on  metal  and  wood,  who  lived  at  Leipsio 
about  1620,  working  chiefly  for  booksellers. 

GRAMBS,  Johann  Valentin,  a  portrait  painter, 
bom  at  Frankfort-on-the-Main  in  1630,  was  a  fol- 
lower of  the  style  of  Van  Dyck.  His  works  were 
much  admired,  and  amongst  them  was  the  por- 
trait of  the  Empress  Eleonora  Magdalena,  third 
consort  of  Leopold  I.,  which  was  engraved  by 
Kilian. 


Orammarseo 


PAINTERS  AND  ENGRAVERS. 


Grandville- 


ORAMMARSEO,  Pietro,  a  native  of  Montferrat, 
in  Piedmont,  flourished  about  1623,  in  which  year 
he  painted  an  altar-piece,  which  is  in  the  conven- 
tual church  of  Casale. 

GrRAMMATIOA,  Antiveduto,  bom  at  Siena  in 
1571,  was  a  disciple  of  Domenioo  Perugino. 
Several  of  his  works  are  in  the  public  edifices 
at  Rome.  In  the  church  of  Santa  Maria  in  Traste- 
vere  there  is  a  picture  of  the  'Virgin  and  Infant 
in  the  clouds,  with  Angels,  and  St.  Hyacinth  below ; ' 
and  in  San  Giaoomo  degl'  Incurabili  is  a  fine  picture 
of  the  •  Nativity,'  with  the  '  Adoration  of  the  Shep- 
herds.' His  talents  raised  him  to  the  presidency 
of  the  Academy  of  St.  Luke,  but  of  this  distinction 
he  was  deprived,  on  account  of  a  nefarious  attempt 
to  dispose  of  a  picture  by  Raphael  belonging  to 
the  Academy,  and  to  substitute  for  it  a  copy 
which  he  had  made.  He  did  not  long  survive  this 
disgrace,  and  died  at  Rome  in  1626. 

GRAN,  Daniel,  an  historical  painter,  born  at 
Vienna,  or  Mahren,  in  1694,  studied  under  Ferg 
and  Wemle  at  Vienna,  and  afterwards  under  Ricci 
at  Venice,  and  Solimena  at  Naples.  Upon  his 
return  from  Italy  he  executed  a  great  number  of 
large  ceiling  frescoes,  mostly  of  an  allegorical 
character,  in  the  imperial  palace,  and  in  various 
castles,  churches,  and  cloisters.  He  also  produced 
several  oil  paintings,  of  which  the  Vienna  Gallery 
possesses  a  '  Holy  Family,'  and  the  Karlskirche 
a  '  St.  Elizabeth,'  and  left  some  good  pen-and-ink 
drawings.     He  died  at  St.  Polten  in  1757. 

GRANACCI,  Feancesco,  a  Florentine  painter, 
was  bom  at  Florence  in  1477.  He  was  a  fellow- 
pupil  with  Michelangelo  in  the  studio  of  Ghirlan- 
dajo,  and  was  much  attached  to  the  former,  whose 
style  he  at  first  greatly  imitated.  Granacci  was 
one  of  the  artists  who  went  to  Rome  to  assist 
Michelangelo  in  the  Sistine  Chapel,  but  when  the 
master,  finding  he  could  not  manage  to  get  on 
withhis  assistants,  shut  both  the  door  of  the  chapel 
and  that  of  his  own  house  against  them,  Granacci 
was  justly  incensed.  He  is  said  to  have  evinced  his 
acquirement  of  the  principles  of  Michelangelo  in 
his  picture  of  '  St.  Zenobius  and  St.  Francis,  with 
the  Virgin  and  Infant  in  the  Clouds ;'  but  still  more 
in  his  'Assumption,'  formerly  in  San  Pier  Mag- 

fiore,  and  now  in  the  Rucellai  palace,  in  which  the 
gure  of  St.  Thomas  is  entirely  in  the  style  of  that 
master.  He  died  at  Florence  in  1543.  Not  many 
pictures  by  this  artist  remain,  but  his  principal 
works  are : 

Berlin.  Gallery.  Portrait  of  a  Girl. 

„  „  Virgin  and  Child  enthroned. 

„  „  The  Trinity. 

Flgrence.  Academy.  Virgin  and  Saints. 

„  „  Three  pictures,  repre.senting 
the  Life  and  Martyrdom  of 
St.  ApoUonius. 

„  Fitti  Fal.  Holy  Family. 

Munich.  Gallery.  St.  Jerome. 

„  „  St.  ApoUonia. 

„  „  St.  John  the  Baptist. 

„  ,,  The  Magdalen. 

Petersbnrg.  Hermitage.  The  Nativity. 

GRANDE,  Fkancisco  Agustin  y.    See  Agustin. 

6RANDH0MME,  Jacques.    See  Granthommb. 

GRANDI,  Ercolb  di  Giulio,  commonly  called 
Eecolb  da  Feeeara,  whose  works  have  been  con- 
fused with  those  of  Ercole  di  Roberto,  was  a  native 
of  Ferrara.  He  was  in  the  service  of  the  Duke  of 
Ferrara  from  1492  till  1499,  and  died  in  1531. 
He  was  a  disciple  of  Lorenzo  Costa,  and  was 
the  author  of  'St.  Sebastian,  with  other  Saints 
QQ 


and  Patrons,'  in  San  Paolo,  Ferrara ;  of  an  '  Ador- 
ation of  the  Kings,'  in  the  Ferrara  Gallery ;  of 
a  '  St.  George  and  the  Dragon,'  in  the  Corsini 
Gallery,  Rome ;  and  also  of  '  The  Conversion 
of  St.  Paul,'  and  a  '  Madonna  and  Child  with 
Saints,'  in  the  National  Gallery,  London.  Other 
pictures  by  him  are  in  private  collections  in  Italy. 
GRANDI,  Ercole  di  Roberto,  was  a  partner 
with  his  brother  as  a  painter  and  gold-beater  in 
Ferrara  in  1479.  He  was  in  the  paid  service  of 
the  Duke  of  Ferrara,  and  was  frequently  employed 
in  painting  chests.  He  built  a  triumphal  car ; 
decorated  the  garden  lodge  of  the  Duchess  ;  and 
in  1494  painted  the  likeness  of  Hercules  I.  for 
Isabella  of  Mantua.  He  was  a  disciple  and  imi- 
tator of  Mantegna,  and  executed,  amongst  other 
works,  the  decorations  (since  destroyed)  of  the 
Garganelli  chapel  in  San  Pietro,  Bologna,  finished 
about  1483,  and  much  admired  by  Michelangelo. 
He  also,  it  is  said,  finished  a  view  of  Naples  in 
1490-93.  He  died  before  1613.  The  following 
works  also  are  ascribed  to  him : 


Dresden.      Gallery. 


Modena.  Gallery, 
Ravenna.  Gallery. 
Venice.    Correr  Mas, 


"\  Paris  of  the  predella 
Betrayal     of       of    an    altar-piece 
Christ.  by  Lorenzo    Costa^ 

„  „  Procession  to    "  formerly    in    San 

Golgotha.         Giovanniin  Monte, 
}    Bologna. 
Jjiverpool.  Soyal  Inst.  Pieta.  (Part  of  the  predella  of  the 
same  altar-piece.) 
Lucretia. 

Christ  on  the  Mount  of  Olives. 
Christ    on    the    Cross,   with    the 
Virgin  and  St.  John  the  Evan- 
gelist. 

A  full  account  of  the  Grandis  is  given  in  Crowe 
and  Cavalcaselle's  '  History  of  Painting  in  North 
Italy,'  1871 ;  i.  530-634. 

GRANDIN,  Jacques  Louis  Michel,  a  French 
historical  painter,  born  at  Elbeuf  in  1780,  was  a 
pupil  of  David,  but  he  adopted  a  style  differing 
considerably  from  that  of  his  master.  He  mostly 
painted  idylls  and  mythological  scenes.  The  date 
of  his  death  is  not  known. 

GRANDJEAN,  Jean,  was  born  at  Amsterdam 
in  1752,  and  after  instruction  under  Jacobus 
Verstegen  and  Jurriaan  Andriessen,  as  well  as  at 
the  Academy  of  his  native' city,  where  he  obtained 
three  prizes,  proceeded  first  to  Diisseldorf,  and 
then  in  1779  to  Italy.  He  painted  landscapes, 
portraits,  and  historical  subjects,  and  has  also  left 
one  etching  of  a  '  Bacchanal.'  He  died  at  Rome 
in  1781. 

GRANDVILLE,  Jean  Ignace  Isidore,  whose 
real  name  was  G^irard,  a  French  designer  and 
lithographer,  was  born  at  Nancy  in  1803.  He  first 
studied  miniature  painting  under  his  father,  and 
then  under  Mansion  and  Hippolyte  Lecomfe,  but 
abandoning  this  branch  of  art,  he  devoted  himself 
to  the  then  newly-discovered  invention  of  litho- 
graphy. He  soon  obtained  a  large  practice,  and 
illustrated  a  great  number  of  periodicals  and  books. 
His  later  years  were  clouded  with  domestic  misfor- 
tune, and  he  died  in  a  lunatic  asylum  at  Vanves, 
near  Paris,  in  1847.  Besides  the  journals  and 
books  which  he  illustrated,  the  following  are  a  few 
of  the  works  he  published  on  his  own  account : 

Le  Dimanche  d'un  bon  Bourgeois. 
Les  Metamorphoses  du  Joar.    1828. 
LesAnimauxpeints  par  eux-mfimes.    1841. 
Les  petites  Miseres  de  la  Vie  humaine.     1842. 
TTn  autre  Monde.    1843. 
Cent  Proverbes.    1844. 
Les  Fleurs  animdes.    1846. 

593 


Granello 


A  BIOGRAPHICAL  DICTIONARY  OP 


Grant 


GRANELLO,  Niccol6,  who  was  probably  the 
step-son  of  Giovanni  Battista  Castello,  called  II 
Bergamasoo,  flourished  in  the  16th  century.  He 
especially  excelled  in  battle-pieces,  which  he 
executed  in  conjunction  with  other  artists,  as 
Tabaron  and  Cambiaso,  and  among  which  are 
the  '  Battle  of  St.  Quentin,'  in  the  Escorial,  and 
the  '  Battle  of  Higueruela,'  after  a  painting  by 
Dello,  in  the  Alcazar  at  Segovia.  He  was  the 
half-brother  and  instructor  of  Fabrizio  Castello, 
and  died  at  Madrid  in  1593. 

GRANET,  PEANgois  Marius,  a  French  archi- 
tectural and  historical  painter,  was  born  at  Aix  in 
1775.  His  father,  who  was  a  mason,  apprenticed 
him  to  an  Italian  painter  who  chanced  to  stop  at 
Aix  while  upon  a  tour,  and  after  having  learnt  the 
rudiments  of  art  from  him,  he  entered  the  school 
of  the  landscape  painter  Constantin,  and  afterwards 
the  atelier  of  David  at  Paris.  He  there  won  a 
prize  with  the  picture  of '  The  Court  of  a  Monas- 
tery,' and  then  proceeded  in  1802  to  Rome,  where 
he  passed  many  years  of  his  life.  On  returning  to 
Paris  for  the  first  time  in  1819,  he  brought  with 
him  a  copy  of  his  '  Choir  of  the  Capuchin  Monas- 
tery,' which  met  with  such  extraordinary  admir- 
ation that  he  was  compelled  to  execute  fifteen  or 
sixteen  variations  of  it.  Louis  XVIII.  gave  him  the 
decoration  of  the  Legion  of  Honour  in  the  same 
year,  and  afterwards  the  order  of  St.  Michael ;  while 
in  1826  he  became  conservator  of  the  paintings  in 
the  Louvre,  in  1830  a  member  of  the  Institute, 
and  in  1833  an  officer  of  the  Legion  of  Honour. 
After  the  revolution  of  1848  he  returned  to  Aix, 
where  he  died  in  1849.  He  bequeathed  to  the 
town  his  property,  and  presented  his  pictures  as 
the  foundation  of  a  museum ;  at  the  same  time 
setting  apart  a  yearly  allowance  of  1500  francs 
for  the  education  in  art  of  a  youth  of  that  town, 
and  a  further  sum  of  money  for  establishing  in 
the  hospital  for  incurables  two  beds  for  masons 
as  a  memorial  of  his  father.  His  paintings 
consist  chiefly  of  the  interiors  of  churches  and 
other  buildings,  set  out  with  historical  scenes, 
and  in  this  line  he  is  considered  to  have  been 
wholly  unrivalled.  The  following  are  among  his 
best  works : 

Poussiu  uncovering  the  painting  of  the  'Communion 

of  St.  Jerome.' 
Jacques  Stella  painting  the  Madonna  on  the  wall  of 

his  Prison  CeU.    1810.     (Leuchtenberg  Gallery.) 
The   Choir  of  the  Capuchin  Monastery  in  the  Piazza 

Barbarini  at  Rome.    (Buckingham  Falace.) 
Inner  Court  of  the  Carthusian  Monastery  at  Home. 
Communion  of  the  first  Christians  in  the  Eoman  Cata- 
combs. 
The  Alchymist.    {Stafford  Rouse.) 
Beatrice  Cenci  on  her  way  to  Execution. 
View   of   the    Choir    of   St.    Scolastica   at    Subiaco. 

(Avignon.) 
Interior  of  the  Convent  Chapel  of  San  Benedetto,  near 

Subiaco. 
Godfrey  of  Bouillon  hanging  up  the  Trophies  from 

Ascalou  in  the  Church  of  the  Holy  Sepulchre.  ( Ver- 
sailles Gallery.) 
St.  Louis  delivering  the  French  prisoners  at  Damietta. 

1827.     (Amiens  Museum.) 
Funeral  Honours  to  the  Victims  of  Fieschi's  Infernal 

Machine.     1839.     (Invalides,  Paris.) 
The  Painter  Sodoma  brought  into  the  Hospital.    1815. 

(Louvre.) 
Interior  of  the  Coliseum.    (The  same.) 
Interior  of  the  Lower  Basilica  of  St.  Francis  at  Assisi. 

1823.     (The  same.) 
Ransoming  of  Christian  Slaves  in  Algiers.    1831.   (The 

same.) 
His  own  Portrait.     (The  same.) 

594  ' 


GRANGER,  David,  an  engraver,  practised  in 
London  in  the  early  part  of  the  17th  century. 
There  is  by  him  a  '  St.  George,'  after  Raphael. 

GRANGER,  Jean  Pbeein,  a  French  historical 
painter,  was  bom  in  Paris  in  1779,  and  died  in  the 
same  city  in  1840.  He  was  educated  under  Allais  and 
Regnault,  and  in  David's  school,  and  he  executed 
pictures  from  ancient  mythology  and  from  Greek 
and  Roman  history,  as  well  as  several  of  a 
sacred  character.  His  '  Adoration  of  the  Kings,' 
in  Notre-Dame  de  Lorette  at  Paris,  partakes  of  the 
style  of  Paolo  Veronese.  In  the  Bordeaux  Museum 
is  a  picture  of  '  Ganymede  ; '  in  the  Dijon  Museum 
one  of  '  Homer  and  Glaucus  ;  '  and  in  the  Leipsic 
Museum,  'Apollo  and  Cyparissus.' 
GRANGES,  D.  des.  See  Des  Granges. 
GRANO,  Giorgio  del.  See  Gandini. 
GRANT,  Sir  Francis,  a  portrait  painter,  was  bom' 
at  Kilgraston  in  Perthshire  in  1810.  He  was  the 
fourth  son  of  Francis  Grant  of  Kilgraston,  and 
was  educated  at  Harrow,  with  the  intention  that  he 
should  study  for  the  bar,  but  he  preferred  the  pur- 
suit of  art,  and  adopted  it  as  a  profession.  He  first 
exhibited  at  the  Royal  Academy  in  1834,  and  among 
his  early  works  were  hunting  meets,  of  which 
his  liking  for  field  sports  rendered  him  a  faithful 
delineator.  He  subsequently  devoted  himself  to 
full-length  portraits,  and  became  the  fashionable 
portrait  painter  of  the  day,  most  of  the  celebrities 
of  his  time  sitting  to  him.  He  was  elected  an 
Associate  of  the  Royal  Academy  in  1842,  and  an 
Academician  in  1851.  On  the  death  of  Sir  Charles 
Eastlake  in  1866,  and  after  the  refusal  of  the  ofBcO' 
by  Maclise  and  Sir  Edwin  Landseer,  he  was  chosen 
President  of  the  Academy,  and  knighted,  honours 
which  he  owed  more  to  his  urbanity  and  social 
position  than  to  his  art.  He  died,  after  several 
years'  sufiering,  in  1878,  at  Melton  Mowbray, 
where  he  was  buried,  his  family  declining  the 
honour  of  a  grave  in  St.  Paul's  Cathedral.  The 
following  is  a  list  of  some  of  his  chief  works : 

The  Breakfast  at  Melton.     1834. 

Count  D'Orsay.    1836. 

The  Meeting  of  H.M.  Staghounds  at  Ascot  Heath.   1837. 

(Earl  of  Chesterfield.) 
The  Melton  Hunt.    1839.     (Duke  of  Wellington.) 
Equestrian  Portrait  of  Queen  Victoria.     1840.     (Army 

and  Navy  Club.) 
Shooting  Party  at  Eauton  Abbey.    1841.     (Earl  of 

Zickjield.) 
Marchioness  of  TVaterford.     1844. 
Queen  Victoria.     1846.     (Christ's  Hospital,  London.) 
Albert,  Prince  Consort.     1846.     {The  same.) 
Sidney  Herbert,  afterwards  Lord  Herbert  of  Lea.    1847. 
Sir  Eichard  Sutton's  Hounds.     1848. 
Viscount  Hardinge.   1849.    (National  JPortrait  Galleni.) 
Lord  John  Russell.     1854.  , 

Lord  Macaulay.     1854.     (National  Portrait  Gallery.) 
Su- Edwin  Landseer.     1855.     (The  same.) 
Benjamin  Disraeli,  Earl  of  Beaconsfield.     1852. 
General  Sir  Hope  Grant.     1862. 
A  Jewish  Eabbi.     (National  Gallei-y  of  Scotland.) 
Sir  George  Grey. 

Edward,  fourteenth  Earl  of  Derby. 
Lord  Clyde. 
Viscount  Palmerston. 
John  Gibson  Lockhart. 
Viscount  Gough. 
Lord  Chancellor  Truro. 

Lord  Chancellor  Campbell.    (National  Portrait  Galleiii.) 
Lord  Chief  Baron  Pollock. 
Sir  William  Brie. 
George  Moberley,  Bishop  of  Salisbury. 

GRANT,  William  James,  an  historical  painter, 
was  born  at  Hackney  in  1829.  At  about  the  age 
of  sixteen  he  entered  the   schools  of  the  Royal 


Granth.om.me 


PAINTERS  AND  ENGRAVERS. 


Gratiani 


Academy,  and  within  two  or  three  years  exhibited 
his  first  work,  '  Rabbits,'  and  was  from  that  time  a 
frequent  exhibitor,  sending  in  1852  '  Samson  and 
Delilah;'  in  1858,  'The  Last  Trial  of  Madame 
Palissy;'  in  1860,  'The  Morning  of  the  Duel;' 
and  in  1861,  'The  Last  Relics  of  Lady  Jane  Grey.' 
He  was  a  promising  artist,  but  died  in  1866,  at  the 
early  age  of  thirty-seven. 

GRANTHOMMB,  Jacques,  a  German  engraver, 
born  at  Heidelberg,  flourished  about  the  year  1600. 
Little  more  is  known  of  him  than  that  he  was  edu- 
cated in  France  in  the  school  of  Thomas  De  Leeuw 
and  Rabel,  and  that  being  expelled  as  a  Huguenot, 
he  settled  at  Frankfort,  where,  as  well  as  at  Heidel- 
berg, he  worked  as  an  engraver,  in  the  style  of 
Sadeler  and  Cornells  Cort.  Some  writers  speak  of 
three  artists  of  this  name,  and  attribute  to  them  the 
plates  of  Jean  de  Gourmont  and  Jan  Georg  van  Vliet. 
Granthomme  is  known  to  have  executed  eighty-two 
plates,  of  which  the  best  are  his  portraits.  He  worked 
entirely  with  the  graver,  and  usually  marked  his 
plates  with  one  of  these  ciphers  :  (f 
The  following  are  his  principal     /p,    pj.  jEJp 


prints : 


Portrait  of  Henry  III. 

Louis  XIII. 

Charles  IX. 

James  I.,  King  of  Great  Britain. 

Pope  Sixtus  T. 

Frederick  IT.,  Count  Palatine  of  the  Bhine, 

Henry  of  Bourhon,  Prince  of  Cond6. 

Thirteen  Portraits  of  the  Doctors  and  Eeformers  of  the 
Church ;  or,  as  they  are  often  styled,  the  Heresiarchs ; 
after  a  fainter  whose  initials  are  P.  M. 

The  Narrative  of  the  Good  Samaritan ;  four  plates. 

The  Marriage  of  Henry  IV.  and  Catharine  de'  Medici. 

The  Infant  Dauphin  strangling  a  Serpent.    1601. 

Adam  and  Ere. 

Venus  and  Adonis;  four  plates. 

Laocoon. 

The  Murder  of  the  Innocents. 

The  Apostles ;  twelve  small  prints ;  after  his  own 
designs. 

The  Eape  of  Helen ;  copied  from  the  print  by  Marc- 
Antonio,  after  Baphael. 

GRANVILLE,  — ,  was  an  English  engraver, 
who  flourished  about  the  year  1760.  He  executed 
landscapes,  among  which  are  some  plates  from  the 
pictures  of  Thomas  Smith  of  Derby. 

GRANVILLE,  Mart,  (Mrs.  Delant,)  an  Eng- 
lish portrait  painter  and  copyist,  who  was  a  great 
favourite  with  George  III.,  was  bom  in  1700. 
She  was  first  married  to  a  Mr.  Pendarves,  and 
secondly  to  Dr.  Delany,  Dean  of  Down.  She  died 
in  1788.  There  is  a  very  good  portrait  of  the 
Duchess  of  Qiieensberry  by  her. 

GRASDORP,  WiLLBM,  a  painter  of  fruit  and 
flowers,  who  resided  at  Amsterdam,  was  a  scholar 
of  Ernst  Stuven  in  1710.  His  pictures  are  held  in 
great  estimation,  and  are  to  be  found  in  some  of 
the  finest  private  collections  in  Holland.  There  is 
a  picture  by  him  in  the  Brunswick  Gallery,  and 
another  in  the  Hermitage  at  St.  Petersburg. 

GRASHOF,  Otto,  an  historical,  genre,  portrait, 
and  animal  painter,  was  bom  at  Prenzlau  in  1812. 
He  was  educated  at  Diisseldorf  under  Sohadow,  and 
afterwards  resided  some  years  in  Russia,  Mexico, 
and  La  Plata,  but  finally  settled  in  1845  at  Cologne, 
where  he  died  in  1876.  He  had  been  blind  from 
1861.    Some  of  his  best  known  works  are : 

The  Battle  of  Sehumla.    1848. 
Bussiao  Bears  in  a  Forest. 
The  Guardian  Angel.     1845. 
Eussian  Pilgrims. 

Q  Q  2 


Portrait  of  Franz  Liszt. 

Christ  and  the  Samaritan  "Woman.     1846. 

Wolves  by  a  dead  Horse.     1847. 

St.  Wapitz  of  Novgorod. 

Fight  of  a  Tscherkessan  and  a  Bussian. 

Till  Eulenspiegel. 

Scene  from '  Nathan  the  Wise.' 

GRASSI,  Giovanni  Battista,  lived  at  Udine  in 
the  16th  century,  and  practised  there  both  as  an 
architect  and  painter.  His  first  known  painting 
there  was  the  altar-piece  of  the  church  of  San 
Cristoforo,  executed  in  1547.  In  1554  he  painted 
on  the  front  of  the  Casa  Sabbatini  frescoes  repre- 
senting the  Medusa,  and  Jove  and  Vulcan.  In 
1556  he  painted  the  organ  in  the  cathedral  with 
designs  representing  the  '  Annunciation,'  the  '  Na- 
tivity,' the  '  Marriage  at  Cana,'  and  '  Christ  healing 
the  Sick ; '  and  in  1569  he  executed  the  decorations  of 
the  castle  of  Udine,  which  are  now  nearly  ruined. 
He  died  after  1578.    Two  paintings  of  his  are  : 

Buia.  Church.    Martyrdom  of  St.  Lawrence.  1S58. 

Gemona.      Church.    Organ  Shatters.    1577. 

GRASSI,  Joseph,  an  historical  and  portrait 
painter,  bom  at  Udine  in  1756,  was  made  professor 
at  the  Dresden  Academy  in  1800,  and  in  1817 
director  of  the  Royal  Saxon  Pensioners  at  Rome. 
He  died  at  Dresden  in  1838.  His  portraits  are  much 
esteemed,  and  he  was  particularly  successful  with 
those  of  females.  The  Dresden  Gallery  possesses 
two  of  his  paintings,  '  St.  John  the  Baptist,'  and 
'St.  Peter.' 

GRATELLA.    See  Filippi,  Sbbastiano. 

GRATELOUP,  Jean  Baptistb,  a  French  en- 
graver, was  born  at  Dax  in  Gascony  in  1735,  and 
died  in  the  same  town  in  1817.  He  executed  por- 
traits in  the  manner  of  Savart  and  Ficquet,  among 
which  are : 

Bousseau ;  after  J.  Aved. 

Adrienne  Leoouvrenr;  after  C.  A.  Coypel. 

Montesquieu ;  after  Sassier. 

Descartes ;  after  F.  Hals. 

Dryden ;  after  Kneller. 

Bossuet  (two  portraits)  ;  after  Eigaud. 

Ffinfilon ;  after  Vivien. 

GRATI,  Giovanni  Battista,  was  bom  at  Bo- 
logna in  1681,  and  was  a  scholar  of  Giovanni 
Gioseffo  dal  Sole.  There  are  several  of  his  pictures 
in  the  churches  at  Bologna,  of  which  the  moat 
esteemed  are  'The  Virgin  and  Child,  with  St. 
Francis,  St.  Joseph,  and  St.  Gaetano,  with  a  glory 
of  Angels,'  in  Santa  Maria  Incoronata ;  and  '  St. 
Anne  teaching  the  Virgin  to  read,'  in  San  Giaoomo 
Maggiore.     He  died  in  1758. 

GRATIANI,  Babtolommbo,  the  son  of  Guido 
Gratiani,  settled  in  Perugia  in  1319,  and  painted 
for  the  church  of  Montelebate. 

GRATIANI,  GniDO,  superseded  Diotisalvi  in 
1287,  1290,  and  1298  as  painter  of  the  books  of 
the  Biocherna.  He  is  mentioned  as  the  painter  of  a 
banner,  and  he  executed  in  1295  a  '  Majesty,  be- 
tween St.  Peter  and  St.  Paul,'  in  the  Public  Palace 
of  Siena,  and  gilded  three  hundred  letters  for  an 
image  of  the  Virgin.  In  1302  he  executed  the 
portrdts  of  twelve  forgers  for  the  front  of  the 
Tribunal  of  Justice. 

GRATIANI,  Ming,  a  brother  of  Bartolommeo, 
painted  in  1289  a '  Virgin  and  Saints  '  for  the  Hall 
of  the  Great  Council  in  the  old  Public  Palace  of 
Siena,  and  in  1303  a  '  St.  Christopher.'  In  1298 
he  produced  the  portraits  of  several  false  witnesses. 
His  name  is  not  found  in  the  public  records  after 
1329. 

695 


Gratton 


A- BIOGRAPHICAL  DICTIONAEY  OF 


Graziani 


GEATTOIT,  George,  an  Irish  genre  painter,  flour- 
ished at  the  beginning  of  the  19th  century,  and  in 
1807  was  awarded  100  guineas  by  the  Dublin 
Society  for  his  '  Beggar  Woman  and  Child.'  He 
afterwards  removed  to  London,  and  exliibited  at 
the  Eoyal  Academy  in  1812, 'The  Guard  Boom,' 
'The  Gathering,'  and  'Noon  Tide.'  iSTo  trace  of 
him  exists  after  this  date.  There  is  a  water-colour 
view  of  '  Christ  Church,  Dublin,'  by  him,  in  the 
South  Kensington  Museum. 

GRAVE,  Aldb.     See  Aldegrevee. 

GRAVE,  Hans.     See  Graf. 

GRAVE,  Jan  Evert,  a  designer  and  engraver, 
was  born  at  Amsterdam  in  1759,  and  died  there  in 
1805.  He  was  a  scholar  of  Jakob  Cats  and  Jan 
Punts,  and  chiefly  executed  landscapes  and  views 
of  towns. 

GRAVE,  JosuA.    See  Graaf. 

GRAVELOT,  Henri,  whose  original  name  was 
D'Anvili,e,  a  French  designer  and  engraver,  was 
born  in  Paris  in  1699.  He  was  the  brother  of 
the  geographer  D'Anville,  but  he  assumed  the 
name  of  Gravelot  on  coming  to  England,  whither 
he  was  invited  in  1733,  by  Claude  Du  Boso,  to  assist 
him  in  the  plates  for  the 'Religious  Ceremonies,' 
which  he  published  in  English,  copied  from  Pioart. 
Gravelot  returned  to  France  in  1745,  but  was 
soon  in  England  again,  and  after  a  highly  suc- 
cessful course  here,  he  finally  settled  in  Paris  in 
1764,  where  he  died  in  1773.  He  was  an  excel- 
lent draughtsman,  and  made  designs  for  ornaments, 
and  drawings  of  ancient  buildings,  monuments, 
&o,,  with  great  taste.  He  etched  several  plates  for 
books ;  among  which  were  those  for  Sir  Thomas  I 
Hanmer's  edition  of  Shakespeare,  some  of  which 
were  from  his  own  designs,  and  others  after  Francis 
Hayman.  He  also  engraved  the  plates  for  Theo- 
bald's Shakespeare,  from  his  own  designs.  He  is 
also  well  known  as  one  of  the  earliest  caricaturists. 
His  best  plate  is  a  view  of  Kirkstall  Abbey. 

GRAVELOT,  Hubert  Francois  Bourquignon. 
See  Bourguignon-Gravelot. 

GRAVES,  Robert,  a  line-engraver,  was  bom  in 
London  in  1798.  At  an  early  age  he  manifested 
a  strong  predilection  for  art,  and  studied  in  the 
life-school  held  in  Ship  Yard,  Temple  Bar,  until 
1812,  in  which  year  he  became  a  pupil  of  John 
Romney,  the  engraver.  Afterwards  he  made  for 
collectors  many  copies  in  pen-and-ink  of  rare  por- 
traits by  Hollar,  Van  de  Passe,  and  others  ;  but  at 
length  he  devoted  himself  entirely  to  engraving. 
In  1836  he  was  by  an  unanimous  vote  elected  an 
Associate  Engraver  of  the  Royal  Academy,  on 
which  occasion  he  presented  as  his  diploma  work 
the  portrait  of  Lord  Byron,  after  Thomas  Phillips. 
This  and  the  'Highland  Whiskey-Still,'  after  Sir 
Edwin  Landseer,  are  his  two  most  successful  en- 
gravings. Besides  a  great  number  of  portraits  and 
book -illustrations,  he  engraved  several  plates  after 
Wilkie,  Landseer,  and  Mulready,  for  the  Author's 
Edition  of  the  '  Waverley  Novels,'  and  others  for 
the  'Literary  Souvenir,'  'Iris,'  'Amulet,'  'Keep- 
sake Frangais,'  and  '  Forget-Me-Not.'  He  died  in 
London  in  1873.  His  plates  generally  are  charac- 
terised more  by  their  refinement  and  delicacy,  and 
in  these  qualities  they  can  scarcely  be  surpassed, 
than  by  any  remarkable  vigour  of  line.  The 
following  are  his  most  important  works : 

The  Enthusiast ;  after  T.  Lane.    1831. 

Mathematical  Abstraction ;  after  the  same.     1833. 

The  Musical  Bore ;  after  M.  TV.  Buss.    1834. 

The  Eomauoe ;  after  the  same. 
596 


The  Venetian  Girl ;  after  J.  Wood.    1836. 

Lord  Byron ;  after  Thomas  PhUlifs.     1836. 

The  Abbotsford  Family ;  after  Sir  David  Wilkie,    1837. 

The  Examination  of  Shakespeare  before  Sir   Thomas 

Lucy  on  a  charge  of  deer-stealing ;  after  Sir  George 

Harvey.    1839. 
A  Castaway ;  after  the  same.    1841. 
The  Highland  Whiskey-Still    after  Sir  Edwin  Landseer. 

1842. 
The  First  Beading  of  the  Bible  in  the  crypt  of  Old  St. 
•  Paul's ;  after  Sir  George  Harvey.    1846. 
Lord  Nelson ;  half-length ;  after  Abbott.    1847. 
The  Baron's  Charger  ;  after  J.  F.  Herring.     1850. 
The  Highland  Cradle  ;  after  Sir  Edmn  Landseer.    1850. 
Haidee,  a  Greek  Girl ;  after  Sir  Charles  Eastlahe.    1850. 
The  Princess  Amelia ;  after  Sir  Thomas  Laiorence.  1855. 
The  Princess  Victoria    Gouramma   of   Coorg;    after 

Winterhalter.     1857. 
Cromwell  resolving  to  refuse  the  Crown ;  after  C.  Lucy. 

1858. 
The  Sisters ;  after  Sir  Charles  EastlaTce.    1859. 
The  Princesses  Mary,  Sophia,  and  Amelia,  daughters  of 

George  III. ;  after  J.  S.  Copley.    I860. 
The  SHde  ;  after  Webster.     1861. 
The  Origin  of  the  Harp  ;  after  Maclise.     1862. 
The  Good  Shepherd ;  after  Murillo.     1863. 
The  Immaculate  Conception  ;  after  the  same.    ]  865. 
Paolo  and  Francesca  da  Kimini;  after  Sir  John  Noel 

Paton.    1866. 
Hon.  Mrs.  Graham;  full-length;  after  Gainsborough. 

1866. 
The  Blue  Boy  (Master  BurreU) ;  after  the  same.   1868. 
Mrs.  Lloyd,   afterwards    Mrs.  Peter    Eeckford ;    full- 
length  ;  after  Sir  Joshua  Reynolds.     1868. 
Mrs.  Siddons ;  half-length ;  after  Gainsborough.    1869. 
Via  Dolorosa;  after  Raphael  X^).     1869. 
Georgiana,  Duchess  of  Devonshire ;  full-length ;  after 

Gainsborough.     1870. 
Mrs.  Beaufoy  ;  full-length  ;  after  the  same.     1872. 
Lady    Bowater ;    full-length ;    after   the  same.     1872. 

(ie/t  unfinished :  completed  by  James  Stephenson.) 

GRAY,  — ,  an  English  engraver  of  little  celebrity, 
executed  a  set  of  views  for  a  work  published  about 
1727,  entitled  'Thirty  different  Drafts  of  Guinea,' 
by  William  Smith,  Surveyor  to  the  Royal  African 
Company  of  England.  'There  is  a  frontispiece  to 
the  work,  representing  an  Elephant,  which  is  etched 
in  the  style  of  Hollar,  very  Bupetior  to  the  plates  by 
Gray. 

GRAY,  Paul,  an  Irish  draughtsman  on  wood, 
was  bom  at  Dublin  in  1842,  and  there  passed  his 
earlier  years ;  but  when  about  twenty-one  years 
of  age  he  came  to  London.  He  showed  some  skill 
as  a  painter,  but  having  to  support  his  mother  he 
was  driven  to  become  awood  engraver.  He  designed 
the  illustrations  to  Charles  Kingsley's  '  Hereward,' 
and  he  also  contributed  many  of  the  cartoons  to 
'Fun.'  He,  however,  suffered  from  bad  health, 
and  died  at  the  early  age  of  twenty-four,  in  1866. 

GRAZIA,  Leonardo,  known  as  Leonardo  da 
PiSTOJA,  was  a  native  of  Pistoja,  and  a  scholar  of 
Giovanni  Francesco  Penni,  a  distinguished  disciple 
of  Raphael.  His  family  name  appears  to  have 
been  Grazia,  from  an  inscription  on  a  picture  of  the 
'  Annunciation,'  by  him,  in  the  chapel  of  the  sacristy 
of  the  cathedral  of  Lucca.  He  painted  historical 
subjects  and  portraits,  but  particularly  excelled  in 
the  latter.  His  works  are  to  be  found  chiefly  at 
Rome,  Naples,  and  Lucca.  According  to  Zani  he 
flourished  from  1516  to  1540  ;  but  there  is  a  doubt 
whether  there  were  not  two  painters  of  the  same 
name  who  lived  about  the  same  time. 

GRAZIADEI.     See  Pesoia. 

GRAZIANI,  Ercole,  a  Bolognese  painter,  was 
born  at  Bologna  in  1688.  He  was  brought  up 
in  the  school  of  Donato  Creti,  whose  style  he 
improved  by  a   grander  character  of  design,  a 


Qraziani 


PAINTERS  AND  ENGRAVERS. 


Oreen 


more  hannonious  colouring,  and  a  greater  freedom 
of  hand.  His  powers  approximate  to  those  of 
Maro  Antonio  Pranoeschini  and  others  that  issued 
from  the  school  of  Cignani.  He  was  an  artist  of 
unusual  assiduity,  and  painted  a  prodigious  number 
of  pictures  for  the  public  edifices  at  Bologna  and 
Piaoenza.  The  churches  at  Bologna  abound  with 
his  works,  of  which  the  most  esteemed  is  his  cele- 
brated picture  of '  St.  Peter  consecrating  St.  Apol- 
linaris  amidst  an  assemblage  of  the  primitive 
Christians.'  Cardinal  Lambertini,  Archbishop  of 
Bologna,  on  becoming  Pope,  as  Benedict  XIV., 
commissioned  Graziani  to  paint  a  replica  of  this 
picture  for  the  church  of  Sant'  ApoUinare  at  Borne, 
where  is  also  his  '  Baptism  of  Christ.'  In  San  Bar- 
tolommeo  di  Reno,  at  Bologna,  are  two  admired 
pictures  by  him  of  the  '  Marriage  of  St.  Catharine,' 
and  '  St.  Anne  teaching  the  Virgin  to  read.'  In  the 
church  of  La  Purita  is  the  '  Ascension  ; '  and  in  the 
Madonna  delle  Rondini  is  the  'Annunciation,'  one 
of  his  most  celebrated  works.     He  died  in  1765. 

GRAZIANI,  PiETBO,  was  a  painter  of  battles, 
who  flourished  at  Naples  in  the  18th  century. 

GRAZZINI,  Giovanni  Paolo,  born  at  Ferrara 
about  the  year  1670,  passed  the  first  and  greater 
part  of  his  life  as  a  goldsmith.  He  learned  the 
rudiments  of  design,  as  was  at  that  time  usual  with 
those  of  his  profession,  and  being  intimate  with 
Carlo  Bononi,  he  was  prompted  by  the  celebrity 
of  his  friend  to  make  an  essay  of  his  own  powers 
in  painting,  though  he  had  already  passed  the 
prime  of  life.  His  first  public  performance,  which 
occupied  him  eight  years,  was  a  picture  of  '  St. 
Eloy,'  which  Lanzi  says  was  painted  for  the  Scuola 
degli  Orefioi.  Barotti,  in  his  description  of  the 
works  of  art  in  Eerrara,  places  it  in  the  church 
of  San  Giuliano,  and  adds,  that  Carlo  Bononi  em- 
bellished it  with  four  angels  at  the  corners,  in 
chiaroscuro,  and  that  Scarzellino  environed  it  with 
nine  small  pictures  of  the  principal  actions  of  the 
saint.  Grazzini  also  painted  several  easel  pic- 
tures, which  were  much  esteemed  by  his  fellow- 
citizens.     He  died  in  1632. 

GREBBER,     See  De  Geebbee. 

GRECCHI,  Maec  Antonio,  was  a  native  of 
Siena,  whose  works  are  dated  from  1590  to  1634 
There  is  a  picture  by  him,  mentioned  by  Lanzi, 
in  a,  church  at  Foligno,  representing  the  '  Holy 
Family.'  It  is  painted  in  a  style  resembling  rather 
the  Bolognese  taste  of  Tiarini,  than  that  of  any  of 
the  Sienese  painters. 

GRECHB,  DoMENico  DELLE.    See  Theotocopdli. 

GRECHETTO,  II.  See  Castiglionb,  Giovanni 
Benedetto. 

GRECO,  II.    See  Theotocopuli. 

6BEE,  Pibtee  Jan  Balthasab  de,  a  Flemish 
painter,  bom  at  Antwerp  in  1751,  was  a  pupil  of 
Geeraerts,  from  whom  he  acquired  the  taste  for 
painting  bas-reliefs,  and  in  this  line  he  gained  a 
reputation.  About  1786  he  went  to  Ireland,  and 
settled  in  Dubhn,  where  he  died  in  1789. 

GREEN,  Amos,  a  flower  and  landscape  painter, 
who  flourished  in  the  latter  half  of  the  18th  century, 
was  the  brother  of  Benjamin  Green.  He  was  born 
at  Hales  Owen,  and  died  at  York  in  1807. 

GREEN,  Benjamin,  a  mezzotint  engraver,  born 
at  Hales  Owen  about  1736,  was  probably  the  elder 
brother  of  Valentine  Green.  He  was  a  member 
of  the  Incorporated  Society  of  Artists,  with  whom 
lie  exhibited  from  1765  to  1774,  and  he  taught 
drawing  at  Christ's  Hospital.  He  died  in  London 
about  1800.     He  engraved  the  plates  in  Morant's 


'  History  and  Antiquities  of  the  County  of  Essex,' 
1768,  as  well  as  the  following  prints : 

The  Horse  before  the  Lion's  Den ;  after  Stubls.    1768. 

The  Lion  and  the  Stag ;  after  the  same.    1770. 

The  Horse  and  the  lioness  ;  after  the  same.    1774. 

Portrait  of  Lord  Pigot ;  after  the  same. 

Portrait  of  Miss  Baldwin ;  after  Kettle. 

Portrait  of  Henry  Townshend ;  after  Hudson. 

GREEN,  Benjamin  Robebt,  a  water-colour 
painter,  born  in  London  in  1808,  was  the  son  of 
James  Green,  the  portrait  painter.  After  having 
been  educated  in  the  schools  of  the  Royal  Academy, 
he  became  a  member  of  the  Institute  of  Painters 
in  Water-Colours.  He  taught  much,  and  was  for 
many  years  Secretary  of  the  Artists'  Annuity  Fund. 
He  died  in  London  in  1876.  There  is  a  water- 
colour  drawing  by  him  of  the  '  Interior  of  Stratford- 
on-Avon  Church '  in  the  South  Kensington  Museum. 

GREEN,  James,  a  portrait  painter,  was  bom  at 
Leytonstone  in  1771.  He  at  first  practised  in 
water-colours,  and  belonged  to  the  Associated 
Society  of  Water-Colour  Artists,  but  afterwards 
exhibited  at  the  British  Institution,  where  he 
obtained  a  prize  of  £60  in  1808.  His  later  works 
appeared  at  the  Royal  Academy.  He  died  at  Bath 
in  1834.  There  are  portraits  by  him  in  the  National 
Portrait  Gallery  of  Thomas  Stothard,  the  painter, 
and  Sir  John  Ross,  the  Arctic  navigator. 

GREEN,  John,  an  engraver  who  worked  in  the- 
18th  century,  was  a  native  of  Hales  Owen.  He  was 
brother  to  Benjamin  Green,  and  a  pupil  of  James 
Basire.  Some  of  the  plates  in  Borlase's  '  Natural 
History  of  Cornwall,'  and  on  the  Oxford  Almanacks 
are  by  him.  He  died  about  1757.  Among  other 
portraits,  the  following  are  by  him  : 

Thomas  Eowney,  M.P. 

Thomas  Shaw,  D.D.,  Master  of  St.  Edmund  Hal],  Oxford. 

■William  Derham,  D.D.,  Canon  of  Windsor. 

GREEN,  Joshua,  was  a  water-colour  painter,  by 
whom  there  is  a  drawing  of '  Ullswater  Head '  in 
the  South  Kensington  Museum.  The  dates  of 
his  birth  and  death  are  unknown. 

GREEN,  Maey,  a  miniature  painter,  born  in 
1776,  was  the  second  daughter  of  William  Byrne, 
the  landscape  engraver,  and  wife  of  James  Green, 
the  portrait  painter,  whom  she  married  in  1805. 
She  studied  under  Arlaud,  and  exhibited  at  the 
Royal  Academy  from  1795  to  1834.  She  died  in 
1845.  There  are  good  portraits  by  her  of  Queen 
Adelaide  and  Lady  Alicia  Peel. 

GREEN,  Valentine,  a  mezzotint  engraver,  was 
born  at  Hales  Owen,  near  Birmingham,  in  1739. 
He  was  intended  by  his  father  for  the  profession 
of  the  law,  for  which  purpose  he  was  placed 
under  a  respectable  practitioner  at  Evesham,  in 
Worcestershire,  with  whom  he  passed  two  years ; 
but  having  a  taste  for  drawing,  he  abandoned  his 
ofiSce,  and,  without  his  father's  concurrence,  became 
a  pupil  to  an  obscure  line-engraver  at  Worcester. 
His  progress  in  that  branch  of  engraving  not  suc- 
ceeding to  his  wishes,  he  came  to  London  in  1765, 
and  turned  his  attention  to  scraping  in  mezzotint, 
in  which,  without  the  aid  of  an  instructor,  he  arrived 
at  a  perfection  which  has  seldom  been  equalled. 
Green  participates  withMaoArdell  and  Earlom  in  the 
merit  of  having  been  the  first  artists  who  gave  con- 
sequence and  variety  to  the  particular  mode  of  en- 
graving to  which  they  devoted  themselves  ;  and 
it  is  worthy  of  remark,  that  Green's  celebrated 
prints  of  '  Hannibal '  and  '  Regulus,'  after  the  pic- 
tures by  West  in  the  Royal  Collection,  were  the 
first  plates  of  equal  magnitude  and  importance 

697 


Green 


A  BIOGRAPHICAL  DICTIONARY  OF 


3reflf 


that  had  appeared.  These  were  succeeded  by 
several  others  of  similar  consideration,  which  will 
ever  rank  among  the  ablest  and  most  energetic 
efEorts  of  mezzotint.  This  indefatigable  artist,  by 
his  unremitting  exertions  during  a  period  of  up- 
wards of  forty  years,  produced  nearly  four  hundred 
plates,  engraved  from  the  works  of  the  most 
celebrated  painters,  ancient  and  modern.  In  1789 
he  obtained  a  patent  from  the  Duke  of  Bavaria, 
giving  him  the  exclusive  privilege  of  engraving 
and  publishing  prints  from  the  pictures  in  the 
Diisseldorf  Gallery  ;  and  in  the  year  1795,  he 
had  published  twenty-two  prints  from  that  col- 
lection. The  enterprise .  promised  to  remunerate 
him  amply  for  so  spirited  an  undertaking,  but  un- 
fortunately, during  the  siege  of  that  city  by  the 
French  in  1798,  the  castle  and  gallery  were  laid  in 
ruins,  and  a  very  valuable  property  belonging  to 
him  was  destroyed.  Other  speculations,  flattering 
in  their  outset,  were  lost  to  him  by  the  overwhelm- 
ing eruption  of  the  French  Revolution,  of  which 
Green  thus  became  one  of  the  innumerable  victims. 
In  1767  he  was  elected  a  member  of  the  Incorpor- 
ated Society  of  Artists  of  Great  Britain  ;  and  in 
1775  one  of  the  six  Associate  Engravers  of  the 
Royal  Academy.  On  the  foundation  of  the  British 
Institution  he  was  appointed  keeper ;  and  his 
zealous  exertions  to  promote  the  purposes  of  that 
institution  contributed  greatly  to  its  success. 
Valentine  Green  died  in  London  in  1813.  The 
following  are  among  his  most  important  works  : 

POBTKAITS   AFTER   SIE  JOSHUA   EEYNOLDS. 

Sir  Joshua  Reynolds  ;  after  the  picture  hy  himself  at  the 

Moyal  Academy.     1780. 
The  Duke  of   Bedford,  Lords  Henry  and   "William 

Kussell,  and  Miss  Vernon.    1778. 
Lord  Dalkeith,  afterwards  Duke  of  Baccleuch.     1778. 
Maria  Isabella,  Duchess  of  Rutland, 
Emily  Mary,  Countess  of  Salisbury.     1787. 
Anne,  Viscountess  Townshend.    1780. 
The  Ladies  Waldegrave.     1784. 
Lady  Louisa  Manners.     1769. 
Lady  Elizabeth  Cavendish.     1781. 
Louisa,  Countess  of  Aylesford.     1783. 
Lady  Elizabeth  Delme.    1779. 
Lady  Talbot.     1782. 
Lady  Caroline  Howard.    1782 
Georgiana,  Duchess  of  Devonshire.     1780. 
Lady  Jane  Halliday.     1779. 
Jane,  Countess  of  Harrington,  with  her  two  Sons.   1780. 

PORTRAITS   AFTER   OTHER   MASTERS. 

Charles  Theodore,  Elector  of  Bavaria  ;  after  P.  JSatoni. 

Sir  Thomas  Wharton  ;  after  Van  Dyctc  ;  for  the  Hough- 
ton Gallery. 

Henry,  Earl  of  Danby ;  after  the  same  ;  for  the  same. 

George,  Marquis  of  Huntly ;  after  the  same ;  for  the 
same. 

Richard  Cumberland  ;  after  Romney.    1771. 

Mrs.  Yates,  as  the  Tragic  Muse ;  after  the  same.    1772. 

"William  Powell  and  Robert  Bensley  in  the  characters 
of  King  John  and  Hubert ;  after  Mortimer. 

John  Hamilton  Mortimer,  painter  ;  after  the  same. 

Garriok  and  Mrs.  Pritchard,  in  Macbeth  ;  after  Zoffany. 

HISTORICAL   SUBJECTS   AFTER  WEST. 

The  Stoning  of  Stephen.    1776. 
The  Raising  of  Lazarus. 
Christ  calling  to  him  the  little  Children. 
Peter  denying  Christ. 
Jacob  blessing  the  Sons  of  Joseph.     1768. 
Daniel  interpreting  Belshazzar's  Dream.    1777. 
Nathan  and  David.    1784. 
St.  Peter  and  St.  John  going  to  the  Sepulchre. 
The  Three  Maries  at  the  Sepulchre. 
Alexander  and  his  Physician. 
Eegulus  leaving  Rome  to  return  to  Carthage. 
598 


Hannibal  vowing  eternal  hatred  to  the  Romans. 
Mark  Antony's  Oration  on  the  Death  of  Caesar. 
Agrippina  weeping  over  the  Urn  of  Germanicus. 
The  Death  of  Epaminondas. 
The  Death  of  the  Chevalier  Bayard. 

SUBJECTS   AMER   VARIOUS   MASTERS. 

The  Annunciation  ;  after  F.  Barocci. 

The  Nativity ;  aftefr  the  same. 

The  Virgin  and  Infant ;  after  Domenichino. 

St.  John  with  the  Lamb  ;  after  Murillo. 

The  Assumption  of  the  Virgin  ;  after  the  same. 

The  Entombment  of  Christ ;  after  L.  Carracci. 

Time  clipping  the  "Wings  of  Love ;  after  Van  Syek. 

Venus  and  Cupid  ;  after  Agostino  Carracci. 

The  Descent  from  the  Cross ;  after  Rubens. 

The  Visitation  ;  after  the  same. 

The  Presentation  in  the  Temple ;  .after  the  same. 

The  Sulky  Boy ;  after  B.  Morton  Faye. 

The  Disaster  of  the  Milk-pail ;  after  the  same. 

The  Child  of  Sorrow ;  after  the  same. 

GREEN,  "William,  an  engraver,  was  born  at 
Manchester  in  1761.  He  originally  practised  as  a 
surveyor,  and  then  came  to  London  to  study  en- 
graving; but  he  afterwards  settled  in  the  Lake 
district,  and  drew  and  engraved  many  views  of 
its  scenery.  He  died  at  Ambleside  in  1823.  There 
is  by  him  in  the  South  Kensington  Museum  a 
water-colour  drawing  of  '  Raven  Crag,  Thirlmere.' 

GREENBUEY,  — ,  a  portrait  painter,  employed 
by  Charles  I.  as  a  copyist,  is  mentioned  by  Sir 
Theodore  de  Mayerne,  and  by  "Walpole.  He  died 
about  1670.  There  is  in  New  College,  Oxford,  a 
portrait  of  Arthur  Lake,  Bishop  of  Bath  and  Wells, 
by  him,  dated  1626. 

GREENHILL,  John,  a  portrait  painter,  was 
born  at  Salisbury  in  1649.  He  was  one  of  the 
ablest  scholars  of  Sir  Peter  Lely,  and  before  he  was 
twenty  copied  Van  Dyck's  picture  of  '  Thomas 
Killigrew  and  his  Dog,'  now  in  the  collection  of 
the  Duke  of  Devonshire,  so  well  that  it  was  mis- 
taken for  the  original.  His  heads  in  crayons  were 
much  admired  ;  and  he  appears  to  have  been  more 
employed  in  that  way  than  in  oil.  He  would  pro- 
bably have  reached  a  high  position  in  the  art,  had 
he  not  fallen  a  victim,  in  the  prime  of  hfe,  to  an 
intemperate  and  dissolute  course  of  life.  He  died 
in  London  in  1676.  There  are  in  the  National  Por- 
trait Gallery  portraits  by  him  of  Charles  II.,  and  of 
Anthony,  first  Earl  of  Shaftesbury.  He  also  etched 
a  portrait  of  his  brother,  Henry  Greenhill,  the 
mathematician. 

GBEEN'WOOD,  John,  a  painter  and  mezzotint 
engraver,  was  born  at  Boston,  in  Massachusetts,  in 
1729.  In  1762  he  migrated  to  Surinam,  and  thence 
to  Holland,  arriving  in  England  in  1763.  Here 
he  exhibited  engravings  at  the  Incorporated  Society 
of  Artists  from  1764  to  1776,  when  he  became  an 
auctioneer.  He  died  at  Margate  in  1792.  Amongst 
the  plates  he  engraved  are : 

The  Curious  Maid ;  after  a  picture  hy  himself. 
Amelia  Hone  ;  after  Hone. 
John  "Wesley ;  after  the  same. 
George  "Whitefield ;  after  the  same. 
An  Old  Man  ;  after  Eeckhout. 
Rembrandt's  Father ;  after  Rembrandt. 
Simon  Eokke ;  after  Buys. 

GREENWOOD,  Thomas,  the  son  of  John  Green- 
wood, the  painter  and  engraver,  was  for  many 
years  at  the  close  of  the  18th  century,  chief  scene- 
painter  at  Drury  Lane  Theatre.     He  died  in  1797. 

GREPP,  HiERONYMUs,  a  German  engraver,  was 
a  native  of  Frankfort,  who  flourished  early  in  the 
16th  century.  He  is  supposed  to  have  been  a  pupil 
of  Albrecht  Durer;  but  this  conjecture  probably 


Gregori 


PAINTERS  AND  ENGRAVERS. 


Greut 


arose  from  his  having  copied  some  of  the  designs 
of  that  artist  with  great  exactness  ;  among  which 
are  the  woodcuts  of  the '  Apocalypse,'  copied  in  1502 
in  the  same  size  as  the  originals.  He  is  sometimes 
called  '  Hieronymus  of  Frankfort,'  and  he  usually 


marked  his  prints  with  the  monogram 


ik. 


GREQOEI,  Caelo,  an  Italian  engraver,  was  born 
at  Florence  in  1719.  He  learned  engraving  from 
Johann  Jakob  Frey  at  Rome,  and  among  his  prin- 
cipal plates  are  those  after  the  paintings  by  Ber- 
nardino Barbatelli,  called  Poocetti,  in  the  chapel 
of  St.  Philip  Neri  at  Florence.  He  engraved  also 
several  plates  for  the  '  Museo  Fiorentino,'  as  well 
as  many  after  the  pictures  in  the  collection  of 
the  Marquis  Gerini,  and  some  portraits.  He  died 
at  Florence  in  1759.  The  following  plates  are  by 
him: 

PORTRAITS. 

Francesco  Maria,  Grand-Duke  of  Tuscany ;  after  Cam- 

pifflia. 
Eleouora  Vincentina  of  Gonzaga,  his  consort ;  after  the 

same, 
Sebastiano  Bombelli ;  after  a  picture  ly  himself. 

SUBJECTS  AFTER  VARIOUS   MASTERS. 

The  Image  of  the  Virgin ;  after  a  design  ly  Fratta. 

Saint  Catharine ;  after  Bartolozzi. 

Fourteen  plates  of  the  Life  of  St.  Philip  Neri;  after 

Bernardino  Barbatelli. 
The  Three  Maries  at  the  Sepulchre  ;  after  Raphael. 

GREGORI,  FERDlNANDO,the  son  of  Carlo  Gregori, 
was  bom  at  Florence  in  1743.  After  receiving 
some  instruction  in  engraving  from  his  father,  he 
went  to  Paris,  where  he  became  a  pupil  of  J.  G. 
Wille,  and  afterwards  returned  to  Florence,  where 
he  died  about  1804.  He  engraved  several  plates, 
of  which  the  following  are  the  principal : 

Portrait  of  Carlo  Gregori ;  after  his  own  design. 

La  Madonna  della  Sedia ;  after  Raphael. 

The  Holy  Family  under  a  Palm  Tree,  surrounded  by 
Angels ;  after  C.  Maratti. 

Venus  sleeping ;  after  Guido. 

St.  Sebastian  bound  to  a  Tree  ;  after  the  same. 

Venus,  with  Cupid  mounted  on  a  Dolphin  ;  after  Casa- 
nova. 

Two  Groups  of  Sculpture ;  after  Cellini, 

The  Holy  Family ;  after  Andrea  del  Sarto. 

The  Stoning  of  Stephen  ;   after  L.  Cardi. 

The  Death  of  St.  Louis  Gonzaga ;  after  Cipriani. 

GREGORIO,  Fra,  a  Polish  miniature  painter  of 
the  17th  century,  worked  in  Rome  for  the  house  of 
Barberini,  and  afterwards  in  London  for  Charles  I. 
and  his  Queen  in  1640.  He  was  also  a  carver  in  ivory. 

GREGO5IO,  Marco  di,  who  was  born  at  Resina 
in  1829,  studied  in  the  Art  School  at  Naples.  In 
1868  he  went  to  Egypt,  where  he  remained  for 
three  years,  made  several  studies,  and  painted  a 
drop  scene  for  the  theatre  at  Cairo.  He  died  at 
Resina  in  1876. 

GREGORIO  DI  CECCO.     See  Cecco. 

GREGORIUS,  Albertus  Jakob  Fbans,  a  por- 
trait painter,  and  director  of  the  Academy  at  Bruges, 
was  born  in  that  city  in  1774,  and. after  1802  was  a 
scholar  of  David  at  Paris.  He  painted,  amongst 
others,  the  portraits  of  Napoleon,  Louis  XVIII., 
Charles  X.,  and  Louis  Philippe.  He  returned  to 
Bruges  in  1835,  and  died  there  in  1853. 

GREIG,  George  M.,  a  water-colour  painter,  was 
an  artist  better  known  in  Scotland  than  in  England, 
who  confined  himself  almost  entirely  to  painting 
picturesque  interiors  and  old  buildings.  He  ex- 
hibited some  sketches  of  the  interior  of  Holyrood 


Palace  at  the  Royal  Academy  in  1865,  and  died  at 
Edinburgh  in  1867. 

GREIN,  Kaspah  Arnold,  was  born  at  Briihl, 
near  Cologne,  in  1764.  He  was  instructed  under 
J.  M.  Metz,  in  Cologne,  where  from  1794  he  lived 
as  a  teacher  of  drawing,  and  died  in  1835.  He 
was  especially  successful  as  a  flower-painter,  but 
was  clever  also  in  portraits,  landscapes,  still-life, 
and  historical  subjects.  'The  Wallraf-Richartz 
Museum  at  Cologne  contains  one  of  his  pictures. 

GREISCHBR,  M.,  a  German  engraver  mentioned 
by  Basan,  is  said  to  have  engraved  several  plates 
after  various  masters,  which  are  signed  with  the 


annexed  monogram 


■^ 


One  of  them  is  a 


print  of  'The  Virgin  and  Infant  Christ,  with  St. 
John,'  after  F.  Barocci. 

GRENIER  DB  SAINT-MARTIN,  FEANgois,  who 
was  born  in  Paris  in  1793,  studied  in  David's  school, 
and  devoted  himself  to  historical  subjects.  Later 
in  life  he  painted  genre  and  fancy  subjects,  many 
of  which  are  well  known  from  engravings  and 
lithographs.  He  died  in  Paris  in  1867.  Amongst 
his  pictures  may  be  mentioned  : 

The  Marriage  Project. 

The  Sailor  with  his  Boy. 

The  Strolling  Players  with  the  Stolen  Child. 

The  Recovered  Child. 

The  Old  Vagabond ;  (from  Bfiranger). 

The  Poacher  fallen  asleep  on  the  Watch. 

The  Little  "Wood  Thieves. 

Prudence.    (Compiegne.) 


GRENVILLB,  Jones,  an  Irish  engraver,  was 
born  at  Dublin  in  1723.  He  chiefly  executed 
landscapes,  among  which  are  two  after  Poussin. 

GRESLY,  Gabriel,  a  French  genre  painter,  was 
born  at  L'Isle-sur-les-Doubs  about  1710,  and  died 
at  BesauQOn  in  1756.  There  are  examples  of  his 
art  in  the  Museums  of  Dijon  and  Besan9on. 

GEESSE,  John  Alexander,  born  in  London  of 
Swiss  parentage  in  1741,  was  first  instructed  by 
Gerard  Scotin,  the  engraver,  but  afterwards  studied 
for  some  years  under  Cipriani,  as  well  as  under 
Zuccarelli.  He  was  one  of  the  first  students  who 
attended  the  Duke  of  Richmond's  gallery,  and  in  a 
short  time  afterwards  he  entered  the  Academy  in  St. 
Martin's  Lane.  Though  possessed  of  considerable 
talents,  he  was  not  sufficiently  assiduous  to  distin- 
guish himself  in  the  higher  branches  of  painting  ; 
and  as  he  inherited  a  small  fortune  at  the  deathof 
his  father,  he  relinquished  the  more  arduous  exercise 
of  the  profession,  and  became  a  drawing-master, 
in  which  pursuit  he  acquired  great  reputation  and 
extensive  employment,  and  in  1777  was  appointed 
drawing-master  to  the  princesses.  In  tiie  early 
part  of  his  life  he  etched  the  figures,  &c.,  for 
Kennedy's  '  Description  of  the  Antiquities  and 
Curiosities  in  Wilton  House,'  1769,  in  which  he 
had  the  advantage  of  being  assisted  by  Bartolozzi. 
There  are  also  four  other  etchings  by  this  artist, 
a  '  View  of  Framlingham  Castle,  Suffolk  ; '  a  '  Cot- 
tage ; '  a '  St.  Jerome ; '  and  a  '  Satyr  sleeping,'  after 
Nicolas  Poussin.  Gresse  died  in  London  in  1794. 
On  account  of  his  corpulency  he  was  known  among 
his  comrades  by  the  name  of  '  Jack  Grease.'  In 
the  South  Kensington  Museum  is  a  water-colour 
drawing  by  him  of  '  Llangollen  Bridge.' 

GREUT,  Joseph,  noticed  by  Strutt  as  the  en- 
graver of  a  portrait  of  Hieronymus  Bartholomeus, 
is  supposed  to  have  been  a  German,  and  to  have 
worked  chiefly  for  booksellers. 

599 


Greater 

GREUTER,  JoHANN  Feiedbich,  the  son  of 
Matthaus  Greuter,  was  born  at  Rome  about  the 
year  1600,  and  was  instructed  by  his  father,  whom 
he  surpassed.  He  died  in  1660.  He  engraved  the 
plates  for  the  '  Flora'  of  P.  Ferrari,  as  well  as  the 
following  prints : 

Portrait  of  Giovanni  Battista  Marino ;  after  S.  Vouet. 

Hercules  in  the  Garden  of  the  Hesperides ;  after  JPietro 
da  Cortona. 

Maro'  Antonio  Colonna  carried  in  triumph  by  Sea  Gods ; 
after  the  same. 

The  Forge  of  Vulcan ;  after  Lanfranco. 

The  Hesperides  arriving  in  the  Port  of  Naples,  with 
their  Fruit  borne  by  Tritons ;  after  the  same. 

Apollo  and  the  Muses  ;  after  A.  Camassei. 

The  Virgin  and  Infant,  vjith  St.  Francis  kneeling ;  after 
his  own  design. 

The  Death  of  St.  Cecilia;  after  Domenichino. 

The  Growth  of  Christianity  ;  after  Romanelli. 

Battle-piece;  after  A.  Tempesta. 

GREUTER,  Matthaus,  a  German  engraver,  was 
born  at  Strassburg  about  the  year  1664.  _  After 
receiving  some  instruction  in  his  native  city,  he 
travelled  to  Italy,  by  way  of  Lyons  and  Avignon, 
in  both  of  which  cities  he  was  for  some  time  em- 
ployed. He  resided  chieily  at  Rome,  where  he 
engraved  several  plates,  executed  in  a  neat  style, 
though  his  design  is  generally  incorrect.  He  died 
in  1638.  Some  of  his  plates  are  wrought  entirely 
with  the  graver;  others  are  etched,  and  finished 
with  the  graver,  in  a  slighter  style.  He  signed  his 
prints  sometimes  with  his  name  at  length,  and 


A  BIOGRAPHICAL  DICTIONARY  OF 


Greuze 


sometimes  with    the   monogram 


M 


The 


following  are  his  principal  works : 

Pope  Sixtus  V. 

Cardinal  Serafino  Oiivaro  Kazalio, 

The  Virgin  seated,  with  the  Infant  Jesus  and  St.  John ; 
after  F.  Barocei. 

St.  Mary  Magdalen  seated,  holding  a  Book,  and  leaning 
her  hand  on  a  Skull ;  after  Luigi  Oaetano.    1584. 

Venus  standing  on  a  Globe,  with  Figures  emblematical 
of  Virtue  and  Vice ;   after  Ms  own  design.     1587. 

The  FaU  of  Phaeton  ;  after  W.  Dietterlin.    1588. 

The  Burning  of  Troy :  after  Lanfranco. 

The  grand  Cavalcade  of  the  Emperor  Charles  V. ;  en- 
graved conjointly  vrith  Lucas  Vorsterman. 

A  set  of  small  plates  of  Insects ;  etched  in  a  style  like 
that  of  Gaywood, 

View  of  Strassburg  in  1587 ;  after  D.  Speckle. 

GREUZE,  Jean  Baptistb,  a  French  genre  and 
portrait  painter,  was  born  at  Tournus,  near  Macon, 
in  Burgundy,  on  the  21st  August,  1725,  and  from 
his  eighth  year  amused  himself  with  drawing, 
although  his  father  at  first  opposed  his  inclinations. 
His  earliest  regular  instruction  in  art  was  due 
to  a  Lyonnese  painter,  Gromdon — his  maternal 
grandfather — who  took  him  to  Lyons,  and  eventu- 
ally to  Paris,  where  he  studied  in  the  Academy. 
His  first  picture, '  A  Father  explaining  the  Bible  to 
his  Children,'  obtained  a  great  success,  and  it  was 
for  some  time  doubted  whether  he  was  really 
the  painter.  His  subsequent  productions  dis- 
pelled these  doubts,  and  in  1755,  his  picture  of 
'  L'Aveugle  tromp6 '  procured  his  acceptance  by  the 
Academy,  on  the  nomination  of  Pigalle,  the  sculptor. 
He  then  passed  a  short  time  in  Italy,  and  his  sojourn 
there  affected  his  style  for  a  time,  but  did  not 
leave  any  permanent  traces.  On  his  return,  he 
continued  to  exhibit  at  the  Academy,  without  ful- 
filhng  the  required  academic  conditions,  and  he  was 
at  length,  after  repeated  warning,  excluded  from 
the  Salon  of  1767.  It  was  not  till  after  he  had  pro- 
duced his '  Severus  reproaching  Caracalla '  Cnow  in 
600  r  5,  V 


the  Louvre)  in  1769,  that  he  was  admitted  into  the 
Academy,  and  then  not  in  the  highest  class  as  a 
painter  of  history,  but  in  the  ranks  of  the  genre 
painters.  At  this  rebufE,  Greuze  withdrew  in 
dudgeon,  and  did  not  exhibit  again  until  after  the 
Revolution.  But  it  was  then  too  late:  the  classic 
school  reigned  supreme,  and,  moreover,  age  had 
begun  to  tell  on  his  art.  Troubles  fe;l  thickly  upon 
him  in  his  latter  years  :  the  competence  he  had 
saved  was  dissipated  by  failures,  and  his  nature 
was  not  such  as  to  attract  friends.  He  died  in  indi- 
gence in  Paris  on  the  21  st  of  March,  1806.  Greuze 
has  with  justice  been  styled  the  painter  of  the  bour- 
geoisie :  his  happiest  efforts  are  taken  from  the 
daily  life  of  the  middle  classes,  e.  g. : — '  The  Father's 
Curse,'  '  The  Broken  Pitcher,'  '  The  Village  Bride,' 
'  The  Sleeping  Girl, '  &c.  He  was  the  painter  whom 
it  pleased  the  Encyclopaedists  to  honour,  and  it  is, 
therefore,  necessary  to  receive  with  considerable 
caution  a  statement  such  as  Diderot's,  that  "he 
was  the  first  who  thought  of  bringing  morality 
into  art."  Indeed,  charming  as  his  works  are,  they 
often  suggest  doubts  as  to  his  sincerity,  and  give 
rise  to  an  impression  that  he,  equally  with  his  con- 
temporaries, was  influenced  by  the  pursuit  of  mere 
prettiness.  Still,  however,  to  give  him  his  due, 
Greuze  merits  some  recognition  of  his  efEorts  after 
a  more  natural  style  than  the  false  and  sickly 
sentiment  of  the  sham  pastorals  with  which  the 
Bouchers  and  the  Fragonards  were  inundating 
French  art. 

An  account  of  Greuze  and  of  his  works  is  to  be 
found  in  MM.  de  Goncourt's  'Art  du  XVIIIme 
siecle.'  The  following  paintings  by  him  are  to  be 
found  in  the  chief  European  collections : 

Aix.  Museum.    Triumph  of  Galatea. 

„  „  Study  of  a  Child. 

Berlin.  Gallery.    Little  Girl  with  music-book, 

Cambridge.  •^'''*^^^^'^"^' |  Beggar  Boy. 

„  Beggar  Girl. 

Gallery.    A  Father  explaining  the  Bible 

to  his  Children. 

Interior     of    Cottage 

Peasant's  family. 

„  „  Girl  with  dead  canary. 

„  „  Boy  with  lesson-book. 

„  „  Two  studies  of  Girls. 

Glasgow.  Gallery.    A  Child's  Head. 

The  Sulky  Boy. 

Gotha.  Gallery.    The  Emperor  Caracalla. 

London.      National  Gall.    Girl  vrith  an  apple. 

„  „  Two  studies  of  Girls. 

„     Buckingham  Fal.    La  Trompette. 

„  „  Two  studies  of  Girls. 

,,      South  Kensington  )  _ 

Jlf«swm.)I'^"°''eoce. 


Dresden. 


Edinburgh.       Nat.  Gall. 


with 


„        Sir  R 

Wallace. 

Innocence. 

■  J) 

,) 

Girl  vrith  Doves. 

„ 

), 

Beflections. 

Leipsic. 

Museum. 

Study  of  a  Woman. 

LiUe. 

Museum. 

Psyche  crowning  Love. 

Madrid., 

Gallery. 

Old  Woman  with  crutch. 

Montpellier. 

Museum. 

The  Morning  Prayer. 

J, 

?, 

Twelfth  Cake.    1774. 

5) 

n 

The  young  Mathematician. 

,} 

)) 

The  Paralytic. 

>» 

» 

The  Idle  Child.    1755. 

,» 

)» 

Six  studies  of  Girls. 

Munich. 

Gallery. 

Portrait  of  a  young  Girl. 

Narbonne. 

Museain. 

Study  of  a  young  Girl's  head. 

Nimes. 

Mueeum. 

Study    of   an    old  Woman's 

head. 
Severus  reproaching  Caracalla. 

Paris. 

Lmwre. 

1769. 

»» 

»» 

The  Village  Marriage.    176L 

,' 

)t 

The  Father's  Curse. 

" 

» 

The  Son  punished. 

OrSvedoa 


PAINTERS  AND  ENGRAVERS. 


Griffler 


Paris.  Zouvre.  The  Broken  Pitcher. 

„  „  Two  studies  of  young  Girls. 

Borne.  ^"If^^/^l  Contemplation. 

Petersburg.  Hermitage.  The  Paralytic. 

„  „  Study  of  a  young  Girl. 

Botterdam,  Museum.  Young  Woman  and  Child. 

Yienna.  .Academy.  Five  studies  of  heads. 


POETEAITS. 


Angers. 
Besan9on.  Museum. 

Cherbourg.         Museum. 
Hampton  Court.   Falace. 


London.     South  Kensing' 
ton  Museum, 


Madame  de  Porcin. 
Count  Alexandre  Strogonof. 
Baron  Denon. 
Madame  de  Pompadour. 
Louis  XVI. 


Lyons. 

Marseilles. 

Nantes. 

» 
Paris. 


Troyes. 


Versailles.  Gallery. 


The  Artist's  Mother. 

His  own  Portrait. 

Unknown  Man. 

M.  de  St.  Morys. 

Count  de  St.  Morys,  as  a  Child. 
Zouvre.    His  own  Portrait. 

„  pis  own  Portrait.     {Sketch.) 

„         Etienne  Jeaurat,  the  painter. 
„  Armand  GensonnS. 

Fabre  d'Eglantine. 

Eugene  de  Baoulard  d'Arnaud. 
1776. 

Napoleon  I.  as  Consul. 

Fontenelle.    1793. 


Museum, 
Museum, 
Museum. 


Museum,. 


GE^VEDON,  PiEEEE  Lonis,  known  as  Henei,  a 
portrait  painter  and  lithographer,  was  born  in  Paris 
in  1782,  and  died  there  in  1860.  He  was  instructed 
under  Regnault,  and  at  first  painted  historical 
pieces  and  scenes  from  popular  life,  but  before  long 
he  devoted  himself  wholly  to  lithography,  in  which 
he  produced  portraits  and  fancy  heads. 

GREVEN,  Anton,  a  portrait  and  genre  painter, 
was  bom  at  Cologne  in  1810,  and  after  studying  at 
Dusseldorf  betook  himself  to  Munich,  where  he 
was  exciting  high  hopes  of  future  distinction,  when 
he  died  at  Cologne  in  1838.  Among  his  best 
paintings  are : 

Monks  drinking. 

The  Coffee  Quaffers. 

The  Knight  and  his  Lady  Love ;  (from  TThland). 

GREVILLE,  Lady  Louisa  Augusta,  the  eldest 
daughter  of  Francis,  first  Earl  of  "Warwick,  was 
.born  in  1743,  and  married  in  1770  to  "William 
Churchill,  Esq.  She  etched  after  Salvator  Rosa, 
Annibale  Carraoci,  and  others,  and  the  Society  of 
Arts  awarded  her  gold  medals  in  1758,  1759,  and 
1760,  for  various  drawings. 

GEIBELIN,  Simon,  a  French  engraver,  was  born 
at  Blois  in  1661.  He  was  instructed  in  engraving 
in  Paris,  and  came  to  England  in  1680  ;  but  it  was 
above  twenty  years  before  he  was  noticed.  The 
first  work  that  raised  his  reputation  was  a  plate 
he  copied  from  Gerard  Edelinck's  fine  print  of 
'Alexander  entering  the  Tent  of  Darius,'  after  Le 
Brun.  This  was  followed  in  1707  by  a  set  of  the 
Cartoons  of  Raphael  at  Hampton  Court,  which 
had  some  success,  being  the  first  complete  set  that 
had  appeared ;  but  the  plates  were  on  too  small 
a  scale  for  the  grandeur  of  the  subjects,  and  the 
contracted  powers  of  Gribelin,  both  in  execution 
and  drawing,  were  wholly  inadequate  to  express 
the  sublimity  of  Raphael.  He  afterwards  pub- 
lished several  plates  after  pictures  in  the  Royjl 
Collection ;  but  his  prints  give  no  idea  of  the  style 
of  the  masters  after  whom  they  are  engraved. 
He  also  produced  some  portraits,  and  a  variety  of 
other  subjects.  He  died  in  London  in  1733.  The 
following  are  his  principal  prints : 


POETEAITS. 

"William  III. ;  after  Fowler. 

Queen  Mary  II. ;  after  the  same. 

"William,  Duke  of  Gloucester ;  after  Kneller. 

Queen  Anne. 

Frederick,  Prince  of  Wales. 

George  Granville,  Lord  Lansdowne. 

James  Butler,  Duke  of  Ormonde ;  after  Dahl.    1713. 

Thomas  Herbert,  Earl  of  Pembroke. 

The  Duke  of  Sohomberg. 

The  Earl  of  Shaftesbury ;  after  Glostermann  ;  prefixed  to 

the '  Characteristics.' 
Sir  "William  Dawes,  Archbishop  of  York ;  after  the  same. 

SUBJECTS  AFTER   VARIOUS   MASTERS. 

The  Cartoons ;  seven  small  plates ;  after  Baphael.  On 
the  title  is  the  portrait  of  Queen  Anne,  and  the  repre- 
sentation of  the  room  at  Hampton  Court  in  which 
the  paintings  then  hung. 

The  Apotheosis  of  James  I. ;  after  the  ceiling  at  White- 
hall by  Bubens ;  in  three  plates. 

Hercules  between  Virtue  and  Vice ;  after  P.  Matheis. 

The  Adoration  of  the  Shepherds ;  after  Palma. 

Esther  before  Ahasuerus;  after  Tintoretto. 

Apollo  and  the  Muses  ;  after  the  same. 

The  Birth  of  Jupiter ;  after  Giulio  Romano. 

GRIEF,  Anton,  (Geif,  Grifir,  or  Gryef,)  a 
Flemish  painter  of  wooded  landscapes  with  dead 
game,  dogs,  and  accessories  of  the  chase,  was  bom 
at  Antwerp  in  1670.  His  pictures  are  small,  but 
painted  with  spirit  and  well  coloured,  though  some- 
what too  sombre.  He  lived  at  Brussels,  and  died 
there  in  1715,  but  there  are  no  particulars  of  him 
recordjed,  though  from  his  style  it  is  conjectured 
that  he  was  a  pupil  jjf  Frans  Snyders.  There 
seem  to  have  been  two  painters  of  the  same  name, 
but  whether  father  and  son  is  unknown.  Among 
his  works  are : 

Dijon.  Museum.  Game. 

Lille.  Museum.  Vegetables  and  Fruit. 

Paris,  Xouwe.  Landscape,  with  dead  Game. 

Petersburg.  Hermitage.  Trophies  of  the  Chase. 

„  „  Poultry-yard. 

GRIEGO,  El.    See  Sbbafin  ;  and  Theotocopuli. 

GRIENINGER.    See  Eeinhaet,  Hans. 

GRIEVE,  John  Henderson,  a  scene-painter,  was 
bom  in  1770,  and  died  in  1845. 

GRIEVE,  "William,  a  scene-painter,  was  bom  in 
London  in  1800.  He  was  the  son  of  J.  H.  Grieve, 
and  as  a  boy  began  scene-painting  at  Drury  Lane 
Theatre,  where,  and  at  Covent  Garden,  he  made 
his  reputation,  notably  by  the  scenery  for  '  Masa- 
niello '  and  '  Robert  le  Diable.'  He  died  in  London 
in  1844. 

GRIF,  Anton.    See  Grief. 

GRIFFIER,  Jan,  called  Old  Geiffier;  was  born 
at  Amsterdam  in  1645,  and  first  placed  under  a 
flower-painter ;  but  his  taste  leading  him  to  land- 
scape, he  became  a  scholar  of  Roeland  Roghman, 
whose  works  were  then  highly  esteemed.  He  pre- 
ferred, however,  the  brighter  and  more  agreeable 
style  of  Euisdael  and  Lingelbach,  and  he  studied 
their  pictures  more  than  those  of  his  master.  In 
a  short  time  he  became  a  very  pleasing  painter  of' 
landscapes  and  views  of  the  Rhine,  in  which  ho 
particularly  excelled. 

Jan  Griffier  came  to  England  soon  after  the  fire 
of  London,  and  his  pictures  being  much  admired, 
he  met  with  great  encouragement.  His  favourite 
subjects  were  views  of  the  Thames ;  and  in  order 
that  he  might  study  nature  more  intimately,  he 
purchased  a  yacht,  embarked  his  family  and  his 
pencils,  and  passed  his  whole  time  on  the  river 
between  Windsor  and  Gravesend,     After  staying 

601 


Griffler 


A  BIOGRAPHICAL  DICTIONARY  OF 


Grrimaldi 


here  many  years,  he  sailed  in  his  own  yacht  for 
Rotterdam,  but  was  shipwrecked,  and  lost  the  pro- 
duce of  his  industry  in  England.  Nothing  daunted, 
he  built  a  new  yacht,  and  sailed  from  port  to  port, 
studying  with  earnestness.  He  returned  to  Eng- 
land in  1687,  found  a  liberal  patron  in  the  Duke  of 
Beaufort,  and  died  in  London  in  1718.  His  best 
known  works  are : 


Amsterdam.       Museum. 
Augsburg.  Gallery. 

Bordeaux.  Museum. 

Brunswick,  Gallery, 

Cambridge.    Fitztiyilliam 
Museum. 

Dresden.  Gallery. 

Gotba.  Gallery, 

Hampton  Court.  Palace. 

»)  )) 

Paris.  Louvre. 

Petersburg.     Hermitage. 


A  River  Scene. 

Eirer  and  Mountain  Views. 

Two  Ehine  Views. 

Two  "Winter  Scenes. 

►  Landscape. 

Dogs  and  Game. 

Fifteen  Landscapes. 

Winter  Landscape. 

Kuins. 

View  of  Windsor  Castle. 

Two  Views  on  the  Ehine. 

Landscape. 


GRIFPIER,  John,  a  landscape  painter,  the  son 
of  '  Old  Griffier,'  was  born  in  the  latter  part  of  the 
17th  century.  He  practised  in  London,  and  ex- 
celled in  his  copies  of  Claude's  works.  He  died 
in  London  about  1750.  The  only  two  pictures  of 
this  artist,  at  present  known  to  be  extant,  are  in 
the  Marquis  of  Bute's  Collection.  They  are  both 
imaginary  river  scenes,  and  one  is  dated  1743. 

GRIFFIER,  RoBEET,  the  son  of  Jan  Griffier, 
was  born  in  London  in  1688,  and  instructed  by  his 
father.  His  pictures,  like  the  early  works  of  the 
latter,  represent  views  on  the  Rhine,  with  boats  and 
figures,  very  neatly  painted,Tind  agreeably  coloured. 
He  resided  for  many  years  in  Amsterdam,  but  late 
in  life  he  returned  to  England,  and  died  here  in 
1760.  There  is  a  'Landscape'  by  him  in  the 
Hermitage  at  St.  Petersburg. 

GRIFFITH,  Moses,  a  draughtsman,  bom  in  Car- 
marthenshire in  1749,  was  the  servant  of  Pennant, 
the  antiquary,  for  whom  he  drew  and  engraved 
illustrations  for  some  of  his  works.  In  1801  he 
published  on  his  own  account  some  etchings  of 
Welsh  scenery.  He  was  living  in  1809.  There  is 
a  '  Landscape '  by  him,  in  water-colours,  in  the 
South  Kensington  Museum. 

GRIFIR,  Anton.     See  Gmbf. 

GRIFOL,  Fkanoisco,  was  a  Valenoian  painter  of 
religious  daubs  for  the  people.  In  the  course  of 
his  practice  he  learned  to  paint  landscapes,  marine 
views,  and  fruit  pieces  of  some  merit,  but  in  spite 
of  this  success,  he  came  to  poverty,  and  died  in  the 
public  hospital  at  Valencia  in  1766. 

GRIGNION,  Charles,  an  English  portrait  and 
historical  painter,  was  born  in  London  in  1754. 
He  studied  under  Cipriani,  and  in  the  schools  of 
the  Royal  Academy,  where  he  obtained  the  gold 
medal  in  1776  for  his  '  Judgment  of  Hercules.' 
In  1782  he  went  to  Rome  with  the  Academy 
studentship,  and  thenceforth  chiefly  resided  in 
Italy.  There  he  painted  '  The  Death  of  Captain 
Cook,'  and  a  portrait  of  Lord  Nelson.  He  pur- 
chased several  fine  pictures  in  Italy,  notably  the 
Altieri  Claudes,  which  were  sent  to  London.  He 
exhibited  at  the  Royal  Academy  between  1770  and 
1784,  and  died  at  Leghorn  in  1804. 

GRIGNION,  Reynolds,  an  English  engraver  of 
the  18th  century,  executed  the  plates  for  Basker- 
ville's  edition  of  Addison,  Pennant's  '  Scotch  Tour,' 
&c.     He  died  at  Chelsea  in  1787. 

GRIGNON,  Charles,  probably  a  relative  of 
Jacques  Grignon,  was  born  in  London,  of  foreign 
parentage,  in  1716.     He  was  one  of  the  committee 

602 


appointed  in  1755  to  arrange  for  the  establishment 
of  the  Royal  Academy.  He  engraved  several 
plates  in  a  masterly  style ;  some  of  which  were 
executed  in  conjunction  with  his  contemporaries. 
Among  his  earliest  works  were  several  of  the  plates 
for  the  celebrated  anatomical  work  of  Albinus, 
published  by  Knapton  in  1757.  He  engraved  also 
some  of  the  plates  of  the  'Antique  Statues,'  after 
the  designs  of  Dalton,  as  well  as  the  tapestries 
of  the  Vatican,  published  in  1753.  There  are  some 
good  examples  of  his  art  in  the  illustrations  to 
'  Bell's  British  Poets,'  especially  those  after  Stoth- 
ard.  He  died  at  Kentish  Town,  near  London,  in 
1810.     The  following  prints  are  also  by  him : 

A  View  taken  from  the  Star  and  Garter  at  Eichmond ; 

after  JSeckel, 
Two  perspective  Views  of  the  Foundling  Hospital ;  after 

Valee. 
The   Election ;   four  plates ;  after  Hogarth ;  engraved 

conjointly  with  Le  Cave  and  Aveline, 
Garrick,  in  the  character  of  Eichard  III. ;  engraved  in 

conjunction  with  Hogarth,     1745. 
Pbryne  and  the  Philosopher  Zenocrates ;  after  Salvator 

Bosa, 
GRIGNON,  Jacques,  a  French  engraver,  flour- 
ished about  the  year  1680.     The  best  of  his  works 
are  portraits,  some  of  which  possess  great  merit. 
They  are  executed  entirely  with  the  graver,  in  a 
neat,  clear  style.     In  his  plates  of  historical  sub- 
jects he  is  less  successful,  as  his  drawing  is  very 
incorrect,  and  his  management  of  the  lights  and 
shadows  heavy  and  without  effect,  particularly  in 
his  plates  after   Poussin   and  the   Carracci.      He 
engraved  some  of  the  plates  for  a  work  entitled  '  Les 
Tableaux  de  la  Penitence,'  after  the  designs  of 
Chauveau.    The  following  portraits  are  also  by  him : 
Francesco  Maria  Ehima ;  an  ecclesiastic. 
Pierre  Barbereau,  Doctor  in  Theology;  after  Ph.  de 

Champaigne. 
Jacques  Coeur,  Seigneur  de  St.  Fargeau. 
Jean  Bureau,  Mayor  of  Bordeaux. 

GRIGOLETTI,  Michelangelo,  was  bom  at 
Rorai  Grande  di  Pordenone  in  1801,  and  was 
educated  at  the  Academy  at  Venice,  of  which  he, 
in  1839,  became  a  professor.  In  1824  he  first 
came  out  with  historical  paintings  of  his  own, 
and  a  church  picture  by  him  in  Sant'  Antonio  at 
Trieste  excited'  much  attention.  In  1837  he  exe- 
cuted a  like  work  for  the  new  cathedral  at  Erlau, 
and  in  1846  an  altar-piece  for  that  at  Gran  in 
Hungary.  He  died  at  Vienna  in  1870.  Among 
his  works,  in  addition  to  some  portraits,  may  be 
mentioned : 
Erlau.  Cathedral.    The  Archangel  Michael. 

„  „  Holy  Family. 

Gran.  Cathedral,    Ascension  of  the  Virgin. 

Treviso.    Sig.  Sugana,    An  Odalisque. 
Trieste,      S.  Antonio,    St.  Anne  with    the  Vir^n    and 
Child. 
„  Herr  Coal,    The  Prodigal  Son. 

_  „        Sig.  Sartorio.     Francesca  da  Eimini. 
Vienna.  Gallery.    Francesco  Fosoari  committing  his 

Son  to  Prison. 

GRILLANDAIO.    See  Bigordi. 

GRIMALDI,  Alessandko,  the  son  and  scholar  of 
Giovanni  Francesco  Grimaldi,  flourished  in  the 
latter  half  of  the  17th  century,  and  painted  land- 
scapes in  the  style  of  his  father,  but  did  not  equal 
him  in  execution.  He  appears  to  have  etched  a 
good  many  of  his  father's  figures.  There  is  an 
etching  by  him  entitled  '  An  Allegory  upon  Re- 
Hgion,' which  is  in  the  style  of  PietroSanti  Bartoli; 
and  another  of  the  '  Brazen  Serpent,'  after  his  own 
design. 


Grimaldi 


PAINTERS  AND  ENGRAVEfiS. 


Grimon 


GEIMALDI,  Giovanni  Peancesco,  called  II 
BoLOGNBSE,  was  bom  at  Bologna  in  1606,  and 
studied  under  the  Carracci,  in  whose  academy  he 
became  a  skilful  designer  of  the  figure ;  though  his 
inclination  led  him  later  on  to  landscape  painting, 
in  which  he  endeavoured  to  rival  Annibale  Carracci 
and  Titian.  He  next  went  to  Rome,  where  he  soon 
rose  to  distinction,  and  was  taken  under  the  pro- 
tection of  Innocent  X.,  who  employed  him  in  the 
Vatican,  and  in  his  gallery  at  Monte  Cavallo. 
These  commissions  were  executed  so  satisfactorily, 
that  Prince  Pamfili,  nephew  to  the  Pope,  engaged 
him  to  decorate  his  villa  of  Bel  Respire,  which  he 
embellished  with  some  admirable  landscapes  with 
figures,  in  the  style  of  the  Carracci.  His  reputa- 
tion reached  Paris,  whither  in  1648  he  was  invited 
by  Cardinal  Mazarin,  and  where  Louis  XIV.  em- 
ployed him  in  the  palace  of  the  Louvre,  and 
rewarded  him  with  his  accustomed  munificence. 
On  his  return  to  Rome,  after  the  death  of  his  pro- 
tector. Innocent  X.,  he  was  equally  patronized  by 
his  successors,  Alexander  VII.  and  Clement  IX., 
and  was  one  of  the  most  successful  artists  of  his 
time.  He  was  twice  appointed  president  of  the 
Academy  of  St.  Luke.  His  death  occurred  at  Rome 
in  1680.  Many  of  his  pictures  are  in  the  Colonna 
Palace  at  Rome  and  the  Vienna  Gallery,  and  the 
following  also  are  preserved : 

Darmstadt.  Gallery.  Baptism  of  Christ. 

Edinburgh.  Nat.  Gcill.  Landscape. 

Paris.  Bibl.  Nat.  Landscapes. 

„  Louvre.  Landscapes. 

„  „  The  "Washerwomen. 

Kome.  Quirinal.  Scenes  from  the  Old  Testament. 

„  Borglme  Pal.  Series  of  Landscapes. 

Grimaldi  also  left  a  number  of  etchings,  among 
which  the  following  may  be  named : 

A  set  of.four  small  Landscapes. 

A  grand  Landscape,  with  Buildings,  and  in  the  fore- 
ground Figures  at  play;  Gio.  Fran.  Grimaldi  Bolo- 
gnese  inv.  et  fee. 

A  grand  Landscape,  with  Buildings  and  Fishermen ; 
signed  as  above. 

A  Landscape,  with  the  Baptism  of  Christ. 

A  Landscape,  with  Ruins  and  Figures. 

A  mountainous  Landscape,  with  Figures. 

Two  upright  Landscapes ;  after  Annibale  Carracci. 

A  set  of  four  Landscapes;  after  the  same. 

GEIMALDI,  William,  an  English  miniature 
painter,  bom  in  Middlesex  in  1751,  studied  under 
Worlidge,  and  afterwards  at  Paris.  He  first  ex- 
hibited at  the  Free  Society  of  Artists,  and  then 
at  the  Royal  Academy.  He  practised  successively 
at  several  country  towns,  and  in  Paris  from  1777  to 
1785.  He  then  settled  in  London,  and  became 
miniature  painter  to  several  members  of  the  Royal 
Family.  He  died  in  London  in  1830. 
GRIMANI.  See  Jacobsz,  Hubert. 
GRIMBALDSON,  Walter,  a  landscape  painter 
of  no  repute,  practised  early  in  the  18th  century. 

GRIMM,  Lddwig  Emil,  a  painter  and  etcher, 
was  bom  at  Hanau  in  1790.  He  was  the  younger 
brother  of  Jacob  and  Wilhelm  Grimm,  and  was 
educated  under  Karl  Hess  at  Munich,  as  well  as  at 
the  Academy  in  that  city.  In  1840  he  published 
a  hundred  of  his  own  etchings,  comprising  land- 
scapes, historical  and  genre  subjects,  portraits,  and 
heads,  under  the  title  of 'The  Story-teller'  ('Die 
Mahrohenzahlerin '),  and  in  1854  another  thiity  as 
a  supplement.  He  died  in  1863  at  Cassel.  Among 
his  other  etchings  are  : 

Portraits  of  Luther  and  Melanchthon  ;  after  L.  Cranach. 
The  Brothers  Grimm.    1823. 


Gipsy  Life. 

Children's  Games  in  Electoral  Hesse. 

Entertainment  of  Artists  at  Munich.    1812. 

GRIMM,  Samuel  Hieronymus,  a  water-colour 
painter  and  draughtsman,  born  at  Burgdorf,  in  the 
canton  of  Berne,  in  1734,  was  taught  by  his  father, 
a  miniature  painter.  He  settled  in  London  about 
1778,  and  was  much  employed  in  topographical 
work,  such  as  Burrell's  'Sussex,'  the  Society  of 
Antiquaries' '  Vetusta  Monumenta.'&o.  He  made 
a  large  number  of  pen-and-ink  sketches,  shaded 
with  indian-ink  or  bistre,  or  tinted  with  water- 
colours,  in  the  counties  of  Northumberland  and 
Durham,  Derbyshire,  Nottinghamshire,  and  the 
environs  of  London,  which  are  correct,  although 
somewhat  stiif  and  weak.  He  occasionally  ex- 
hibited at  the  Royal  Academy  some  subject  pic- 
tures, and  also  published  caricatures.  He  died  in 
London  in  1794.  There  are  at  the  South  Kensing- 
ton Museum  the  following  water-colour  drawings 
by  him : 

The  North  Foreland  Lighthouse. 

Mother  Ludlam's  Hole,  near  Farnham.    1781. 

GRIMMER,  Abel,  perhaps  a  son  of  Jakob 
Grimmer,  is  known  by  two  pictures :  a  '  Christ 
at  the  house  of  Martha  and  Mary,'  dated  1614,  in 
the  Brussels  Gallery,  and  a  picture  dated  1604  in 
possession  of  Herr  Van  Lerius,  Antwerp.  Grimmer 
entered  the  Guild  of  St.  Luke  in  the  latter  city 
in  1592. 

GRIMMER,  Hans,  who  studied  under  Matthaus 
Griinewald,  flourished  at  Mayenoe  towards  the  close 
of  the  16th  century.  The  portraits  by  him  which 
remain  testify  to  his  excellence  as  an  artist.  The 
Vienna  Gallery  has  one  of  Adam  von  Puechhaim, 
painted  in  1570,  and  in  the  chapel  of  St.  Maurice  at 
Nuremberg  there  are  two — one  of  a  man,  and  the 
other  of  a  woman.  In  the  Stadel  Institute  at 
Frankfort  are  two  wings  of  a  picture,  of  which 
the  centre  is  missing. 

GRIMMER,  Jakob,  was  born  at  Antwerp  in 
1510,  and  was  for  some  time  a  disciple  of  Matthys 
Cock,  but  afterwards  studied  under  Christian 
Quebom.  He  was  a  reputable  landscape  painter, 
and  was  received  into  the  Academy  at  Antwerp 
in  1546.  He  died  in  the  same  city  in  1560.  His 
pictures  are  generally  embellished  with  buildings 
and  ruins,  in  which  he  excelled.  A  '  Legend  of 
St.  Eustace,'  in  the  Brussels  Gallery,  is  attributed 
to  him,  and  in  the  Ghent  Museum  there  is  an 
'Adulteress  before  Christ.' 

GRIMOU,  Alexis,  (Geimoux,  or  Geimoud,) 
born  at  Romont,  in  the  canton  of  Fribourg, 
Switzerland,  about  1680,  was  the  son  of  one  of  the 
Swiss  guards  at  Versailles.  He  had  no  master, 
but  acquired  his  art  by  copying  the  w-orks  of  Van 
Dyck  and  Rembrandt  in  a  broker's  shop.  His 
portraits  and  genre  pictures  were  very  popular ; 
but  the  irregularity  of  his  life  and  his  eccentricities 
prevented  his  attaining  the  eminence  which  he 
might  otherwise  have  done.  He  painted  many 
pictures  of  women  playing  and  singing,  and  was 
admitted  to  the  Academy  at  Paris  in  1706,  but  ho 
left  it  in  disgust  at  the  mediocre  pictures  of  the 
other  associates,  and  took  his  picture  to  the 
Academy  of  St.  Luke,  where  he  was  admitted  on 
payment  in  1709.  He  died  in  Paris  in  1740.  The 
Louvre  contains  a  portrait  of  himself,  a  'Toper,' 
a  'Female  Pilgrim,'  and  two  portraits  of  young 
soldiers.  In  the  Kunsthalle  in  Carlsruhe  there  are 
two  half-length  portraits  of  women  ;  in  the  Stadel 
Institute  at  Frankfort,  the  portrait  of  a  young 

603 


Gringonneur 


A  BIOGRAPHICAL  DICTIONARY  OF 


Gros 


man ;  in  the  Avignon  Museum,  three  portraits  of 
ladies  ;  in  the  Dulwioh  Gallery,  a  portrait  of  a  lady  ; 
in  the  Dresden  Gallery,  a  '  Boy  blowing  a  whistle ;  ' 
and  in  the  Bordeaux  Museum,  a  '  Monk,'  a  '  Young 
Pilgrim,'  and  an  'Instrument  Player.' 

GEINGONNBUE,  Jacquemin,  a  French  minia- 
ture painter,  is  known  to  have  flourished  from  1392 
to  1420,  and  to  have  executed  various  games  of 
cards  for  Charles  VI.  The  National  Library  at 
Paris  possesses  seventeen  cards  belonging  to  one 
of  these  games.  The  picture  at  Versailles  of  the 
family  of  Jean  Juvenal  des  Ursins,  who  died  in 
1431,  is  attributed  to  him. 
GRISOLFI,  Giovanni.  See  Ghisolfi. 
GRISONI,  Giuseppe,  was  born  at  Florence 
about  the  year  1700,  and  was  a  scholar  of  Tom- 
maso  Redi.  The  rising  merit  of  the  disciple  is 
said  to  have  occasioned  so  much  jealousy  and 
uneasiness  in  the  master,  that  it  shortened  his  life. 
He  painted  historical  subjects  and  portraits ;  but 
particularly  excelled  in  the  latter,  of  which  his 
own  portrait,  in  the  Gallery  at  Florence,  is  a  fine 
specimen.     He  died  in  1769. 

GROBON,  Michel,  a  French  genre  and  landscape 
painter  and  engraver,  was  bom  at  Lyons  in  1770, 
and  studied  painting  under  Prud'hon,  and  engrav- 
ing under  J.  J.  de  Boissieu.  His  works  are  much 
in  the  style  of  the  old  painters  of  the  Netherlands, 
and  he  also  etched,  in  the  manner  of  his  master,  a 
plate  of  'The  Interior  of  a  Forest.'  He  died  at 
Lyons  in  1853. 

GROEGER,  Feiedeich  Cael,  a  portrait  painter 
and  lithographer,  was  bom  at  Ploen,  in  Holstein,  in 
1766.  He  was  a  self-taught  artist,  and  settled 
down  to  work  in  Hamburg,  where  he  died  in  1838. 
In  the  Dresden  Gallery  is  his  own  portrait. 
I  GROENENDAEL,  Camillb,  a  Belgian  historical 
and  portrait  painter,  was  bom  at  Lierre  in  1785, 
and  after  studying  at  the  Antwerp  Academy  and  in 
Paris  he  returned  to  his  own  country  in  1814  an 
accomplished  artist,  and  died  at  Antwerp  in  1834. 
His  portraits  are  considered  his  best  works.  Those 
of  M.  and  Mme.  van  Donick  are  in  the  Antwerp 
Gallery. 

GROENEWEGBN,  Geekit,  a  painter  and  etcher, 
was  born  at  Rotterdam  in  1754,  and  studied  under 
Muys.  He  became  noted  for  his  pictures  of  ships 
and  marine  views,  and  died  at  Rotterdam  in  1826. 
His  works  are  rare,  but  eighteen  plates  of  Dutch 
marine  views,  etched  in  Bakhuisen's  manner,  are 
known  to  be  by  him,  as  also  twelve  of  Dutch 
costumes. 
GROENSVELD,  Johan.  See  Geonsvelt. 
GROGAN,  Nathaniel,  an  Irish  landscape 
painter,  born  at  Cork  about  the  middle  of  the  18th 
century,  was  originally  a  wood  turner,  and  also 
served  in  the  army  during  the  American  war.  On 
his  return  to  Cork  he  taught  drawing,  and  en- 
deavoured to  gain  a  living  by  art.  He  engraved 
a  set  of  views  in  the  south  of  Ireland,  and  died 
at  Cork  about  1807.  His  best  known  works  are, 
'  An  Irish  Fair,'  and  '  An  Irish  Wake.' 

GROGNARD,  Alexis,  a  French  portrait  painter, 
was  born  at  Lyons  in  1765,  and  died  in  the  same 
city  in  1840.  He  was  a  pupil  of  Vien,  and  director 
of  the  school  of  Fine- Arts  at  Lyons. 

GROISBILLIEZ,  Maeoelin  de,  a  French  land- 
scape painter  and  etcher,  born  in  Paris  in  1837, 
studied  under  Boyer  and  Pasini,  and  became  skil- 
ful in  the  delineation  of  southern  landscapes. 
He  died  in  Paris  in  1880.  Among  his  paintings 
are: 
604 


A  Morning  on  the  Banks  of  the  SMeUe. 

The  Banks  of  the  Garden. 

The  Beach  at  St.  Male. 

The  Plain  of  Samois,  near  FontaineWean. 

He  also  etched,  '  Recollections  of  Beuzeval.' 

GRONIGIUS,  Geehaed,  was  a  Dutch  engraver 
of  the  middle  of  the  16th  century,  whom  Strutt 
mentions  as  having  etched  ten  plates,  emblematical 
of  the  '  Life  of  Man,'  from  ten  to  a  hundred  years. 
The  drawing  is  incorrect,  and  the  outline  hard; 
but  they  are  not  devoid  of  merit. 

GRONINGEN,  Giovanni  di.  See  Schwartz, 
Hans. 

GRONLAND,  Thbude,  a  painter  of  landscapes 
and  still-life,  was  born  at  Altona  in  1817.  He  went 
to  the  Academy  in  Copenhagen  in  1833,  and  then 
resided  three  years  in  Italy,  three  years  in  England, 
and  twenty-five  years  in  Paris.  From  1868  he 
lived  at  Berlin,  where  he  collected  many  students 
around  him,  and  died  in  1876. 

GRONSVELT,  Johan,  a  Dutch  engraver,  was 
born  at  the  Hague  about  the  year  1650.  He 
etched  several  views  and  landscapes,  after  Berchem, 
Van  Goyen,  Lingelbaoh,  and  others ;  and  engraved 
some  historical  subjects  and  portraits.  The  follow- 
ing are  his  principal  prints : 

Dorothy,  Countess  of  Sunderland  ;  after  Van  Dydk. 

A  Girl  with  a  Oat ;  after  Abraham,  Bloemaert. 

A  Man  sleeping  on  a  Barrel ;  after  Brouwer. 

The  Adoration  of  the  Magi ;  after  Paolo  Veronese. 

Christ  before  Pilate;  after  A.  iSchiavone. 

A  set  of  six  Landscapes  ;  after  Bei'chem. 

A  set  of  four  Landscapes  ;  after  the  sarnie. 

A  set  of  twelve  Oriental  and  Italian  Harbours ;  after  J. 


Six  Dutch  Landscapes  r  after  Verloom. 
Cows  ;  after  A.  van  de  Velde. 

GROOMBRIDGE,  William,  a  water-colour 
painter,  practised  in  the  latter  part  of  the  18th 
century.  He  painted  landscapes  and  moonlight 
scenes  with  cattle  and  figures.  -  •  ■ 

GROOS,  Geehaed  and  Gboeg  De.  See  De 
Geoos. 

GROOT,  Jan  De.    See  De  Geoot.' 

GEOPIIJS,  Kael  WiLHELM,  a  decorative  painter, 
was  bom  at  Brunswick  in  1793,  but  went  when 
young  to  Berlin  and  painted  for  the  exhibitions 
of  his  father,  after  which  he  travelled  through 
Germany  and  Switzerland,  and  made  himself 
acquainted  in  Paris  with  the  arrangement  of 
Daguerre's  diorama.  Next  he  travelled  in  Italy 
and  Greece,  and  made  numerous  landscape  and 
architectural  sketches.  After  his  return  he  opened, 
in  1827,  a  diorama  in  Berlin  in  connection  with  a 
permanent  exhibition  of  paintings.  He  was  at  the 
same  period  appointed  court  theatrical  painter,  in 
which  office  he  produced  some  superior  decorations 
from  the  designs  of  Schinkel.  He  was  considered 
the  first  wit  in  Berlin,  where  he  died  in  1870. 

GROS,  Antoinb  Jean,  Baron,  a  French  historical 
and  portrait  painter,  was  born  in  Paris,  March  16th, 
1771.  His  early  surroundings  were  artistic,  for 
his  father,  Jean  Antoine  Gros,  was  a  miniature 
painter,  and  his  mother  drew  in  crayons.  In  such 
an  atmosphere,  it  is  not  surprising  that  his  in- 
clination to  art  was  soon  developed.  In  1785  he 
commenced  to  study  seriously  by  becoming  a  pupil 
of  David,  and  in  1792  he  competed  unsuccessfully 
for  the  '  prix  de  Rome.'  His  desire  to  visit  Italy 
was  not,  however,  to  be  frustrated.  Notwithstand- 
ing the  death  of  his  father,  and  the  want  of  means, 
he  resolutely  overcame  all  obstacles,  and,  having 
obtained   a  passport  through  David,   arrived  at       ^j, 


Oros 


PAINTERS  AND  ENGRAVERS. 


Grozer 


Geneva  in  1793.  He  devoted  himself  assiduously 
to  study,  and  was  fortunate  in  obtaining  good  in- 
troductions. He  at  length,  in  1801,  attracted  the 
notice  of  Bonaparte,  then  in  command  of  the  French 
army  in  Italy,  by  his  picture  of  '  Bonaparte  at  the 
Battle  of  Areola.'  From  him  he  received  an  hono- 
rary stafE  appointment,  and  he  was  also  employed 
in  the  collection  of  works  of  art  for  the  adornment 
of  the  French  galleries.  Compelled  to  quit  Milan 
by  the  reverses  to  the  French  arms,  he  took  refuge 
in  Genoa,  and  in  the  siege  of  that  city  he  under- 
went severe  hardships.  On  his  return  to  Paris  in 
1801,  he  commenced  the  series  of  works  on  which 
his  fame  rests  : — '  Bonaparte  visiting  the  Plague- 
stricken  at  Jaffa '  (1804) ;  '  The  Battle  of  Abouldr ' 
(1806);  'Napoleon  at  Eylau' (1808);  '  The  Battle 
of  the  Pyramids  '  (1810)  ;  '  Francis  I.  and  Charles 
V.  at  St.  Denis'  (1812).  On  the  Restoration, 
Gros — ever  faithful  to  the  traditions  of  the  Classic 
School,  and  to  his  master  David — took  over  the 
atelier  of  the  latter,  and  was  much  occupied  in 
instruction :  more  than  four  hundred  pupils  passed 
through  his  studio.  He  also  endeavoured  to  obtain 
the  recall  of  his  master  from  banishment,  and  had 
a  medal  struck  in  his  honour,  which  he  took  to 
Brussels  and  presented  to  him.  Gros  did  not,  how- 
ever, lack  under  the  Bourbons  the  patronage  he  had 
received  under  the  Empire.  For  several  years  he 
was  much  occupied  with  the  pictures  in  the  dome 
of  the  Pantheon,  and  honours  and  offices  were 
freely  bestowed"  on  him,  culminating  in  the 
title  of  Baron.  But,  though  ofBcial  approval  of 
his  works  was  not  wanting,  his  art  was  violently 
and  incessantly  criticized  by  partisans  of  the 
Romantic  School.  These  criticisms  reached  such 
a  point  on  the  appearance  of  his  '  Hercules  and 
Diomedes '  in  1835,  and,  aggravated  by  the  state 
of  his  health,  had  such  an  efEect  on  him,  that 
he  committed  suicide  on  June  26th  in  that  year. 
His  body  was  found  in  the  Seine,  near  Meudon, 
and  was  buried  in  Pere-la-Chaise,  Paul  Delaroche 
and  others  pronouncing  funeral  orations  over  his 
grave.  Although  Gros  was  in  one  sense  always  a 
strict  adherent  to  the  canons  of  classicism,  yet  he 
was  one  of  the  first  of  David's  pupils  to  abandon 
classic  and  mythologio  scenes.  It  has  been  aptly 
remarked  that  he  painted  classic  forms  underneath 
ipodem  costume.  His  style  is  bold  and  full  of 
movement,  and  his  colouring,  though  not  unfre- 
quently  exaggerated,  is  a  great  improvement  on 
the  coldness  of  the  founders  of  the  Classic  School. 
The  following  are  some  of  Gros's  principal  works  : 

Besan^on.  Museum.    Girl  bathing.    1791. 

Bordeaux.  Museum.    Embarkation  of  the  Duchess  of 

AngoulSme.    1816. 
Nantes.  Museum.    Combat  of  Nazareth.    1801. 

Paris.  Lmivre.    Bonaparte  visiting  the  Plague- 

stricken  at  Jaffa.    1804. 
,)  „  Napoleon  at  Eylau.    1808. 

„  „  Francis  I.  and  Charles  Y.  at 

St.  Denis.    1812. 
Toulouse.  Museum.    Hercules  and  Diomedes.   1835. 

„  „  Venus  and  Cupid.    1832. 

Versailles.  Gallery.    The  Battle  of  the  Pyramids. 

1810. 
n  „  Interview   of    Napoleon    and 

Francis  II.  after  Austerlitz. 
1812. 
„  „  The   Capitulation    of   Madrid. 

1810. 
„  „  Louis    XVIII.    quitting    the 

Tnileries  in  1815.    1816. 
„  „  TherBattle  of  Aboukir.    1808. 

I,  Trianon.    Apotheosis    of    St.    Germain. 

1824. 


POBTRAITS. 

Besancon.  Museum.    Madame  Dufresne. 

Grenoble.  Museum.    Dr.  Clot-Bey. 

Marseilles.         Museum.    Madame  Favr^ga.    1798. 
Montpellier,       Museum.    Eleven  Miniatures. 
Nancy.  Museum.    Marshal  Duroc. 

Paris.  Vicomtede    Louis  XVIII.    (This  head  was 

Peyronnet.        copied  for  all  the  official  por- 
traits.) . 
Toulouse.  Museum.    Madame  Gros. 

„  „  His  own  Portrait. 

Versailles  Gallery.    Duke  de  Bellune. 

„  „  Eugene  Beauhamais. 

„  „  Equestrian  Portrait  of  Jerome 

Bonaparte,  King  of   "West- 
phalia.   1808. 
„  „  Marshal  Duroc. 

„  „  Count  Daru, 

„  „  General  Count  Fournier-Sarlo- 

vSse.     1812. 
„  „  His  own  Portrait. 

„  „  Equestrian  Portrait  of  Charles 

X.    1826.  OJ.D. 

GROSE,  Francis,  a  topographical  draughtsman, 
was  born  in  1731  at  Richmond,  in  Surrey,  where 
his  father  was  a  jeweller.  He  was  of  independent 
means,  and  devoted  to  antiquarian  pursuits,  on 
which  he  published  several  learned  works.  He 
occasionally  exhibited  tinted  drawings  of  ruins, 
&c.,  at  the  Royal  Academy.  In  one  of  his  visits 
to  Scotland,  he  became  '  The  chiel  araang  ye  taking 
notes  '  of  Bums.     He  died  at  Dublin  in  1791. 

GROSNIER,  Mile.,  a  French  lady,  is  mentioned 
by  Basan  as  the  engraver  of  several  plates ;  but 
they  are  wholly  unknown. 

GROTEFEND,  Adolph,  a  miniature  painter, 
was  born  at  Klausthal  in  Hanover,  in  1812.  He 
for  a  time  studied  law  at  Gottingen  University, 
but  his  love  for  art  caused  him  in  1836  to  proceed 
to  Munich  to  fit  himself  for  a  portrait  painter.  In 
this  line  he  was  becoming  conspicuously  success- 
ful, when  ill-health  drove  him  in  1846  to  Italy,  and 
he  died  at  Florence  in  the  following  year. 

GROTH,  — ,  a  German  painter,  flourished  in 
England  in  the  reign  of  George  II.  He  painted 
in  water-colours  and  enamel,  but  was  not  very 
proficient. 

GROUX,  Charles  Coeneillb  Auguste  de,  (or 
Degeoux,)  a  Belgian  genre  and  historical  painter, 
was  born  at  Commines  in  France  in  1826,  and 
studied  at  the  Brussels  Academy  under  Navez.  He 
at  first  produced  pictures  from  popular  life,  but 
afterwards  took  to  historical  subjects,  in  which  he 
was  less  successful,  and  he  finally  returned  to  his 
former  department.  He  decorated  the  market- 
place of  Ypres.  His  death  occurred  at  Brussels 
in  1870.  Among  Ixis  paintings  are ; 
Ash  "Wednesday. 

Grace  before  Mealst    {Brussels  Gallery.) 
The  Doctor's  Visit. 
The  Death  of  Charles  V. 
The  Citizens  of  Calais  before  Edward  III. 

GROZER,  Joseph,  a  mezzotint  engraver,  was  bom 
about  1755,  and  probably  died  before  1799.  He 
practised  in  London,  and  amongst  his  works  are : 

Shepherds  with  a  Lamb ;  after  Sir  J.  Etynolds.    1784. 
Master  Braddyll ;  after  the  same.    1786. 
Mrs.  Mackenzie  of  Seaforth ;  after  the  same.    1787. 
Innocence ;  after  the  same.    1788. 
William,  Earl  Fitzwilliam ;  after  the  same.    1786. 
Lady  St.  Asaph  and  Child ;  after  the  same.    1792. 
Miss  Johnson,  dancing ;  after  the  same.    1792. 
James,  Earl  of  Cardigan  ;  after  RomTiey.    1792. 
Lady  Charlotte  Legge ;  after  the  same.    1799. 
The  Duke  and  Duchess  of  York ;  after  Singleton.    1797. 
Bobert,  Lord  Hobart ;  after  Sir  Thomas  Laiorence.    1796 

605 


Grund 


A  BIOGRAPHICAL  DICTIONARY  OF 


Guarana 


GRUND,  JoHANN  Jakob  Nobbert,  a  German 
painter  and  author,  was  born  at  Gunzenhausen,  in 
Anspach,  in  1755.  He  originally  intended  to  be- 
come a  Jesuit,  but  afterwards  devoted  himself  to 
miniature  painting.  He  subsequently  went  to  Italy, 
and  was  appointed  a  professor  in  the  Academy  at 
Florence.  He  published  in  1789,  '  An  Artistic 
Tour  to  Rome,'  and  in  1810,  '  The  Painting  of  the 
Greeks.'     He  died  about  1815. 

GRUND,  NoRBERT,  a  German  painter  of  land- 
scapes, cattle,  fairs,  battles,  &c. ,  born  at  Prague 
in  1714,  was  the  son  of  a  painter,  and  studied  at 
the  Vienna  Academy  under  Ferg.  He  was  of  a 
vagrant  nature,  and  in  his  latter  years  his  careless- 
ness and  improvidence  reduced  him  to  want.  He 
died  at  Prague  in  1767.  In  the  Dresden  Gallery  are 
two  pictures,  '  Country  Dances,'  and  '  A  Gathering 
at  a  Table  in  a  Garden.' 

GBUNDY,  Thomas  Leemino,  a  line-engraver, 
was  born  at  Bolton  in  1808.  He  was  at  first 
apprenticed  to  a  writing  engraver,  and  then  came 
to  London,  where  he  was  employed  on  the  Annuals 
then  in  fashion.  He  afterwards  worked  for  Doo 
and  Goodall,  and  died  in  London  in  1841. 

GRUNER,  WiLHELM  Heinrioh  Ludwig,  a 
German  line-engraver,  was  born  at  Dresden  in 
1801.  He  commenced  life  as  a  scene-painter,  but 
afterwards  studied  engraving  under  Ephraim  Gott- 
lieb Kriiger  in  Dresden,  and  from  1826  to  1836  in 
Milan,  under  Longhi  and  Anderloni.  He  resided 
in  Rome  from  1837  to  1841,  when  he  came  to 
England,  and  remained  here  until  1856,  in  which 
year  he  was  made  director  of  the  Cabinet  of 
Engravings  at  Dresden,  where  he  died  in  1882. 
Besides  his  '  Decorations  of  the  Garden  Pavilion 
at  Buckingham  Palace,'  1846,  and  other  important 
works,  he  engraved  many  separate  plates,  espe- 
cially after  the  works  of  Raphael  and  Overbeck,  by 
which  he  gained  much  reputation.  Among  his 
chief  works  are : 

Portrait  of  Giulio  de'  Medici  (?)  ;  after  Eaphad.     1835. 

The  Yision  of  a  Knight ;  after  the  same. 

La  Fornarina ;  after  the  same. 

Christ's  Agony  in  the  Garden  ;  after  the  same.     1849. 

The  Ansidei  Madonna;  after  the  same.     1856. 

The  Converaion  of  Saul ;  after  the  same.  1864.  (Arundel 
Society.) 

Christ,  the  Good  Shepherd  ;  affei^  Overheclc. 

Hagar  in  the  "Wilderness ;  after  the  same. 

Moses  defending  the  Daughters  of  Jethro ;  after  the  same. 

GRUNEWALD,  E.,  was  an  engraver  of  Darm- 
stadt, who  studied  under  Frommel,  and  produced 
some  praiseworthy  landscape  plates  about  1825. 

GRtJNEWALD,  Hans,  was  the  brother  of  Mat- 
thaus  Griinewald,  but  nothing  authentic  is  known 
of  him.  A  portrait  of  Maximilian  I.,  in  the  Vienna 
Gallery,  is  ascribed  to  him. 

GRtJNEWALD,  MatthJus,  who  was  born  pro- 
bably in  Frankfort,  settled  in  AschafEenburg,  where 
he  was  employed  by  the  Archbishop  Albrecht  of 
Mayenoe.  He  seems  to  have  died  about  the  year 
1530,  and  to  have  been,  after  Diirer  and  Hol- 
bein, the  greatest  German  painter  of  the  period, 
though  but  little  of  his  life  is  known.  His  most 
important  work  is  an  altar-piece  of  six  panels, 
which  was  executed  for  the  church  of  SS.  Maurice 
and  Mary  Magdalene  at  Halle,  but  afterwards  trans- 
ferred to  the  church  of  SS.  Peter  and  Alexander  at 
AschafEenburg.  It  is  now  in  the  Munich  Gallery. 
The  centre  picture  represents  the  '  Conversion  of 
Sf.  Maurice  by  St.  Erasmus,'  and  the  wings  con- 
tain the  figures  of  St.  Lazarus,  St.  Mary  Magdalene, 
St.  Martha,  St.  Chrysostom,  and   St.  Valentinian. 

606 


There  is  another  work  in  the  church  of  Our 
Lady  at  Halle,  of  which  the  centre  picture,  repre- 
senting the  '  Virgin  in  Glory,'  the  inner  sides,  and 
perhaps  the  outer  sides,  are  assigned  to  Griinewald. 
A  '  Rosary '  in  the  chapel  of  St.  Anthony  in  the 
cathedral  of  Bamberg,  and  the  wings  of  altar-pieces 
at  Heilsbronn  in  Franconia,  and  at  Annaberg  in 
Saxony,  are  also  assigned  to  this  master. 

GRUSS,  JoHANN,  an  historical  painter,  bom  early 
in  the  19th  century,  was  a  native  of  Bohemia. 
Among  his  works  are  a  'Virgin  and  Child,'  a 
'  Sleeping  Jesus,'  and  '  St.  Aloysius.'  He  died  at 
Vienna  in  1872. 

GRUTZNER,  Eduabd,  born  at  Great  Carlowjtz 
in  Silesia  in  1846,  was  the  son  of  a  peasant.  He 
was  destined  for  the  church,  but  Hirschberg,  an 
architect  of  Munich,  induced  him  in  1864  to  repair 
to  that  city,  where  his  first  work  was  a  ceiling 
in  a  private  house.  He  showed  great  humour  in 
his  pictures,  '  The  Cloister  Cellar,'  '  Wine  Tasting,' 
'  Sleepless  Nights,'  and  especially  in  his  represent- 
ation of  Falstaffi  and  other  characters  in  the  '  Merry 
Wives  of  Windsor.'  He  died  in  1878. 
GRYEF,  Anton.  ■  See  Grief. 
GRYPMOED,  Geerlig,  bom  at  Zwolle  in  1760, 
learned  the  art  of  drawing  from  A.  D.  Prudhomme. 
He  afterwards  went  to  Amsterdam,  where  he 
studied  under  H.  Meyer  and  Troost  van  Groenen- 
doele,  who  employed  him  largely  in  painting  cur- 
tains. He  also  painted  landscapes.  He  died  in  1788. 
GSELL,  Maria  Dorothea  Henrica,  the  daughter 
of  Johann  Andreas  GrafE  and  Maria  Sibylla  Merian, 
was  born  at  Nuremberg  in  1678.  She  painted 
flowers  and  insects,  and  was  acquainted  with 
Hebrew.  She  married  the  portrait  and  still-life 
painter  Gsell,  and  accompanied  him  to  St.  Peters- 
burg, where  they  both  worked  for  the  Academy  of 
Sciences,  and  where  she  died  in  1745. 

GUADALUPE,  Pedro  Fernandez  db.  See  Fer- 
nandez. 

GUALDO,  Matteo  da,  a  painter  of  the  Umbrian 
school,  was  born  at  Gualdo  Tadini,  but  the  dates 
of  his  birth  and  death  are  alike  unknown.  A 
genuine  fresco  by  him  is  at  Santa  Maria  della 
Circa,  near  Sigillo  ;  it  represents  a  '  Madonna  and 
Child,'  with  a  dog  in  the  arms  of  the  latter,  also  a 
'  Lady  of  Mercy.'  In  SS.  Antonio  e  Jacopo  of  Assisi, 
are  some  frescoes  by  him,  although  now  very 
much  damaged;  they  include  a  '  Madonna,' dated 
1468.  These  works  are  executed  somewhat  in 
the  style  of  Benozzo  Gozzoli. 
GUALDORP,  Gortzius.  See  Geldoep. 
GUARANA,  Jacopo,  (or  incorrectly  Varana,) 
was  a  painter  of  the  Venetian  school,  who  was 
born  at  Verona  in  1727,  and  became  a  pupil  of 
Sebastiano  Ricci,  G.  B.  T'iepolo,  and  especially 
of  Carlo  Cignani.  The  Academy  of  Copenhagen 
ofEered  him  the  position  of  first  painter,  and 
the  Empress  of  Russia  also  invited  liim  to  her 
court  from  her  admiration  of  the  work  he  painted 
for  her;  but  he  could  not  be  induced  to  leave 
his  own  country.  He  died  at  Venice  in  1808, 
having  been  a  member  of  the  Academies  of  Venice, 
Florence,  and  Bologna.  The  following  are  among 
his  paintings,  the  first  two  being  in  oil,  the  others 
in  fresco : 

The  Sacrifice  of  Iphigenia.    {Painted  fm'  the  Empress  of 

Jiussia.) 
The  Heart  of  Jesus.     {San  Paolo,  Venice.) 
The  Virtues.     {Patriarch's  Palace,  Venice.) 
St.  Mark.     (Doge's  Palact^  Venice.) 
Apotheosis  of  St.  Martin.    {San  Martina,  Venice.) 
The  Dome  of  San  Vitale,  Eavenna. 


Onardi 


PAINTERS  AND  ENGRAVERS. 


Crudmundsson 


He  also  etched  several  plates,  and  supplied  the 
designs  for  the  engravings  in  the  work  entitled 
'  Oracoli  della  Religione  pagana,'  published  at 
Venice  in  1792.  His  son,  Vincenzo  Guarana,  who 
was  born  at  Venice  in  1750,  and  died  there  in 
1815,  painted  in  the  style  of  his  father,  but  did 
not  equal  him. 

6UARDI,  Fbancesco,  a  Venetian  painter,  was 
born  at  Venice  in  1712,  and  died  there  in  1793. 
He  was  a  scholar  of  Canaletto,  and  excelled  in 
architectural  views  of  Venice,  but  his  works  are 
less  accurate  in  perspective  and  details  than  are 
those  of  his  master.  The  following  pictures  by 
him  are  in  the  chief  European  galleries : 

Bergamo.  Academy.    Three  Views  in  Venice. 

Berlia.  Gallery.    View   on    the    Grand   Canal, 

Venice. 
„         Two  Views   of  San  Michele, 

Venice. 
„  View  on  the  Lagoons. 

Brussels  Gallery.    Interior  of  San  Marco  at  Venice. 

Cambridge.    ^^'-J«-}  Views  in  Venice. 

^  „  The  Island  of  Anconetta. 

Dublin.        Nat.  Gallery.    The  Doge's  State  Barge. 
Glasgow.  Gallery.    Grand  Canal  and  Church  of 

San  Giorgio,  Venice. 
1^  „  Fiazzetta  of  San  Marco. 

London.       Nat.  Gallery.    View  of  the  Church,  Campa- 
nile,   and   Piazza    of     San 
Marco,  at  Venice. 
,  „  View  in  Venice. 

„  Bridgeioater  House.    View  on  the  Grand  Canal. 
„  „  Seven  Views  of  Venice. 

„     Smth.  Kensington  \  Church  on  the  Grand  Canal, 
Museum,  j     Venice. 
Modena.  Gallery.    The  Grand  Canal,  Venice. 

„  „         The  Fondaco  dei  Tedeschi. 

Nantes.  Museum.    Two  Views  of  Venice. 

Paris.  Louvre.    View  of  Venice. 

„  „        Church  of  La  Salute. 

„  „        The  FSte  of  Shrove  Tuesday. 

„  „        The  FSte  of  Corpus  Domini. 

„  „        Procession  of  the  Doge  to  the 

Church  of  San  Zaooaria. 
„  „        The  Hall  of  the  Ducal  Palace. 

„  „        View  of  Venice. 

Venice.        Correr  Mus.     The  Island  of  San  Giorgio. 
Vf.roua.  Museum.    Two  Views  of  Venice. 

OUARDOLINO,  II.     See  Natali. 

GUARIENTI,  PiETEO,  a  painter  of  Verona,  was 
born  before  1700.  He  was  a  pupil  of  Crespi,  but  fol- 
lowed the  study  of  the  great  masters  of  the  various 
countries  in  which  he  travelled,  seeking  to  acquire 
the  faculty  of  painting  in  every  style.  He  settled 
in  Dresden,  and  died  there  before  1769. 

GOARIENTO,  a  painter  of  Padua,  was  living 
in  the  14th  century,  and  is  known  to  have  been 
amongst  the  first  artists  employed  to  decorate  the 
Great  Hall  of  Council  at  Venice  in  1366.  His  work 
there  was  a  '  Paradise,'  and  incidents  from  the  war 
of  Spoleto.  These  paintings  were  effaced  to  make 
room  for  the  successive  designs  of  Gentile  Bellini 
and  of  Titian.  In  the  Eremitani  at  Padua  may 
still  be  seen  many  frescoes  by  this  artist  represent- 
ing the  Life  and  Passion  of  Christ,  the  life  of  St. 
Augustine,  and  several  subjects  from  the  Old 
Testament.  According  to  Brandolese,  Guariento 
flourished  about  1360  at  Padua,  and  was  buried 
there  in  the  church  of  San  Bernardino.  He  died 
before  1378.     There  are  preserved  of  his  works : 

Pinacoteca.    A  Crucifixion,  with  the  Virgin 
and  Saints. 
Academy.    Six   portions    of    frescoes,  with 
subjects  from  the  Old  Testa- 
ment. 


Padua. 


GTJARINO,  Feancesco,  who  was  born  at  Solofra, 
near  Naples,  in  1612,  was  a  pupil  of  Massimo 
Stanzioni.  He  painted  in  the  church  of  his  native 
town,  and  died  at  Gravina  in  1651.  In  the  Naples 
Museum  there  is  by  him  a  picture  of  '  Susanna.' 

GUASTA,  Benvbnxtto  and  Gieolamo  del.  See 
Del  Guasta. 

GUBBIO,  Odeeigi  da,  was  a  miniature  painter, 
who  is  said  to  have  been  born  at  Gubbio,  near  Pe- 
rugia, in  1240.  No  undoubted  work  by  him  is  now 
in  existence,  although  some  miniatures  contained 
in  two  Missals  of  the  Virgin  and  of  St.  George,  in 
the  Archivio  de'  Canonici  di  San  Pietro,  at  Rome, 
are  strongly  supposed  to  be  by  him.  He  painted 
at  Gubbio  in  1264,  at  Bologna  in  12.68,  and  in 
Rome  in  1295.  According  to  Vasari,  he  made  the 
acquaintance  of  Giotto  in  Rome,  and  died  there  in 
1299.  He  has  been  mentioned  with  much  praise 
by  Dante,  who  calls  him  the  '  Glory  of  Agobbio,' 
and  represents  him  as  expiating  in  Purgatory  the 
pride  with  which  his  skill  had  inspired  him. 

GUBITZ,  Feiedrioh  Wilhelm,  a  wood  engraver, 
was  born  at  Leipsic  in  1786,  and  was  a  member  of 
the  Academy  of  Berlin,  where  he  died  in  1870. 
The  cuts  in  his  '  Volkskalender,'  issued  from  1835 
to  1869,  are  much  adtnired,  as  is  also  his  portrait 
of  the  Saviour,  after  Lucas  Cranaoh.  He  also 
published  some  '  Plays  and  Poems,'  a  newspaper 
called  '  Der  GeseUschafter,'  and  a  volume  entitled 
'  Occurrences.' 
GUCCIO  DEL  SERO.  See  Aghinetti. 
GUCHT,  Van  dee.  See  Van  dee  Guoht. 
GUDIN,  Jean  Antoine  Th^iodoee,  a  French 
marine  painter,  was  born  in  Paris  in  1802.  He 
attended  for  some  time  the  atelier  of  Girodet- 
Trioson,  but  left  it  and  enrolled  himself  in  the 
Romantic  School,  in  company  with  G^ricault  and 
Delacroix.  He  restricted  himself  entirely  to  land- 
scapes and  marine  subjects.  His  first  success'dated 
from  about  the  year  1822,  and  in  1827  he  produced 
'  The  Burning  of  the  "  Kent,"  East  Indiaman,'  and 
'  The  Return  of  the  Fishermen,'  two  of  his  best 
pictures.  Gudin's  works  are  remarkable  for  vigor- 
ous, but,  too  generally,  exaggerated,  treatment.  He 
painted  between  the  years  1838  and  1848  a  series 
of  ninety  marine  subjects  for  the  Galleries  at  Ver- 
sailles, where  many  of  them  still  are.  They  record  ■ 
the  achievements  of  the  French  navy  in  Algeria, 
whither  Gudin  was  sent  by  Louis  Philippe.  Early 
in  life  he  travelled  in  the  East,  in  Russia,  and  in 
Germany,  but  he  spent  much  of  the  latter  part  of 
his  life  in  Scotland.  He  also  practised  the  arts  of 
etching  and  lithography.  He  died  at  Boulogne 
near  Paris,  in  1880.     Among  his  best  works  are : 

The  Hurricane  of  the  7th  of  January,  1831,  in  the  Eoad- 

stead  of  Algiers.    1835. 
Coast  Scene.    (Brussels  Gallery.) 
Breton  Coast.     1845.     (Berlin  National  Gallery.) 
A  Smuggler's  Felucca.    1845.     (The  same.) 
The  Ship  in  Distress. 

Shipwreck  on  the  Coast  of  Genoa.    {Leipsic  Museum. 
View  of  Havre.    (Avignon  Museum.) 
Explosion  of  the  Emperor's  Fort  at  Algiers. 
View  of  Constantinople,  taken  from  Pera. 
The  Boarding  of  the  English  galeot  '  Hazard '  by  the 

'  Courier.' 
Devotion  of  Captain  Desse.    (Bordiaux  Museum.) 

GUDMUNDSSON,  Sigded,  an  Icelandic  painter, 
born  at  the  farm  of  Helluland  in  1833,  entered 
the  Copenhagen  Academy  in  1849,  and  on  his  return 
to  Iceland  in  1858,  produced  almost  a  revolution 
in  the  manners  and  costumes  of  the  island.  He 
died  at  Reykiavik  in  1874. 

607 


Gu6 


A  BIOGRAPHICAL  DICTIONAEY  OF 


Gu^rin 


GUB,  JoLiEN  Michel,  a  French  landscape  and 
historical  painter,  born  in  St.  Domingo  in  1789, 
was  a  pupil  of  David  and  of  Lacour.  The  Bor- 
deaux Museum  possesses  the  '  Death  of  Patroclus,' 
and  there  are  other  -works  by  this  artist  at  Ver- 
sailles, Compiegtae,  and  Eheims.  He  died  in  Paris 
in  1843. 

GUBLARD,  B.,  a  French  painter  and  etcher,  is 
mentioned  by  Basan  as  the  engraver  of  several 
plates  after  Oudry,  J.  F.  van  Bloemen,  &c.  He 
lived  in  Paris  about  1730. 

GUERARD,  EnofiNB  Chaeles  FEANgois,  a 
French  landscape  painter  and  lithographer,  was 
born  at  Nancy  in  1821.  He  was  a  pupil  of  Paul 
Delaroche  and  of  Dieudonn6  Pierre  of  Nancy,  in 
which  city  he  died  in  1866. 

GUERARDS,  Maec.     See  Geeeaets. 

GDERARDS,  N.,  a  French  engraver,  who  flour- 
ished about  the  year  1700,  executed  the  plates  for 
a  work  entitled  '  Lea  Edifices  antiques  de  Rome,' 
published  at  Paris  in  1682,  after  the  designs  of  A. 
Dea  Godets,  who  engraved  the  frontispiece.  He 
also  engraved  the  frontispiece  to  a  book  of  orna- 
ments, published  by  Pierre  Bourdon  in  1703 ;  and 
a  small  plate  of  '  Soldiers  marching,'  in  imitation 
of  Callot. 

GDERCINO.  See  Baebieei,  Giovanni  Fean- 
cesco.  , 

GUERIN,  Cheistophe,  a  draughtsman  and  en- 
graver, born  at  Strassburg  in  1758,  was  a  pupil  of 
Jeulain  and  P.  Miiller.  He  became  conservator 
of  the  Museum,  and  a  Professor  of  the  School  of 
Design  at  Strassburg.  He  died  in  1831.  His  chief 
works  are : 

Cupid  disarmed ;  after  Correggio. 
The  DaDoe  of  the  Muses ;  after  Ginlio  Eomano, 
The  Angel  leading  Tobit ;  after  Raphael. 
Two  Landscapes ;  after  De  Zoutherbourg. 

GDERIN,  FEANgois,  a,  French  historical  and 
genre  painter,  was  a  native  of  Paris.  He  exhibited 
first  at  the  Academy  of  St.  Luke  in  1751,  and  be- 
came an  Academician  in  1761,  his  reception  work 
being  '  A  Market.'  He  continued  to  exhibit  at  the 
Salon  until  1 783,  but  in  1791  he  was  residing  in 
Strassburg,  where  he  died,  but  in  what  year  is  not 
known. 

GUERIN,  Gaeeiel  Cheistophe,  a  son  of  Chris- 
tophe  Gu^rin,  was  born  at  Kehl  in  1790.  He  was 
a  pupil  of  Regnault,  and  in  1817  received  the  gold 
medal  for  his  '  Death  of  Polynices.'  He  painted  a 
'  Burial  of  Christ '  for  the  church  of  St.  Francis  of 
Assisi  in"  Paris,  and  he  succeeded  his  father  as  con- 
servator of  the  Museum,  and  Professor  of  the  School 
of  Design  at  Strassburg.  He  died  at  Hornbach  in 
Bavaria  in  1846. 

GUERIN,  Jean,  a  miniature  and  water-colour 
painter,  bom  at  Strassburg  in  1760,  was  a  brother 
of  Christophe  Guerin.  He  went  to  Paris,  where 
he  became  a  pupil  of.  Regnault,  and  soon  gained 
a  reputation,  as  well  as  the  protection  of  Queen 
Marie  Antoinette,  whose  cause  he  espoused  so 
warmly  as  to  cause  him  to  be  banished  from  Paris. 
He  returned  to  that  city  at  the  beginning  of  the 
Consulate,  and  devoted  himself  to  miniature  paint- 
ing.    He  died  at  Obernay  in  1836. 

GUERIN,  Jean  Baptiste,  the  second  son  of 
Christophe  Guerin,  was  born  at  Strassburg  in 
1798.  He  was  a  pupil  of  his  father  and  of  Reg- 
nault, and  practised  in  his  native  city,  but  the  year 
of  his  death  is  not  recorded. 

GUERIN,  Paulin  Jean  Baptiste,  a  French 
portrait  and  historical  painter,  born  at  Toulon  in 


1783,  was  the  son  of  a  blacksmith,  which  trade 
he  at  first  followed,  but  showing  a  disposition  for 
art  he  went  to  Paris,  where  he  entered  the  studio 
of  Vincent,  and  supported  himself  with  the  greatest 
difficulty,  till  he  gained  a  reputation  by  his  picture 
of  '  Cain  after  the  death  of  Abel.'  He  died  in  Paris 
in  1855.     Among  his  other  works  are : 

The  Dead  Christ  in  the  Lap  oE  the  Virgin.    1817. 

Anchises  and  Venus.    1822. 

Adam  and  Eve  driven  out  of  Paradise.    1827. 

Christ  crucified.     1834. 

Ulysses  fighting  with  Neptune.    1824. 

Anne  of  Austria,  Kegent  of  France,  with  her  two  sons, 

Louis  XIV.  and  the  Duke  of  Orleans. 
Portrait  of  Louis  XVIII.,  full-length. 
Portrait  of  Charles  X.,  full-length. 

His  son  and  pupil,  F^Lix  Pieeee  Antoinb 
Gueein,  who  was  bom  in  Paris  in  1825,  painted 
portraits,  and  died  in  Paris  in  1865. 

GUERIN,  Philibeet  Jean  Pieeee,  a  French 
landscape  painter,  bom  at  Marseilles  in  1805,  was 
a  pupil  of  Paulin  Gudrin.  He  exhibited  at  the 
Salon  from  1824  to  1844,  and  died  in  Paris  in 
1846.  , 

GUERIN,  Pieeee  Naecisse,  Baron,  a  French 
historical  painter,  was  bom  in  Paris  on  the  13th 
March,  1774.  In  his  early  years  he  showed  but  little 
inclination  to  art,  and  it  was  owing  to  his  parents 
that  he  entered  the  studio  of  Brenet.  His  progress, 
however,  was  small,  until  he  became  the  pupil  of 
Regnault.  With  this  master  he  found  his  vocation, 
and  at  the  competition  of  1797  he  obtained  one  of 
the  three  prizes.  The  disturbed  state  of  Europe  did 
not  at  once  permit  of  his  pursuing  his  studies  at 
Rome,  and  while  waiting  at  Paris  he  produced  his 
'  Return  of  Marcus  Sextus,'  which,  on  being  ex- 
hibited in  1799,  was  crowned  by  his  brother  artists. 
On  arriving  at  Rome,  his  weak  health  soon  com- 
pelled him  to  remove  to  Naples,  where  he  remained 
about  a  year.  On  his  return  to  Paris,  he  resumed  his 
studies  with  such  success  that  in  1803,  while  BtUl  a 
pupU,  he  received  the  cross  of  the  Legion  of  Honour. 
He  was  received  into  the  Institute  on  the  return  of 
the  Bourbons  in  1815,  and  in  1816  was  appointed 
director  of  the  French  School  at  Rome,  but  bis 
health  did  not  allow  him  to  accept  the  appoint- 
ment. At  the  next  vacancy  he  was  again  offered 
the  post,  which  he  accepted,  though  the  state  of 
his  health  allowed  him  only  to  attend  to  the 
duties  of  his  office,  and  prevented  his  applying 
himself  to  any  of  his  own  works  during  his  stay  in 
Rome.  On  his  return  to  Paris  in  1829,  he  was  cre- 
ated a  Baron,  and  he  devoted  himself  for  the  next 
two  or  three  years  to  his  own  art.  Contrary  to 
the  advice  of  his  physicians  and  friends,  he  accom- 
panied Horace  Vernet  to  Rome,  where  he  died  on 
the  16th  July,  1833,  and  was  buried  in  the  church 
of  the  Trinita  dei  Monti.  Guerin' s  art  reached  its 
highest  point  in  the  'Marcus  Sextus.'  In  his 
later  works  he  lost  the  vigour  which  characterized 
his  earlier  productions,  and  afEected  a  spurious 
energy,  which  has — not  without  reason — been 
called  theatrical.  This  may  in  some  degree  have 
arisen  from  his  custom  of  sketching  the  actors  at 
the  Thd&tre  Fran9ais.  The  following  is  a  list  of 
Gudrin's  chief  works : 

Angers.         Museum..    Death  of  Priam.    (Sketch.) 

n  „  St.  Louis.     (Sketch.) 

Avignon.        Museum.  Portrait  of  Charles  X. 
Bordeaux.      Museum.  Pyrrhus    and   Andromache.     (A 
small    replica    of    the    Louvn 
picture.) 


Ouerini 


PAINTERS  AND  ENGRAVERS. 


Guibal 


Compiegue.  Palace. 
Hamptoa  Court.  Pal. 
Paris.  Louvre. 


£ennes.  Museum. 
Valenciennes.  Mus. 
Versailles.      Gallery. 


St.  Genevieve. 

Portrait  of  Louis  XVIII. 

The    Eetum  of    Marcus  Sextus. 

1799. 
Offering  to  .ffisculapius.    1802. 
Hippolytus  and  Phasdra.     1802. 
Pyrrhus  and  Andromache.    1810. 
iEneas  and  Dido.    1813. 
Clytemnestra.    1817. 
Ulysses. 

Death  of  Marshal  Lannes. 
The  Eevolt  of  Cairo.  QJ.I). 


GrUEBINl,  Giovanni  Fbancisoo,  (or  Gueeeibri,) 
a  native  of  Fossombrone,  in  the  Roman  state, 
flourished  about  the  year  1650.  It  is  not  said 
under  whom  he  studied,  but  he  painted  historical 
pictures  in  the  style  of  Caravaggio  and  Guercino. 
Lanzi  mentions  several  of  his  works  in  very 
favourable  terms,  particularly  a  picture  in  the 
Filippini  at  Fano,  of  '  St.  Charles  contemplating 
the  Mysteries  of  the  Passion,'  with  two  laterals, 
representing  subjects  from  the  life  of  that  saint. 
There  are  many  of  his  paintings  in  his  native 
town,  and  a  '  St.  Sebastian  cured  by  St.  Irene ' 
particularly  is  attributed  to  him.  He  had  the 
peculiar  taste  to  introduce  into  each  of  his  pictures 
the  portrait  of  one  of  his  lady-loves. 

GUERNIER,  Du.    See  Du  Gubknibe, 

GUERNIEB,  Ben^,  was  probably  a  native  of 
France.  According  to  Florent  Le  Gomte  he  ex- 
celled in  engraving  ornaments  and  grotesque 
figures. 

GUBROULT,  GuiLLAUME,  is  mentioned  by 
Strutt  as  the  engraver  of  a  set  of  woodcuts  for  a 
Bible,  published  at  Paris  in  1564,  and  dedicated  to 
Catharine  de'  MedicL 

6DERRA,  Cbistofoeo.    See  Cheieqbe. 

GUERRA,  GiosEFFO,  (orQuEEEA,)  a  painter  of 
Venice,  was  one  of  the  best  scholars  of  Solimena. 
He  painted  numerous  large  historical  pictures  for 
churches  and  monasteries  in  the  kingdom  of  Naples, 
but  having  resorted  to  the  trick  of  copying  paint- 
ings disentombed  at  Herculaneum,  and  selling  them 
as  originals,  he  was  detected  and  compelled  to  flee 
to  Rome,  where  he  died  in  1761. 

GUERRA,  Giovanni,  a  painter,  engraver,  and 
architect,  was  bom  at  Modena  in  1544,  and  went  in 
his  eighteenth  year  to  Rome,  where  he  painted,  in 
conjunction  with  Cesare  Nebbia,  a  large  part  of 
the  pictures  commissioned  by  Pope  Sixtus  V.  He 
then  for  some  time  devoted  himself  to  trade,  and 
when  he  had  thereby  lost  all  his  means  he  returned 
to  art,  and  brought  out  a  series  of  forty-eight 
plates  entitled  '  Varie  Acconciature  di  Teste  usate 
da  fiobilissime  Dame  in  diverse  Citt4  di  Italia.' 
He  also  prepared  the  model  for  the  Scala  Santa  in 
Rome,  and  the  designs  for  several  churches  in 
Modena,  as  well  as  a  great  number  of  drawings 
from  subjects  in  the  Old  and  New  Testaments, 
and  from  Greek  and  Roman  history,  in  readiness  for 
engraving.     He  died  at  Rome  in  1618. 

GUERRIERl,  Giovanni  Francesco.  See  Gueeini. 

GUERRINI,  Giacomo,  was  born  at  Cremona  in 
1718,  and  while  quite  young  painted  'The  Be- 
heading of  St.  John  the  Baptist '  for  the  Oratory 
of  St.  Jerome  in  his  native  city.  He  afterwards 
executed  for  the  church  of  Sant'  Agostino,  '  The 
Meeting  of  St.  Joachim  and  St.  Anna '  and  '  The 
Presentation  in  the  Temple.'  Some  of  the  churches 
in  Milan  also  possess  paintings  by  him.  He  died 
in  1793. 

GUERTliiRE,  Feanqois  db  la.     See  De  La 

GtJEBTlilBB. 

BB 


GUEST,  Douglas,  an  English  historical  and 
portrait  painter,  practised  in  the  early  part  of  the 
19th  century.  He  studied  in  the  schools  of  the 
Royal  Academy,  and  in  1805  gained  the  gold  medal 
for  his  '  Bearing  the  dead  body  of  Patroclus  to  the 
Camp,  Achilles's  Grief. '  He  occasionally  exhibited 
at  the  Academy  from  1803  to  1817,  and  again  in 
1834  and  1838.  He  painted  the  '  Transfiguration,' 
an  altar-piece  for  the  church  of  St.  Thomas, 
Salisbury,  and  in  1829  published  a  work  on  the 
decline  of  historical  painting. 

GUEVARA,  Fblipb  de,  was  an  amateur  painter, 
who  acquired  the  friendship  of  Titian  when  he  ac- 
companied the  Emperor  Charles  V.  to  Bologna  to 
receive  the  imperial  crown  from  Clement  VII.  He 
distinguished  himself  as  a  cavalry  ofScer  in  the 
expedition  to  Tunis  in  1635,  and  was  the  author 
of  'Commentaries  on  Painting,'  published  in  1788. 
He  died  at  Madrid  in  1663. 

GUEVARA,  Juan  Nino  de,  bom  at  Madrid  in 
1632,  was  the  son  of  a  captain  of  the  guards  of  the 
Viceroy  of  Aragon,  under  whose  patronage  he  was 
placed  as  a  disciple  of  Miguel  Manrique,  a  Fleming, 
who  had  been.educated  in  the  school  of  Rubens. 
He  afterwards  studied  at  Madrid,  under  Alonso 
Cano,  and  became  a  very  reputable  artist,  adopting 
a  style  that  partook  of  the  character  of  both  his 
masters,  uniting  with  the  grandeur  and  correctness 
of  Alonso  Cano  the  splendid  and  brilliant  colouring 
of  the  head  of  the  Flemish  School.  His  principal 
works  are  at  Malaga,  Granada,  and  Cordova.  In 
the  church  of  La  Caridad  at  Malaga,  is  a  fine  pic- 
ture of  '  The  Triumph  of  the  Cross ' ;  and  in  the 
cathedral,  '  The  Ascension  of  Christ,'  and  '  The 
Assumption  of  the  Virgin.'  At  Cordova,  in  the 
cloister  of  the  Augustines,  there  are  some  pictures 
of  the  life  of  the  founder  of  the  order,  and  several 
portraits,  which  are  compared  by  Palomino  to  those 
of  Van  Dyok.     He  died  at  Malaga  in  1698. 

GUGLIELMI,  Geegoeio,  a  painter  born  at  Rome 
in  1714,  was  a  pupil  of  Conca ;  but  he  was  little 
known  in  his  native  city  on  account  of  his  having 
gone  when  young  to  Vienna,  Dresden,  and  St. 
Petersburg.  He  executed  a  few  frescoes  in  the 
hospital  of  Santo  Spirito  at  Borne,  but  others  that 
gained  more  attention  in  the  cities  named  above,  as 
well  as  at  Augsburg  and  in  the  castle  of  Schon- 
brunn.  His  works  in  oil  were  feebler.  He  died, 
at  St.  Petersburg  in  1773. 

GUIBAL,  Nicolas,  a  painter  and  architect,  born 
at  Lun^ville  in  1725,  was  the  son  of  Barthdlemy 
Guibal,  a  sculptor.  He  worked  at  first  at  sculp- 
ture under  his  father,  but  afterwards  abandoned  it 
for  painting,  and  studied  under  Claude  Charles  at 
Nancy,  but  came  in  1741  to  Paris,  and  then  studied 
under  Natoire.  In  1745  he  was  made  a  pensioner 
of  the  Academy,  and  won  the  second  prize.  In 
1749  he  proceeded  to  Stuttgart,  and  in  1752  Duke 
Charles  Eugene  seilt  him  to  Rome  with  a  com- 
mission to  execute  for  him  four  paintings.  He 
there  improved  himself  under  Rafael  Mengs,  so 
that  on  his  return  in  1766  he  was  appointed  by 
the  duke  first  court  painter  and  architect,  professor 
of  painting,  and  director  of  the  picture  gallery. 
He  was  made  an  Academician  in  1784,  on  the  com- 
pletion of  his  '  Aurora '  en  the  ceiUng  of  the  gallery 
of  Apollo  in  the  Louvre,  and  died  at  Stuttgart  in 
the  same  year.  His  best  work  is  the  ceiling 
above  the  marble  staircase  in  the  Palace  at  Stutt- 
gart. Other  paintings  by  him  are  in  the  bath- 
house at  Schwetzingen,  in  the  former  dining-hall 
of  the  Academy  (now  the  king's  private  library), 

609 


G-uichard 


A   BIOGRAPHICAL   DICTIONARY  OF 


Ckiignet 


in  the  halls  at  Hohenheim  and  Monrepos,  in  the 
Ordenskapelle  of  Ludwigsbiirg  Castle,  and  in  the 
churches  of  Gmund,  Zwiefalten,  and  Solothurn. 
Guibal  wrote  the  'IJloge  de  Mengs'  (1780),  and 
'  Eloge  de  Nicolas  Poussin '  (1783). 

GUICHARD,  Joseph  Alexandre,  a  French 
marine  painter,  born  at  Marseilles  about  1830,  was 
a  pupil  of  Isabey  and  Durand-Brager.  He  died 
in  his  native  city  in  1877.  Amongst  his  works 
are  : 

Souvenir  of  Villafranca.     1866. 

The  Fisherman's  lleturn.     1869, 

Sunrise  at  the  Martigues.     1870. 

The  Marriage  of  Camaoho. 

GUIDI,  Rafeaello,  an  Italian  engraver,  was 
born  at  Florence  in  1540,  and  died  probably  about 
1613.  His  plates  are  executed  entirely  with  the 
graver,  M'hich  he  handled  in  a  masterly  manner, 
and  from  his  style  it  would  appear  that  he  was 
instructed  by  Cornelis  Cort  or  Agostino  Carracoi. 
The  following;  are  his  principal  prints  : 

David  playing  on  the  Harp ;  after  Giuseppe  Cesari. 

Daedalus  and  Icarus  ;  after  the  same. 

The  Crucifixion  ;  after  Christoph  Schwartz. 

The  Entombment  of  Christ ;  afte?'  F,  Barocci. 

^neas  carrying  his  father  Anchises ;  after  the  same, 

Jupiter ;  after  Polidoro  da  Caravaggio, 

Vulcan ;  after  the  same. 

The  Madonna  seated,  distributing  Eose  Garlands  to 
various  Ecclesiastical  Orders. 

GUIDI,  ToMMASO,  commonly  called  Masaccio, 
the  son  of  the  notary  Ser  Giovanni  di  Simone 
Guidi,  was  born  at  Castel  San  Giovanni  di  Val- 
darno,  in  1401,  and  is  thought  by  some  to 
have  studied  under  Masolino.  That  he  was  pre- 
cocious in  the  display  of  his  talent,  is  shown  by 
the  fact  that  about  1417  he  went  to  Rome,  where 
he  received  a  commission  from  Cardinal  San 
Clemente  to  decorate  a  chapel  that  still  bears 
his  name.  Masaccio  painted  there  a  '  Crucifision,' 
and  diflEerent  scenes  drawn  from  the  lives  of  St. 
Catharine  and  St.  Clement.  When  at  Rome  he 
painted  several  pictures,  amongst  others  one  which 
represented  '  Pope  Martin  V.  with  the  Emperor 
Sigismund  and  the  Virgin,  between  four  Saints,' 
which  was,  in  after  years,  much  admired  by 
Michelangelo.  In  1421  he  wa^  received  into  the 
Guild  of  the  Speziali  at  Florence,  and  twice 
painted  the  portrait  of  Giovanni  di  Bicci  de' 
Medici,  who  returned  to  power  in  Florence  in 
1420.  In  the  interval  extending  from  1423  to 
1428,  he  adorned  the  Brancacci  Chapel  in  the 
Carmine  with  frescoes,  twelve  in  number,  which 
represent  scenes  drawn  from  the  Bible,  and  from 
the  life  of  St.  Peter ;  these  prove  his  great  skill  as 
an  artist,  and  also  that  he  had  really  studied  the 
sister  arts  of  architecture  and  sculpture.  He  died 
at  Rome  about  1428,  at  the  early  age  of  twenty- 
six.  Masaccio' s  paintings  are  all  far  in  advance 
of  his  time,  and  foreshadow  the  rules  which  after- 
wards guided  art  in  the  16th  century.  Of  his 
other  paintings  and  frescoes,  not  previously  men- 
tioned, there  remain  at  the  Carmine  a  portion  of 
a  design  in  the  cloisters,  representing  part  of  a 
procession,  that  has  recently  been  recovered  from 
beneath  the  whitewash.  The  galleries  of  Berlin, 
Munich,  and  Modena  possess  paintings  attributed 
to  him,  and  the  National  Gallery  has  a  portrait 
considered  to  be  that  of  Masaccio  himself. 

GUIDO,  Asoanio,  an  Italian  engraver,  flourished 
about  the  year  1567.  There  is  a  print  by  him  of 
the  'Last  Judgment,'  after  Michelangelo,  rather 
smaller  than  the  plate  engraved  by  Martino  Rota, 


and  not  much  inferior  to  it  in  merit.     It  is  dated 
1567,  two  years  previous  to  that  by  Rota. 

GUIDO,  PiETEO  del  Signoe.    See  Gallinaei. 

GUIDO  da  SIENA.    See  Siena. 

GUIDO  RENL     See  Reni. 

GUIDO  RENI,  Eecoolin  di.    See  San  Giovanni. 

GUIDOBONO,  Baetolommeo,  called  'II  Prete 
di  Savona,'  was  bom  at  Savona  in  1654.  His 
father,  Giovanni  Antonio  Guidobono,  who  was 
majolica  painter  to  the  court  of  Savoy,  taught  him 
his  own  art.  He  then  became  a  priest,  (whence 
his  sobriquet,)  but  his  love  of  art  caused  him  to 
relinquish  that  office.  Having  seen  some  pictures 
by  Benedetto  Castiglione,  he  copied  them  with  so 
much  exactness,  that  it  was  difficult  to  distinguish 
the  reproductions  from  the  originals.  He  after- 
wards visited  Parma  and  Venice,  studying  the  works 
of  the  best  masters,  and  on  settling  at  Genoa,  he 
was  much  employed  in  that  city.  He  particularly 
excelled  in  painting  animals,  flowers,  and  fruit; 
and  he  was  no  despicable  designer  of  the  figure, 
as  he  has  shown  in  some  fabulous  subjects  in  the 
Palazzo  Centurioni.  Some  of  his  best  pictures  are 
in  the  Palazzo  Brignole  Sale  ;  among  them  that  of 
•Lot  and  his  Daughters.'  He  died  at  Turin  in 
1709. 

GUIDOLINO.    See  Piesolb,  Giovanni  da. 

GUIDONE  da  GHEZZO.     See  Siena,  Guido  da. 

GUIDOTTI,  Paolo,  called  '  II  Cavalieee  Bor- 
GHESE,'  was  born  at  Lucca  in  1569,  and  went  when 
young,  in  the  pontificate  of  Gregory  XIIL,  to 
Rome,  where  he  improved  the  instruction  already 
received  by  studying  the  great  works  of  art  in 
that  city.  He  was  employed  by  Sixtus  V.  in 
several  fresco  works  in  the  library  of  the  Vatican, 
in  the  Scala  Santa,  and  in  the  Palace  of  San  Gio- 
vanni in  Laterano.  He  distinguished  himself  as  a 
sculptor  as  well  as  a  painter ;  and  for  some  produc- 
tions in  that  art  was  honoured  by  Paul  V.  with  the 
permission  to  take  the  name  of '  Borghese,'  and  was 
made  a  knight  of  the  order  of  Christ.  He  was  also 
an  architect,  and  in  fact  he  boasted  of  the  know- 
ledge of  fourteen  arts ;  but  in  spite  of  all  these 
he  was  reduced  to  great  misery,  and  died  in  1629 
from  a  fall  while  attempting  the  additional  art  of 
flying.  There  are  several  of  his  works  in  the 
public  edifices  at  Rome.  In  San  Girolamo  degli 
Schiavoni,  is  a  picture  of  '  St.  Matthew ' ;  and  in  the 
cupola  of  Santa  Maria  de'  Monti,  the  '  Assumption 
of  the  Virgin.' 

GUIDUCCI,  Angelo,  a  landscape  painter  and 
etcher,  lived  at  Rome  about  1750.  He  engraved 
two  portraits  of  Joseph  II.  of  Austria,  and  others 
after  Van  Dyok,  as  well  as  two  plates  representing 
peasants. 

GUIGNET,  Jean  Adrien,  a  French  historical  and 
landscape  painter,  was  bom  of  French  parentage,  at 
Anneoy  in  Savoy  in  1816.  Against  his  father's 
wishes  he  went  to  Paris;  and  studied  under  his 
brother,  Jean  Baptiste  Guignet,  andT under  Blondel ; 
but  it  was  not  until  after  some  years  of  uphill  work 
that  he  succeeded  in  achieving  a  position.  In 
style  he  inclined  considerably  to  that  of  Decamps. 
He  died  in  Paris  in  1854.    Amongst  his  works  are : 

Moses  exposed  on  the  Nile.    1840. 

St.  John  the  Baptist  preaching.     1842. 

Salvator  Eosa  amongst  the  Brigands.    1S44. 

Joseph    explaining   Pharaoh's   Dream.    1845.  ■  CBoum 

Museum.) 
Xerxes  bewailing  his  Army.     1846. 
Don  Quixote  playing  the  Fool.     1848. 
Travellers  surprised  by  a  Bear. 
Hagar  in  the  Desert. 


Ouignet 


PAINTEBS  AND  ENGRAVEES. 


Ouizzardi 


Episode  in  the  Retreat  of  the  Ten  Thousand. 
The  Defeat  of  Attila  by  Aetius. 
Belshazzar's  Feast. 

GDIGNET,  Jean  Baptistb,  a  Prench  historical 
and  portrait  painter,  born  at  Autun  in  1810,  was 
the  brother  of  Jean  Adrian  Guignet,  and  studied 
under  Eegnault.  Ho  died  at  Viriville  in  1857. 
Amongst  his  portraits  are : 

General  Pajol. 

Gilbert  Louis  Duprez,  the  tenor. 

James  Pradier,  the  sculptor. 

6DIG0U,  v.,  a  French  engraver,  flourished 
about  the  year  1676.  He  engraved  some  bird's- 
eye  views  of  ch&teaux  and  other  buildings  in 
France,  which  are  executed  in  a  neat  but  stiff 
style.  He  also  engraved  several  portraits  for  books. 

GUILLAIN,  Simon,  a  French  sculptor,  who  for 
amusement  practised  etching,  was  born  in  Paris  in 
1581,  and  died  in  the  same  city  in  1668.  There 
are  the  following  prints  by  him : 

A  set  of  twenty  plates  of  the  Life  of  St.  James ;  after 

Anmhale  Carracci. 
Eighty  plates  of  the  Cries  of  Bologna ;  after  Annilale 

Carracci,  engraved  in  conjunction  with  Alessandro 

Algardi. 

6DILLAUME,  Le  FrSre,  known  as  '  Le  Prieur,' 
and  '  11  Prete  Gallo,'  was  a  French  painter,  who 
was  bom  at  Marseilles  in  1475,  and  died  at  Arezzo 
in  1537.  Being  implicated  in  some  criminal  affair, 
he  entered  holy  orders,  and  accompanied  Frere 
Claude  to  Rome,  and  there  assisted  him  in  his 
works  for  Pope  Julius  II.  He  was  afterwards 
employed  and  protected  by  Cardinal  Silvio  Pas- 
serini  at  Cortona,  and  he  visited  Florence,  Casti- 
glione,  Perugia,  and  Arezzo,  establishing  himself 
in  the  last-mentioned  town.  He  was  one  of  the 
best  glass  painters  in  his  time,  and  worked  equally 
well  in  oil  and  fresco.     Vasari  was  his  pupil. 

GUILLEBAULT,  Simon,  a.  French  historical 
painter,  was  born  at  Le  Mans  in  1636.  He  chiefly 
executed  Scriptural  subjects,  among  which  was 
'The  Triumph  of  the  Church,'  painted  for  his 
reception  at  the  Academy  in  1687.  He  died  at  Le 
Mans  in  1708. 

GUILLEMARD,  Sophie,  a  pupil  of  Eegnault, 
was  born  in  Paris  in  1780,  and  from  1801  to  1819 
exhibited  at  the  Salon  historical  pictures,  as  well 
as  some  portraits  and  genre  subjects ;  amongst 
them  were  '  Alcibiades  and  Glycerion,'  and  '  Joseph 
and  Potiphar's  Wife.'  The  date  of  her  death  is 
not  recorded. 

GUILLEMART,  — ,  was  an  obscure  French 
engraver,  who  was  chiefly  employed  in  engraving 
portraits  for  the  booksellers.  Among  others  is 
that  of  Setani,  Abb6  of  St.  Genevieve. 

GDILLEMIN,  Alexanbeb  Maeib,  who  was 
born  in  Paris  in  1815,  studied  under  Gros,  and 
became  a  painter  of  genre  subjects.  He  died  at 
Bois-le-Eoi,  near  Fontainebleau,  in  1880.  The 
following  are  a  few  of  his  works  : 

Huntsman  and  Milk-woman.     1844. 

The  old  SaUor.    1845. 

Sunday  Morning.    1864. 

La  Trilla ;  souvenir  of  Upper  Aragon.    1869. 

Los  Pordioseros ;  souvenir  of  Upper  Navarre.     1877. 

Sunday  Morning  in  Brittany. 

Women  of  the  Pyrenees. 

GUILLEMOT,  Albxandeb  Charles,  a  French 
historical  painter,  was  born  in  Paris  in  1786.  He 
was  a  pupil  of  AUais  and  of  David,  and  in  1808 
obtained  the  '  prix  de  Rome '  for  his  picture  of 
'Philip,  the  physician,  discovering  the  cause  of 

B  R    2 


Antiochus's  illness  in  his  love  for  Stratonice.'  In 
1819,  after  his  return  from  Rome,  a  first-class  medal 
was  awarded  to  Guillemot  for  his  picture  of '  Christ 
raising  the  Widow's  Son  at  Nain.'  His  last  im- 
portant work  was  the  'Stoning  of  St.  Stephen.' 
In  the  Palace  at  Compiegne  is  a  picture  of  '  Mars 
surprising  Rhea  Sylvia.'   He  died  in  Paris  in  1831. 

GUILLEROT,  — ,  a  French  landscape  painter, 
who  flourished  in  the  17th  century,  was  a  pupil 
of  Fouquieres,  and  worked  with  considerable  success 
under  Sebastien  Bourdon  at  the  Tuileries, 

GUILLO,  Vicente,  a  painter  of  the  Valencian 
school,  was  born  at  Alcala  de  Gilbert,  about  1660, 
and  at  one  time  lived  at  Barcelona.  The  hospital 
of  Santa  Tecla  at  Tarragona  possessed  a  good 
'  Adoration  of  the  Kings,'  dated  1690.  He  executed 
some  frescoes  in  the  Sagrario  of  his  native  town, 
in  the  hermitage  of  San  Pablo  at  Albocacer,  and 
in  the  church  of  San  Juan  del  Mercado  at  Valencia, 
where  he  is  said  to  have  died  in  1701  of  disap- 
pointment at  having  been  superseded  by  Palomino. 
Agustin  Guillo,  who  does  not  appear  to  have  been 
related  to  Vicente,  contributed  about  the  same 
time  some  indifferent  frescoes  to  the  same  church, 
and  to  the  Dominican  convent  at  Valencia.  The 
latter  left  a  son,  Floeencio  Guillo,  a  painter 
even  feebler  than  himself. 

GUINACCIA,  Deodato,  born  at  Messina  about 
the  year  1510,  became  the  best  and  most  renowned 
pupil  of  Polidoro  da  Caravaggio,  when  he  visited 
that  city,  after  the  sacking  of  Rome.  After  the 
death  of  Polidoro  he  was  engaged  to  complete  the 
fine  picture  of  the  '  Nativity,'  in  the  church  of 
Alto  Basso,  which  was  left  unfinished  by  that 
master.  In  the  church  of  the  Pellegrini  is  a  picture 
of  Guinaccia's  own  composition,  representing  the 
'Trinity,'  and  another  of  the  'Transfiguration'  is 
in  San  Salvatore  de'  Greoi.  He  founded  a  school 
which  flourished  for  a  long  time  in  Messina,  and 
many  of  its  scholars  attained  celebrity. 

GUIRRI,  Vicente,  a  native  of  Valencia,  became 
a  friar  in  the  Augustine  convent  of  that  city  in 
1608,  and  devoted  his  time  to  prayer  and  penitence, 
and  to  the  execution  of  devotional  pictures  within 
its  walls,  till  1640,  when  he  died. 

GUIRRO,  Francisco,  a  Spanish  historical  painter, 
was  born  at  Barcelona  in  1630,  and  died  there  in 
1700.  His  principal  work  was  a  '  St.  Monica,'  in 
the  convent  of  the  Recollets,  which  places  him  in 
the  first  rank  of  the  better  Spanish  artists. 

GUISONI,  Fbemo,  a  native  of  Mantua,  who 
worked  between  the  years  1540  and  1668,  was 
educated  in  the  school  of  Giulio  Romano.  He 
became  one  of  the  favourite  disciples  of  that 
great  master,  from  whose  cartoons  he  painted  in 
the  dome  of  the  cathedral  the  '  Calling  of  St.  Peter 
and  St.  Andrew  to  the  Apostleship,'  esteemed  one 
of  the  finest  compositions  of  Giulio.  In  the  church 
of  Sant'  Andrea,  there  is  a  fine  picture  of  his  own 
composition,  representing  the  '  Crucifixion.' 

GUISONI,  RiNALDO,  who  was  possibly  a  brother 
of  Fermo  Guisoni,  and  was  a  pupil  of  Giulio 
Romano,  flourished  at  Mantua  in  the  16th  century. 

GUITARD,  Pedro,  a  Spanish  painter,  was  born 
in  Catalonia  about  1540.  In  1676 — 79,  he  executed 
six  pictures  in  oil  from  the  life  of  St.  Peter,  for  the 
high  altar  of  the  church  of  San  Pedro,  at  Reus. 

GUIZZARDI,  Giuseppe,  an  Italian  painter,  bom 
at  Bologna  in  1779,  made  himself  famous  by  a 
picture  of  '  .fflsculapius,'  which  is  now  in  the 
Museum  of  that  city.  He  died  at  Bologna  in 
1867. 

6U 


Guldenmund 


A  BIOGRAPHICAL  DICTIONARY  OF 


Guttenberg 


GULDENMUND,  Hans,  an  old  German  en- 
graver on  wood,  flourished  at  Nuremberg  from 
about  1520  to  1540.  His  works  are  extremely 
numerous,  more  than  200  being  known,  of  which 
the  best  are, '  The  Triumphal  Procession  of  Charles 
V.  in  1537,'  and  a  bust  portrait  of  Hans  Sachs. 
The  first  work  which  brought  him  into  notice,  and 
which  appeared  in  1626,  was  an  emblematical  print 
of  '  The  Course  of  the  World,'  in  which  Greed,  as 
the  companion  of  Tyranny,  is  flaying  an  Ass,  which 
throws  out  its  legs,  and  brings  Dissimulation  to  the 
ground. 

GULIELMUS,  a  painter,  who  flourished  about 
1138,  worked  in  the  cathedral  of  Sarzana,  and  also, 
it  is  believed,  executed  the  figures  upon  the  fayade 
of  that  at  Modena. 

GULSTON,  Elizabeth,  was  an  English  amateur 
etcher  in  the  beginning  of  the  19th  century,  who 
copied  several  of  her  father's  collection  of  por- 
traits at  Ealing  Grove,  and  exhibited  at  the  Royal 
Academy  from  1795  to  1801.  She  died  before  1840. 
GULTLINGER,  Johannes  Gumpolt,  (Gdt- 
LiNGER,  or  GiLTLiNGEE,)  a  painter  of  the  15th 
century,  was  probably  born  at  Augsburg.  Several 
altar-pieces  by  him  are  still  in  St.  Ulrich's  Church 
in  that  city.  He  was  paid  400  florins  for  his 
work  upon  St.  Michael's  altar,  which  is  a  sufficient 
evidence  of  the  value  set  upon  his  productions. 
GUNDELACH,  Matthaus.  See  Gondolaoh. 
GUNKEL,  Friedrioh,  a  native  of  Cassel,  painted 
historical  subjects  in  the  style  of  Cornelius,  among 
which  may  be  named  the  '  Battle  of  the  Granicus.' 
He  died  by  suicide  at  Rome  in  1876. 

6UNST,  PlETER  VAN,  a  Dutch  line-engraver, 
was  born  at  Amsterdam  about  the  year  1667,  and 
died  in  1724.  He  worked  entirely  with  the  graver, 
and  from  the  style  of  his  prints,  it  is  probable  that 
he  formed  it  upon  tliat  of  the  Drevets.  His  best 
plates  are  his  portraits,  and  they  form  the  larger  part 
of  his  productions.  His  greatest  work  was  a  set  of 
ten  full-length  portraits,  after  Van  Dyek,  of  ^Charles 
I.,  his  Queen,  and  some  of  the  English  nobility. 
Arnold  Houbraken,  the  father  of  the  celebrated 
engraver  of  that  name,  came  to  England  to  make 
the  drawings  from  the  pictures.  Van  Gunst  also 
engraved  a  set  of  portraits  for  Larrey's  '  History  of 
England.'     The  following  are  his  principal  plates : 

POETEAITS   AFTER   VAN   DTCK. 
Charles  I. 

Queen  Henrietta  Maria. 
William  Villiers,  Viscount  Graudison. 
Lucy  Percy,  Countess  of  Carlisle. 
Viscount  Chaworth. 
Margaret  Smith,  Lady  Herbert. 
Ann,  Countess  of  Chesterfield. 
Lady  Wharton. 

Elizabeth,  Countess  of  Lindsey. 
Arthur  Goodwin,  of  Winchendon,  Bucks. 


VAEIOTTS  POETEAITS. 

King  William  III. ;  afUr  Brandon. 

Queen  Mary  II. ;  after  the  same. 

Queen  Anne;  after  Kneller. 

George,  Prince  of  Denmark  ;  after  Wissing. 

John  Churchill,  Duke  of  Marlborough;  after  A.  van 

der  Werff. 
George  I. ;  after  Kneller. 
Earl  of  Peterborough ;  after  the  same. 
John  Locke  ;  after  Gremhill. 
John  Dryden ;  after  Mley. 

He  also  engraved  nine  plates  of  the  '  Loves  of  the 
Gods,'  after  Titian,  the  same  subjects  that  Smith 
has  scraped  in  mezzotint. 
612 


GUNTHER,  Christian  Atjgttst,  a  designer  and 
etcher  on  copper,  was  born  at  Pirna  in  1760,  and 
died  at  Dresden  in  1824.  He  first  drew  from 
nature,  but  Professor  Zingg  observed  his  talent 
and  took  him  into  his  school.  His  coloured  draw- 
ings won  much  admiration  at  the  Dresden  Aca- 
demical exhibitions.  He  also  painted  portraits  in 
pastel.  His  etchings  were  mostly  landscapes — 
among  them  are  'The  Baggage  Waggon,'  after 
Zingg,  and  two  after  Wouwerman  and  Dietrich 
for  the  third  volume  of  the  Dresden  Gallery. 

GUNTHER,  Matthaus,  (or  Matha  Gindtee,) 
was  born  at  Bisenberg  in  Bavaria  in  1705,  and  after 
studying  under  Cosmas  Damian  Asam  in  Munich, 
took  to  imitating  the  style  of  Johann  Holzer,  with 
whom  also  he  passed  some  time.  He  was  director 
of  the  old  Academy  at  Augsburg,  where  he  died  in 
1791.  His  best  known  productions  were  ceiling 
pictures  in  churches  and  halls. 

GURK,  Eduaed,  an  Austrian  painter,  born  at 
Vienna  in  1802,  accompanied  the  Archduke  Fried- 
rich  on  the  expedition  to  Syria,  and  on  remaining 
there  for  the  sketching  of  memorable  spots,  he 
died  of  the  plague  in  1841.  His  chief  works 
are  architectural  views  in  water-colours,  which 
are  in  the  possession  of  the  Emperor  of  Austria. 

GUTEKDNST,  Johann  Gottlob,  a  painter  and 
photographer,  was  born  at  Tiibingen  in  1801.  He 
manifested  an  early  taste  for  art,  and  received  assist- 
ance from  King  William  of  Wiirtemberg,  which 
enabled  him  to  study  for  three  years  in  Italy, 
and  at  the  end  of  that  term  he  adorned  his  patron's 
pleasure-palace  at  Rosenstein  with  frescoes  repre- 
senting the  story  of  '  Cupid  and  Psyche.'  After 
1849  he  associated  photography  with  water-colour 
painting.     He  died  at  Stuttgart  in  1858. 

GtJTERBOCK,  Leopold,  was  a  German  genre 
painter,  who  died  at  Berlin  in  1881.  His  mediaeval 
subjects  are  often  very  humorous. 

GUTIERREZ,  Est  acid,  was  a  native  of  Val- 
ladolid,  who  was  appointed  painter  to  Philip  III. 
in  1605.     He  died  at  Madrid  in  1609. 

GUTIERREZ,  Gennaro,  engraved  some  plates 
for  the  '  Museo  Fiorentino,'  and  a  large  upright 
plate  of  the  '  Virgin  and  Infant  in  the  Clouds,' 
after  Carlo  Maratti,  executed  in  a  neat  style,  in 
the  manner  of  Johann  Jakob  Frey,  though  in- 
ferior.    He  flourished  about  the  year  1760. 

GUTIERREZ,  Jdan  Simon,  was  bom  in  Seville 
about  1644,  and  succeeded  in  copying  MuriUo's 
style  of  colouring  so  exactly  that  it  is  sometimes 
difficult  to  distinguish  their  productions.  The 
drawing  of  his  pictures,  however,  is  very  inferior. 
In  the  Liverpool  Institution  is  a  picture  of  '  St. 
Francis  in  ecstaoy,'  and  in  the  Seville  Gallery  one 
of  '  Christ  surrounded  by  the  Virgin  and  Angels.' 

GUTIERREZ,  El  Licenciado  Pedro,  was  a 
Spanish  engraver  who  lived  at  Granada  about  the 
middle  of  the  17th  century.  Engravings  by  him 
are  contained  in  the  '  Life  of  St.  Euf  rasio,'  by  An- 
tonio Torrones  de  Robres,  published  in  1657. 
GtJTLINGER,  Johannes  Gumpolt.    See  Gult- 

LINGEB. 

GUTTBNBERG,  Heinrich,  a  German  engraver, 
the  brother  and  pupil  of  Karl  Gottlieb  Guttenberg, 
was  bom  at  Wohrd,  near  Nuremberg,  in  1749. 
Through  his  pupils  Geissler  and  Reindel  he  founded 
a  new  school  of  engraving  at  Nuremberg.  He  lived 
many  years  in  Paris,  returning  home,  however,  on 
the  outbreak  of  the  Revolution,  but  again  repairing 
to  the  French  capital  after  order  was  restored.  He 
died  at  Nuremberg  in  1818.     He  engraved  several 


Guttenberg 


PAINTERS  AND  ENGRAVERS. 


Haag: 


plates  in  the  style  of  his  brother ;  among  them  are 
the  following : 

St.  Francis ;  after  Eemirandt. 

The  Burgomaster ;  after  the  same. 

Oharles  V. ;  after  Van  Byck. 

The  Deposition  from  the  Cross ;  after  liubens. 

The  Women  below  the  Gateway ;  after  Bega. 

A  Dutch  Family ;  after  the  same. 

A  Eepose  in  Egypt ;  after  Barocci. 

A  Mountainous  Landscape ;  after  Dietrich. 

6UTTENBBRG,  Karl  Gottlieb,  a  German  en- 
graver, was  born  at  Wohrd,  near  Nuremberg,  in 
1743.  He  was  the  elder  brother  of  Heinrioh 
Guttenberg,  and  a  pupil  of  J.  G.  Wille,  at  Paris, 
and  has  engraved  several  plates,  in  the  neat  style 
of  that  artist.  From  1780  till  the  Revolution  he 
lived  in  Paris,  but  afterwards  returned  to  Nurem- 
berg, where  he  died  in  1790.  His  principal  works 
were  the  plates  he  executed  for  the  '  Voyage  pitto- 
resque  du  Royaume  de  Naples,'  by  the  Abbe  de 
St.  Non.    There  are  also  by  him : 

Portrait  of  Catharine  II.,  Empress  of  Eussia;  after 

Rotari. 
"Wilhelm  Tell ;  after  Fussli. 
Le  petit  Boudeur ;  after  Greuze. 
L'Invocation  a  I'AJaiour ;  aftei^  Theolon. 
The  Chemist ;  after  Mieris. 
The  Dance ;  after  P.  Bol. 
The  Evening  Party ;  after  Memhrandt. 
The  Death  of  General  Wolfe ;  neatly  copied  from  the 

print  by  Woollett. 
Two  Views  in  Switzerland ;  after  Schutz. 
The  Eruption  of  Moute  Novo ;  after  FrayonarC 
The  Harbour  of  Ostend. 

6UTTBNBRUNN,  L.,  was  a  native  of  Dresden, 
•who  came  to  England  about  the  year  1789.  He 
painted  portraits  and  small  historical  subjects,  and 
exhibited  at  the  Royal  Academy  from  1790  to 
1795,  when  he  went  to  St.  Petersburg,  by  the  recom- 
mendation of  the  Russian  Ambassador.  He  was  a 
member  of  the  Academy  of  Florence,  whence  it 
may  be  presumed  that  he  had  studied  in  Italy. 

6DYARD,  Adelaide.    See  Vincent. 

GUYOT,  Ladeent,  a  French  engraver,  bom  in 
Paris  in  1756,  was  a  pupil  of  Le  Grand  and  Tillard. 
He  died  in  1806. 

GUZMAN,  JosEP  CoBO  y.     See  Cobo. 

GUZMAN,  Juan  de,  known  as  Fray  Juan  del 
Santisimo  Sacramento,  was  bom  at  La  Puente  de 
Don  Gonzalo,  near  Cordova,  in  1611.  After  study- 
ing some  time  at  Cordova  he  went  to  Rome,  but 
did  not  devote  much  attention  to  the  antique,  or 
the  works  of  Raphael ;  colouring,  and  mathematics 
as  applicable  to  architecture  and  perspective,  being 
his  chief  objects.  He  returned  to  Spain  in  1634, 
and  went  to  reside  in  SeviUe ;  where  he  signalized 
himself  more  by  turbulence,  and  dexterity  in  the 
management  of  arms,  than  in  the  skilful  use  of  the 
pencil.  The  consequence  was,  that  having  taken 
part  in  a  revolt,  and  having  been  unsuccessful,  he 
was  obliged  to  seek  refuge  in  the  convent  of  the 
Carmelitas  Calzados,  or  Shod  Carmelites,  and  assume 
the  habit  as  a  lay  brother.  His  restless  character 
caused  him  soon  to  be  sent  from  that  establishment 
to  the  Carmelitas  Desoalzos,  or  Barefooted  Carmel- 
ites, and  he  received  orders  to  reside  in  the  convent 
of  Aguilar,  where  a  severer  discipline  efEeoted  a 
change  in  his  behaviour,  and  he  now  appeared  in 
the  character  of  a  humble  and  pious  monk.  He 
took  the  name  of  Fray  Juan  del  Santisimo  Sacra- 
mento, and  had  permission  to  exercise  his  talent 
as  a  painter  in  decorating  the  walls  of  the  con- 
vent, and  other  establishments  appertaining  to  the 


order.  At  intervals  he  employed  himself  in  trans- 
lating Pietro  Aocolti's  '  Practical  Perspective '  from 
Italian  into  Spanish,  to  which  he  added  notes  cor- 
recting the  errors  of  the  author;  and  it  is  said 
that  he  even  engraved  plates  illustrative  of  the 
work,  which,  however,  was  never  published.  In 
1666  he  went  to  Cordova  to  paint  pictures  for 
the  monastery  of  his  order  in  that  city,  which 
he  accomplished  so  much  to  the  satisfaction  of  the 
bishop,  that  he  retained  him  to  decorate  his 
episcopal  palace,  and  other  places  in  his  diocese. 
He  remained  at  Cordova  till  1676,  when  he  returned 
to  his  convent  at  Aguilar,  where  he  died  in  1680. 
His  merit  as  a  painter  is  but  small. 

GUZMAN,  Pedro  de,  called  Guzman  el  Coxo 
('the  lame'),  was  a  Spanish  painter  of  the  begin- 
ning of  the  17th  century,  a  pupil  of  Patricio  Caxes, 
who  was  also  court-painter  to  Philip  III.,  and 
helped  to  decorate  for  him  the  Palace  of  El  Pardo. 

GWINN,  James,  born  in  the  county  of  Eldare, 
was  originally  a  coach  painter.  He  came  to 
London  in  1765,  and  gained  his  livelihood  by 
decorating  the  lids  of  snufi-boxes  in  enamel.  He 
fell  into  great  want,  and  was  found  dead  in  his 
room  in  1769. 

GYLES,  Henry,  a  glass  painter,  who  also 
painted  historical  subjects  and  landscapes,  worked 
chiefly  at  York,  where  he  resided  from  1640  to 
1700,  and  established  a  school  of  glass  painting. 
His  own  portrait  in  crayons,  by  himself,  is  in  the 
British  Museum. 

GYSBRECHTS,  Cornelius  N.,  was  a  painter  of 
Hamburg  at  the  beginning  of  the  17th  century. 
In  Sohleissheim  Palace  is  a  painting  by  him  of 
'  Transiency,  with  her  Attributes,'  by  the  side  of 
his  own  portrait ;  whilst  in  Augsburg  there  is  a 
'  Vanitas '  by  him.  He  succeeded  well  with  sub- 
jects of  still-life,  of  which  specimens  are  to  be 
seen  in  the  Cassel  Gallery. 

GYSELS,  Peeter,  (Gysens,  Gyzels,  or  Gyzens,) 
a  Flemish  painter,  bom  at  Antwerp  in  1621,  was  a 
pupil  of  J.  Boots.  He  entered  the  Guild  of  St.  Luke 
in  1642,  becoming  a  master  therein  in  1649,  and 
was  most  successful  in  painting  flowers,  fruit,  still- 
life,  and  small  landscapes.  He  died  at  Antwerp  in 
1690  or  1691.    Among  his  best  works  are: 

Amsterdam.  Museuin.    A  Town. 

Antwerp.  Gallery.  Still  Life  (known  as  '  Le  Oercueil 
de  Pierre  Gysels '). 

Berlin.  Gallery.    View  of  a  VjUage  Street. 

Brussels.  Gallery.    Dead  Game  in  a  Landscape. 

Dresden.  Galleiy.    Five  Rustic   Scenes,  two   Laud- 

scapes,  and  one  still-life  piece. 

Hague.  Museum.    Game,wifch  Hunting  Implements. 

London.         Bute  Coll.    Dead  Game. 

Petersburg.  Hermitage.    A  Garden. 


H 

HAACH,  LuDVi^iG,  a  German  historical  painter, 
was  born  at  Dresden  in  1813,  and  entered  the 
Academy  there  in  1830.  In  1837,  having  studied 
under  Hildebrandt  at  Dusseldorf,  he  painted  his 
famous  'Christ  in  the  Storm,'  and  'Isaac  and 
Eebekah.'  His  last  work, '  The  Three  Kings  before 
Herod,'  he  left  unfinished.  He  went  in  1841  to 
Rome,  where  overwork  brought  on  an  illness,  from 
which  he  died  in  the  following  year.  He  left  eight 
plates  of  etchings. 

HAAG,  Geoeg  Marcel,  a  German  historical  and 
portrait  painter,  was  born  at  Bopfingen  in  Wur- 
temberg  in  1652.    He  first  studied  under  H.  Schon- 

613 


Haag 


A   BIOGEAPfllCAL    DICTIONARY   OF 


Haastert 


feld  at  Augsburg,  but  afterwards  went  for  improve- 
ment to  Rome,  and  then  to  Venice,  where  he  became 
influenced  by  Paolo  Veronese.  On  his  return  in 
1682,  he  painted  for  the  principal  church  at  Nord- 
lingen  a  picture  of  '  Mary  Magdalene  washing  the 
Saviour's  Teetwith  her  Tears.'  He  also  executed 
an  '  Epitaphium '  to  his  father  at  Bopfingen,  where 
he  died  in  1719.  He  painted  likewise  several  good 
portraits. 

HAAGr,  J.  F.  C,  a  German  portrait  painter,  was 
painter  to  William.  Prince  of  Orange,  and  heredi- 
tary Stadtholder  of  Friesland,  whom  he  accom- 
panied to  the  Hague,  when  he  became  Stadtholder 
of  the  United  Provinces.  He  died  at  the  Hague 
in  1759. 

HAAG,  Tethaet  Philipp  Christian,  a  son  of 
J.  P.  G.  Haag,  was  born  at  Cassel  in  1737.  He  was 
instructed  by  his  father,  and  painted  portraits  and 
other  subjects  ;  but  he  excelled  in  painting  horses, 
by  which  he  gained  a  great  reputation.  He  was 
appointed  Director  of  the  Academy  at  the  Hague, 
where  he  died  in  1812. 

HAAN,  David  De.     See  Db  Haan. 

HAANEBRINK,  Willem  Albertos,  a  Dutch 
genre  painter,  was  born  at  Utrecht  in  1762.  He 
painted  conversation  pieces,  and  formed  a  choice  col- 
lection of  the  drawings  of  contemporary  masters, 
which  was  dispersed  after  his  death.  He  was  a 
member  of  the  Academy  of  Amsterdam,  and  secre- 
tary of  the  College  of  Design  at  Utrecht,  where 
he  died  in  1840. 

HAANEN,  Caspaeis,  who  was  born  at  Maestricht 
in  1778,  painted  interiors  of  churches.  In  1812  he 
was  living  at  Oosterhoudt,  but  in  1830  he  removed 
to  Amsterdam,  where  ho  died  in  1849.  His  sons, 
George  Gillis  and  Remigius,  painted  respectively 
genre  subjects  and  landscapes,  and  his  daughters, 
Elisabeth  Alida  and  Adriana  Johanna,  genre  sub- 
jects and  flowers. 

HAANEN,  Elisabeth  Alida,  afterwards  Kibes, 
born  at  Utrecht  in  1809,  was  at  first  a  pupil  of 
her  brother,  George  Gillis  Haanen,  and  at  a  later 
period  painted  from  life.  She  was  especially 
successful  in  conversation  pieces  with  light  falling 
upon  them.  In  1838  she  was  made  an  honorary 
member  of  the  Academy  of  Arts  at  Amsterdam, 
where  she  died  in  1845. 

HAANSBERGBN,  Johannes  van.    See  Haens- 

BEEGEN. 

HAARLEM,  Coenelis   van.      See    Coknblisz, 

COENELIS. 

HAARLEM,  Geeeit,  or  Geehaed  van,  called  also 
Geeetgen  van  Sint  Jans  (a  diminutive  of  Gerrit 
van  Sint  Jans,  which  name  was  probably  applied 
to  Gheerardt  David,  a  greater  pupil  of  the  same 
instructor) — in  English  Geeaed  of  St.  John,  and  in 
Italian  Geeaedo  da  San  Giovanni — is  believed  to 
have  lived  about  the  period  from  1460  to  1488,  and 
to  have  been  a  pupil  of  Albert  van  Ouwater,  who 
was  apparently  the  earliest  Dutch  painter  of  whom 
anything  authentic  is  known.  He  obtained  the 
narne  of  '  Sint  Jans '  from  the  monastery  of  the 
Knights  of  St.  John  at  Haarlem,  where  he  chiefly 
resided,  though  not  a  monk.  According  to.  Van 
Mander  he  lived  only  the  twenty-eight  years  above 
named,  yet  he  executed  several  admired  works. 
The  best  of  them  was  a  triptychon  altar-piece  in 
the  church  of  St.  John  at  Haarlem.  The  principal 
picture  represented  the  '  Crucifixion,'  and  on  the 
folding-doors  were  the  '  Descent  from  the  Cross ' 
and  the  'Resurrection.'  The  expression  of  grief  on 
the  faces  of  the  Maries  and  the  Apostles  was  superior 

614 


to  any  production  of  the  time.  The_  Munich  Gal- 
lery contains  a  very  similar  altar-piece,  together 
with  the  two  wings  of  a  third.  In  the  cathedral 
of  Haarlem  there  is  a  view  of  that  edifice  painted 
by  him.  Two  pictures  in  the  Vienna  Gallery  are 
also  attributed  to  Geertgen;  one  represents  'The 
Legend  of  the  Bones  of  St.  John  the  Baptist,'  and 
the  other  is  a  '  Pieta.'  This  last  is  in  the  style  of 
Quontin  Massys.  There  is  but  little  doubt  that  he 
painted  the  '  Expiatory  Offering '  in  the  Amsterdam 
Museum,  as  well  as  the  '  Adoration  of  the  Magi ' 
in  the  Museum  at  Prague,  and  '  Christ  in  the  tomb 
surrounded  by  the  instruments  of  the  Passion,'  in 
the  Archiepisoopal  Museum  at  Utrecht.  In  the 
Gallery  at  Modena  is  a  '  Crucifixion '  assigned  to 
this  artist,  the  composition  of  which  is  confused, 
but  it  is  executed  in  a  careful,  though  hard  and 
mechanical,  manner. 

HAARLEM,  Thiebet  db.     See  Bouts,  Dieeick. 

HAAS,  Cheistian  Petee  Jonas,  a  Danish  en- 
graver, the  son  of  Jonas  Haas,  was  born  at  Copen- 
hagen in  1754,  but  the  date  of  his  death  is  not 
known.  He  was  a  pupil  of  Preisler,  and  engraved 
portraits  and  illustrations  to  books  of  travels. 

HAAS,  JoHAN  Jakob  Geoeg,  a  Danish  engraver, 
and  son  of  Jonas  Haas,  was  bom  at  Copenhagen 
in  1756.  He  attended  the  Academy  of  that  city, 
and  in  1776  obtained  the  large  gold  medal  for 
his  engraving  of  '  The  Prophet  Elisha  upon  Mount 
Carmel,'  after  his  own  design.  He  then  en- 
graved the  plates  to  Biehl's  translation  of  'Don 
Quixote.'  In  1777  he  proceeded  to  Paris,  and  com- 
pleted his  studies  under  Nicolas  de  Launay.  In 
1782  his  engraving  of  '  Hercules  causing  Diomede 
to  be  torn  to  pieces  by  his  own  Horses '  procured 
bis  election  to  the  Paris  Academy,  and  in  the  year 
following  he  obtained  the  same  honour  at  Copen- 
hagen, and  was  also  made  court  engraver.  He 
engraved  the  '  Review  of  Prince  Frederick  of 
Denmark,'  after  Lorentzen,  and  the  'Northern 
Scenes '  of  the  same  painter  •  also  the  allegorical 
pictures  of  Abildgaard  and  a  portrait  of  Winslov. 
He  died  in  1817. 

HAAS,  JoHAN  Meno,  a  Danish  engraver,  the  son 
of  Jonas  Haas,  was  born  at  Hamburg  in  1752.  He 
studied  under  his  father  and  at  the  Copenhagen 
Academy  under  Preisler,  and  afterwards  went  to 
Paris  to  complete  his  education  under  De  Launay. 
In  1786  he  was  appointed  to  engrave  the  pictures  in 
the  Berlin  Gallery,  and  after  this  he  worked  for 
booksellers  and  art  dealers.  He  was  made  a  mem- 
ber of  the  Academy  at  Berlin  in  1793,  and  died  in 
that  city  in  1833.  Among  his  chief  plates,  besides 
some  landscapes  after  Poelenborch,  there  are : 

The  Expulsion  of  Hagar ;  after  Govert  Flinck. 

The  League  ot  the  German  Princes;  after  Bmihard 

Rode.     1793. 
Frederick  the  Great  on  Horseback :  after  U.  L.  F.  Wolff. 

1808. 
Frederick  'WiUiam  II.,  King  of  the  Prussians;  after 

CitnninffJiam, 

HAAS,  Jonas,  an  engraver,  was  born  at  Nurem- 
berg in  1720.  He  went  to  Copenhagen,  where  he 
worked  for  the  booksellers,  and  died  in  1774. 

HAAS,  Petee,  a  fourth  sou  of  Jonas  Haas,  was 
a  pupil  of  Preisler,  and  engraved  portraits  and 
■  views  for  guide  books. 

HAAS,  William  Feedeeick  De.    See  De  Haas. 

HAASTERT,  Izaak  van,  a  Dutch  painter,  was 
born  at  Delft  in  1753.  He  was  instructed  by  a 
Venetian  painter  of  the  name  of  Geronimo  Lapis, 
who   resided   at    Delft,   and    he  became   a  good 


Habelius 


PAINTERS  AND  ENGRAVERS. 


Hackert 


painter  of  landscapes  and  views  of  cities,  as  well 
as  of  animals,  some  plates  of  which  he  engraved. 
He  was  at  the  same  time  a  poet  and  a  naturalist, 
and  he  translated  a  work  on  Physiognomy.  He 
died  at  Delft  in  1834. 

HABELIUS,  — ,  was  a  German  painter  of  the 
17th  century,  who  resided  at  Cologne,  and  by 
whom  there  is  in  the  Wallraf-Richartz  Museum  a 
picture  of  '  Two  Rat-catchers.' 

HABENSCHADEN,  Sebastian,  a  Bavarian 
animal  painter  and  etcher,  as  well  as  a  modeller  in 
wax  and  clay,  was  born  at  Munich  in  1813.  He 
was  first  instructed  by  the  enamel  painter  Adler, 
but  in  1829  he  attended  the  Munich  Academy,  and 
then  commenced  painting  animals  from  nature, 
pursuing  his  studies  in  the  neighbourhood,  as  well 
as  in  the  Alps.  He  also  etched  fifteen  plates  of 
animals.  He  died  at  Munich  in  1868.  Among  his 
best  paintings  are  the  following : 

Oows  at  Pasture.    1838. 

View  of  the  Alps.    1844. 

Cows  in  the  Stream.    1847. 

Hay-making.    1850. 

Morning  by  Land. 

Morning  in  the  Mountains.    1854. 

Female  Peasant  with  Cows. 

Kailway-malring  through  the  Forest.    1864 

HABERMANN,  Ignaz,  a  draughtsman,  was  a 
native  of  Pragae,  who  with  his  brother  Karl  made 
drawings  of  several  Bohemian  castles.  He  after- 
wards became  a  monk,  and  died  about  1810. 
Karl  Habeemann  died  about  1812. 

HABERT,  Nicolas,  a  French  engraver,  born 
in  Paris  about  the  year  1650,  was  much  em- 
ployed by  the  booksellers,  and  engraved  several 
portraits  of  literary  characters  and  other  celebrated 
persons.  He  also  engraved  an  emblematical  print, 
in  the  style  of  Antoine  Masson,  which  he  dedicated 
to  that  artist.   The  following  portraits  are  by  him: 

POETRAITS. 

James  II. ;  after  Kndler, 

Maria  Louisa  of  Orleans,  Queen  of  Spain ;  after  Philippe 

de  Champaigne. 
Oomelis  Jansenins,  Bishop  of  Ypres ;  after  the  same. 
Louis  Maimbourg,  a  celebrated  Jesuit;  after  his  own 

design.    1683. 
F61ix  Vialart,  Bishop  of  Chalons ;  after  the  same. 
John  Milton. 
John  Dun,  called  Scotus. 
Old  Parr.     1715. 

HABERZETTEL,  Joseph,  a  Russian  painter,  who 
was  a  German  by  birth,  lived  for  several  years  in 
England,  where  he  exhibited  a  picture  of  '  St.  John 
preaching  in  the  Wilderness,'  painted  in  1828.  He 
died  in  1853. 

HABRON,  a  Greek  painter,  whose  date  is  un- 
known, is  mentioned  by  Pliny  as  having  painted 
'  Friendship '  and  '  Concord,'  and  likenesses  of  the 
gods. 

HACCOU,  Johannes  Cobnelis,  born  at  Mid- 
delburg  in  1798,  was  a  student  of  the  Academy 
in  that  town,  and  at  the  same  time  a  pupil  of  J.  H. 
Koekkoek,  under  whom  he  made  rapid  progress. 
He  painted  winter  and  moonlight  scenes,  lakes 
with  vessels,  and  landscapes,  all  with  considerable 
talent.  After  visiting  France,  Germany,  and 
Switzerland,  he  established  himself  in  London, 
where  he  died  in  1839. 

HACKAERT,  Jan,  one  of  the  ablest  landscape 
painters  of  the  Dutch  school,  was  born  at  Amster- 
dam probably  in  1636,  but  it  is  not  known  by 
whom  he  was  instructed.  He  visited  Switzerland 
and  Germany,  and  there  painted  the  choicest  views 


from  nature.  On  his  return  to  Holland  he  executed 
some  admirable  landscapes  from  the  places  he  had 
visited,  in  which  there  is  an  extraordinary  effect 
of  sunshine  piercing  through  the  rocks  and  foliage. 
He  died  at  Amsterdam  in  1699.  Philip  Wouver- 
man,  Adriaanvan  de  Velde,  Jan  Lingelbach,  and 
Nicolaas  Berchem,  painted  figures  in  Hackaert's 
landscapes.  A '  Landscape,  with  Dogs  and  Hunters,' 
a  joint  work  of  Van  de  Velde  and  Hackaert,  in  the 
Steengracht  Collection  at  the  Hague,  is  of  great 
merit ;  and  there  is  a  similar  picture  in  the  Munich 
Gallery.  In  the  Dresden  Gallery  is  'A  Road  lead- 
ing by  a  group  of  lofty  Trees,  with  Figures  ; '  in 
the  Rotterdam  Museum,  a  'Mountainous  Land- 
scape,' with  figures  by  Lingelbach ;  in  the  Berlin 
Gallery,  an  'Italian  Landscape,'  with  figures  by 
Van  de  Velde  ;  and  in  the  Amsterdam  Gallery  there 
is  a  '  Forest,'  with  figures  by  Lingelbach,  and  the 
'Ash-tree  Avenue,'  a  sylvan  view  by  Hackaert, 
with  figures  by  Van  de  Velde,  a  subject  often 
repeated  by  these  two  artists.  There  is  a  '  Land- 
scape '  at  Stafford  House,  formerly  in  the  Orleans 
Gallery,  and  another  in  the  possession  of  Sir  Robert 
Loyd  Lindsay.  A  '  Stag  Hunt,'  with  figures  attri- 
buted to  Berchem,  is  in  the  National  Gallery. 
There  is  a  set  of  six  charming  etchings  of  land- 
scapes by  this  painter,  from  his  own  designs,  exe- 
cuted in  the  style  of  Waterloo,  but  far  inferior. 

HACKERT,  Georg  Abraham,  the  youngest 
brother  and  pupil  of  Jakob  Philipp  Hackert,  was 
bom  at  Prenzlau  in  1755,  and  was  instructed  in 
Berger's  school  at  Berlin.  lu  1782  he  entered  the 
service  of  the  King  of  Naples  in  conjunction  with 
his  eldest  brother,  and  in  1786  he  established  him- 
self as  a  printseller  and  engraver  at  Naples,  where 
he  died  in  1805.  He  engraved  several  landscapes 
and  views,  chiefly  from  the  designs  of  Jakob 
Philipp  Hackert ;  among  them  are  the  following  : 

View  of  the  Environs  of  Carpentras. 

The  Kuius  of  the  Aqueduct  at  Frejus. 

Two  Views  of  the  Kuins  of  the  Bridge  of  Augustus  at 
Nami. 

Two  Views  of  Tivoli. 

View  of  Eome,  from  the  Villa  Mellini 

View  of  Caatellammare. 

View  of  the  Bay  of  Naples. 

Morning  and  Evening ;  afto"  Gaspard  Poussin. 

HACKERT,  Jakob  Philipp,  a  Prussian  landsoapa 
painter  and  engraver,  was  born  at  Prenzlau  in 
Uckermark  in  1737.  He  was  the  son  of  a  portrait 
painter,  Philipp  Hackert,  who  gave  him  his  first  in- 
struction, and  in  1753  sent  him  to  Berlin,  where 
he  at  first  practised  decoration  with  his  brother, 
Johann  Gottlieb  Hackert,  and  then  studied  land- 
scape painting  at  the  Academy  under  Le  Sueur. 
In  1762  he  commenced  a  course  of  studies  from 
nature  at  Stralsund  and  the  adjacent  Prussian 
island  of  Rljgen ;  and  two  years  later  he  went  to 
Stockholm.  In  1765  he  repaired  to  Paris,  where  he 
met  with  so  much  employment  that  he  sent  for  his 
brother  Johann  Gottlieb  to  join  him  from  Berlin. 
Three  years  later  the  two  brothers  visited  Rome, 
and  in  1770  Naples,  where  they  painted  several 
views  of  an  eruption  of  Vesuvius.  While  in  Rome 
Jakob  Philipp  was  commissioned  by  the  Empress 
Catharine  II.  to  paint  a  picture  of  the  '  Victory  of 
the  Russian  Fleet  over  the  Turkish  at  Tchesme,  and 
the  Burning  of  the  latter.'  In  1774,  after  the  death 
of  his  brother,  he  paid  a  second  visit  to  Naples; 
after  which  he  travelled  in  Sicily,  Upper  Italy, 
and  Switzerland,  and  in  1782,  with  his  brother 
Georg  Abraham,  entered  the  service  of  the  King 
of  Naples.     He  was  afterwards  a  severe  sufferer 

616 


Haokert 


A   BIOGRAPHICAL  DIOTIONAR^  OF 


Haeskel 


from  the  military  turmoils  that  prevailed ;  but 
in  1803  he  was  able  to  purchase  a  small  estate 
in  the  vicinity  of  Florence,  in  which  city  he  died 
in  1807.  He  executed  an  immense  number  of 
oil  paintings  and  sepia  drawings,  besides  many 
pictures  in  gouache,  but  he  obtained  greater  re- 
putation than  he  deserved,  being  rather  a  clever 
mannerist  than  a  genius  in  art.  Four  of  his 
brothers  distinguished  themselves  as  artists.  Hack- 
ert  etched  a  variety  of  plates  from  his  own  designs, 
among  which  are  the  following  : 

Twenty-one  Views  in  Pomerania  and  the  Island  of 

Eiigen.    1763—1764. 
Six  Views  in  Sweden. 
Sis  Views  in  Norway. 

Four  Views  in  the  Kingdom  of  Naples,     Borne,  1779. 
Ten  Views  round  Horace's  Villa. 

HACKERT,  JoHANN  Gottlieb,  an  animal  painter, 
was  born  in  1744.  He  studied  in  Berlin  under  Le 
Sueur,  and  after  working  with  his  brother  Jakob 
Philipp  Haokert  in  Italy,  he  in  1772  came  to 
England,  and  exhibited  several  of  his  pictures  at 
the  Royal  Academy  in  1773,  in  which  year  he 
died  at  Bath. 

HACKERT,  Karl  Ludwig,  a  third  brother  of 
Jakob  Philipp  Hackert,  was  a  landscape  painter  in 
oil  and  gouache,  who  was  born  at  Prenzlau  in  1740. 
He  spent  some  time  with  his  brother  at  Rome,  but 
in  1778  he  settled  at  Geneva,  and  afterwards  at 
Lausanne,  where,  in  1800,  he  committed  suicide. 
There  is  a  picture  by  him  of  '  Geneva,'  dated  1782, 
in  the  South  Kensington  Museum. 

HACKERT,  WiLHELir,  the  fourth  brother  of  the 
above  family,  was  an  historical  and  portrait  painter 
who  was  born  in  1748,  and  worked  for  some  time 
under  Mengs.  He  afterwards  went  to  Russia,  where 
he  died  in  1780,  in  the  position  of  an  academical 
drawing-master. 

HADEMAR,  a  talented  miniaturist  of  the 
monastery  of  Reiohenau,  flourished  about  the 
year  912. 

HADFIBLD,    Maeia    Cecilia    Louisa.      See 

COSWAY. 

HADIK,  JoHANN  Baptist,  Count,  a  connoisseur 
of  painting,  who  was  born  in  1755,  and  held  the  post 
of  Imperial  Art-Chamberlain  at  Vienna,  executed 
some  historical  drawings  in  water-colours,  one  of 
which,  in  1785,  procured  his  election  as  an  honorary 
member  of  the  Academy. 

HAEBERLEIN,  Leonhaed,  a  German  fruit  and 
flower  painter,  flourished  in  the  17th  century.  He 
worked  at  Ulm  in  1643,  and  afterwards  at  Nurem- 
berg. 

HAEBICH,  JuHANN  Rudolph,  a  German  painter 
and  engraver,  the  son  of  Christoph  Haebich,  was 
born  at  Ulm  in  1683,  and  died  there  in  1722. 

HAECKEN,  Alexandeb  van,  a  Dutch  painter 
and  mezzotint  engraver,  was  born  in  1701,  and 
appears  to  have  been  living  in  1748.  He  resided 
some  time  in  London.  Several  of  his  portraits 
possess  considerable  merit;  among  other  plates  by 
him  are  the  following: 

The  Five  Senses  ;  after  Amigonl. 
George  II.,  King  of  Great  Britain  ;  after  the  same. 
Caroline  AVilhelmina,  his  Queen  ;  after  the  same. 
William  Augustus,  Duke   of   Cumberland;    after  the 

sajiie. 
Charles  Hamilton,  Viscount  Binning;  after  Richardson. 
James  Keith,  Prussian  Field-Marshal ;  after  Samsay. 
General  "Wade  ;  after  J.  van  der  Sanck. 
General  'Wentworth ;  after  Ramsay. 
Johanu  Christoph  Pepusch,  musician ;  after  C.  Lucy. 
Carlo  Broschi,  called  FarinelU ;  after  the  same. 
616 


HAEPTBN,  Nicolaas  van,  sometimes  called 
Walkaven,  a  painter  of  portraits  and  genre  sub- 
jects, and  an  engraver,  flourished  from  1677  to 
1709,  according  to  the  dates  on  his  prints.  Nothing 
of  his  history  is  accurately  known,  but  it  is  sup- 
posed tliat  he  was  a  native  of  Goroum.  His  sub- 
jects are  of  a  low  kind,  chiefly  of  smokers  and 
tipplers  of  both  sexes.  Weigel  mentions  thirty- 
nine  prints  by  him,  some  of  which  are  in  mezzo- 
tint, and  others  etched  and  fiuished  with  the  graver. 
He  painted  and  engraved  his  own  portrait,  which 
bears  his  name  and  that  of  the  place  of  his  birth. 
The  Suermondt  Collection  at  Aix-la-Ghapelle  has  a 
painting  of  '  Fish '  by  him. 

HAELSZEL,  Johann  Baptist,  a  German  fruit 
and  flower  painter,  was  born  in  1712,  and  died  in 
1777.  There  are  several  examples  of  his  art  in 
the  Vienna  Gallery. 

HAELWEGH,  Adeiaan,  apparently  a  son  of 
Albert  Haelwegh,  was  an  engraver  in  the  service 
of  the  Landgraves  George  II.  and  Louis  VI.  of 
Hesse.  There  are  plates  by  him  bearing  the  dates 
1662  and  1677.  The  portrait  of  Francesco  Maria 
of  Etruria  is  one  of  his  best  works. 

HAELWEGH,  Albert,  a  Flemish  engraver, 
was  born  about  the  beginning  of  the  17th  century, 
and  received  his  art  instruction  abroad.  He 
resided  some  time  at  Copenhagen,  where,  in  1647, 
he  was  appointed  court  and  university  engraver, 
and  executed  numerous  portraits  of  distinguished 
Danish  personages.  Between  1643  and  1672  he  is 
stated  to  have  produced  ninety-one  portraits  after 
Karel  van  Mander,  Wuchters,  and  Ditmar.  He 
died  at  Copenhagen  in  1673.  Among  other  por- 
traits, the  following  are  by  him : 

Christian  IV.,  King  of  Denmark ;  after  K.  van  Mander. 
Christian  V.,  King  of  Denmark  ;  after  A.  Wuchters. 
Sophia  Amelia,  Queen  of  Denmark ;  after  the  same. 
Louis,  Landgrave  of  Hesse-Oassel ;  after  Duarte. 
The  Duke  of  Argyll,  in  armour. 
Eev.  George  Walker,  Governor  of  Londonderry. 
Jacob  Oldenborg,  Piul.  Doct. ;  after  A.  Soubraken. 

HAEN,  Abraham  Db.     See  De  Haen. 

HAENDBL,  Maximilian,  a  portrait  painter,  was 
a  native  of  Bohemia,  who  was  bom  in  1696,  and 
died  in  1758. 

HAENSBERGEN,  Johannes  van,  a  Dutch  painter, 
born  at  Utrecht  in  1642,  was  a  scholar  and  imitator 
of  Cornells  Poelenborch,  whom  he  nearly  equalled 
in  the  delicacy  Of  his  pencil  and  clearness  of  his 
colouring,  though  inferior  to  him  in  design.  His 
landscapes  are  admired,  but  in  later  life  he  devoted 
himself  to  portrait  painting,  in  which  he  was  highly 
successful,  especially  with  the  heads  of  ladies.  He 
died  at  the  Hague  in  1705.  Among  his  pictures 
are  : 

Augsburg.       Gallery.    The  Man  with  the  Death's  Head. 
Berlin.  Gallery.     A  Portrait. 

Dresden.  Gallery.    Adoration  of  the  Shepherds. 

»  „  Adoration  of  the  Magi. 

»  „  The  Assumption. 

»  „  Angels  announcing  the  Birth  of 

Jesus  to  the  Shepherds. 


Stuttgart.        Gallery.    Diana  and  CalUsto. 

HAERT,  Henei  van  dee.    See  Van  dee  Haee'J'. 

HAESKEL,  — ,  a  Dutch  or  Flemish  portrait 
painter,  flourished  about  the  middle  of  the  17th 
century.  He  probably  visited  England,  as  some 
of  his  portraits  have  the  character  and  costume  of 
persons  of  distinction  in  this  country,  and  his 
manner  of  painting  has  a  strong  resemblance  to 
that  of  Dobson. 


Haf 


PAINTERS  AND  ENGRAVERS. 


Haid 


HAF,  JoHANN  LoBENZ,  a  wood-engraver,  was 
bom  at  Schwabisch  Hall  in  1737,  and  died  at  Berlin 
in  1802.  He  executed  some  silhouettes  which  met 
with  great  approbation,  and  three  series  of  cuts 
and  descriptions  of  animals,  published  at  Berlin 
in  1792. 

HAFFNER,  Anton  Maria,  the  son  of  a  Swiss 
soldier,  was  born  at  Bologna  in  1654.  He  studied 
figure-drawing  under  Canuti,  and  perspective  under 
Mitelli,  who  considered  him  one  of  his  best  pupils. 
He  went  with  Canuti  to  Rome,  and  painted  in  the 
church  of  San  Domenico  e  Sisto,  and  afterwards 
proceeded  to  Genoa,  where  he  painted  in  the 
Spinola  Palace.  While  decorating  the  church  and 
convent  of  St.  Philip  Neri  at  Genoa,  he  determined 
to  embrace  the  monastic  life.  His  last  work  was 
the  fresco  for  the  Balbi  Oratory  in  Genoa,  in 
which  city  he  died  in  1732. 

HAFFNER,  F^lix,  a  French  painter  of  land- 
scapes and  Alsatian  scenes,  was  born  at  Strassburg 
in  1818.  He  studied  under  Sandmann,  and  long 
resided  in  his  native  place,  but  after  the  Franco- 
German  War  of  1870  his  option  was  for  France, 
and  he  left  Alsace.  He  died  at  Mesnil-Amelot  in 
1875.    The  following  are  amongst  his  works : 

Gathering  Tobacco,  Alsace. 

Wild  Boar  ravaging  a  field  of  Maize. 

Groats  surprised. 

Fond  at  Meiuau,  near  Strassburg.    1857. 

Halt  of  Cripsies.    1858.    (Valenciennes  Museum. 

Market  of  Schelestadt. 

HAFFNER,  Johann  Christoph,  a  native  of 
Augsburg,  was  born  in  1668,  and  died  in  1754. 
He  executed  several  engravings,  and  by  him  we 
have  a  book  of  ornaments,  executed  in  a  coarse 
indifEerent  style. 

HAFFNER,  Johann  Heineich,  the  brother  of 
Anton  Maria  Haffner,  was  born  at  Bologna  in  1640, 
and  first  followed  his  father' s  profession  of  arms,  but 
afterwards  abandoned  it  for  art.  He  studied  under 
Canuti  and  Mitelli,  and  with  the  former  painted  in 
Rome  the  decorations  of  the  Altieri  and  Colonna 
palaces.  In  1696,  with  Franceschini  and  Quaini, 
he  was  summoned  to  Modena  to  decorate  the  Grand- 
Duke's  palace  with  frescoes.  In  Genoa  and  Savona 
he  worked  with  Guidobono.     He  died  in  1702. 

HAFFNER,  Mblchiok,  a  German  engraver, 
flourished  about  1680.  He  worked  principally  for 
booksellers,  and  his  chief  performance  was  a  set 
of  portraits  for  the  '  Templum  Honoris  reseratum,' 
published  at  Vienna  in  1678,  by  Theophilus 
Spizelius.  He  also  engraved  a  frontispiece  for  the 
'Bibliotheca  Realis  Universalis,'  published  at  Frank- 
fort in  1685,  which  represents  the  interior  of  a 
large  library. 

HAFNER,  Karl,  was  a  landscape  painter,  who 
died  at  Munich  in  1873.   His  best  works  comprise : 

Waterfall  at  the  Eochelsee. 

Mistj  Morning. 

Sketch  near  Brannenburg. 

Approaching  Storm  at  the  'Wendelstein. 

HAGEDORN,  Christian  Ludwig  von,  a  German 
amateur  engraver,  as  well  as  a  writer  upon  art, 
was  bom  at  Hamburg  in  1713,  and  was  a  brother 
of  the  poet  Friedrich  von  Hagedorn.  In  1763  he 
was  made  director  of  the  Academy  at  Dresden, 
and  died  in  that  city  in   1780.      He  sometimes 

marked  his  etchings  with  the  cipher  JJ).     The 
following  is  a  list : 
Six  sheets  of  Heads   and  Caricatures,   called  'Erster 
Versuch '  (First  Essay) ;  dated  1744. 


Six  sheets  of  studies  of  Heads,  containing  thirtv-six 

Heads;  dated  1744. 
Thirty-six  Landscapes ;  dated  1744  and  1745. 
Six  sheets,  containing  seven  Landscapes,  called  '  Neue 

Tersuch ' ;  dated  1765. 

HAGELSTEIN,  Jakob  Ernst  Thomann  von. 
See  Thomann  von  Hagelstein. 

HAGEMAN,  Carl  GosTAr,  a  Swedish  historical 
painter,  was  born  in  1806,  and  died  in  1868. 

HAGEN,  JoRis  VAN  DER.    See  Van  der  Hagen. 

HAGENS,  Christoph,  an  obscure  Dutch  en- 
graver, Jived  about  the  year  1644.  In  that  year 
he  engraved  a  portrait  of  Sir  William  Davidson, 
resident  in  Holland  for  Scotland,  drawn  by  himself, 
from  the  life,  at  Amsterdam. 

HAGER,  Christoph,  was  a  landscape  painter, 
who  was  for  forty  years  in  the  service  of  the  court 
of  Wiirtemberg.     He  died  in  1806. 

HAHN,  GnsTAV  Adolph,  a  German  painter,  was 
born  at  Altenburg  in  1819,  and  died  at  Dresden 
in  1872.  There  in  by  him  in  the  Dresden  Gallery 
a  view  of  '  Kriebstein  Castle,  in  Saxony.' 

HAHN,  Herman  van,  a  Dutch  painter,  was  bom 
about  1636.  There  is  by  him  a  picture  of  '  Dead 
Game  '  in  the  Vienna  Gallery. 

HAID,  Johann  Blias,  the  son  of  Johann  Jakob 
Haid,  was  born  at  Augsburg  in  1739,  and  instructed 
in  mezzotint  engraving  by  his  father.  Besides  a 
number  of  portraits,  he  executed  prints  after  Cara- 
vaggio,  Cranaoh,  Rembrandt,  and  other  masters. 
He  died  in  1809.  The  following  are  some  of  his 
principal  prints : 

portraits. 

Johann  Jakob  Haid,  painter  and  engraver ;  after  Grajf, 
Anton  Graff, painter;  after  himself .    1766. 
Johann  Koella,  painter ;  after  himself.    1776. 
Johann  Winkelmann ;  after  Liotard.    1782. 

SHBJECTS. 

The  Nativity ;  after  Membrandt. 

The  Baising  of  Lazarus ;  after  the  same. 

The  Old  Man  giving  Admonition ;  after  Joseph  Christ. 

HAID,  Johann  Gottfried,  the  brother  of  Johann 
Lorenz  Haid,  was  born  at  Augsburg  in  1710,  and 
was  instructed  by  his  brother.  He  came  to  England 
when  he  was  young,  and  engraved  some  plates  in 
mezzotint  for  Boydell.  He  also  executed  several 
plates,  which  possess  great  merit,  after  his  return 
to  Germany.  He  died  at  Vienna  in  1776.  The 
following  are  among  his  principal  prints : 

PORTRAITS. 

George  II.,  King  of  Great  Britain. 

Maria  Theresa,  Empress  of  Germany. 

Joseph  II.,  Emperor  of   Germany;    after    Weickart. 

1770. 
Lord  Camden  ;  afiei^  Sir  Joshua  Reynolds. 
Garrick,  in  the '  Farmer's  Eeturn  ' ;  after  Zoffany. 
Foote,  in  the  character  of  Major  Sturgeon;  after  the 

same. 
Jacques  Antoine  Arlaud,  painter ;  afteir  LaryilUere. 

SUBJECTS  AFTER  VARIOUS   MASTERS. 

Virginia ;  a,fter  Sir  Nathaniel  Dance. 

Absalom's  Submission  to  his  Father ;  after  F.  Bol. 

Abraham  offering  up  his  son  Isaac ;  after  Bembrandt. 

HAID,  Johann  Jakob,  a  German  portrait  painter, 
and  engraver  in  mezzotint,  who  was  born  at  Siissen, 
rear  Geisslingen,  in  the  duchy  of  Wiirtemberg,  in 
1703,  went  when  young  to  Augsburg,  where  he 
became  a  pupil  of  Ridinger.  He  painted  portraits 
with  success,  and  distinguished  himself  by  his 
plates    for  the   'Pinacotheoa   Scriptorum   nostra 

617 


Haid 


A  BIOGRAPHICAL  DICTIONARY  OF 


Halbou 


setate  literis  illustrium,'  which,  to  the  number  of  one 
hundred,  with  lives  written  by  Jakob  Bruolcer,  were 
published  in  folio  at  Augsburg,  in  1741-66.  He 
died  at  Augsburg  in  1767.  He  engraved  in  all 
some  300  mezzotint  portraits,  as  well  as  some 
historical  subjects.  Among  his  best  prints  are  the 
following : 

Carl  Ludwig,  Count  of  Hohenlolie. 

Ohristoph  Friedrieh,  Baron  7on  Seckendorf. 

Felix  Meyer,  painter. 

Egidius  Yerhelst,  sculptor, 

Johann  Karl  Hedlinger,  medallist. 

Marcus  Friedrich  Kleinert,  painter. 

Georg  Brandmiiller,  painter. 

HAID,  Johann  Lorenz,  a  painter,  designer,  and 
mezzotint  engraver,  was  born  at  Augsburg  in  1702, 
and  died  in  the  same  city  in  1760.  He  was  a  pupil 
of  Georg  Philipp  Rugendas,  and  worked  extensively 
in  the  atelier  of  Gottlieb  Heiss.  One  of  his  best 
paintings  was  his  portrait  of  Magdalena,  widow  of 
Mathias  Gross. 

HAID,  Johann  Philipp,  an  engraver,  son  of 
Johann  Lorenz  Haid,  was  born  at  Augsburg  in 
1730.  He  resided  with  his  uncle  Johann  Gottfried 
at  Vienna  for  several  years,  and  on  his  return  to 
Augsburg  was  appointed  teacher  in  the  art  school. 
He  died  in  1806. 

HAID,  Makianna,  a  miniature  painter,  was  born 
at  Danzig  in  1688.  She  was  the  daughter  of  a 
famous  goldsmith  at  Berlin,  and  in  1705  she 
married  the  painter  Christoph  Joseph  Werner,  and 
settled  at  Dresden,  where  she  died  in  1763. 

HAILLEGOURT,  Caroline  Anne,  a  French 
miniature  painter,  was  born  at  Metz  in  1817,  and 
died  in  the  same  city  in  1869.  She  was  a  pupil 
of  Madame  de  Mirbel  and  of  Mar^chal,  and  ex- 
hibited at  the  Salon  from  1840  to  1863. 

HAINES,  William,  an  English  miniature  painter, 
born  in  1778,  exhibited  at  the  Royal  Academy 
from  1808  to  1840,  when,  having  succeeded  to  some 
property,  he  retired  to  East  Brixton,  where  he  died 
in  1848. 

HAINES,  William  Henry,  a  landscape  and 
genre  painter,  was  a  frequent  contributor  to  the 
Royal  Academy,  British  Institution,  and  Society 
of  British  Artists  from  1843.     He  died  in  1884. 

HAINZEL,  Johann  Ferdinand,  a  Bavarian  his- 
torical painter,  was  born  at  Augsburg  in  1621, 
and  died  in  the  same  city  in  1671.  He  was  first 
instructed  by  Strauss,  and  afterwards  went  to 
Italy.     His  works  were  much  esteemed. 

HAINZELMANN,  Elias,  a  German  engraver, 
was  born  at  Augsburg  in  1640.  After  learning  the 
first  principles  of  design  in  his  native  city,  he 
went  to  Paris,  where  be  became  a  pupil  of  Fran- 
9ois  de  Poilly,  whose  style  he  followed  with  great 
success.  He  died  at  Augsburg  in  1693.  Although 
not  very  correct  in  drawing,  his  prints,  and  par- 
ticularly his  portraits,  possess  great  merit.  The 
following  are  among  his  best  plates : 

poeteaits. 
St.  Francis  Xavier. 

Aegidius  Strauch,  Theologise  Doctor;   after  A.  Stech. 
Marcus  Huber,  Eeipubl.  Augustanse  Senator. 
David  Thomann  von  Hagelstein,  Juris  consultus  :  after 

F.Demve. 
Carl,  Baron  von  Friesen. 
Gabriel  Miller,  Juris  consultus ;  after  J.  U.  Mayr. 

SUBJECTS   AFTER   VARIOUS   MASTERS. 

The  Virgin  presenting  Pinks  to  the  Infant  Jesus ;  after 

Raphael. 
Christ  appearing  to  Mary  Magdalene ;  after  Alhani. 

I;  o""^  praying  before  a  Crucifix ;  after  Dommichino. 

618 


The  Virgin,  with  the  Infant  sleeping,  and  St.  John, 

called  the '  Silence; '  after  Annihale  Carracci. 
The  Holy  Family,  with  St.  John  presenting  a  Lamb  to 

the  Infant  Christ ;  after  Sibastien  Bourdon. 
The  Holy  Family,  with  the  Virgin  washing  Linen ;  after 

the  same. 
The  Holy  Family,  with  St.  John  presenting  an  Apple  to 

the  Infant  Jesus ;  after  the  same. 

HAINZELMANN,  Johann,  born  at  Augsburg 
in  1641,  was  the  brother  of  Elias  Hainzelmann, 
whom  he  accompanied  to  Paris.  He  was  instructed 
by  Fran5ois  de  Poilly.  He  afterwards  became 
court  engraver  at  Berlin,  in  which  city  he  died  in 
1693.  There  are  by  him  a  variety  of  subjects 
after  various  masters,  as  well  as  a  number  of 
portraits,  among  which  are  the  following: 

POETEAITS. 

John  III.  Sobieski,  Eing  of  Poland ;  J.  Hainzelman  del, 

et  sculp.    1684. 
The  Elector  Frederick  William ;  after  De  Clerck. 
Philippe  Dufour,  Chevalier.    1682. 
J.   B.   Tavernier,    Baron    d'Aubonne,  in   an  oriental 

dress  ;  J.  Hainzelman  del.  et  sculp.  1679. 
Claude  Le  Peletier,  Minister  of  State.  1687. 
M.  F.  Le  Tellier,  Marquis  de  Louvois;  after F.  Voet. 

SUBJECTS   AFTEE   VAEIOUS   MASTEBS. 

The  Infant  Jesus  embracing  the  Virgin ;  after  Annibale 

Carracci. 
The  Virgin  and  Child,  with  St.  John ;  after  J.  Guille- 

bault. 
The  Annunciation ;  after  Sehastien  Bourdon. 
The  Holy  Family  ;  after  the  sarnie. 
The  Bepose  in  Egypt ;  after  the  same. 
Christ  and  the  Woman  of  Samaria ;  af^er  N.  Foussin, 

HAKBWILL,  John,  a  landscape,  portrait,  and 
decorative  painter,  was  born  about  1740.  He 
studied  under  Wale,  and  in  the  Duke  of  Rich- 
mond's Gallery,  and  obtained  prizes  from  the 
Society  of  Arts  in  1763  and  1764.  Some  of  his 
portraits  appeared  at  the  Spring  Gardens  Exhibi- 
tions from  1766  to  1773.  His  chief  practice  was  in 
house-decoration.     He  died  in  1791. 

HAKEWILL,  Maeia  C,  a  portrait  painter,  was 
born  in  the  latter  part  of  the  18th  century.  She 
married  James  Hakewill,  the  architect,  whom  she 
accompanied  to  Italy,  where  they  spent  two  years, 
1816  and  1817,  and  she  exhibited  at  the  Royal 
Academy,  British  Institution,  and  Society  of  British 
Artists,  between  1808  and  1838.  She  died  at 
Calais  in  1842. 

HAL,  Jacob  van,  a  Flemish  historical  painter, 
was  inscribed  in  the  Guild  of  St.  Luke  at  Antwerp 
in  1681-82,  and  became  its  dean  in  1705.  He  was 
the  master  of  Jacob  De  Wit,  and  died  in  1750. 
There  was  a  '  Nativity '  by  him  in  the  Jesuit 
College  at  Antwerp,  and  there  is  still  in  the  church 
of  St.  Jacques  'The  Fall  of  the  Manna.' 

HAL,  Nicolas  van,  was  born  at  Antwerp  in 
1668,  and  died  in  1738.  His  early  historical 
pictures  were  esteemed,  but  his  later  productions 
are  not  held  in  much  estimation.  He  also  intro- 
duced nymphs  and  genii  into  the  pictures  of 
Hardime  and  other  flower  painters. 

HALBEECK,  Jan  van,  a  Dutch  engraver,  who 
worked  first  in  Paris,  and  afterwards  at  Copenhagen, 
engraved  a,  variety  of  prints,  among  them  a  set 
of  grotesque  ornaments,  dated  1618,  and  a  large 
plate  of  the  Heads  of  the  Roman  Emperors,  from 
Julius  Caesar  to  Ferdinand  II.    He  died  about  l630. 

HALBOU,  Louis  Michel,  a  French  engraver, 
born  in  Paris  in  1730,  was  a  pupil  of  N.  G.  Dupuis, 
and  was  living  in  1803.  He  executed,  among 
others,  the  foUotving  plates : 


Halbreiter 


PAINTERS   AND  ENGEAVERS. 


Hall 


Le  jeune  Aubergiste  ;  after  Coquelet. 
Le  galant  Boulanger ;  after  the  same. 
Le  Buveur  trop  grave ;  after  F.  Mieris. 
La  Toilette  du  Savoyard  ;  aften-  Murillo. 
Le  Temps  perdu ;  after  P.  A.  Wille. 
Les  Intrigues  amoureuses ;  after  Schenau. 
Le  beau  Oommissaire ;  after  Eisen. 
La  jolie  Oharlatane  ;  after  the  same. 
Le  Sultan  galant ;  after  Jeaurat. 
La  Sultane  favorite  ;  after  the  same. 

HALBREITER,  Uleich,  was  bom  at  Freising  in 
1812.  He  belonged  to  the  school  of  Cornelius,  and 
at  first  worked  at  the  frescoes,  after  that  master, 
of  Patriarchs,  Prophets,  and  Ecclesiastics  in  the 
Ludwigskirche  at  Munich,  as  well  as  the  Fathers 
of  the  Church  after  Hermann.  After  this  lie  spent 
three  years  at  Athens,  painting  historical  pictures  in 
the  Royal  Palace.  He  next  travelled  till  1845  in 
Egypt,  Syria,  and  Palestine,  in  the  course  of  which 
tour  he  made  numerous  historical  and  architectural 
sketches,  including  a  'Panorama  of  Jerusalem 
from  the  Mount  of  Olives,'  and  the  '  Holy  Hand- 
kerchief for  King  Louis's  Album.  He  afterwards 
established  a  silversmith's  workshop  in  Munich, 
where  he  died  in  1877.  His  principal  oil-paintings 
were  the  '  Coronation  of  the  Virgin '  and  the 
'Ascension  of  the  Virgin'  (1851). 

HALDENWANG,  Christian,  a  German  land- 
scape engraver,  born  at  Durlaoh  in  1770,  was 
articled  to  Cliristian  von  Mechel,  an  engraver 
and  dealer  in  art  goods  at  Basle.  He  lived  five 
years  in  this  establishment,  destitute  of  every 
means  that  could  promote  his  education  as  an 
artist ;  for  it  was  rather  a  factory  than  a  school 
of  art.  The  examples  set  before  him  were  only 
French  engravings,  or  pieces  of  Mechel  manu- 
facture. He,  however,  obtained  a  sight  of  some 
of  Middiman's  '  Select  Views  in  Great  Britain,' 
and  others  by  WooUett,  which  were  probably 
presents  from  those  artists  to  Mechel.  The  sight 
of  these  prints  excited  in  Haldenwang  a  desire 
to  imitate  them,  and  he  determined  to  make  Wool- 
lett  his  model.  During  the  latter  part  of  his  time 
he  made  some  attempts  at  aquatint,  which,  though 
injurious  to  his  health,  had  beneficial  results ;  for 
some  well-executed  works  of  this  class  obtained  the 
notice  of  the  Chalcographic  Society,  and  he  went 
to  Dessau  in  1796,  where  he  remained  for  eight 
years,  producing  many  beautiful  landscapes,  and 
improving  his  skill  in  that  style  of  engraving. 
The  reputation  he  acquired  induced  the  Margrave 
Charles  Frederick  of  Baden  to  appoint  him  en- 
graver to  the  court  of  Carlsruhe,  but  during  the 
time  the  French  had  the  ascendancy  in  Germany, 
he  was  obliged  to  work  for  the  booksellers.  It  was 
then  that  he  executed  the  views  in  the  '  Rhenish 
Pocket-book,'  and  the  two  masterly  engravings 
for  the  '  Travels  in  Brazil '  of  Prince  Maximilian 
of  Neuwied.  He  also  executed  four  landscapes, 
after  Claude  and  Ruisdael,  for  the  '  Mus6e  Napo- 
leon.' He  died  at  Bad  Rippoldsau  in  1831.  His 
best-known  engravings  are : 

Two  'Waterfalls ;  after  Ruisdael. 

The  Four  Divisions  of  the  Day  ;  after  Claude  Lorrain. 

The  Return  of  the  Cattle ;  after  the  same, 

Landscape  with  Diogenes ;  after  Foussin. 

The  Flight  into  Egypt ;  after  Elsheimer. 

HALDER,  Cheistoph,  who  was  born  in  1592, 
and  died  at  Nuremberg  in  1648,  was  a  pupil  of 
Georg  Gartner.  There  is  by  him  a  picture  of 
'  Ruins '  in  the  Dresden  Gallery. 

HALEN,  Arknt  van,  (Latinized  Aquila  — 
'  Arend '  meaning  '  a  sea  eagle,')  was  a  painter, 


engraver,  and  modeller  in  wax,  who  excelled  in 
mezzotint.  He  painted  and  engraved  the  portrait 
of  Lambert  Bidlo,  the  poet,  and  started,  under 
the  title  of  '  Pan  Poeticon  Batavura,'  a  collection 
of  portraits  of  Dutch  poets,  of  which  200  are  by 
himself.  He  died  at  Amsterdam  in  1732.  His  best 
portraits  are  those  of  Jan  van  Huysum,  Gerard  de 
Lairesse,  and  Isaak  Moucheron.  He  marked  his 
plates  Aquila  fecit  (or  sculpsit),  or  A.  V.  H. 

HALEN,  PiETBE  VAN,  a  landscape  painter,  flour- 
ished at  Antwerp  about  1660.  His  landscapes,  in 
which  he  sometimes  imitated  Claude,  were  generally 
enlivened  with  a  number  of  small  figures.  Several 
of  his  pictures  were  brought  to  England,  but  they 
are  now  rare.  It  is  said  that  he  also  painted 
historical  and  bacchanalian  subjects. 

HALES,  John.     See  Hatls. 

HALFPENNY,  Joseph,  a  water-colour  draughts- 
man, who  was  born  at  Bishopsthorpe  in  1748, 
worked  for  several  years  as  a  house  painter  at 
York,  but  afterwards  taught  drawing.  He  pub- 
lished '  Gothic  Ornaments  in  the  Cathedral  Church 
of  York,'  1795,  and  'Fragmenta  Vetusta,'  1807. 
There  is  in  the  South  Kensington  Museum  a  water- 
colour  drawing  by  him  of  '  The  Bridge,  Fountains 
Abbey.'     He  died  in  1811. 

HALL,  Charles,  a  line-engraver,  was  born  about 
1720.  He  was  brought  up  as  a  writing  engraver, 
but  he  aspired  to  a  higher  branch  of  art,  and  he 
was  much  employed  in  engraving  portraits,  coins, 
inedals,  and  other  antiquities.  He  died  in  London 
in  1783.  His  portraits  are  his  best  works :  among 
them  are  the  following : 

Thomas  Howard,  Earl  of  Surrey. 

Henry  Fitzallan,  Earl  of  Arundel ;  after  Holbein. 

Catharine,  Marchioness  of  Buckingham ;  after  Magda- 

leva  van  de  Fasse. 
Mary  Sidney,  Countess  of  Pembroke ;  after  Simon  van 

de  Fasse. 
Sir  Francis  "Wortley,  Bart. ;  after  Hertocks. 
Sir  George  Barnes,  Lord  Mayor  of  London. 
William  Harvey,  Clarencieux  King  at  Arms. 
Thomas  Goodrich,  Bishop  of  Ely,  Lord  Chancellor. 
Queen  Mary ;  after  Marshal. 
Sir  Anthony  More ;  after  the  same. 
Alexander  Sterling ;  after  the  same. 

HALL,  James,  a  Scottish  advocate  and  amateur 
portrait  painter,  the  son  of  Sir  James  Hall,  Bart., 
was  born  in  1797.  He  was  more  a  patron  of  art 
than  an  artist,  and  he  greatly  befriended  Wilkie 
in  his  earlier  days,  before  he  had  made  a  name. 
After  the  death  of  the  painter  he  presented  his 
palette  to  be  placed  on  the  pedestal  of  the  statue 
erected  to  the  memory  of  Wilkie,  in  the  hall  of  the 
National  Gallery.  Hall  was  an  occasional  exhibit- 
or of  landscapes  at  the  Royal  Academy,  and  also 
at  the  British  Institution,  between  the  years  1835 
and  1854,  but  he  did  not  give  enough  attention  to 
painting  to  become  a  very  successful  artist.  He 
painted  a  full-length  portrait  of  Sir  Walter  Scott 
(whose  MS.  of  '  Waverley  '  Hall  gave  to  the  Advo- 
cates' Library,  Edinburgh),  and  also  received  sit- 
tings from  the  Duke  of  Wellington.  He  died  at 
Ashiestel,  Selkirkshire,  in  1854. 

HALL,  John,  a  line-engraver,  was  horn  at 
Wivenhoe,  near  Colchester,  in  1739.  He  came  to 
London  at  an  early  period  of  his  life,  and  having 
exhibited  considerable  talent  for  drawing,  was 
placed  under  the  care  of  Ravenet,  the  engraver, 
with  whom  at  the  same  time  was  W.  W.  Eyland. 
There  is  still  extant  a  pen-and-ink  drawing  by  Hall, 
executed  at  the  age  of  seventeen,  which  only  a 
good   judge    could  distinguish   from   engraving: 


Hall 


A  BIOGRAPHICAL   DICTIONARY   OF 


Hallez 


the  subject  is  'Two  Children  with  a  Cat,'  from 
a  French  print.  His  first  friends  in  London  were 
Sir  Stephen  Theodore  Jansen,  and  Jonas  Hanway. 
On  the  decease  of  Woollett  he  was  appointed 
historical  engraver  to  George  III.,  upon  which 
occasion  he  presented  to  the  king  his  print  of  the 
'  Battle  of  the  Boyne.'  He  executed  also  several 
plates  for  the  collection  of  Alderman  Boydell.  Hall 
died  in  Soho  in  1797.  His  portrait  by  Gilbert  Stuart 
is  in  the  National  Portrait  Gallery.  The  following 
are  his  principal  plates  : 

POETEAITS. 

Pope  Clement  IX. ;  after  Carlo  Maratti.     Vl&J. 

Sir  Robert  Boyd,  Lieutenant-Governor  of  Gibraltar. 

William  Warburton,  Bisbop  of  Gloucester ;  after  Hoare, 

Richard  Chenevix,  Bisbop  of  Killaloe. 

Bicbard  Brinsley  Sheridan ;  after  Sir  Joshua  Reynolds. 

Edward  Gibbon  ;  after  the  same. 

Sir  William  Blackstone  ;  after  Gainsiorough. 

George  Colman ;  after  the  same. 

SUBJECTS  AFTEK   VABIOUS   MASTERS. 

Timon  of  Athens ;  after  Dance. 

William  Penn  treating  with  the  Indians  for  the  Province 

of  Pennsylvania;  after  West. 
Oliver  Cromwell  dissolving  the  Long  Parliament ;  after 

the  same. 
The  Death  of  the  Duke  of  Schomberg  at  the  Battle  of 

the  Boyne ;  after  the  same. 
Venus  relating  to  Adonis  the  Story  of  Hippomenes  and 

Atalanta ;  after  the  same. 

HALL,  John  H.  ,  an  American  engraver,  born  at 
Cooperstown,  Ne.v  York, began  engraving  in  1826. 
He  afterwards  practised  at  Albany  and  Lancaster, 
from  whence  he  removed  to  New  York.  In  1849 
he  went  to  California,  where  he  died.  He  executed 
some  engravings  for  a  '  Manual  of  Ornithology  of 
the  United  States  and  Canada.' 

HALL,  PiEREE  Adolphe,  a  French  portrait 
painter,  who  worked  in  oil  and  pastel,  as  well  as 
in  miniature  and  enamel,  was  born  at  Boras,  in 
Sweden,  in  1739,  and  studied  under  the  German 
masters  Eckhardt  and  Eeiohhardt.  He  settled  in 
Paris  in  1760,  and  exhibited  many  of  his  works  at 
the  Salon  from  1769  to  1789,  but  on  the  outbreak 
of  the  Revolution  he  left  France,  and  his  name 
was  inscribed  on  the  list  of  "  Emigres."  He  died  in 
penury  at  Li%e  in  1793.  Hall  displayed  a  wonder- 
ful delicacy  of  outline,  and  great  taste  in  colour- 
ing, so  much  so  that  he  has  been  called  the  Van 
Dyck  of  miniature  painters.  In  the  Louvre  there 
are  miniatures  by  him  of  the  Prince  of  Conti  and 
of  a  young  lady. 

HALLBLAD,  Erik,  a  Swedish  painter,  was  born 
at  Fahlun  in  1720.  He  went  to  Stockholm  in  1737, 
where  after  three  years  he  entered  the  studio  of 
the  painter  Olof  Arenius,  but  his  chief  success  was 
in  the  restoration  of  pictures.     He  died  in  1814. 

HALLE,  Claude  Guy,  a  French  historical  painter, 
was  born  in  Paris  in  1652,  and  studied  under  his 
father,  Daniel  Hall6.  He  became  an  Academician 
in  1682,  his  reception  work  being  'The  Ee-establish- 
ment  of  the  Catholic  Religion  at  Strassburg,'  now 
in  the  orthopedic  establishment  at  Chaillot.  In 
1687  he  painted,  as  a  'mai'for  the  cathedral  of 
Notre-Dame,  '  Christ  driving  the  Money-changers 
out  of  the  Temple.'  For  the  same  church  he  painted 
one  of  his  best  works,  representing  the  'Annun- 
ciation.' He  worked  for  the  Palaces  of  Meudon 
and  Versailles,  and  supplied  some  designs  for  the 
tapestry  manufactory  of  the  Gobelins,  among  which 
was  'The  Submission  of  the  Doge  of  Genoa  to  Louis 

620 


XIV.,'  which  is  now  at  Versailles.  He  died  in 
Paris  in  1736.  In  the  Louvre  is  'St.  Paul  pre- 
venting the  Jailor  of  Lystra  from  killing  himself,' 
a  finished  sketch  for  a  picture  painted  for  the 
church  of  St.  Germain-des-Pr^s. 

HALL:^,  Daniel,  a  French  painter,  born  at 
Rouen,  was  in  1631  received  as  a  sworn  apprentice 
in  the  corporation  of  master-painters  of  that  city. 
Among  his  works  are  a  picture  of  '  St.  John  about 
to  be  thrown  into  the  Caldron  of  boiling  Oil,' 
presented  in  1662  as  a  '  mai '  to  the  cathedral  of 
Notre-Dame  by  the  corporation  of  Goldsmiths ; 
'  The  Birth  of  Christ,'  in  the  Rouen  Museum  ;  and 
'  The  Miracle  of  the  Loaves,'  in  St.  Ouen  at  Rouen. 
He  died  in  Paris  in  1675. 

HALLE,  Noel,  the  son  and  scholar  of  Claude 
Guy  Halle,  was  bornin  Paris  in  1711.  He  was  the 
pupil  of  Restout,  and  obtained  the  first  prize  of 
the  Academy  in  1736,  with  means  to  go  to  Rome. 
He  was  received  into  the  Academy  in  1748,  on 
which  occasion  he  presented  '  The  Dispute  between 
Minerva  and  Neptune  as  to  the  name  of  Athens,' 
now  at  Fontainebleau.  In  1771  he  was  made  sub- 
inspector  of  the  tapestry  manufactory  of  the 
Gobelins,  and  in  1775  director  of  the  French 
School  at  Rome,  and  in  1777  he  obtained  the  cross 
of  the  order  of  St.  Michael.  He  died  in  Paris  in 
1781.  His  best  painting  is  'St.  Vincent-de-Paul 
preaching,'  in  the  church  of  St.  Louis  at  Versailles. 
There  are  by  this  painter  a  few  etchings  from 
his  own  designs,  among  which  are  'Antiochus 
thrown  from  his  Chariot,'  and  a  companion  print. 
In  the  Louvre  are  his  pictures  of  '  Autumn,' '  Cimon 
the  Athenian  inviting  the  People  to  enter  his  Gar- 
dens,' and  '  The  Genii  of  Poetry,  History,  Php'sic, 
and  Astronomy.' 

HALLEMAN,  Thomas,  a  Dutch  portrait  and  his- 
torical painter,  flourished  at  Rotterdam  about  1691, 
but  little  is  known  of  his  life. 

HALLER,  Philip?,  a  native  of  Innsbruck,  was 
bom  in  1698,  and  died  in  1772.  He  studied  at 
Venice  under  Piazzetta,  in  whose  style  he  painted 
several  altar-pieces  and  portraits. 

HALLER  VON  HALLERSTBIN,  Cheistoph 
Jakob,  a  miniature  painter  and  etcher,  bom  at 
Hilpoltstein,  near  Nuremberg,  in  1771,  was  de- 
signed for  the  law,  but  evincing  a  taste  for  art, 
he  was  placed  under  HeidelofE  at  Stuttgart.  He 
afterwards  visited  Switzerland,  painting  many 
views  there,  and  in  1799  he  went  to  Berlin,  where 
he  drew  portraits  upon  vellum,  painted  upon  ivory, 
and  was  employed  by  the  royal  family.  In  Berlin 
alone  he  painted  284  portraits  in  three  years,  and 
executed  61  drawings,  64  engravings,  and  795 
sketches.  In  1812  he  was  in  Paris,  and  was  next 
made  keeper  of  the  picture  gallery  at  Nuremberg. 
He  engraved  182  plates,  of  which  five  are  church 
pictures,  six  are  views  of  Berlin,  and  twelve  are 
playing  cards.     He  died  at  Nuremberg  in  1839. 

HALLET,  GiLLES.     See  Al4. 

HALLEZ,  Germain  Joseph,  a  Belgian  portrait 
painter,  was  born  at  Frameries,  near  Mons,  in  1769. 
He  studied  at  the  Mons  School  of  Design,  where 
he  obtained  every  possible  prize,  and  then  devoted 
himself  to  portraits  in  pastel,  crayons,  and  oil. 
He  travelled  all  over  France  in  company  with  an 
art  dealer,  and  on  his  return  he  was  summoned 
to  Brussels  to  paint  the  Emperor  of  Austria  and 
other  exalted  personages.  In  1796  he  became  pro- 
fessor at  the  Central  School  of  the  department  of 
Jemappes,  and  afterwards  director  of  the  Mons 
Academy.     In  1839  he  settled  at  Brussels,  where 


Fingal  assaulting  the  Spirit  of  Loda.    1798. 
Lot's  Wife  turned  into  a  Pillar  of  Salt.    1802. 
Hero  and  Leander.    1808. 
Danae.    1811. 
Portrait  of  Eev.  Dr.  Parr. 

Portrait  of  Lord  Chief  Justice  Denman.     (National 
Portrait  Gallery.) 

HALMj  Felix,  a  Bavarian  painter,  was  born  at 
Munich  in  1768,  and  died  in  1810.  He  painted 
principally  landscapes  with  ruins  and  old  castleB. 

HALPAX,  Michael.    See  Halwachs.        / 

HALPEN,  Patrick,  an  Irish  line -engraver, 
practised  from  1778  to  1786.  He  waa' largely 
engaged  on  vignette  illustrations  for  books.  His 
son,  who  was  a  portrait  painter,  studied  at  the 
Dublin  Academy,  and  practised  in  that  city,  and 
in  London. 

HALPIN,  Feedeeick,  an  American  portrait 
painter,  was  bom  at  Worcester,  in  England,  in 
1805,  and  went  in  1842  to  New  York.  He  painted 
mostly  portraits  in  stipple,  in  the  execution  of 
which  he  was  tasteful  and  successful.  He  died 
at  Jersey  City  in  1880. 


Halliday  PAINTERS  AND 

h^ied  in  the  following  year.  He  executed  some 
allegorical  and  genre  pictures,  but  was  mainly 
engaged  as  a  portrait  painter. 

HALLIDAY,  Michael  Fhederick,  an  amateur 
painter,  was  the  son  of  a  captain  in  the  Eoyal 
Navy,  and  held  an  official  post  in  the  House  of 
Lords.  He  first  exhibited  at  the  Royal  Academy 
in  1853,  and  continued  to  do  so  from  time  to  time 
up  to  1866.  He  died  in  1869.  Among  his  best 
pictures  may  be  mentioned,  '  The  Measure  of  the 
Wedding  Ring,'  exhibited  in  1866;  'The  Blind 
Basket-maker  with  his  first  Child,'  1857 ;  and  a 
'  Bird  in  the  Hand,'  1864. 

HALLIEE,  Nicolas,  a  French  painter  and  sculp- 
tor, was  born  in  Paris  in  1635,  and  died  in  the  same 
city  in  1686.  He  was  made  an  Academician  in 
1663,  when  he  painted  a  portrait  of  Louis  Testeliu. 

HALLMANN,  Anton,  a  painter  and  architect,  was 
born  at  Hanover  in  1812,  and  studied  first  in  that 
city  under  Hellner,  and  then  at  the  Munich 'Academy. 
In  1833  he  made  his  way  on  foot  to  Rome,  and  in 
the  following  year  to  Naples,  where  he  was  engaged 
upon  a  work  on  '  The  Norman  Buildings  in  Calabria 
and  Sicily,'  which  was  published  after  his  death. 
After  his  return  in  1839  to  Munich,  he  went  to  St. 
Petersburg,  where  he  prepared  designs  for  the 
decoration  of  the  Church  of  Isaac.  He  next  visited 
successively  London,  Paris,  and  Berlin,  seeking 
employment  as  an  architect,  which  he  failed  to 
obtain,  though  medals  were  awarded  him  in  the 
two  first  of  these  cities.  He  therefore  returned  in 
1841  to  Rome,  where  he  met  with  success  as  an 
architectural  painter.  At  this  period  he  executed 
five  pictures  in  tempera  from  the  Song  of  Mignon, 
and  began  his  essay  upon  'The  Art  Efforts  of 
the  Present  Day.'  In  1842  he  visited  Dresden,  and 
then  returned  to  Rome,  where  he  painted  for  the 
King  of  Prussia  '  A  Day  at  Cyprus  '  and  '  A  Ruined 
Villa  by  Moonlight.'  He  was  on  his  way  home  with 
the  latter  picture  when  he  died  at  Leghorn  in  1846. 

HALLS,  John  J.,  was  a  portrait  and  historical 
painter,  who  practised  at  Colchester  till  1799,  when 
he  came  to  London  and  obtained  a  large  connection 
as  a  portrait  painter.  In  1813  he  was  awarded  a 
prize  of  £200  at  the  British  Institution  for  his 
'Raising  of  Jairus's  Daughter.'  He  exhibited  at 
the  Royal  Academy  and  British  Institution  from 
1791  to  1827.  The  date  of  his  death  is  not  known. 
Amongst  his  works  were : 


ENGRAVERS. 


Hals 


HALS,  Dirk,  the  brother  of  Frans  Hals,  was 
bom  at  Haarlem  before  1600,  and  studied  under 
Abraham  Bloemaert.  His  works,  which  may  be 
traced  from  1624  to  1653,  usually  represent  soldiers, 
cavaliers,  and  women,  eating,  drinking,  dancing,  or 
listening  to  music.     He  died  at  Haarlem  in  1656. 

HALS,  Frans,  the  elder,  the  contemporary  and 
rival  of  Van  Dyck,  was  born,  probably  at  Antwerp, 
about  1580  or  1681.    His  parents  were  descendants  of 
an  old  patrician  family  of  Haarlem,  impelled  by  the 
troubles  of  the  period  to  seek  refuge  in  Antwerp. 
They  returned  to  the  former  city  some  time  before 
the  year  1600,  and  Frans  Hals  is  said  to  have  entered 
the  studio  of  Karel  van  Mander,  who  died  in  1606. 
If  this  be  correct,  he  was  not  a  pupil  of  Rubens,  who 
only  returned  to  Antwerp  in  1609.    About  1610, 
Hals  married  a  young  lady  named  Anneke  Hermans- 
zoon,  and  in  the  following  year  a  son  was  born,  who 
was  christened  Herman.    Five  years  lateii  Hals  was 
summoned  before  the  magistrates  for  ill-treating 
his  wife,  and  on  that  occasion  severely  reprimanded 
for  drunken  habits  and  violent  conduct^  The  poor 
lady  died  a  few  weeks  afterwards,  and  in  the  fol- 
lowing year  Hals  was  married  to  Lysbeth  Reyniers, 
reputed  to  have  been  a  woman  of  irregular  and 
doubtful  character.    At-feauiays  after  the  marriage 
their  daughter  Sara  was  born.     The  couple  appear 
to  have  lived  very  happily  together  for  nearly  fifty 
years,  and  brought  up  a  large  family.     For  many 
years  before  his  death  records  appear  of  the  painter's 
sufferings  from  poverty  and  debt,  and  in  the  end  he 
derived  his  subsistence  from  relief  allotted  to  him 
by  the  city  administration.    Hals  died  at  Haarlem 
in  1666.     He  had  seven  sons,  five  of  whom  were 
painters,  and  three  daughters.    His  widow  survived 
him  for  many  years.     In  July  1676,  she  obtained 
relief  from  the  corporation  to  the  extent  of  fourteen 
sous  a  week  ;  but  after  this  nothing  is  heard  of  her. 
In  the  mean  time  the  sons,  following  their  father's 
profession,  attained  s,ome  distinction.     The  works 
of  Frans  Hals  are  distinguished  for  life  and  humour, 
and  his  delineation  of  laughter  is  entirely  his  own. 
He  is  considered  by  some  writers  the  founder  of  the 
distinctive  school  of  Dutch  genre  painting.     He 
preferred  small  canvases  and  half-length  figures, 
and  was  peculiarly  happy  in  the    expression   of 
character  in  his   portraits.      His   reputation  was 
much  raised  by  his  '  Doelenstukken '  of  the  Civic 
Guard,  and  the '  Banquet  of  Adriaansdoelen  OfiSoers,' 
and  others,  in  the  prevailing  form  of  Dutch  por- 
traiture of  his  time.     Among  his  pupils  were  the 
portrait  painters  Verspronck  and  Van  der  Heist,  the 
society  painters,  with  Dirk   Hals  at  the  head  of 
them,  and  among  them  some  of  Frans's  sons,  and, 
on  the  other  hand,  the  painters   of  the  peasant 
world  such  as  Adriaan  van  Ostade.     Some  of  the 
best  architectural  and  still-life  artists,  as  well  as  the 
most  celebrated  genre  painters  of  Holland,  Metsu, 
Ter  Boroh,  and  Steen,  arose  directly  or  indirectly 
from  the  studio  of  Hals,  a  view  of  which  exists  in 
a  picture  by  Job  Berck-Heyde  in  the   Haarlem 
Museum.     It  shows  the  interior  of  the  studio,  in 
which  a  number  of  young  and  middle-aged  men 
are  drawing  from  a  nude  model,  and  it  is  dated 
1652.     The  old  master  is  greeting  Wouverraan,  a 
former  pupil ;  round  the  table  sit  Dirk  Hals ;  Her- 
man, Johannes,  Frans,  and  Nicolas,  the  sons  of  old 
Ffans ;    Dirk  van   Deelen,   Pieter  Molyn,   Gerrit 
Berck-Heyde,  and  the  painter  of  the  picture.     Of 
these  Gerrit  Berck-Heyde  was  the  only  one  still 
young  enough  to  be  a  pupil ;  the  presence  of  the 
others  testifies  to  the  reputation  of  the  old  master 

621 


Hals 


A  BIOGRAPHICAL  DICTIONARY  OF 


Hamilton 


to  whose  studio  they  continued  to  resort  for  in- 
struction in  their  art.  The  following  works  of 
Frans  Hals  are  in  European  galleries  : 


Amsterdam.      Museum, 


„       Van  der  Hoop  \ 
Collection,  j 

„  Town  Hall. 

Antwerp.  Gallery. 

Berlin.  Gallery. 


Bordeaux. 
Brassels. 


Cassel. 


Dresden. 


Museum. 
Gallery. 


Gallery. 


Gcdlery. 


Frankfort. 

Stadel. 

w 

» 

}> 

» 

Gotha. 
Haarlem. 

Gallery. 
Museum 

London.  Nat.  Gall. 

„  Bridgewater  House. 

„      Buekinyham  Pal. 

„  Hampton  Court. 
Munich.  Gallery. 

Paris.  Louv^'e. 


Petersburg.    Heiinitage. 


Eotterdam. 
Schwerin. 


Vienna. 
622 


Museum. 

Gallery. 

» 

S) 

J) 

Gallejy, 


The  Jolly  Topers.     162T. 
A  Mandoline  Player.     1630. 
The  Artist  and  his  Wife.    1624. 

Portrait  of  an  Old  Lady.    1639. 

A  Shooting  Gallery.     1637. 
Fisher  Boy. 

Two  Portraits  of  Young  Men. 
Portrait  of   Joannes  Acronius. 

1627. 
Two      Portraits      of      Young 

"Women. 
A  Singing  Boy. 
A  Jolly  Toper. 
Hille    Bobbe,   the    Witch     of 

Haarlem. 
Portrait  of  an  Old  Man. 
Portrait  of  a  Nobleman.    1625. 
A  little  Girl  and  her  Nurse. 
Portrait    of    Tyman    Oosdorp. 

1656. 
Portrait  of  the  Artist. 
Portrait  of  Willem  van  Hey- 

thuysen. 
Portrait  of  Jan  Hoomebeek. 
Jolly  Topers. 
Singing  Boys. 
Portraits  of  a  Nobleman  and  his 

Wife. 
Portrait  of  a  Young  Man, 
Portraits  of  Two  Gentlemen. 
Portrait  of  Vincent  Laurens. 
Two  Portraits  of  Men. 
Portrait  of  a  Girl. 
Portrait  of  a  Man. 
Portrait  of  a  Young  Lady. 
Portrait  of  a  Youth. 
Portraits  of  a  Young  Man  and 

his  Wife. 
Two  Portraits  of  Young  Men. 
Banquet  of  Officers  of  Arque- 
busiers  of  St.  George  (twelve 
figures).    1616. 
Ditto.     (Eleven  figures.)    1627. 
Banquet  of  Officers  of  Arque- 
busiers  of  St.  Andrew.    1627. 
Assembly  of  Officers  of  Arque- 
busiers  of  St.  Andrew.     1633. 
Officers  and  Sergeants  of    Ar- 
quebusiers    of     St.    George. 
1639. 
Governors    of    the    Elizabeth 

Hospital.     1641. 
Governors  of  the  Hospital  for 

Old  Men.     1664. 
Lady  Governors  of  the  Hospital 

for  Old  Women.     1664. 
Portrait  of  a  Woman. 
Head  of  an  Old  Lady. 
Portrait  of  a  Man. 
Portrait  of  a  Young  Man. 
A  Family  P  cture. 
Portraits  of  Mr.  Beeresteyn  and 

Wife.     1629. 
The  Beeresteyn  Family.     1630. 
A  Girl  of  the  Family.     1633. 
Portrait  of  Eend  Descartes. 
Laughing  Women. 
Portrait  of  a  Lady. 
Portrait  of  a  Youth. 
Portrait  of  an  Officer. 
Two  Portraits  of  Young  Men. 
Portrait  of  an  Old  Man. 
A  small  Portrait  of  a  Man. 
Port  ait  of  a  Man. 
Drinking  Children. 
Laughing  Children. 
Young  ];agpipe  Players. 
Guitar  Players. 
Portrait  of  a  Yoimg  Man. 


HALS,  Frans,  the  younger,  the  most  famouRf 
the  sons  of  Frans  Hals  the  elder,  flourished  from 
1637  to  1669.  He  painted  portraits  and  still-life, 
and  worked  in  the  style  of  his  father,  whom  he 
sometimes  copied.  His  best-known  pictures  are  a 
'Piper  and  a  Violin  Player,'  in  the  Gallery  at 
Schwerin,  'Playing  and  Singing  Boys,'  in  the 
Brussels  Gallery,  and  representations  of  still-life 
at  Berlin  and  Utrecht. 

HALS,  Herman,  the  eldest  son  of  Frans  Hals 
the  elder,  was  born  at  Haarlem  in  1611,  and  died 
in  1669.     He  painted  conversation  pieces. 

HALS,  Johannes,  a  son  of  Frans  Hals  the 
elder,  was  born  at  Haarlem,  and  died  in  1650. 
He  was  known  by  the  name  '  Gulden  Ezel  (golden 
easel),'  and  painted  figures  and  genre  subjects. 

HALS,  Nicolas,  the  youngest  son  of  Frans  Hals 
the  elder,  was  born  in  1628.  He  painted  peasants 
and  landscapes. 

HALS,  Retnier,  a  son  of  Frans  Hals  the  elder, 
was  born  in  1627,  and  died  before  1689.  He 
was  a  mediocre  painter  of  genre  subjects,  and 
one  only  of  his  pictures  has  been  discovered,  '  A 
Young  Girl  eating  stew  from  an  earthen  pot.' 
Probably  many  others  of  bis  works  pass  under 
the  name  of  his  uncle.  Dirk  Hals,  or  of  some  other 
painter. 

HALTER,  Christoph,  a  German  historical 
painter,  was  born  at  Nuremberg  in  1693.  He 
was  a  pupil  of  Georg  Gartner,  and  died  in  1648. 

HALWACHS,  Michael,  (Halpax,  or  Halwax,) 
an  Austrian  historical  painter,  studied  at  Venice 
under  Johann  Karl  Loth,  called  Carlotto,  and  in 
1700  settled  at  Prague,  where  he  painted  several 
pictures.  He  died  in  Austria  in  1715,  or  perhaps 
later.  Among  his  works  are  '  St.  Barbara,'  painted 
for  the  Benedictine  church  of  St.  Nicholas  in 
Prague,  and  '  St.  Cecilia,' '  David,'  and  '  St.  Florian,' 
for  the  Minorite  church  of  St.  James. 

HAM,  Jan  Baptist,  who  was  born  at  Middelburg 
in  1771,  studied  at  the  Academy  of  his  native  town, 
but  afterwards  went  to  Li^ge,  where  he  entered 
the  studio  of  Le  Franc,  a  genre  painter.  He  after- 
wards returned  to  his  native  town,  where  he  died 
in  1802. 

HAMBACH,  Johann  Michael,  was  a  painter 
who  flourished  at  Cologne  from  1672  to  1686.  He 
had  the  faculty  of  imitating  lifeless  objects  to  de- 
ception, and  among  his  subjects  were  tables  set  out 
with  dishes,  and  groups  of  weapons  and  harness; 
two  of  these  pictures  are  to  be  seen  in  the  Wallraf- 
Richartz  Museum  at  Cologne. 

HAMEEL,  Alabt  du.     See  Dn  Hameel. 
HAMEL,  A.  B.  du.    See  Dn  Hamel. 
HAMEN,  Jan  van  der.     See  Van  der  Hamen. 
HAMILTON,  Anton  Ignaz,  the  son  of  Johann 
Georg   Hamilton,   born  at   Vienna  in  1694,  was 
instructed  by  his  father,  and   adopted  the  same 
class  of  subjects  for  his  paintings — chiefly  horses 
and   still-life.      He   was   for   seven   years  in  the 
service   of  the  Duke   of  Saxe- Weimar,  and  was 
afterwards  court  painter  to  Augustus   III.,  King 
of  Poland  and  Elector  of  Saxony.     He  died  at 
Hubertsburg  in  1777. 

HAMILTON,  Carl  Wilhelm,  the  third  son  and 
pupil  of  James  Hamilton,  was  born  at  Vienna 
in  1668,  or  more  probably  at  Brussels  in  1670,  and 
died  at  Augsburg  in  1754.  He  entered  the  service 
of  Bishop  Alexander  Sigmund  of  Augsburg,  for 
whom  he  painted  many  pictures.  His  works 
represent  birds,  plants,  and  reptiles,  after  the 
model  of  Van  Schriek. 


Hamilton 


PAINTERS   AND  ENGRAVERS. 


Hammaclier 


HAMILTON,  Ferdinand  Philipp,  the  eldest 
son  o£  James  Hamilton,  was  born  at  Brussels  in 
1664.  Though  he  studied  under  his  father,  he  was 
influenced  more  by  the  style  of  Weenix  and  other 
Dutch  masters,  than  by  his  parent's  instruction  and 
example.  He  settled  at  Vienna,  and,  like  his 
brother  Johann  Georg,  was  appointed  painter  to 
the  Emperor  Charles  VI.  He  died  at  Vienna  in 
1760.  He  painted  chiefly  animals  and  birds  of 
prey,  frequently  engaged  in  strife ;  but  he  occa- 
sionally chose  still-life  for  his  subjects.  He  was 
the  best  painter  of  this  family  of  Sooto-riemish 
artists  settled  in  Germany. 

The  following  are  among  his  best  works  : 

Frankfort.  Stddel.  A  Bunch  of  Grapes. 

Munich.  Gallery.  Dead  Game. 

Vienna.  Gallery.  A   Leopard    defending   its   prey 
against  a  Vulture.    1722. 

„  „  Dead  Game. 

„  „  Turkeys  and  Fox. 

„  „  Three  Chamois.    1722. 

„  „  Four  Vultures.    1723. 

„  „  Animals.    1724. 

„  „  'Wolf  and  Dead  Stag.    1720. 

„  „  Dead  Game.    1749. 

His  son,  John  Hamilton,  was  an  animal  painter, 
who  died  at  Vienna  about  1750. 

HAMILTON,  Gavin,  was  descended  from  the 
Hamiltona  (or  De  Hamiltons)  of  Murdieston,  and 
was  bom  at  Lanark  in  1730.  After  receiving  a 
liberal  education  he  went  to  Italy,  and  resided  at 
Rome  the  greater  part  of  his  life.  He  was  more 
distinguished  for  his  promotion  of  the  fine  arts, 
than  for  his  skill  as  a  painter.  His  best  pictures 
are  subjects  from  Homer's  '  Iliad ' :  '  Achilles 
grasping  the  dead  body  of  Patroclus,  and  rejecting 
the  consolation  of  the  Grecian  Chiefs,'  'Achilles 
parting  with  Briseis,'  '  Achilles  dragging  the  body 
of  Hector  tied  to  his  Car,'  '  Andromache  weeping 
over  the  body  of  Hector,'  and  an  '  Apollo,'  are 
among  his  most  esteemed  works.  In  1773  he 
published  at  Rome  an  interesting  work,  the  '  Scliola 
Italica  Picturse,'  for  the  purpose  of  demonstrat- 
ing the  progress  of  the  art  from  the  time  of 
Leonardo  da  Vinci  to  the  period  which  succeeded 
the  school  of  the  Carracci.  He  died  at  Rome  in 
1797. 

HAMILTON,  Hugh  Douglas,  an  Irish  portrait 
painter,  was  bom  at  Dublin  about  1734.  He 
studied  under  James  Mannin,  and  at  first  worked 
in  crayons  in  Dublin,  and  then  in  London,  obtaining 
a  good  connection.  In  1778  he  went  to  Italy, 
'  where  he  remained  several  years,  and  under  the 
advice  of  Flaxman,  took  to  painting  in  oils.  On 
his  return  to  Dublin,  in  1792,  he  was  elected  a 
member  of  the  Royal  Hibernian  Academy.  He 
died  at  Dublin  in  1806.     Amongst  his  works  are : 

Dean  Kirwan  preaching.    {Royal  Dublin  Society.) 
Medusa. 
Prometheus. 
Cupid  and  Psyche. 
Mrs.  Hartley. 
Major  Stanley. 
Lady  Horton.     1773. 
Edward,  12th  Earl  of  Derby.    1773. , 
Charles  Brodrick,  Archbishop  of  Cashel 
Richard,  Lord  Bdgeworth. 
■William  Magee,  Archbishop  of  Dublin. 
I       William,  1st  Lord  Plunket,  Lord  Chancellor  of  Ireland 
Lord  Edward  Fitzgerald.    (Dulte  of  Leinster.) 
Et.  Hon.  Lesley  Forster,  Speaker 
Irel*i^d  ^""'^  °*    Commons  of  (_  (j^^„^-„„  ^„„,,^ 

Colonel  Sankey,  Lord    Mayor 
i>         Dublin. 


I  (Earl  of  Deriy, 
,  C  Knowsley  Hall.) 


ker.. 


HAMILTON,  James,  who  was  born  at  Murdies- 
ton, Fifeshire,  about  1640,  excelled  as  a  painter 
of  fruit  and  still-life.  He  left  England  during 
the  Commonwealth,  and  settled  in  Brussels,  where, 
after  a  sojourn  of  some  years  in  Germany,  he 
died  about  1720.  His  descendants  are  often  called 
either  De  Hamilton,  as  natives  of  Brussels,  or  more 
frequently  Von  Hamilton,  from  their  residence  in 
Germany. 

James  Hamilton. 
(1640?— 1720?) 


Ferdinand  Philipp. 
(1664—1760) 

John. 

(?— 17603 


T 

Johaun  Georg. 
(1666—1733?) 

Anton  Ignaz, 
(1694—1777/ 


Carl  Wilhelm. 
(1670?— 1764) 


Dublin^ 


HAMILTON,  James,  who  was  bom  in  Ireland  in 
1819,  went  to  America  at  an  early  age,  and  settled 
in  Philadelphia.  He  was  brought  up  to  commercial 
pursuits,  but  early  displaying  a  talent  for  art,  he 
adopted  it  as  a  profession.  In  1864  he  came  to 
England,  but  returned  to  America  in  1866.  He 
furnished  the  illustrations  for  Dr.  Kane's  'Arctic 
Explorations,'  the  'Arabian  Nights,'  'Ancient 
Mariner,'  and  other  popular  works.  Among  his 
paintings  may  be  named  'The  Capture  of  the 
Serapis,'  'Old  Ironsides,'  'Wrecked  Hopes,'  and 
'  Egyptian  Sunset.'     He  died  in  1878. 

HAMILTON,  Johann  Geoeq,  the  second  son 
and  pupil  of  James  Hamilton,  was  bom  at  Brussels 
in  1666.  He  was  employed  by  Frederick  I.  of 
Prussia,  and  painted  for  the  Emperor  Charles  VI. 
at  Vienna,  where  he  died  about  1733.  His  pictures 
chiefly  represent  horses  and  stags :  occasionally  he 
painted  dead  animals  and  hunting  weapons.  There 
are  five  works  by  him  in  the  Vienna  Gallery,  a 
'  Dead  Hare '  in  the  Munich  Gallery,  and  four 
pictures  of  horses  in  the  Dresden  Gallery. 

HAMILTON,  John,  an  amateur  landscape 
painter,  flourished  in  the  latter  half  of  the  18th 
century.  In  1766  he  was  a  member  of  the  Incor- 
porated Society  of  Artists,  and  afterwards  secre- 
tary and  vice-president.  He  etched  the  illustra- 
tions for  Grose's  '  Ancient  Armour  and  Weapons.' 

HAMILTON,  William,  an  historical  painter, 
was  born  of  Scottish  parentage  in  Chelsea  in  1761. 
When  very  young  he  accompanied  Antonio  Zucchi 
to  Italy,  and  after  a  residence  of  some  years  at 
Rome,  he  returned  to  England,  and  soon  distin- 
guished himself  as  a  painter.  Hamilton  was  ex- 
tensively employed  in  the  publication  of  Boydell's 
Shakespeare,  Maoklin's  Bible  and  British  Poets, 
and  Bowyer's  English  History,  both  to  the  ap- 
probation of  his  employers,  and  the  admiration 
of  the  public.  His  coloured  drawings  may  be 
placed  among  the  most  tasteful  and  effective  efforts 
in  that  style.  He  also  painted  a  considerable 
number  of  portraits,  especially  of  theatrical  person- 
ages, as  well  as  the  panels  of  Lord  Fitzgibbon's 
state  carriage,  now  in  the  South  Kensington 
Museum.  He  first  exhibited  at  the  Royal  Academy 
in  1774,  and  became  an  Associate  in  1784,  and  an 
Academician  in  1789.  He  died  in  London  in  1801. 
There  are  two  water-colour  drawings  by  him  in 
the  South  Kensington  Museum,  'Eve  and  the 
Serpent'  (1801),  and  'Gleaners'  (1796). 

HAMMACHER,  — ,  an  historical  and  portrait 
painter  of  Oldenburg,  was  invited  by  the  Prince- 
Bishop  to  Breslau,  to  paint  pictures  of  the  Saints, 
to  which  class  of  work  his  devout  character  was 
well  suited.  He  also  executed  a  large  number  of 
portraits.    He  died  at  Breslau  in  1866. 

623 


Hammer 


A   BIOGEAPHICAL  DICTIONARY  OF 


Handel 


HAMMER,  Christian  Gottlieb,  a  German 
topographical  draughtsman  and  engraver,  was 
born  at  Dresden  in  1775,  but  the  date  of  his  death 
is  not  known.  He  painted  views  in  Dresden,  St. 
Petersburg,  London,  and  other  places,  in  oil, 
water-colours,  and  sepia,  with  much  skill  and 
truthfulness. 

HAMMER,  JoRQ,  an  historical  painter,  studied 
at  Munich  under  his  father,  and  made  his  first 
attempt  in  1570.     He  died  in  1610. 

HAMON,  Jean  Louis,  a  French  subject  painter, 
was  born  May  8th,  1821,  at  St.  Loup,  a  hamlet  in 
the  parish  of  Plouah,  in  Brittany.  His  early  sur- 
roundings were  of  the  humblest:  his  father  was 
employed  in  the  customs,  and  the  family  occupied 
a  little  cottage  on  the  sea-shore.  He  was  originally 
intended  for  the  priesthood,  and  it  was  to  the 
Brothers  of  the  Christian  Doctrine  that  he  owed 
his  elementary  instruction.  His  artistic  tendencies, 
however,  soon  developed,  and  he  was  enabled  by  a 
modest  pension  of  500  francs  to  proceed  to  Paris 
in  1840.  By  the  advice  of  Ingres,  he  studied  for 
some  time  in  the  Louvre,  but  his  systematic  art- 
training  did  not  begin  till  he  entered  the  studio  of 
Delaroohe.  During  the  period  of  his  studentship, 
he  eked  out  his  scanty  resources  by  painting 
'Stations  of  the  Cross 'for  a  miserably  small  re- 
muneration. He  continued  his  studies  under 
Gleyre,  when  that  painter  took  over  Delaroche's 
atelier,  and  he  found  in  him  a  constant  friend. 
Through  him,  he  obtained  some  commissions,  which 
somewhat  improved  his  condition,  and  from  1849 
to  1852,  as  a  ready  means  of  subsistence,  he  de- 
signed for  the  Sevres  manufactory,  obtaining  at 
the  London  Exhibition  of  1851  a  medal  for  an 
enamelled  casket.  He  was  always  partial  to  the 
ceramic  art,  and  he  also  practised  another  branch 
of  applied  art,  fan-painting,  in  which  he  pro- 
duced some  charming  designs.  Although  he  first 
exhibited  at  the  Salon  in  1848,  his  works  did 
not  attract  notice  till  1853,  when  he  produced  his 
idyll,  'My  sister  is  not  there,'  for  which  he  was 
awarded  a  medal,  and  in  1855  he  received  the 
Legion  of  Honour.  Throughout  his  life  he  suffered 
more  or  less  from  illness,  and  added  to  this,  he  had 
the  troubles  occasioned  by  his  own  simple-minded- 
ness and  good-natured  encouragement  of  worthless 
friends,  who  preyed  upon  him.  His  affairs  at 
length  became  so  involved,  that  in  1862  he  found 
himself  compelled  to  quit  France.  He  spent  some 
time  in  Rome,  and  in  1865  settled  at  Capri,  where 
he  sojourned  several  years.  Having  discharged 
his  liabilities,  he  returned  to  Paris  in  1871,  married, 
and  settled  at  St.  Raphael,  where  he  built  himself 
a  house.  His  happiness  was  not,  however,  long- 
lived,  for  his  health  again  gave  way,  and  he  died 
May  29th,  1874,  when  about  to  seek  a  cure  at  the 
waters  of  Vichy.  The  characteristic  of  Hamon's 
art  is  its  grace  and  tenderness.  This  may  perhaps 
cause  a  want  of  power  in  some  of  his  pictures,  but 
the  Arcadian  charm  of  his  subjects  is  a  great  relief 
from  the  coldness  and  pretence  of  the  classic 
school  to  which  he  belonged.  His  colour  is  sub- 
dued and  unobtrusive,  and  he  greatly  delighted  in 
delicate  grey  and  silvery  tones.  The  following  is 
a  list  of  his  principal  works  : 

The  Tomb  of  Our  Lord.    1848.    (Marseilles  Museum.) 
The  Eoman  Placard.     1849. 
The  Seraglio.     1849. 

The  Puppet-Show.    1852.    (Luxemiourg  Gallery.) 
My  sister  is  not  there.    1853. 
Love  and  his  flock. 
It  is  not  I. 
624 


La  Boutique  4  quatre  sous.     1857. 

The  Elder  Sister.    1861.    (Nantes  Museum.) 

The  Mountebank.    1861.    (Nantes  Museum.) 

Aurora.     1863. 

The  Muses  at  Pompeii.    1866. 

The  sad  Shore.    1873.  Q.J.D. 

HAMON,  Pierre  Paul,  a  French  genre,  portrait, 
and  still-life  painter,  was  born  at  Livarot,  Calvados, 
in  1817.  He  studied  under  Cogniet,  and  died  in 
1860  at  Lisieux,  in  the  Museum  of  which  place  are 
two  pictures  of  '  Dead  Game '  by  him. 

HAMPE,  Carl  Friedbich,  a  German  genre 
painter,  was  born  at  Berlin  in  1 772.  He  studied 
at  the  Berlin  Academy,  especially  under  Niedlioh 
and  Frisch,  and  was  afterwards  drawing-master 
to  the  Royal  Family.  He  died  at  Berlin  in  1848. 
The  Berlin  National  Gallery  contains  the  following 
pictures  by  him : 

Luther's  Boom  in  Wittenberg.    1821. 
Fountain  in  the  Courtyard  of  a  Castle.    1819. 
Feudal  Castle  by  Moonlight.     1817. 

HANCK]^,  Charles  Henri,  a  French  painter 
and  lithographer,  born  at  Bouxviller  in  1808,  was 
a  pupil  of  PferrdorfE  and  Lesourd-Beauregard. 
He  went  to  Paris,  and  for  fifteen  years  managed 
the  famous  lithographic  establishment  of  M.  Fro- 
mentin.  Several  lithographs  of  views  on  the  Rhine 
and  Moselle  were  executed  by  him.  He  died  at 
Bouxviller  in  1869. 

HANCOCK,  Robert,  an  engraver,  was  born  at 
Burslem  in  Staffordshire  about  1731,  and  died  in 
1817.  He  was  employed  in  the  pottery  works  at 
Battersea,  where  he  possibly  learned  engraving 
from  Brooks  or  Prye.  Thence  he  returned  to  his 
native  town,  but  afterwards  practised  as  an  en- 
graver in  mezzotint,  Valentine  Green  being  his 
pupil.  The  latter  part  of  his  life  was  passed  at 
Worcester  and  Bristol,  where  he  engraved  some 
small  portraits  for  booksellers,  but  not  in,  mezzo- 
tint. He  engraved  in  mezzotint  several  portraits, 
among  which  are  the  following : 

General  William  Kingsley ;  after  iSir  J.  Seynolds. 
Lady  Chambers ;  after  the  same. 

Miss  Day,  afterwards  Lady  Fenhoulet ;  after  the  same. 
William  Hopley,  Verger  of  the  Cathedral  of  Worcester ; 

after  J.  Wright. 
Edward  Schofield,  a  dwarf ;  after  the  same. 
Robert   Haaoock,  engraver,  of  Worcester ;   after  the 

sam,e.    Only  one  impression  of  this  plate  was  taken. 
E.  Lovett ;  after  the  same. 

HAND,  Richard,  a  native  of  Warwickshire, 
practised  for  some  time  in  Ireland,  painting  land- 
scapes and  fruit.  He  afterwards  applied  himself 
to  glass-painting,  and  settled  in  England,  where 
he  died  before  1817. 

HAND,  Thomas,  a  landscape  painter,  studied 
under  George  Morland,  and  became  one  of  his  boon 
companions.  He  made  clever  copies  of  his  master's 
works,  which  he  palmed  off  as  genuine  originals ; 
but  he  occasionally  exhibited  sporting  and  rustic 
pictures  at  the  Royal  Academy  from  1792  to  1804, 
after  which  year  his  name  disappears. 

HANDASYDE,  Charles,  a  miniature  and  enamel 
painter,  flourished  about  the  end  of  the  18th 
century.  In  1765  he  gained  a  Society  of  Arts' 
premium,  and  he  exhibited  at  the  Royal  Academy 
in  1776.    He  mezzotinted  two  portraits  of  himselt 

HANDEL,  Maximilian,  a  German  painter,  bom 
at  Prague  in  1696,  was  a  pupil  of  Kupetzky,  and 
died  at  Vienna  in  1759.  There  are  by  him  in  the 
Vienna  Gallery  a  portrait  of  an  old  man,  and 
another  of  a  young  man  in  a  black  cloak. 


Handeriot 


PAINTERS  AND  ENGRAVERS. 


Hansen 


HANDBBIOT,  FEANgois,  a  French  engraver 
mentioned  by  Florent  Le  Comte,  executed,  among 
other  prints,  a  plate  representing  '  St.  John  thrown 
into  the  Caldron  of  boiling  Oil,'  after  Le  Brun. 

HANDMANN,  Emmanuel,  a  Swiss  painter  of 
portraits  and  historical  subjects,  was  born  at  Basle 
in  1718.  He  studied  first  under  Schnetzler  at 
SchafEhausen,  and  then  under  J.  Bestout  at  Paris. 
After  four  years'  sojourn  in  Italy,  he  returned  to 
his  native  place,  and  died  in  1781. 

HANFSTlNGL,  Franz,  was  born  in  the  village 
of  Baiernrain,  in  Upper  Bavaria,  of  very  poor 
parents,  in  1804.  In  1816  he  went  to  Munich,  and 
entered  a  drawing  school,  and  afterwards  the 
smaller  Academy.  He  next  devoted  himself  to 
lithography,  under  the  tuition  of  Senef elder,  and  in 
1834  he  went  to  Paris  to  learn  Lemercier's  system 
of  printing  from  stone.  In  1835  he  was  appointed 
to  make  lithographic  copies  of  the  paintings  in 
the  Dresden  Gallery.  It  was  at  this  time  that  an 
insurrection  occurred  at  Dresden,  and  as  Hanf- 
stangl's  house  was  occupied  by  insurgents  he  was 
himself  threatened  with  death,  from  which  he  was 
saved  only  by  his  possession  of  a  presentation  snuff- 
box containing  the  portrait  of  the  King  of  Prussia. 
Besides  his  oil  paintings  and  water-colour  sketches, 
he  interested  himself  greatly  in  taking  measures 
for  the  reproduction  of  paintings,  and  with  a  view 
to  this,  devoted  himself  to  the  perfection  of  a 
galvanic  apparatus.  Photography,  however,  took 
the  place  of  it,  and  to  the  practice  of  that  branch 
of  art  he  devoted  himself  with  equal  zeal,  so  that 
he  was  selected  from  among  twenty-two  candidates 
to  photograph  the  principal  paintings  in  the  Munich 
Gallery.  He  received  the  honorary  distinction  of 
Counsellor  to  the  Duke  of  Saxe-Coburg.  His  death 
occurred  at  Munich  in  1877. 

HANGEST,  Egbert  Marinus  Feedbeik  De. 
See  Db  Hangest. 

HANNAN,  William,  was  a  native  of  Scotland, 
who  served  his  apprenticeship  to  a  cabinet-maker, 
but  afterwards  devoted  himself  to  painting.  He 
came  to  London,  and  was  patronized  by  Lord  Le 
Despenser,  who  employed  him  to  paint  several  of 
the  ceilings  at  his  seat  at  West  Wycombe ;  one 
being  from  a  design  by  Cipriani.  WooUett  en- 
graved some  of  his  landscapes.  He  died  at  West 
Wycombe  in  1776. 

HANNAS,  Marc  Anton,  an  engraver,  was  a 
native  of  Augsburg,  who  lived  at  the  end  of  the 
16th  and  the  beginning  of  the  17th  centuries,  and 
by  whom  are  the  following  plates : 

The  Besnrrection. 

The  Scourging  of  St.  Francis. 

Bcce  Homo. 

The  Steps  of  Age. 

HANNEMAN,  Adriaan,  a  Dutch  portrait  painter, 
was  bom  at  the  Hague  in  1611.  He  was  a  pupil 
^  Jan  van  Ravesteyn,  and  an  imitator  of  Van 
Dyck,  and  he  distinguished  himself  as  a  portrait 
painter  at  the  Hague,  but  the  encouragement  given 
to  the  arts  by  Charles  I.  induced  him  to  visit 
England  soon  after  Van  Dyck's  arrival  in  this 
country.  His  talents  procured  him  immediate  em- 
ployment, and,  during  a  residence  here  of  sixteen 
years,  he  painted  the  portraits  of  several  of  the 
nobility,  and  greatly  improved  his  style  by  study- 
mg  and  copying  the  works  of  Van  Dyck.  He  re- 
turned to  Holland  on  the  commencement  of  the 
civil  wars,  and  resided  at  the  Hague,  where  he 
became  court  painter  to  Mary,  Princess  of  Orange, 
and  in  1665  director  of  the  Academy.    He  died 

B8 


there  in  1680.  Hanneman  occasionally  painted 
historical  subjects,  of  which  the  best  is  an  eniblera- 
atioal  picture  of  'Peace,'  in  the  council-chamber 
of  the  States  at  the  Hague.  He  painted  a  portrait 
of  Charles  II.,  before  the  Restoration,  of  which 
there  is  an  engraving  by  Hendrik  Danckerts.  At 
Hampton  Court  are  portraits  of  Peter  Oliver,  the 
celebrated  miniature  painter,  Mary,  Princess  of 
Orange,  and  William  III.,  when  young.  In  the 
Vienna  Gallery  are  portraits  of  Charles  I.  and  Van 
Dyck ;  in  the  Rotterdam  Museum,  one  of  Johan  De 
Witt,  1652 ;  and  in  Frankfort,  two  portraits. 

HANNEMAN,  Willbm,  a  portrait  painter,  and 
the  son  of  Adriaan  Hanneman,  flourished  in  the 
reign  of  Charles  I.,  but  died  young. 

HANRICH,  Samuel  Gottlieb,  was  a  native  of 
Neusol  in  Hungary,  and  a  pupil  of  Kupetzky. 
He  was  a  great  traveller,  and  in  the  year  1726  he 
was  working  at  Berlin,  from  whence  he  went  to 
Brunswick,  and  afterwards  came  to  London. 

HANSCH,  Anton,  a  landscape  painter,  who  was 
originally  a  maker  of  artificial  flowers,  was  born  at 
Vienna  in  1815,  but  did  not  devote  himself  to  art 
until  1837.  He  studied  the  old  masters,  and  also 
painted  from  nature,  with  the  help  of  Prof.  Moss- 
mer's  instructions.  He  travelled  in  Germany, 
Belgium,  Switzerland,  and  the  Tyrol,  and  was  most 
successful  in  his  mountain  scenery.  His  love  of 
art  was  so  great  that  he  often  spent  nights  upon 
the  rugged  hills  of  the  Lower  Alps,  or  took  refuge 
in  the  poorest  huts  from  the  mountain  storms, 
whilst  he  pursued  his  observation  of  nature. 
Pictures  from  his  brush  are  in  the  Emperor  of 
Austria's  collection,  and  in  the  Vienna  and  other 
galleries.  His  smaller  ones  are  the  more  success- 
ful. He  died  at  Salzburg  in  1876.  Among  his 
best  pictures  are  the  following  : 

Lake  Constance  at  Sunset. 

Pine  Forest  in  Salzkammergut. 

Sketch  by  the  GtoUing  Cascade. 

After  the  Storm. 

View  from  the  Wilds  of  Styria. 

Alpine  Forest. 

Glacier  of  the  Oetz  Valley. 

The  'Wetterhorn. 

View  on  the  Koenig  See.    1849.  )  ^.^„  ^^^ 

Glaciers  on  the  Jungfrau.  f  " 

HANSELAERE,  Pietbr  van,  bom  at  Ghent 
in  1786,  was  a  pupil  of  Huffel  in  the  Academy 
of  that  city,  but  went  in  1809  to  Paris  to  study 
under  David.  In  1814,  his  '  Abel's  Sacrifice '  gained 
the  first  prize  for  historical  painting,  which  pro- 
vided him  with  the  means  for  passing  a  year  in 
Italy,  where  he  produced  many  beautiful  pictures, 
and  was  made  court  painter  to  the  King  of  Naples, 
and  a  member  of  the  academies  of  that  city 
and  of  Rome.  After  his  return  he  was,  in  1829, 
appointed  professor  in  the  Academy  of  Design  at 
Ghent,  in  which  city  he  died  in  1862.  Several 
churches  in  Belgium  possess  altar-pieces  by  him, 
and  the  Museum  at  Ghent  has  his  '  Martyrdom  of 
St.  Stephen.' 

HANSEN,  Gael  Christian  Constantin,  born 
at  Rome  in  1804,  was  the  son  of  Hans  Hansen,  a 
Danish  portrait  painter,  who  was  born  in  1769, 
and  died  in  1828.  He  at  first  studied  architecture 
under  Hesch,  but  soon  gave  it  up  in  favour  of 
painting,  both  genre  and  historical,  and  from  1835 
to  1844  he  resided  at  Rome.  He  died  at  Copen- 
hagen in  1880.  His  best  works  are  the  frescoes 
in  the  vestibule  of  the  University  of  Copen- 
hagen, which  represent  scenes  from  Greek  My- 
thology. 

625 


Hansen 


A   BIOGRAPHICAL   DIOTIONABY  OF 


Harding 


HANSEN,  Kaeel  Lodewyk,  born  at  Amsterdam 
in  1765,  was  a  scholar  of  Pieter  Barbiers,  and 
became  a  member  of  the  Amsterdam  Academy.  He 
painted  landscapes,  views  of  cities  and  villages,  and 
also  interiors.     He  died  at  Amsterdam  in  1840. 

HANSEN,  Lambert  Jan,  a  son  of  Karel  Lode- 
wyk Hansen,  was  born  at  Staphorst  in  1803,  and 
died  in  1859.  He  was  a  pupil  of  Pieneman,  and 
painted  interiors. 

HANSKEN,  Kleyn.  See  Elbueg,  Hansje  van, 
and  also  Vereycee. 

HANSONN,  Christian  Hbinrioh,  born  at  Altona 
in  1791,  was  self-taught,  and  led  a  wandering  life 
as  house  painter,  portrait  painter,  and  clown,  till  he 
went  with  a  Danish  painter,  Bravo,  to  Rome,  where 
he  remained  seven  years.  After  that  he  returned 
to  his  native  city,  by  the  aid  of  which  he  was 
enabled  again  to  visit  Italy.  Erom  1830  to  1845 
he  resided  at  Munich,  where  he  painted  most  of 
his  historical  pictures.  In  1845  he  visited  Austria 
and  Italy,  and  in  1850  he  returned  to  Altona, 
where  he  died  in  1863.  Among  his  works  may 
be  named,  a  '  Magdalen,'  '  The  Raising  of  the 
Widow's  Son  at  Nain,'  '  Christ  on  the  Mount  of 
Olives,'  and  '  The  Fisher.' 

HANTZSCH,  Johann  Gottlieb,  a  Saxon  genre 
painter,  was  born  at  Neudorf,  near  Dresden,  in 
1794.  In  1811  he  entered  the  Dresden  Academy, 
and  in  1815  he  removed  to  the  atelier  of  the  re- 
nowned portrait  and  historical  painter,  Professo'r 
Bossier.  For  a  long  time  he  worked  in  very 
straitened  circumstances,  in  conjunction  with  his 
future  brother-in-law,  Peschel,  and  made  the 
valuable  acquaintance  of  Ludwig  Richter,  Ernst 
Oehme,  Rietschel,  and  Otto  Wagner,  the  decorative 
and  landscape  painter ;  he  was  also  helped  con- 
siderably by  Quandt ;  but  he  was  chiefly  employed 
in  later  life  as  a  drawing-master.  He  died  at 
Dresden  in  1848.  The  Berlin  National  Gallery 
contains  a  painting  by  him  entitled  'At  the 
Dentist's,'  dated  1839. 

HANZBLET.     See  Appier. 

HAPPBL,  Peter  Heinrich,  a  landscape  painter, 
was  born  at  Arnsbei'g  in  Westphalia  in  1813,  and 
died  at  Diisseldorf  in  1854.  Among  his  pictures 
may  be  named  '  The  Way  to  the  Village,'  '  A  MUl,' 
and  '  A  View  in  the  Isar  Valley.' 

HARDENBERG,  Willem  Schubert  van.  See 
Ehrenbers. 

HARDIMB,  Pieter,  a  Dutch  painter,  born  at 
Antwerp  in  1678,  was  a  scholar  of  his  brother 
Simon  Hardime,  whom  he  altogether  surpassed. 
He  resided  chiefly  at  the  Hague,  but  spent  some 
time  successively  at  other  towns  in  Holland  as 
well  as  in  Prussia.  Having  married  the  sister 
of  the  abbot  of  the  Bernardines,  near  Antwerp,  he 
was  commissioned  to  paint  four  large  pictures  for 
that  convent,  representing  the  'Four  Seasons,'  in 
which  he  introduced  the  fruits  and  flowers  special 
to  each.  In  conjunction  with  Terwesten,  who 
painted  the  figures,  he  ornamented  the  apartments 
of  the  Hotel  of  the  Count  of  Wassenaer.  Towards 
the  latter  part  of  his  life  he  retired  to  Dort,  where 
he  died  in  1758. 

HARDIME,  Simon,  a  Dutch  painter,  born  at 
Antwerp  in  1672,  was  the  son  of  an  Italian,  and 
an  elder  brother  of  Pieter  Hardime.  He  was  a 
pupil  of  Crepu,  and  was  a  successful  flower  painter, 
an  excellent  specimen  of  his  work  being  in  the 
palace  at  Breda.  He  was  working  in  London  in 
1720,  and  died  here  in  1737.  In  the  Bordeaux 
Museum  are  two  pictures  by  him  of  '  Flowers.' 

626 


HARDING,  Chester,  a  portrait  painter,  was 
born  at  Conway,  Massachusetts,  of  poor  parentage, 
in  1792.  He  served  in  the  war  of  1812,  and  after 
having  employed  himself  in  cabinet-making  and 
sign-painting,  he  took  to  portrait  painting.  In 
1823,  and  again  in  1843,he  visited  England.  Among 
his  portraits  are  those  of  Presidents  Madison, 
Monroe,  and  Adams,  Samuel  Rogers,  General 
Shearman,  Daniel  Webster,  and  several  others.  He 
died  at  Boston  in  1866. 

HARDING,  Edward,  an  engraver,  who  was  a 
son  of  Sylvester  Harding,  engraved  some  of  his 
father's  works,  as  well  as  some  plates  for  the 
'  Biographical  Mirrour.'  He  died  in  1796,  when 
only  twenty  years  of  age. 

HARDING,  Gbobgb  Perfect,  a  water-colour 
painter,  the  son  of  Sylvester  Harding,  practised 
as  a  portrait  painter,  and  occasionally  exhibited 
at  the  Royal  Academy  from  1802  to  1840.  He  is, 
however,  distinguished  chiefly  by  his  water-colour 
copies  of  English  historical  portraits,  of  which  he 
executed  a  great  number.  He  also  furnished  the 
illustrations  for  many  historical  and  antiquarian 
publications,  such  as  the  works  of  Lodge,  Jesse, 
Moule,  Neale,  Brayley,  &c.  He  died  at  Lambeth 
in  1853. 

HARDING,  James  Duffield,  a  landscape 
painter  in  oil  and  water-colours,  was  bom  at 
Deptford  in  1798.  At  the  age  of  fifteen  he 
received  a  few  lessons  from  Prout,  but  failing  to 
satisfy  himself,  he  resolved  to  abandon  the  idea  of 
becoming  a  painter.  He  was  then  placed  under 
John  Pye,  the  engraver,  but  after  a  year's  trial  he 
returned  to  painting.  In  1818  he  was  awarded  a 
medal  by  the  Society  of  Arts,  and  in  the  same 
year  he  first  exhibited  at  the  Water-Colour  Society, 
of  which  he  was  elected  an  Associate  in  1821,  and  a 
a  full  member  in  1822.  He  left  the  Society  in  1847 
in  order  to  become  a  candidate  for  the  Associate- 
ship  of  the  Royal  Academy,  but  f ailing-to  obtain 
Academical  honours,  he  returned  to  it  in  1857. 
Harding  throughout  his  life  had  full  employment 
as  a  teacher  of  drawing,  and  as  such  inculcated 
various  theories,  which  did  not  always  meet  with 
a  ready  acceptance.  He  also  devoted  considerable 
attention  to  lithography  in  connection  with  the 
many  works  on  art  which  he  published.  He 
died  at  Barnes  in  1863.     Amongst  his  works  are: 

paintings  in  oil. 

The  Alps  from  between  Lecco  and  Oomo. 

The  Jungfrau. 

Anglers  on  the  Loire. 

View  of  Fribourg.    (Sir  T.  Brassey.) 

paintings  in  water-oolodbs. 

The  Falls  of  Schaffhausen. 

On  the  Moselle.    {Sir  S.  Wallace.) 

The  Park. 

Pollards   in   'Windsor   Meadows.      (South  Kensington 

Museum.) 
Tintem  Abbey.    (The  same.) 
Landscape  with  Hovels.    (The  same.) 

HARDING,  J.  W.,  an  engraver,  practised  in 
the  latter  part  of  the  18th  century,  chiefly  in  the 
dotted  manner,  and  was  engaged  upon  the  works 
of  Angelica  Kauffmann  and  her  contemporaries. 
He  was  the  author  of  '  Sketches  in  North  Wales,' 
published  in  1810. 

HARDING,  Samuel,  an  engraver,  who  was  a 
son  of  Sylvester  Harding,  executed  some  of  the 
portraits  in  the  '  Biographical  Mirrour,'  published 
1796—1798. 


Barding 


PAINTERS  AND  ENGRAVERS. 


HarlOTV 


HARDING,  Sylvester,  a  miniature  painter,  was 
bom  at  Newcastle-under-Lyme  in  1746,  Early 
apprenticed  to  a  distasteful  trade,  he  ran  away  and 
joined  some  strolling  players.  In  1775  he  came 
to  London,  and  began  to  practise  as  a  miniature 
painter,  exhibiting  at  the  Academy  from  1777  to 
1802.  He  subsequently  engaged  in  the  publication 
of  various  works,  illustrated  and  otherwise.  He 
died  in  London  in  1809. 

HARDIVILLER,  Charles  Achillb  d',  a  French 
historical,  portrait,  and  genre  painter,  born  at 
Beauvais  in  1795,  was  a  pupil  of  David,  and 
became  drawing-master  to  the  Duke  of  Bordeaux. 
The  date  of  his  death  is  not  given. 

HAHDORF,  Gerold,  an  historical  and  portrait 
painter,  born  near  Hamburg  in  1769,  received  his 
first  instruction  in  art  in  that  city  from  Anton 
Tisohbein,  and  after  1788  from  Casanova  at  Dresden. 
Returning  in  1796  to  Hamburg,  he  was  appointed 
professor,  and  he  there  painted  two  fine  altar- 
pieces  for  the  church  of  St.  Maria  Magdalena — 
the  '  Crucifixion,'  and  the  '  Institution  of  the  Last 
Supper.'  A  noticeable  earlier  work  of  his  was 
'  dain  after  the  Murder  of  his  Brother,'  painted  in 
1794.  He  died  at  Hamburg  in  1864.  His  sons 
Rudolf  and  Gerold  were  also  painters,  the  former 
gaining  distinction  as  a  sea  painter. 

HARDY,  Bernhard  Kaspar,  an  amateur  enamel 
painter  and  modeller  in  wax,  who  held  the  post  of 
'  Domvikar '  at  Cologne,  was  born  in  that  city  in 
1726,  and  died  there  in  1819.  His  best  painting  in 
enamel  is  the' '  Redeemer,'  after  Carlo  Doloi.  He 
also  produced  oil  pictures,  and  works  in  gilded 
bronze,  besides  a  large  number  of  models  in  wax. 

HARDY,  FRAugois  and  Gillbs,  two  brothers, 
who  lived  at  Liege  about  1550,  are  noticed  by 
Balkema  as  having  been  the  first  to  abandon  the 
old  style  of  painting  to  follow  that  of  Lambert 
Lombard. 

HARDY,  Thomas,  was  an  English  portrait  painter 
and  engraver,  who  flourished  about  the  end  of  the 
18th  century.     Amongst  his  portraits  are : 

Lady  Cavendisli,  as  a  child,  playing  with  a  dog. 
John  Home  Tooke.    (National  Portrait  Gallery.) 

Amongst   his  engravings,  which    are   chiefly  in 
mezzotint,  are: 

Jotin,Dake  of  Dorset;  after  Sir  Joshua  Seynolds.  1799. 
Prince  WiUiam  of  Gloucester ;  after  Beechey.    1802. 
Arthur  Blayney ;  after  the  same, 
John  Moody ;  after  himself.    1793. 
John  Reeves ;  after  himself.    1793. 
Sir  Henry  Gould ;  after  himself.    1794. 

HAREFELDT,  Bernard,  (Hareveld,  or  Hardt- 
FELD,)  an  indifferent  Flemish  engraver,  flourished 
at  Antwerp  about  the  middle  of  the  17th  century. 
One  of  his  prints  was  the  '  Crucifixion,'  after 
Rubens. 

HARGRAVE,  — ,  was  a  mezzotint  engraver, 
who  practised  early  in  the  second  part  of  the  18th 
century. 

HARGREAVBS,  Thomas,  a  miniature  painter, 
was  born  at  Liverpool  in  1775.  He  came  to 
London  in  1793,  and  was  articled  as  an  assistant 
to  Sir  Thomas  Lawrence  for  two  years,  but  his 
health  failing,  he  subsequently  returned  to  Liver- 
pool, where  he  had  a  large  practice.  His  works 
appeared  at  the  Liverpool  Academy,  at  the  Royal 
Academy,  and  at  the  Society  of  British  Artists,  of 
which  he  was  a  member  from  its  foundation.  He 
died  at  Liverpool  in  1846,  leaving  three  sons  who 
followed  his  profession.     One  of  them,  Geoegb 


Haroeeaves,  was  from  1824  to  1846  a  member  of 
the  Society  of  British  Artists,  and  died  in  1870. 
Amongst  the  miniatures  of  Thomas  Hargreaves 
are: 

Sir  Thomas  Lawrence. 
Mrs.  Hargreaves.    1794. 

Et.  Hon.  "W.  B.  Gladstone  and  his  sister  as  children. 
Lord  Edward  Fitzgerald. 

James  Bartleman,  the  musician.    1817.  (South  Kensing- 
ton Museum.) 

Mrs,  Denison. 

*t 

HARI,  Johannes,  a  Dutch  artist,  who  painted 
portraits  in  oil,  miniature',  pastel,  and  water-colours, 
and  also  conversation  pieces,  was  born  at  the 
Hague  in  1772.  In  1794  he  received  a  gold  medal 
from  the  Academy  of  his  birthplace,  and  in  1835 
became  a  member  of  that  of  Amsterdam.  In  the 
course  of  thirty-one  years  he  took  1200  portraits. 
He  died  in  1850. 

HARINGHS,  Daniel,  a  good  portrait  painter, 
was  born  at  Loosduynen  in  1636,  and  died  in 
1706.  He  was  several  times  elected  a  director  of 
the  Academy  at  Prague. 

HARINGHS,  Mathts,  a  portrait  painter  of 
Leeuwarden,  was  working  in  that  place  from  1636 
to  1644.  His  portraits  are  said  to  have  been  excel- 
lent likenesses,  and  well  painted. 

HARLIN,  Friedbich.    See  Herlin. 

HARLINGEN,  Pieter  van.     See  Feddes. 

HARLOW,  George  Henry,  an  historical  and 
portrait  painter,  was  born  in  London  in  1787.  His 
father,  an  East  India  merchant,  died  some  months 
before  his  birth,  and  he  was  therefore  left  entirely 
to  the  care  of  his  mother.  After  he  had  received 
some  small  share  of  education  at  grammar  schools, 
and  at  Westminster,  his  mother,  discovering  his 
predilection  for  painting,  placed  him  with  Hendrik 
De  Cort,  the  landscape  painter.  Finding  that  he 
made  but  little  progress  under  De  Cort,  he  left  him 
for  the  studio  of  Samuel  Drummond,  with  whom 
he  remained  about  twelve  months,  when  he  grew 
desirous  of  another  instructor,  and  by  the  advice 
of  the  Duchess  of  Devonshire  was  placed  under 
the  care  of  Sir  Thomas  Lawrence.  The  terms  on 
which  he  was  received  by  this  fashionable  portrait 
painter  would  seem  sttange  in  any  other  profession. 
He  was  to  pay  one  hundred  guineas  yearly,  as  a 
pupil;  that  is  to  say,  "for  permission  to  have 
access  to  Sir  Thomas's  house  at  nine  o'clock  in  the 
morning,  with  leave  to  copy  his  pictures  till  four 
o'clock  in  the  afternoon,  but  to  receive  no  instruc- 
tion of  any  kind."  It  appears,  however,  that  the 
master  soon  perceived  the  talents  of  the  pupil,  and 
availed  himself  of  them  by  employing  him  to  pre- 
pare some  of  his  pictures  in  the  dead  colouring,  and 
to  advance  copies.  He  remained  with  Lawrence 
about  eighteen  months,  and  it  is  allowed  that  he 
entered  more  largely  into  the  peculiar  style  and 
character  of  that  master's  performances  than  any 
other  of  his  pupils.  His  success  must  be  attributed 
solely  to  himself;  for  Lawrence,  though  he  em- 
ployed him  in  forwarding  portraits,  never  con- 
descended to  instruct  him  further  than  how  to 
accomplish  that  drudgery.  It  seems  that  they 
separated  on  not  very  amicable  terms ;  and  as  a 
quarrel  with  Lawrence  was  a  quarrel  with  the 
Royal  Academy,  the  result  was  that  when  Harlow 
afterwards  offered  himself  as  a  candidate  for  the 
Associateship,  he  was  rejected  :  Fuseli  was  the  only 
member  who  voted  in  his  favour,  vindicating  him- 
self by  observing,  that  "  he  voted  for  the  talent, 
and  not  for  the  man,"    Harlow  first  exhibited  at 

897 


Harms 


A  BIOGRAPHICAL   DICTIONABY  OF 


BCarrewyn 


the  Academy  in  1805.  His  earliest  works  were  his- 
torical, '  Bolingbroke's  Entry  into  London,'  and 
'  The  Quarrel  between  Queen  Elizabeth  and  Essex.' 
As  these  attempts  were  not  very  successful,  he 
was  induced  to  paint  portraits ;  and  as  he  had 
considerable  facility  of  hand,  skill  in  drawing, 
and  generally  caught  peculiarities  of  character, 
he  soon  obtained  many  sitters.  But  the  work 
that  first  attracted  the  attention  of  the  public  was 
the  '  Hubert  and  Prince  Arthur,'  which  he  painted 
for  a  Mr.  Leader.  This  person's  knowledge,  or 
judgment,  it  seems,  was  not  in  accordance  with 
that  of  the  public,  for  he  returned  the  picture  to 
the  artist  in  exchange  for  portraits  of  his  daughters. 
The  success  of  his  portraits,  and  the  praise,  without 
patronage,  which  his  historical  attempts  obtained, 
induced  Harlow  to  try  a  blending  of  the  two  styles 
in  one  subject ;  and,  accordingly,  he  commenced 
what  is  called  '  The  Trial  of  Queen  Catharine,'  or, 
more  properly, '  The  Kemble  Family ,'  which  was 
painted  for  Mr.  Welch,  the  professor  of  music. 
Its  popularity  was  very  great;  and  the  print 
which  was  engraved  from  it  in  mezzotint  by 
George  Clint  had  an  extensive  sale,  both  in 
England  and  on  the  continent.  In  1818,  Harlow 
went  to  Italy  to  acquire  the  art  of  drawing  the 
human  figure  with  purity  and  taste ;  and  he  aston- 
ished the  Italian  artists  by  the  rapidity  with  which 
he  copied  the '  Transfiguration '  of  Raphael.  Canova 
complimented  him  by  saying,  that  "  it  seemed  rather 
the  work  of  eighteen  weeks  than  of  eighteen  days," 
the  time  in  which  he  made  this  correct  and  beauti- 
ful copy,  of  the  same  size  as  the  original.  He  was 
introduced  to  the  Pope  by  Canova,  and  was  elected 
a  member  of  the  Academy  of  St.  Luke,  to  which 
he  gave  his  picture  of  "The  Presentation  of  the 
Cardinal's  Hat  to  Wolsey  in  Westminster  Hall.' 
He  returned  to  London  early  in  1819,  and  in  a  few 
days  was  attacked  by  an  afEeotion  of  the  throat, 
which  terminated  his  life  in  his  thirty-second  year. 
Harlow's  exhibited  works  were  almost  wholly  por- 
traits, many  of  them  being  of  small  size.  Among 
others  were  those  of  Benjamin  West,  Sir  William 
Beechey,  Northcote,  Stothard,  Puseli,  and  Miss 
Stephens,  afterwards  Countess  of  Essex. 

HARMS,  AuGHST  Feiedkich,  a  son  of  Johann 
Oswald  Harms,  was  a  painter,  by  whom  there  is 
an  altar-piece,  '  The  Ascension,'  in  Brunswick 
Cathedral.  He  also  painted  landscapes  and  archi- 
tectural pieces,  several  examples  of  which  are  to 
be  found  in  Brunswick  and  Copenhagen.  On  his 
father's  death  he  removed  to  Cassel,  where  he  died 
in  1745.  Two  pictures  of  '  Dead  Game '  by  him 
are  in  the  Brunswick  Gallery. 

HARMS,  Johann  Oswald,  a  landscape  and  archi- 
tectural painter,  was  born  at  Hamburg  in  1642. 
He  was  a  pupil  of  Ellerbrock,  and  lived  some  time 
in  Rome,  where  he  became  successful  in  imitating 
Salvator  Rosa.  He  afterwards  worked  in  Dresden 
at  theatrical  decoration,  and  died  at  Hamburg  in 
1708.  Paintings  by  him  are  to  be  met  with  in 
Brunswick  and  Schwerin.  He  also  etched  nine 
plates  of  ruins,  and  eight  of  theatrical  scenes  and 
landscapes  (1678). 

HARNIER,  WiLHELM  VON,  an  amateur  portrait 
painter,  was  born  at  Darmstadt  in  1801,  and  died 
at  Munich  in  1838.  Among  his  portraits  is  that  of 
Admiral  Codrington.  In  the  Darmstadt  Gallery 
are  copies  by  him  after  Leonardo  da  Vinci  and 
Raphael. 

HARO,  Juan  de,  was  a  Spanish  painter  who 
flourished  at  Madrid,  but  nothing  is  known  of  him 

628 


except  that  he  was  engaged  in  1604,  with  Luis 
de  Carbahal  and  Pantoja  de  La  Cruz,  to  paint  the 
altar-pieces  of  the  Augustine  College  founded  by 
Cardinal  Quiroga  in  the  town  of  Madrigal.  Cean 
Bermudez  notes  especially  a  '  St.  Thomas  of  Viila- 
nueva,'  signed  by  Haro,  at  a  side  altar,  and 
considers  it  equal  in  drawing,  colour,  and  compo- 
sition to  the  works  of  his  better-known  contem- 
poraries. Several  pictures  in  other  parts  of  the 
church  appear  to  be  by  the  same  hand. 

HARP,  Gerard  van.    See  Hbrp. 

HARPER,  Adolf  Friedbich,  bom  at  Berlin  in 
1725,  was  instructed  by  his  father,  Johann  Harper. 
He  then  devoted  eight  years  to  travelling  in 
France  and  Italy,  and  in  particular  improved  his 
talents  for  drawing  and  painting  from  nature 
by  studying  under  Richard  Wilson  at  Rome. 
After  this  he  entered  the  service  of  the  Duke  of 
Wurtemberg,  and  in  1759  became  court  painter, 
but  having  in  this  capacity  to  execute  a  large 
amount  of  mechanical  work,  such  as  door-pieces 
and  arabesques,  his  capabilities  as  an  artist  soon 
exhibited  a  falling  off.  Among  his  earlier  and 
better  works  is  the  '  Garden  Theatre  in  the  Villa 
Madama  at  Rome '  (1760).  He  was  esteemed  as  a 
teacher  at  the  Academy  of  Fine  Arts  at  Stutt- 
gart, of  which  he  was  rector  in  1771-2  and  1786-94. 
He  died  at  Berlin  in  1806. 

HARPER,  Johann,  bom  at  Stockholm  in  1688, 
was  a  pupil  of  Meytens  and  Kraft.  In  1712  he 
went  to  Berlin,  where  in  1716  he  was  appointed 
court  painter.     He  died  at  Potsdam  in  1746. 

HARRADEN,  R.  B.,  an  English  draughtsman 
and  engraver,  practised  in  the  first  half  of  the  19th 
century.  He  aquatinted  Girtin's  views  of  Paris 
(1802),  and  supplied  the  drawings  for  '  Cantabrigia 
depicta '  published  in  1809.  He  occasionally  ex- 
hibited at  the  Society  of  British  Artists,  of  which 
he  was  a  member  from  1824  to  1849. 

HARRATH,  Joseph,  a  German  animal  and  land- 
scape painter,  flourished  at  Munich  between  1706 
and  1725. 

HARRER,  Hugo  Paul,  an  architectural  and 
landscape  painter,  was  born  at  Eberswalde  in 
Silesia  in  1836.  He  at  first  studied  architecture 
for  three  years,  but  then  took  up  painting.  His 
first  pictures  appeared  at  Nuremberg ;  thence  he 
went  to  Munich,  and  from  1861  lived  in  Italy  on 
account  of  his  health,  but  afterwards  returned  to 
Germany,  and  lived  during  the  years  1867-68  at 
Diisseldorf,  working  four  weeks  with  Oswald  Aehen- 
bach.  Besides  his  architectural  and  landscape 
pieces,  he  painted  several  small  genre  pictures  with 
great  success.     He  died  at  Rome  in  1876. 

HARREWYN,  Franciscds,  a  Flemish  draughts- 
man and  engraver,  born  at  Brussels  in  1680,  was  a 
pupil  of  Romeyn  De  Hooghe,  but  was  very  inferior 
to  his  instructor.  The  following  portraits  are  by 
him: 

John  IV.,  King  of  Portugal. 

Henry  of  Lorraine,  Duke  of  Guise. 

Margaret  of  Valois. 

Altert,  Archduke  of  Austria,  kneeling,  vrith  St.  James 

by  his  side  ;  after  Rubens. 
Isabella,  Infanta  of  Spain,  kneeling,  with  St.  Margaret 

presenting  to  her  a  Crown  of  Flowers ;  after  the  same. 

HARREWYN,  Jacobus,  a  Flemish  draughtsman 
and  engraver,  flourished  in  the  latter  part  of  the 
17th  century.  He  engraved  two  views  of  Rubens's 
house  at  Antwerp,  and  many  of  the  plates  for  Le 
Roy's  '  Castella  et  Prsetoria  Nobilium  Brabantise,' 
published  at  Antwerp  in  1694.    He  died  after  1701. 


Harriet 


PAINTERS   AND  ENGRAVERS. 


Hartmann 


HARRIET,  Pdlchean  Jean,  was  a  French  his- 
torical painter,  who  was  bom  in  Paris,  and  studied 
under  David.  He  obtained  the  '  prix  de  Rome '  in 
1798  for  hie  picture  of  the  '  Battle  of  the  Horatii 
and  Curiatii,'  and  he  proceeded  to  Rome  in  1803,  but 
died  there  in  1805.     Amongst  his  other  works  are : 

Portrait  of  Himself.     1802. 

Androcles  and  the  lion.    1802. 

Horatius  Codes  at  the  Subliciau  Bridge.     1805. 

Hylas  carried  away  by  the  Nymphs.    1805. 

HARRIS,  J.,  an  English  engraver,  who  flourished 
at  the  end  of  the  17th  century,  engraved  some 
architectural  views  for  the  fourth  volume  of  the 
'  Vitruvius  Britannicus,'  published  in  1739,  and,  in 
conjunction  with  John  Kip,  some  large  plates  of 
views  of  gentlemen's  seats.  There  is  also  by  him 
a  plan  of  the  '  Encampment  of  the  Royal  Army  on 
Hounslow  Heath,'  dated  1686. 

HARRIS,  J.,  a  water-colour  painter,  was  born 
in  the  latter  half  of  the  18th  century,  and  worked 
in  the  early  tinted  manner.  He  exhibited  at  the 
Royal  Academy  from  1802  to  1813,  and  died 
in  1834.  There  is  a  water-colour  drawing  of 
'Shipping'  by  him,  dated  1795,  in  the  South 
Kensington  Museum. 

HARRIS,  Moses,  a  natural  history  draughtsman, 
was  bom  in  1731,  and  his  works  are  dated  1766 
to  1811.  He  was  engaged  for  twenty  years  in 
drawing,  engraving,  and  colouring  the  plates  for 
'  The  Aurelian  ;  or,  Natural  History  of  British 
Insects,'  published  in  1766,  with  his  own  portrait 
prefixed  to  it. 

HARRISON,  George  H.,  a  landscape  painter  in 
water-colours,  bom  at  Liverpool  in  1816,  was  the 
son  of  Mrs.  Harrison,  the  flower  painter.  He  came 
to  London  about  1830,  supporting  himself  by  the 
sale  of  his  drawings  of  various  subjects,  and 
received  good  advice  from  Constable.  He  com- 
menced exhibiting  at  the  Royal  Academy  in  1840, 
and  was  elected  an  Associate  of  the  Water-Colour 
Society  in  1845.  He  had  considerable  practice  as 
a  teacher,  and  tried  various  methods  and  various 
subjects,  but  finally  adhered  to  landscape  painting 
in  water-colours.     He  died  in  1846. 

HARRISON,  Mrs.  Mart,  a  flower  and  fruit 
painter  in  water-colours,  was  bom  at  Liverpool 
in  1788.  Her  maiden  name  was  Rossiter,  and 
she  married  in  1814.  Owing  to  pecuniary  losses 
and  her  husband's  ill-health,  she  became  the  entire 
support  of  her  family  of  twelve  children.  She  was 
an  original  member  of  the  New  Society  of  Painters 
in  Water-Colours,  where  she  exhibited  up  to  her 
death  in  1875.  Wild  flowers  were  her  forte,  and 
she  made  long  pedestrian  excursions  in  search  of 
them. 

HARRISON,  William  Frederick,  the  eldest 
son  of  Mrs.  Harrison,  the  flower  painter,  died  at 
Goodwick,  near  Fishguard  Bay,  South  Wales,  in 
1880.  He  was  an  occasional  contributor  to  the 
exhibitions  of  the  Royal  Academy  and  the  Dudley 
and  other  Galleries. 

HARRISS,  D.,  a  water-colour  draughtsman, 
practised  in  the  tinted  manner  at  Oxford  about 
the  end  of  the  18th  century.  He  exhibited  a 
'  View  of  a  Country  Seat '  at  the  Royal  Academy 
Exhibition  in  1799. 

HART,  Solomon  Alexander,  an  historical 
painter,  bom  at  Plymouth  in  1806,  was  the  son  of 
a  goldsmith,  who  had  studied  under  Northcote. 
In  1820  father  and  son  removed  to  London, 
where  the  former  acted  as  teacher  of  Hebrew, 
and  the  latter  was  apprenticed  to  Samuel  Warren, 


the  line-engraver.  Turning  from  engraving  to 
painting,  he  became  a  student  of  the  Royal 
Academy  in  1823,  and  began  his  career  as  a 
miniature  painter ;  his  first  contribution  to  a  public 
exhibition  being  a  miniature  of  his  father  at  the 
Royal  Academy  in  1826.  He  contributed  several 
pictures  to  the  exhibition  of  the  Society  of  British 
Artists,  among  which  was  '  The  Elevation  of  the 
Law,'  originally  called  '  Interior  of  a  Polish  Syna- 
gogue,' painted  in  1830,  which  is  now  in  the 
Vernon  Collection,  National  Gallery.  From  1828 
to  1844  he  exhibited  at  the  British  Institution,  and 
in  1830  he  sent  to  the  Academy  a  picture  of  '  Isaac 
of  York  in  the  Donjon  of  the  Castle  of  Reginald 
Front-de-Boeuf,'  which  attracted  considerable  at- 
tention, and  was  followed  in  1831  by  'English 
Nobility  receiving  the  Communion  of  the  Catholic 
Church.'  He  was  elected  an  Associate  of  the 
Royal  Academy  in  1836,  and  an  Academician  in 
1840.  In  1841  and  1842  he  visited  Italy,  and 
made  a  collection  of  sketches.  He  was  appointed 
Professor  of  Painting  in  the  Royal  Academy  in 
1854,  and  held  that  ofBoe  until  1863  ;  and  in  1865 
he  was  elected  Librarian,  which  office  he  held  till 
his  death,  which  took  place  in  London  in  1881. 
In  the  South  Kensington  Museum  is  a  drawing  by 
him  of  '  Othello  and  lago.' 

HARTKAMP.    See  Smits,  Ltoewyk. 

HARTLEY,  Miss  M.,  was  an  amateur  etcher, 
who  executed  from  the  life  a  charming  etching  of 
Jedidiah  Buxton,  the  celebrated  arithmetician, 
dated  1764,  and  a  landscape,  dated  1761. 

HARTMANN,  Christian  Ferdinand,  an  his- 
torical painter,  was  bom  at  Stuttgart  in  1774.  He 
at  first  devoted  himself  to  medicine,  but  soon 
abandoned  it  for  art,  and  studied  painting  under 
Hetsch,  going  to  Rome  in  1794.  He  attained 
celebrity  by  his  'Eros  and  Anteros,'  painted  in 
1803,  which  was  followed  by  '  .tineas  hastening 
from  Troy  to  the  Battle-field.'  He  made  a  second 
journey  to  Italy  in  1820-23,  after  which  he  was 
appointed  director  of  the-  Academy  at  Dresden, 
where  he  died  in  1842.  Among  his  later  pictures 
are: 

Hector's  Farewell. 

The  Brlkonig.   {Stuttgart  Oallery.) 

Death  robbing  a  Mother  of  her  Child.     ('Fhe  same.) 

Hector  and  the  Trojan  Women. 

Portrait  of  Matthison. 

Portrait  of  Quandt. 

Portrait  of  Himself.     (Dresden  Gallery.) 

HARTMANN,  Franz,  the  son  of  Johann  Jakob 
Hartmann,  was  born  at  Prague  at  the  beginning  of 
the  18th  century,  and  died  young  in  1730.  He 
was  taught  by  his  father,  and  imitated  the  style 
of  Jan  Brueghel.  His  paintings  were  much 
esteemed  in  Bohemia,  but  are  now  very  rare. 

HARTMANN,  Johann  Daniel  Wilhelm,  who 
was  born  at  St.  Gallen  in  1793,  and  died  there 
in  1862,  was  clever  at  painting  crests  in  water- 
colours,  and  also  small  birds  and  insects.  In  1844 
he  published  a  collection  of  shells  in  coloured 
lithographs.  Some  of  his  heraldic  productions  are 
to  be  seen  in  the  town  library  of  St.  Gallen. 

HARTMANN,  Johann  Jakob,  who  was  bom  at 
Kuttenberg,  in  Bohemia,  in  1680,  painted  at  Prague, 
about  1716,  works  in  imitation  of  Jan  Brueghel. 
In  the  Vienna  Gallery  are  four  landscapes  by  him 
with  scenes  typical  of  the  Four  Elements.  He 
died  about  1730. 

HARTMANN,  Johann  Joseph,  a  landscape 
painter,  was  bom  at  Mannheim  in  1753.     He  was 


Hartmaun 


A  BIOGRAPHICAL  DICTIONARY  OF 


Hasselgren 


a  pupil  of  Franz  Kobell,  and  about  1776  went  to 
Switzerland  to  study  from  nature,  where  he  exe- 
cuted some  admired  paintings,  among  which  is  one 
in  water-colours  of  the  '  Bieler-See  and  Island  of 
St.  Peter.'  The '  Cascade  of  Rondchatel '  is  among 
his  best  oil  pictures,  and  is  noticeable  for  his 
excellent  delineation  of  the  fir-tree.  He  died  at 
Cotterd  in  the  canton  of  Vaud  in  1830. 

HARTMANN,  Mathias  Cheistoph,  a  genre 
painter,  was  born  in  1701,  and  studied  under  Fues 
at  Nuremberg.  He  became  very  clever  at  depict- 
ing comic  Jewish  scenes  such  as  '  Veitel  Itzig  in 
the  Dead  Man's  Shirt'  (1827V  and  '  Fischelguschel 
putting  a  stop  to  the  Mouth  Harmonica'  (1830). 
He  also  practised  etching,  one  of  his  best  plates 
being  'The  Sluggard '  (1818).     He  died  in  1839. 

HARTWAGNER,  Michael,  anhistorical  painter, 
was  born  at  Degendorf  in  Bavaria,  and  studied  at 
the  Academy  in  Munich,  in  which  city  he  died  in 
1775.  He  painted  altar-pieces,  portraits,  and  his- 
torical subjects,  and  also  executed  several  engrav- 
ings, among  which  are : 

The  Death  of  St.  Andrew ;  after  J.  K.  Loth. 

Three   plates  of  architectural  subjects;    after  F.  de 

Couvillers. 
Diana  and  Actseon. 
Perseus  liberating  Andromeda. 

HARTZOEKER,  Tebodoor,  a  Dutch  historical 
painter,  was  born  at  Utrecht  in  1696,  and  studied 
in  Italy  under  Balestra.  He  died  at  Utrecht  in 
1740. 

HARVEY,  Sir  George,  a  Scottish  historical, 
genre,  and  landscape  painter,  was  bom  at  St. 
Ninian's,  Perthshire,  in  1806.  He  was  first  ap- 
prenticed to  a  bookseller,  but  soon  turned  his 
attention  to  art,  and  studied  in  the  Trustees' 
Academy  in  Edinburgh.  On  the  foundation  of  the 
Royal  Scottish  Academy  he  was  elected  an  Asso- 
ciate, and  he  became  an  Academician  in  1829.  He 
made  his  greatest  reputation  by  his  pictures  of 
the  Covenanters,  but  hjs  subjects  of  Scottish  life 
gaiiied  also  great  popularity.  In  his  early  as  well 
as  in  his  more  mature  works,  landscape  held  a 
prominent  place,  and  in  his  later  years  he  devoted 
himself  to  this  branch  of  art.  He  succeeded  Sir 
John  Watson  Gordon  in  1864  as  the  President  of 
the  Royal  Scottish  Academy,  and  was  knighted  in 
1867.  He  died  at  Edinburgh  in  1876.  The  fol- 
lowing are  among  his  chief  works  : 

The  Covenanters  preaching.  1830.  {Glasgow  Corpor- 
ation Galleries.') 

A  Castaway. 

The  Examination  of  Shakespeare  before  Sir  Thomas 
Lucy  on  a  charge  of  deer-stealing. 

The  Battle  of  Drumclog.    1836. 

Sabbath  Evening.    1841. 

A  Highland  Funeral.    1844. 

The  Alarm. 

The  Covenanters'  Communion. 

Quitting  the  Manse.  j 

Dawn  revealing  the  New  World  to  Columbus. 

The  First  Eeading  of  the  Bible  in  the  crypt  of  Old  St. 
Paul's.    1847. 

The  Night  Mail. 

The  Curlers. 

Children  blowing  soap-bubbles  in  Grey  Friars'  Church- 
yard, Edinburgh. 

Eunyau  imagining  the  Pilgrim's  Progress  in  Bedford 
Gaol.    1857. 

Loch  Awe  and  Ben  Ornachan. 

Scottish  Moorland. 

Glen  Dhu,  Isle  of  Arran.    1866. 

The  Mountain  Pool.    1867. 

Glen  Falloch.    1869. 

630 


\  {National  Gallery  of 
■  j  Scotland.) 


HARVEY,  William,  a  wood-engraver,  bom  at 
Newcastle  in  1796,  was  at  the  age  of  fourteen 
apprenticed  to  Thomas  Bewick,  and  helped  his 
master  with  his  woodcuts  for  '  .Slsop's  Fables.'  In 
1817  he  came  to  London,  and  became  a  pupil  of 
Haydon,  executing  on  wood  a  large  cut  of  the 
'  Death  of  Dentatus '  by  that  artist,  an  engraving 
still  considered  remarkable.  About  1824  he  relin- 
quished engraving,  and  devoted  himself  to  making 
designs  for  woodcuts  and  copper-plates.  Among 
his  best  designs  are  those  for  the '  Arabian  Nights,' 
and  the  tasteful  vignettes  for  Northcote's  '  Fables,' 
He  also  designed  the  illustrations  for  Charles 
Knight's  'Shakespeare,'  the  'Babes  in  the  Wood,' 
'The  Blind  Beggar  of  Bethnal  Green,'  Hood's 
'  Eugene  Aram,'  and  many  other  works.  He  died 
at  Richmond  in  1866. 

HASENCLE  VBR,  Johann  Peter,  a  genre  painter, 
born  at  Remscheid,  near  Solingen,  in  1810.  At  the 
age  of  seventeen  he  was  sent  to  school  at  Diisseldorf, 
and  soon  after  to  the  Academy,  in  order  to  complete 
his  studies  as  an  architect,  but  by  the  encourage- 
ment of  Schadow  he  devoted  himself  to  painting, 
in  which  he  was  at  first  so  unfortunate  that  his 
master  began  to  doubt  his  talent.  After  having 
painted  portraits  for  some  time  in  Remscheid,  he 
began  to  study  again  in  Diisseldorf,  and  this  time 
with  increasing  success.  In  1838  he  went  for  some 
years  to  Munich,  and  lived  with  the  flower  painter 
Preyer,  with  whom  he  in  1840  undertook  a  journey 
to  Northern  Italy.  Hasenclever  soon  after  settled 
down  finally  in  Diisseldorf,  where  he  died  in  1853. 
The  following  pictures  by  him  are  in  German 
galleries : 

Berlin.    Nat.  Gallery.     Wine-Testing.    1843. 

„  „  The  Beading-Koom.    1843. 

Diisseldorf.     Gallery.     Testing  Wine. 
Munich.  Gallery,     Hieronymus  Jobs  under  Examiu« 

ation.    (From  the '  Johsiad') 

„  „  Domestic  Sulks. 

HASENPPLUG,  KiRL  Geoeg  Adolph,  an  archi- 
tectural painter,  was  born  at  Berlin  in  1802.  His 
father  being  only  a  shoemaker  in  a  humble  way,- 
his  course  at  the  outset  was  a  difficult  one ;  but 
Gropius,  the  decorative  painter,  discovered  his 
talent,  and  took  him  to  bis  atelier.  He  also  at- 
tended the  Academy;  but  after  all  the  largest 
portion  of  his  instruction  was  self-acquired.  In 
1823  he  first  attracted  attention  with  a  large  paint- 
ing of  'A  Cathedral  of  the  Fifteenth  Century,' which 
was  purchased  by  King  Frederick  William  IIL, 
and  is  now  in  the  Berlin  National  Gallery.  In 
1832-3  he  painted  interior  and  exterior  views  of 
Cologne  Cathedral;  and  from  1837  he  devoted 
himself  mainly  to  ruins  of  monasteries  and  for- 
tresses, together  with  cathedral  centres.  He  died  at 
Halberstadt  in  1858.  The  Berlin  National  GaUery 
has  views  of  Erfurt  and  Halberstadt  Cathedrals. 

HASSBL,  Jacob  van,  who  flourished  about  1650, 
painted  landscapes  and  rivers ;  the  views  being 
principally  in  the  environs  of  Rome. 

HASSBL,  William,  a  portrait  painter,  worked 
about  the  end  of  the  17th  and  beginning  of  the  18th 
centuries.  His  portrait  was  painted  by  Kneller, 
and  George  Lambert  studied  under  him.  He  was 
living  in  1707. 

HASSBL,  William,  an  engraver,  living  in 
England  in  1770,  engraved  five  plates  after  Bamp- 
fylde  for  C.  Anstey's  'Epistola  Familiaris,'  1776. 

HASSBLGREN,  GnsTAff  Erie,  a  Swedish  his- 
torioal  painter,  was  born  at  Stockholm  in  1781,  and 
studied  in  the  Academy  of  that  city.     He  after* 


Hassell 


PAINTERS  AND  ENGRAVERS. 


Hauer 


wards  went  to  Berlin,  Dresden,  Vienna,  and  for  five 
years  to  Italy,  returning  home  in  1816,  when  he 
became  a  professor  of  the  Academy  at  Stockholm, 
where  he  died  in  1827.  The  subjects  of  most  of 
his  pictures  are  taken  from  the  history  of  Sweden. 
HASSELL,  Edwaed,  a  landscape  painter,  was 
the  son  of  John  Hassell,  the  engraver.  He  flourished 
in  the  first  half  of  the  19th  century,  and  exhibited 
at  the  Society  of  British  Artists,  of  which  he  was 
elected  a  member  in  1841,  and  afterwards  its 
secretary.  He  died  at  Lancaster  in  1852.  He 
frequently  painted  in  water-colours,  and  amongst 
his  wqrks  in  that  medium  are  the  following : 

Dublin.  Nat.  Gallery.  Eue  MartinviUe,  Eouen. 
„  ,,  On  the  Conway,  North  Wales. 

„  „  Clock  Tower,  Bouen. 

„  „  Pont  du  Paut,  on  the  Sleden. 

„  „  St.  Maclou,  Bouen. 

„  „  Croix  de  Pierre,  Eouen. 

London.     Smth.  ^e«- 1  Barrow,  Derwentwater. 

stngton  Museum,  i  ' 

HASSELL,  John,  a  draughtsman  and  engraver 
in  aquatint,  flourished  during  the  latter  part  of  the 
18th  and  the  earlier  years  of  the  19th  centuries. 
He  died  in  1825.   The  following  works  are  by  him : 

'Picturesque  Guide  to  Bath  and  Bristol  Hot-Wells.' 

1793. 
'  Tour  of  the  Isle  of  Wight.'    1790. 
'  Life  of  George  Morland.'    1806. 
'  Tour  of  the  Graad  Junction  Canal.'    1819. 
'  Bides  and  Walks  round  London.'    1820. 

HASSLWANDER,  Joseph,  an  historical  painter, 
born  at  Vienna  in  1812,  was  the  son  of  a  watch- 
maker, which  trade  he  at  first  followed,  but  he 
afterwards  took  to  art,  and  entered  the  Academy. 
He  died  at  Soheibbs,  in  Lower  Austria,  in  1878. 

HASTINGS,  Thomas,  an  amateur  etcher,  prac- 
tised in  the  earlier  part  of  the  19th  century.  He 
held  an  ofSce  in  the  Customs  at  Liverpool,  and 
published  the  following  works,  illustrated  by  him- 
self: 

'Vestiges  of  Antiquity.'    1813. 

'  Etchings  from  the  Works  of  Eichard  Wilson.'    1825. 

'  The  British  Archer.'    1831. 

HATCH,  GEOEaE  W. ,  an  American  line-engraver, 
was  born  in  the  State  of  New  York,  and  studied 
under  A.  B.  Durand.  He  was  a  good  designer  and 
engraver,  especially  of  bank-notes. 

HATFIELD,  Richard,  a  line-engraver,  was  bom 
in  London  in  1809.  He  studied  under  Edward 
Finden,  but  his  eyesight  failing,  he  retired  from  the 
practice  of  his  profession  some  time  before  his 
death,  which  took  place  in  London  in  1867.  His 
principal  work  is  '  Cordelia  and  the  Physician,' 
after  Gilbert  Stuart  Newton. 

HATTIGH,  Jan  Baak.     See  Baak  Hattigh. 

HATTIN,  John,  (or  Hattins,)  was  an  obscure 
English  engraver,  by  whom,  among  other  things, 
there  is  a  small  plate  of  a  '  View  of  Old  St.  Paul's.' 

HAUBENSTRICKER,  Paul,  was  an  historical 
painter  and  engraver,  who  flourished  at  Vienna 
about  1780,  who  executed  the  following  plates : 

Calvary;  after  M.  J.  Schmidt. 

St.  Jerome ;  after  the  same. 

St.  Paul  and  St.  Anthony ;  after  the  same. 

HAUBER,  Joseph,  a  painter  and  engraver,  born 
at  Geratsried,  near  Kempten,  in  1766,  was  the 
son  of  a  carpenter,  but  he  attended  the  Vienna 
Academy,  and  studied  further  in  Munich,  where 
he  copied  several  pictures  by  Rubens,  Mieris, 
Gerard  Dou,  and  Van  Dyok.    He  painted  also 


portraits,  as  well  as  large  pictures  from  sacred  his- 
tory, and  there  are  more  than  fifty  altar-pieces  by 
him  in  Munich  and  Upper  Bavaria.  He  became 
at  length  a  professor  at  the  Academy  of  Munich, 
where  he  died  in  1834.  His  best  painting,  'The 
Dying  Saviour,'  is  well  known  through  Bode's 
lithograph. 

HAUBER,  Wolfgang,  a  pupil  of  Altdorfer,  was 
of  the  South  German  School,  and  flourished  from 
1515  to  1540.  His  pictures,  which  are  few  in 
number,  fall  little  short  of  the  works  of  Holbein 
and  Diirer,  but  he  is  chiefly  known  by  his  engrav- 
ings. A  portrait  of  Anton  Hundertpf  undt  by  him 
is  in  the  National  Gallery  of  Ireland. 

HAUBLIN,  Nicolas,  was  an  engraver,  who 
worked  at  Frankfort  and  Leipzig  between  1660  and 
1680.     He  engraved  several  portraits. 

HAUCK,  August  Christian,  a  portrait  painter, 
was  born  at  Mannheim  in  1742,  and  died  at  Rotter- 
dam in  1801.  There  is  a  portrait  of  Vice-Admiral 
Jan  Arnold  Zoutman  by  him  in  the  Amsterdam 
Museum. 

HAUCK,  FsiEDElCH  LuDWiG,  a  portrait  painter, 
the  elder  brother  of  August  Christian  Hauok,  was 
born  at  Homburg  in  1718,  and  studied  under  his 
father,  who  was  court  painter  in  that  town.  He 
afterwards  travelled  for  improvement  in  Germany 
and  England,  and  settled  in  1744  in  Frankfort,  from 
whence  he  made  a  tour  through  Holland.  He  died 
at  Offenbach  in  1801.  He  was  best  known  by  his 
portraits,  but  also  executed  copversation  pieces. 

HAUDEBOURT,  Antoinette  Ci^cile  Hortbnse, 
whose  maiden  name  was  Lescot,  was  born  in  Paris 
in  1784.  She  was  a  pupil  of  Lethiere,  but  passed 
a  number  of  years  in  Italy,  where  she  became 
acquainted  with  the  architect  Haudebourt,  whom 
she  married  in  1820.  Her  pictures  chiefly  repre- 
sent Italian  popular  life,  but  her  '  Kissing  the  Feet 
in  St.  Peter's  at  Rome '  (1812)  and  '  Confirmation 
by  a  Greek  Bishop '  (1814)  are  successful  imita- 
tions of  the  style  of  Granet.  Another  of  her  best 
works  is  the  '  Saltarello.'  She  died  in  Paris  in  1845. 
In  the  Louvre  is  her  own  portrait,  painted  in  1825. 

HAUENSTEIN,  Johann,  •  a  landscape  painter, 
was  born  at  Tiegelfelden  in  the  Canton  of  Aargau 
in  1775.  In  1806  he  went  to  Rome,  where  he  painted 
several  landscapes,  and  made  mahy  drawings  in 
sepia  of  Rome  and  its  environs. 

HAUER,  Jean  Jacques,  a  French  historical  and 
still-life  painter,  was  born  at  Algesheim  in  1751, 
and  died  in  Paris  in  1829.  His  principal  pictures 
are  the  '  Death  of  Marat,'  the  '  Portrait  of  Charlotte 
Corday,'  now  in  the  galleries  of  Versailles,  which 
Hauer  commenced  during  the  trial,  and  finished 
afterwards  in  the  cell  where  she  awaited  execution, 
and  the  '  Passage  of  the  Duchess  of  Angoultoe  at 
Blois  in  1823,'  in  the  Blois  Museum. 

HAUER,  Hans,  a  German  engraver,  was  bom 
at  Nuremberg  in  1586.  There  is  by  him  a  set  of 
woodcut  portraits  of  the  Electors  of  Saxony, 
executed  in  conjunction  with  Moses  Thym.  He 
also  engraved  some  small  copper-plates,  among 
which  is  a  portrait  of  Daniel  Sennert,  Professor 
at  Wittenberg,  dated  1612.    He  died  at  Nuremberg 

in  1660.     He  marked  his  prints  5^-  ■ 

HAUER,  JoHANN  Thomas,  a  mezzotint  engraver 
and  drawing-master,  was  born  at  Summerin  in 
Hungary  in  1748,  and  studied  at  Augsburg.  His 
drawings  are  mostly  either  historical  or  archi- 
tectural :  one  of  the  best  is  a  '  Sacrifice  in  tho 
Temple  of  Vesta.'    Ho  died  about  1818, 

631 


Hauer 


A  BIOGRAPHICAL   DICTIONARY  OF 


Havell 


HAUER,  RUPKEOHT,  an  architectural  painter,  was 
the  son  and  pupil  of  Hans  Hauer.  He  afterwards 
studied  at  Rome,  and  there  are  by  him  views  of 
the  '  Interior  of  St.  Peter's,  Ronae,'  and  the '  Interior 
of  the  Court  House  in  Nuremberg.'  He  died  in 
1667. 

HAUGHTON,  Moses,  born  at  Wednesbury,  m 
Staffordshire,  in  1734,  was  brought  up  as  an  enamel 
painter  under  a  Mr.  Holden.  He  afterwards  went 
to  Birmingham,  and  was  employed  in  the  manu- 
factories there  as  an  ornamenter  of  tea-boards ; 
but  his  forte  lay  in  the  delineation  of  still-life  in 
water-colours,  in  which  department  he  was  un- 
equalled. As  he  was  a  man  of  quiet,  unpretending 
habits,  who  passed  the  greater  part  of  his  life  at 
his  native  place,  his  superior  talents  were  known 
only  to  a  few.  He  died  at  Ashted,  near  Birming- 
ham, in  1804.  His  son,  Matthew  Haughton, 
engraved  some  of  the  ornaments  to  the  first  edition 
of  Roscoe's  '  Life  of  Lorenzo  de'  Medici.' 

HAUGHTON,  Moses,  a  miniature  painter,  the 
nephew  of  the  elder  painter  of  the  name,  was  bom 
at  Wednesbury  about  1772.  He  was  a  pupil  of 
George  Stubbs,  the  animal  painter,  but  studied 
also  at  the  Royal  Academy,  and  became  the  friend 
and  associate  of  Henry  Fuseli,  of  whom  he  painted 
and  engraved  a  portrait  in  1808.  He  had  a  mas- 
culine style  of  painting  on  ivory  and  prepared 
paper,  that  gave  his  portraits,  though  in  water- 
colours,  the  appearance  of  oil  pictures.  Fuseli's 
estimate  of  Haughton's  abilities  may  be  conjec- 
tured by  his  entrusting  him  with  the  engraving  of 
his  Miltonic  pictures,  which  Haughton  carried  out 
with  all  the  spirit  of  the  originals.  He  was  till  1848 
a  frequent  exhibitor  at  the  Academy,  but  more, 
perhaps,  for  the  sake  of  old  associations,  than  from 
a  desire  of  display.  His  talent  was  not  confined 
to  miniature.  He  likewise  painted  in  oil  Scriptural 
and  rural  subjects,  which  are  generally  of  a 
pathetic  or  sentimental  character,  and  show  an 
intimate  acquaintance  with  nature.  Some  of  his 
works  have  been  engraved ;  among  others,  two 
very  beautiful  amatory  subjects,  entitled  '  The 
Love  Dream,'  and  '  The  Captive.' 

HAULROYE,  Riquieb,  a  French  ornamental  and 
historical  painter,  as  well  as  an  able  miniaturist, 
was  born  at  Amiens,  and  died  in  1479. 

HAUSEGGER,  Sigmund  von,  a  draughtsman, 
was  bom  at  Montona,  in  Istria,  in  1838,  and  died  in 
1864.  He  was  a  pupil  of  Karl  Rahl,  and  is  known 
by  his  illustrations  to  the  'Nibelungen  Lied,'  his 
large  cartoon,  '  The  Twilight  of  the  Gods,'  and  his 
'  Compositions  from  the  Edda,'  in  ten  plates. 

HAUSER,  fjDODAED,  a  painter  of  landscapes  and 
scenes  of  Alpine  Ufe,  was  a  native  of  Basle,  who 
died  at  Havre  in  1864. 

HAUSHOFER,  Maximilian,  a  landscape  painter, 
the  son  of  a  schoolmaster,  was  born  at  Nymphen- 
burg  in  1811,  and  in  1829  entered  the  University 
of  Munich  to  study  jurisprudence ;  he,  however, 
also  practised  drawing  and  painting,  and  in  1833 
determined  to  devote  himself  wholly  to  art.     In 

1834  he  exhibited  his  first  picture,  '  Evening  on 
the  Chiemsee,'  a  lake  which  he  continued  to  repre- 
sent in  his  paintings  for  thirty  years.     The  years 

1835  to  1867  he  spent  in  Italy  and  Sicily,  and 
from  that  date  lived  principally  upon  the  Frauen- 
insel,  in  the  Chiemsee.  In  1841-43  he  made  three 
tours  to  the  Rhine  and  Upper  Austria,  and-  in 
1844  was  called  to  Prague  as  professor,  when 
he  commenced  ransacking  the  Bohemian  Forest 
for  subjects  for  his  pictures.     He  died  at  Prague 

632 


in   1866.      The   following    are   among   his    best 

works : 

The  Lake  of  Agnano.    1835. 

Sabbath  Morning  on  the  Chiemsee.    1839. 

The  Nun  on  the  Banks  of  the  Lake. 

Sabbath  StiUness.    1842. 

The  Bldckensteiner-See.   1845. 

Distant  Prospect  from  the  Arber. 

View,  -with  the  Walhalla.     1850. 

The  Eibsee  at  the  Foot  of    the  Zugsspitze.     1855. 

(Emperor  of  Austria.) 
The  "Walchensee.    1856. 
The  Klonthaler-See.     1858. 
The  Vierwaldstatter-See.    1859.   ( Vienna  Gallery.) 

HAUSSARD,  Jean  Baptists,  a  French  engraver, 
was  bom  in  Paris  in  1680,  and  died  in  the  same 
city  in  1749.  He  successfully  imitated  the  style 
of  Benoit  Audran.  His  best  prints  are  those 
which  he  engraved  for  the  Crozat  Collection,  viz. ; 

The  Creation  of  Eve  ;  after  Givlio  Homano, 

Jupiter  and  Semele ;  after  the  same. 

An  Allegorical  Subject ;  after  Sermoneta. 

Christ  driving  the  Money-changers  from  tho  Temple ; 

after  Bart.  Manjredi. 
An  Assembly  at  Table ;  after  the  same. 
Moses  striking  the  Bock ;  after  G.  F.  Somanelli. 
The  Kich  Man  and  Lazarus  ;  after  Bomenico  FeH, 
The  Virgin  and  Infant ;  after  De  La  Fosse. 
Pan  and  Syrinx ;  after  J.  Courtin. 
The  Old  Man  in  the  Arm-chair ;  after  Tenters. 
The  Old  Woman ;  <^ter  the  same. 
St.  Michael ;  after  Raphael. 

HAUTIER,  Louis  Henri,  a  French  painter,  was 
bom  in  Paris  in  1801,  and  died  there  in  1839.  He 
was  a  pupil  of  Ingres,  and  among  his  works  were 
subjects  taken  from  Sir  Walter  Scott's  novels  of 
the  '  Abbot '  and  '  Kenilworth.' 

HAUZINGBR,  Joseph,  was  bom  at  Vienna  in 
1728,  and  became  a  pupil  of  Paul  Troger  and 
Daniel  Gran,  in  connection  with  the  former  of 
whom  he  executed  the  frescoes  in  the  cathedrSl  at 
Brixen.  Specimens  of  his  separate  work  are  to  be 
seen  in  the  palace  chapels  at  Pressburg  and  Ofen, 
in  the  chapel  of  King  Stephen,  and  in  the  Uni- 
versity Hall  at  Tyrnau.  His  best  painting  is '  The 
Child  Jesus  going  up  to  Jerusalem  with  his  Parents' 
(1782).  He  was  court  painter  and  professor  at 
the  Academy  of  Vienna,  where  he  died  in  1786. 
In  the  Vienna  Gallery  is  a  picture  of  'Eight 
Children  playing.' 

HAVELL,  Daniel  and  Robert,  were  English 
engravers  in  the  early  part  of  the  19th  century. 
They  produced  conjointly,  in  1812,  'Picturesque 
Views  on  the  Thames.'  Robert  engraved  also 
'Views  in  India'  (1837),  and  Daniel  the  plates 
for  an  'Account  of  the  Theatres  of  London '  (1826). 

HAVELL,  F.  John,  an  engraver,  was  bom,  and 
practised,  in  London.  He  died  in  1840,  having 
for  some  years  lost  bis  reason. 

HAVELL,  William,  a  water-colour  landscape 
painter,  was  bom  at  Reading  in  1782.  He  was  not 
allowed  to  follow  art  without  some  opposition  on  the 
part  of  his  father,  who  was  a  drawing-master  ;  but 
in  the  year  1804  he  became  one  of  the  original 
members  of  the  Water-Colour  Society,  and  he  also 
occasionally  painted  in  oil,  exhibiting  his  works  in 
that  medium  at  the  Royal  Academy.  In  1816  he 
accompanied  Lord  Amherst's  mission  to  China,  and 
subsequently  went  to  India,  where  he  stayed  some 
years,  and  made  some  money.  He  retumed  to 
England  in  1825,  and,  after  a  visit  to  Italy,  devoted 
himself  to  oil  painting.  But  his  later  years  were 
clouded  with  anxiety  and  reverses  ;  his  art  was  no 
longer  successful,  and  he  lost  his  savings,  finally 


Eaverman 


PAINTERS  AND  ENGRAVERS. 


Haydon 


becoming  a  pensioner  on  the  Turner  Fund  of  the 
Royal  Academy.  He  died  at  Kensington  in  1867. 
Havell  occupies  a  prominent  place  amongst  the 
founders  of  the  English  water-colour  school ;  the 
excellence  of  his  colour  and  his  mode  of  treatment 
fully  entitling  him  to  that  position.  At  the  South 
Kensington  Museum  there  are  the  following  water- 
colour  drawings  by  him  : 

View  of  Hastings.    1815. 

Windsor. 

Kilgerran  Castle,  Pembrokeshire. 

HAVERMAN,  Makgaeetha,  the  daughter  of  a 
schoolmaster,  was  bom  at  Amsterdam  in  1720,  and 
was  a  scholar  of  Jan  van  Huysum,  who  is  said  to 
have  been  jealous  of  her  skill.  An  unhappy  love 
afEair  caused  her  to  remove  to  Paris,  where  she 
died  in  1795. 

HAVEUS,  Theodob,  a  Dutch  painter,  who  was 
bom  at  Cleves  in  the  16th  century,  came  over  to 
England  in  the  reign  of  Elizabeth,  and  distinguished 
himself  as  a  painter,  sculptor,  and  architect. 

HAVEUS,  Thbodobe,  was  an  English  portrait 
painter  of  the  time  of  Charles  II.  There  are  por- 
traits of  himself  and  of  another  person  at  Caius 
College,  Cambridge.  He  also  practised  as  an 
architect,  but  must  not  be  concfounded  with  the 
elder  Theodor  Haveus,  who  came  to  England  in  the 
reign  of  Elizabeth,  and  also  worked  at  Cambridge 
as  an  architect  and  sculptor. 

HA  WARD,  Ebancis,  an  engraver,  born  in  1759, 
entered  the  schools  of  the  Royal  Academy  in 
1776,  and  was  elected  an  Associate  Engraver  in 
1783,  from  which  time  he  occasionally  sent  his 
works  to  the  exhibitions.  He  at  first  practised 
in  mezzotint,  but  afterwards  adopted  the  stipple 
manner.  He  died  at  Lambeth  in  1797.  Amongst 
his  best  works  are : 

MEZZOTINT. 
C!harles,  Earl  Oomwallis ;  after  W.  Oardner. 
Juno,  Hebe,  Flora,  and  Zephyr;  four  plates,  after  W. 

Hamilton. 
Psyche  and  Zephyr;  after  the  same. 
TJrania  and  Clio ;  after  the  same. 
Euphrasia ;  after  the  same. 
James  Ferguson ;  after  Northcote.    1776. 
Master  Bunbury ;  after  Sir  Joshua  JReynolds.    1781. 

STIPPLE. 
The  Infant  Academy ;  after  iSir  Joshua  Reynolds.   1783- 
Mrs.  Siddons  as  the  Tra^c  Muse  ;  after  the  same.    1787. 
George  IV.,  when  Prince  of  Wales ;  after  the  same.  1793. 
Oymon  and  Iphigenia ;  after  the  same.    1797. 

HA  WEN,  Lambert  van,  (Hagbn,  or  Hauen,)  a 
Norwegian  painter  and  architect,  born  at  Bergen 
in  1630,  was  a  son  of  Salomon  van  Hawen,  a 
sculptor  and  painter.  He  studied  at  Copenhagen, 
and  afterwards  went  to  Italy,  where  he  studied 
painting  and  architecture  from  1663  to  1670.  On 
his  return  to  Copenhagen  he  was  appointed  In- 
spector of  Painting  by  Christian  V. ,  whose  portrait 
he  painted  in  coronation  robes.  He  painted  also 
'  The  Death-bed  of  a  Lady  of  Rank.'  He  died  at 
Copenhagen  in  1 695. 

HAWEN,  Michael  van,  a  brother  of  Lambert 
van  Hawen,  was  a  native  of  Bergen,  who  studied 
at  the  Academy  of  Copenhagen.  He  afterwards 
travelled  in  Italy,  and  on  his  return  was  appointed 
court  painter.    He  flourished  from  1664  to  1671. 

HAWKER,  Edward,  a  portrait  painter,  was  born 
about  1640,  and  died  about  1723.  He  succeeded 
to  Lely's  house  and  studio,  and  became  a  poor  knight 
of  Windsor.  Amongst  his  portraits  are  those  of 
the  Duke  of  Grafton  and  of  Titus  Gates. 


HAWKINS,  George,  an  architectural  draughta- 
inan,  was  born  in  1810.  He  commenced  a  series 
of  drawings  of  the  ancient  abbeys  of  Yorkshire 
from  sketches  by  W.  Richardson,  but  this  he  had 
not  completed  at  the  time  of  his  death,  which  took 
place  in  London  in  1852. 

HAY,  David  Ramsay,  a  Scottish  decorative  painter 
was  bom  at  Edinburgh  in  1798,  and  was  there 
apprenticed  to  a  decorative  and  heraldic  painter. 
After  having  painted  a  few  pictures  which  did  not 
succeed,  he  confined  himself  to  ornamental  art.   He 
also  wrote  a  book  on  the  '  Principles  of  Beauty  in 
Colouring,'  and  several  other  works  on  the  same 
subject,  as  well  as  on  the  mathematical  study  of  the 
human  figure.     He  died  at  Edinburgh  in  1866. 
HAYD,  Anna  Maria.    See  Werner. 
HAYDON,    Benjamin    Robert,     an   historical 
pamter,  was  born  at  Plymouth  in  1786,  and  became 
a  student  of  the  Royal  Academy  in  1804.    In  1807 
he  exhibited  his  first  picture,  '  A  Riposo  of  the 
Holy  Family,'  and  in  1809  the '  Death  of  Dentatus,' 
now  in  the  possession  of  the  Marquis  of  Normanby, 
for  which  he  received   a  prize  of  one  hundred 
guineas  from  the  directors  of  the  British  Institu- 
tion.    This  was  followed  by  'The  Judgment  of 
Solomon,'  which  was  exhibited  at  Spring  Gardens 
in  1814,  and  for  which  the  directors  of  the  British 
Institution  again  voted  him  a  prize  of  one  hundred 
guineas  ;  it  was  subsequently  sold  for  six  hundred 
guineas.     Haydon  had  previously  quarrelled  with 
the  Royal  Academy  as  a  body,  or  he  might  now 
have  become  a  member.     His  ambition  was  to  be 
the  founder  of  an  elevated  school  of  art,  but  his 
impetuosity  of  temper  frustrated  his  views,  and 
he  had  to  contend  with  settled  prejudices,  and 
the  undermining  influence  of  persons  of  weight  in 
society,  whose  dislike  of  the  man  induced  them  to 
depreciate  his  works.     This  he  could  not  brook,  for 
knowing  the  incompetency  of  his  detractors  as 
artists,  he  boldly,  but  imprudently,   retorted    on 
them,   and   openly  declared  war.     His  frequent 
tirades  irritated  his  enemies,  and  furnished  them 
with  weapons  which  they  too  successfully  used  to 
crush  his  efforts,  though  they  could  not  humble 
the   man.      Haydon  now  painted    several    large 
pictures  of  an  ambitious  character,  which  he  ex- 
hibited independently  of  the  Academy ;  he  was 
successful  in  some,  but  by  others  he  lost.    The 
most  popular  was  '  Christ's  Entry  into  Jerusalem,' 
painted  in  1820,  by  which  he  gained  nearly  three 
thousand  pounds.     The  picture  is  now  in  America. 
His   struggles    involved    him    in   pecuniary   em- 
barrassments ;  and  in  1827  a  public  subscription 
was  made  for  his  relief,  when  he  gave  this  melan- 
choly account  of  the  fate  of  his  great  pictures  : 
"  My  '  Judgment  of  Solomon '  is  rolled  up  in  a 
warehouse  in  the  Borough ;  my  '  Entry  into  Jeru- 
salem,' once  graced  by  the  enthusiasm  of  the  rank 
and  beauty  of  the  three  kingdoms,  is  doubled  up  in 
a  back  room  in  Holborn ;  my  '  Lazarus '  is  in  an 
upholsterer's  shop  in  Mount  Street ;  and  my  '  Cru- 
cifixion '  in  a  hay-loft  in  Lisson  Grove."     He  was 
now   an  inmate  of  the   King's   Bench  prison  (a 
disaster  which  befell  him  a  second  time  in  1830, 
and  a  third  time  in  1836),  and  here  he  painted 
the  '  Mock   Election '  that  was  held  there ;    this 
was  purchased  by  George  IV.  for  five  hundred 
guineas;  and  its  companion,  'Chairing  the  Mem- 
ber,' was  bought  by  Mr.  Francis  of  Exeter  for  three 
hundred  guineas.     Another  picture  of  the  same 
period  was  his  '  Pharaoh  dismissing  Moses,'  which 
Mr.  Hunter,  an   East  India  merchant,  purchased 

633 


Haye 


A   BIOaRAPHICAL  DIOTIONABY  OF 


Hajrman 


for  five  hundred  guineas.  It  is  needless  to  inquire 
why  Haydon  should  have  remained  embarrassed 
when  he  could  obtain  such  prices,  but  so  it  was.  He 
now  attempted  portrait  painting,  in  which  he  was 
sure  to  fail  of  success  ;  he  painted  vigorous  like- 
nesses, but  disdained  to  flatter,  and  represented  only 
such  beauty  as'he  found.  Some  of  his  heads  of  men 
of  intellect,  done  in  blaoltchalk,  are  admirable.  His 
pictures  of  the  '  Reform  Banquet,'  and  the  '  Anti- 
Slavery  Society,'  are  merely  collections  of  portraits. 
'  Napoleon  at  St.  Helena '  was  one  of  his  most  suc- 
cessful works  ;  of  this  he  made  four  copies,  three 
of  which  were  ordered  by  Sir  Robert  Peel,  the  Duke 
of  Devonshire,  and  the  Duke  of  Sutherland.  His 
'  Wellington  at  Waterloo  '  did  not  receive  the  like 
approbation.  He  exhibited  a  cartoon  as  a  candi- 
date to  paint  a  fresco  in  the  new  Houses  of  Parlia- 
ment ;  but  his  usual  ill  luck  attended  him ;  the 
judges  appointed  by  royal  commission  did  not 
understand,  or  else  overlooked,  his  work.  This  was 
the  death-blow  to  his  hopes.  He  made  a  last  efEort 
to  vindicate  his  claims  to  distinction,  and  exhibited 
his  '  Banishment  of  Aristides,'  and '  Nero  playing  on 
the  Lyre  while  Rome  is  burning  '  ;  but  once  more  he 
met  only  with  neglect  from  his  looked-for  patrons. 
His  pictures  of  'Marcus  Ourtius  plunging  into 
the  Gulf,'  and  '  Alexander  the  Great  encountering 
a  Lion,'  are  noble  productions,  worthy  of  ancient 
Greece,  though  not  to  the  taste  of  the  present  age. 
Haydon  vindicated  the  correctness  of  the  action  in 
the  former  by  a  diagram,  which  at  once  convicted 
of  ignorance  the  self-styled  critics  of  the  day. 
At  the  time  of  his  death  he  was  employed  on 
a  large  picture  of  '  Alfred  the  Great  and  the 
First  English  Jury.'  But  before  it  was  finished, 
broken-hearted  and  driven  to  despair,  he  fell  by 
suicide  in  1846,  not  leaving  his  equal  as  an  English 
historical  painter  behind  him.  The  National  Gal- 
lery possesses  his  '  Punch '  or  '  Mayday,'  painted  in 
1829,  and  '  The  Raising  of  Lazarus,'  painted  in 
1821-23 ;  but  these  have  been  temporarily  removed 
from  the  collection  under  the  National  Gallery 
Loan  Act ;  the  '  Lazarus  '  is  now  at  Plymouth,  the 
'  Punch '  at  Leicester.  In  the  South  Kensington  Mu- 
seum is  a  picture  of  '  Christ's  Agony  in  the  Garden,' 
and  a  chalk  drawing.  Haydon's  '  Autobiography 
and  Journals '  were  edited  by  his  widow  in  1847,  and 
his  '  Life '  was  written  by  Tom  Taylor,  and  pub- 
lished in  1853.  His  '  'Thoughts  on  the  relative 
value  of  Fresco  and  Oil  Painting,  as  applied  to  the 
Architectural  Decorations  of  the  Houses  of  Parlia- 
ment,' appeared  in  1842,  and  his  '  Lectures  on 
Painting  and  Design,'  in  1844-46. 

HAYE,  De  la.    See  De  La  Hayb. 

HAYER,  Geoeq,  (or  Haubb,)  a  German  painter, 
was  a  native  of  Breslau,  who  flourished  between 
1590  and  1614.  He  painted  views  of  Breslau,  the 
'Catafalque  of  the  Emperor  Rudolph  II.,'  and  a 
'  Waterpot  from  the  Marriage  at  Cana.' 

HAYES,  John,  a  portrait  painter,  born  in  1786, 
exhibited  at  the  Royal  Academy  from  1820,  and  in 
later  life  painted  some  subiect  pictures.  He  died 
in  1866. 

HAYES,  Michael  Angelo,  an  Irish  painter  of 
military  subjects  in  oil  and  water-colours,  born  at 
Waterford  in  1820,  was  the  son  of  Edward  Hayes, 
R.H.A.  He  first  appeared  at  the  Royal  Hibernian 
Academy  in  1840,  with  '  The  Deserter,'  and  was 
elected  a  member  in  1854,  subsequently  acting  as 
secretary  from  1856  to  1870.  He  was  also  an 
Associate  of  the  Institute  of  Painters  in  Water- 

634 


Colours.    He  was  accidentally  drowned  at  Dublin 
in  1877.    Amongst  his  best  works  are : 

The  Charge  of  the  3rd  light  Dragoons  at  Moodtree. 

St.  Patrick's  Day  at  Dublin  Castle. 

The  Installation  of  the  Prince  of  Wales  as  Knight  of 

St.  Patrick. 
The  Charge  of  the  16th  Lancers  at  Aliwal. 

HAYES,  William,  an  English  animal  painter, 
worked  in  the  latter  part  of  the  18th  century.  He  had 
a  large  family,  and  was  never  able  to  raise  himself 
above  poverty.   He  published  the  following  works : 

The  Natural  History  of  British  Birds.     1775. 
Portraits  of  the  rare  Birds  in  Osterley  Park.    1794. 

HAYES,  William  Jacob,  an  American  landscape 
and  animal  painter,  was  born  at  New  York  in  1830, 
He  received  his  first  instruction  from  John  R.  Smith, 
but  was  self-taught  as  to  the  higher  development  of 
his  talents.  He  made  his  first  exhibition  at  the 
New  York  Academy  in  1850,  and  became  in  1853  an 
associate  of  the  same,  but  withdrew  from  it  four 
years  later.  In  1860  he  travelled  to  the  sources  of 
the  Missouri  to  study  the  habits  of  the  animals  on 
the  prairies,  and  most  of  his  pictures  represent  the 
beasts  [of  the  chase  amidst  charming  landscapes ; 
one  of  which,  a  '  Wandering  BufEalo  Herd,'  he 
himself  lithographed.  He  also  painted  some 
pictures  of  orchids.    He  died  at  New  York  in  1875. 

HAYEZ,  Feancesco,  an  Italian  historical  painter, 
was  born  at  Venice  in  1791.  He  studied  under 
Maggiotto,  and  then  at  the  Academy  of  Venice ; 
after  which  he  went  to  Rome,  where  he  won 
the  first  prize  from  the  Academy  of  St.  Luke. 
He  afterwards  went  to  Milan,  where  he  was  ap- 
pointed a  professor  of  the  Academy.  He  painted 
frescoes  in  the  Vatican  at  Rome,  and  '  Rinaldo 
and  Armida '  for  the  Academy  of  Venice.  He  died 
at  Milan  in  1882. 

HAYLEY,  RoBEET,  an  Irish  animal  painter, 
worked  in  the  18th  century.  He  studied  in  the 
Dublin  School  under  Robert  West,  and  his 
favourite  medium  was  chalk.  He  died  in  Dublin 
about  1770. 

HAYLS,  John,  an  English  portrait  painter,  lived 
in  the  reign  of  Charles  II.,  and,  according  to 
Walpole,  possessed  an  extraordinary  talent  for  copy- 
ing the  pictures  of  Van  Dyck,  and  was  a  rival  of 
Sir  Peter  Lely.  At  Woburn  there  are  some  por- 
traits of  the  Russell  family,  painted  by  him,  and 
in  the  National  Portrait  Gallery  is  a  portrait  of 
Samuel  Pepys.     He  died  in  London  in  1679. 

HAYM,  Niccol6  Francesco,  was  an  Italian  en- 
graver, who  resided  in  London  in  the  year  1719, 
and  etched  the  plates  for  a  work  on  medals  which 
he  then  published,  entitled  '  Tesoro  Britannico.' 

HAYMAN,  Francis,  an  historical  painter,  bom 
at  Exeter  in  1708,  was  a  pupil  of  Robert  Brown, 
and  after  leaving  that  master,  was  much  employed 
in  making  designs  for  the  booksellers,  among 
which  were  those  for  Sir  Thomas  Hanmer's 
edition  of  Shakespeare,  and  for  editions  of  Milton, 
Pope,  and  'Don  Quixote.'  As  a  painter,  he  is 
principally  known  by  the  pictures  he  painted 
for  Vauxhall,  which  were  considered  the  best  of 
his  works.  He  was  one  of  the  foundation  members 
of  the  Royal  Academy,  exhibiting  at  its  exhibitions 
from  1769  to  1772,  and  was  librarian  from  1771 
until  his  death,  which  took  place  in  London  in 
1776.  There  is  by  him  the  'Finding  of  Moses,'  at 
the  Foundling  Hospital,  London,  and  a  portrait  of 
himself  in  the  National  Portrait  Gallery,    He  etched 


Hayman 


PAINTERS  AND   ENGRAVERS. 


Heaphy 


a  few  small  plates,  one  of  which  represents  '  FalstafE 
seated  on  a  Drum.' 

HAYMAN,  James,  an  animal  painter,  was  bom 
in  London  in  1814.  Although  showing  an  early 
predilection  for  art,  it  was  not  till  1837  that, 
through  the  assistance  of  friends,  he  was  enabled 
to  devote  himself  entirely  to  its  pursuit.  He  then 
received  some  instruction  from  Lance,  and  from 
1840  exhibited  at  the  Royal  Academy,  at  the 
British  Institution,  and  at  the  Society  of  British 
Artists.  After  much  sufEering  from  weak  health, 
he  died  in  1849. 

HAYMAN,  N.,  was  an  English  portrait  painter, 
who  flourished  in  the  16th  century.  There  is  a 
portrait  by  him  of  Thomas  Tallis,  the  composer  of 
church  music. 

HAYNES,  John,  an  engraver,  executed  many  of 
the  illustrations  for  Drake's  '  Eboracum,'  published 
in  1736. 

HAYNES,  John,  a  painter  and  etcher,  was  bom 
at  Shrewsbury  in  1760.  He  studied  under  Mor- 
timer, from  whose  works  he  etched,  and  he  also 
copied  from  Reynolds.  After  a  voyage  to  Jamaica, 
he  settled  as  a  drawing-master  at  Shrewsbury  and 
Chester,  and  died  in  the  latter  city  in  1829. 

HAYNES,  William,  an  English  engraver  and 
painter,  was  a  native  of  Sussex,  who  practised  in 
London  about  1800.    Amongst  his  plates  are : 

The  Introdnctioii  of  Slop  into  Shandy's  parlour ;  after 


Portrait  of  Louis  XVI. 
Portrait  of  Marie  Antoinette. 

HAYNSWORTH,WiLLiAM,  an  English  engraver, 
lived  about  the  middle  of  the  17th  century.  He 
has  left  a  portrait  of  Richard  Cromwell,  '  Lord 
Protector  of  the  Commonwealth,'  and  a  copy  of  a 
print  by  Jer8me  David. 

HAYTER,  Charles,  a  portrait  painter  in  crayons 
and  miniature,  flourished  about  the  beginning  of 
the  19th  century.  He  published  in  1813  an  '  In- 
troduction to  Perspective,'  which  subject  he  taught 
to  the  Princess  Qiarlotte.  He  exhibited  at  the 
Royal  Academy  from  1786  to  1832. 

HAYTER,  Sir  Geokge,  an  historical  and  portrait 
painter,  the  son  of  Charles  Hayter,  was  bom  in 
London  in  1792.  He  studied  in  the  schools  of 
the  Royal  Academy,  and  in  1815  gained  a  prize  of 
£200  at  the  British  Institution  for  his  '  Prophet 
Ezra. '  Soon  after  this  he  went  to  Italy,  and  studied 
at  Rome  till  1819,  when  he  returned  to  London,  and 
practised  portrait  and  historical  painting  till  1826, 
when  he  again  visited  Italy.  He  did  not  come 
back  to  England  till  1831,  having  visited  Paris  on 
his  way,  where  he  painted  portraits  of  many 
French  notabilities.  Hayter  received  many  court 
honours:  in  1816  he  was  appointed  miniature 
painter  to  the  Princess  Charlotte ;  in  1837,  portrait 
painter  to  Queen  Victoria ;  in  1841,  Her  Majesty's 
historical  painter ;  and  in  1842  he  was  knighted. 
He  died  in  London  in  1871.  Amongst  his  chief 
works  are : 

Trial  of  Lord  William  Eussell.   1825.    (Wohum  Ahiev.) 

The  Trial  of  Queen  Caroline. 

The  Meeting  of  the  first  Eeformed  Parliament.    (iVo- 

tioiud  Portrait  Gallery.) 
The  Coronation  of  Queen  Victoria. 
The  Marriage  of  Queen  Victoria.   (The  Queen.) 
The  Christening  of  the  Prince  of  "Wales.     (The  Queen.) 
Angels  ministering  to  Christ.    1849.    (South  Kensington 

Museum.) 
Joseph  interpreting  the  Chief  Baker's  Dream. 
Three    daughters   of    Edward,  13th    Earl   of    Derby. 

(Knowiley  Sail.) 


HAYTLEY,  E.,  an  English  portrait  and  land- 
scape painter,  flourished  in  the  middle  of  the  18th 
century.     Amongst  his  works  are : 

Greenwich     Hospital.     1746.      (Foundling    Bospitcd, 

London.) 
Chelsea  Hospital.   1746.    (Foundling  Bospital,  London.) 
Peg  Woffiugton  as  Mrs.  Ford. 

HAYWARD,  J.  S. ,  an  amateur  landscape  painter 
in  water-colours,  flourished  at  the  beginning  of  the 
19th  century,  and  was  an  honorary  exhibitor  at 
the  Royal  Academy  from  1798  to  1816.  Amongst 
his  exhibited  works  were  views  in  Italy  and  the 
following  : 

Diana  and  Actseon. 

Breaking  up  the  Camp,  Soathsea  Common. 

Mount's  Bay — Evening. 

HAZLEHURST,  Thomas,  a  miniature  painter, 
practised  at  Liverpool  from  1760  to  1818,  and 
exhibited  at  the  Liverpool  Exhibitions.  His 
miniatures  are  clever  and  highly  finished. 

HAZLITT,  John,  a  miniature  painter,  born  at 
Wem,  in  Shropshire,  in  1768,  was  the  elder  brother 
of  William  Hazlitt,  the  art-critic.  He  practised 
in  London,  and  exhibited  at  the  Academy  from 
1788  to  1819.  He  died  at  Stockport  in  1837. 
There  is  a  miniature  in  oil  of  Joseph  Lancaster  by 
him  in  the  National  Portrait  Gallery. 

HAZLITT,  William,  a  painter  and  art-critic, 
the  son  of  an  Unitarian  minister,  was  bom  at 
Maidstone  in  1778.  He  was  a  student  at  the 
Unitarian  College,  Hackney,  and  at  first  adopted 
painting  as  a  profession,  but  he  soon  devoted 
himself  to  the  literature  of  art,  on  which  his  re- 
putation rests.  He  publishe  '  Sketches  of  the 
principal  Picture  Galleries  in  England,'  '  Notes 
of  a  Journey  through  Trance  and  Italy,' '  Conversa- 
tions of  Northcote,'  '  Criticisms  on  Art,'  and  other 
works.  He  died  in  London  in  1830.  There  is  a 
portrait  of  Charles  Lamb  by  him  in  the  National 
Portrait  Gallery. 

HEAD,  Gut,  a  native  of  Carlisle,  was  the  son 
of  a  house  painter  in  that  city.  He  was  instructed 
in  the  elements  of  design,  and  through  the  patronage 
of  a  gentleman  was  enabled  to  visit  Italy  and  Rome, 
where  he  was  residing  in  1794.  He  appears 
to  have  formed  an  idea,  that  the  best  method  of 
study  was  constant  employment  in  copying  the 
works  of  the  old  masters ;  and  he  consequently 
has  left  very  numerous  reproductions  of  the  most 
celebrated  pictures  of  the  Italian  and  Flemish 
painters.  He  painted  some  original  pictures,  which 
are  not  without  merit,  but  he  is  better  known  as  a 
copyist.     He  died  in  London  in  1800. 

HEAPHY,  Thomas,  who  was  born  in  London  in 
1776,  began  life  as  a  dyer,  but  his  love  for  art  led 
him  to  practise  engraving,  until  he  subsequently 
devoted  himself  to  painting  in  water-colours.  In 
the  earlier  part  of  his  career  he  enjoyed  more 
patronage  in  his  branch  of  art  than  any  other 
artist  of  the  day.  His  '  Hastings  Fish  Market,' 
exhibited  in  1809,  caused  a  great  sensation ;  and 
his  scenes  of  low  life  found  ardent  admirers  among 
the  connoisseurs  in  vulgarity.  The  artist,  how- 
ever, became  disgusted  with  his  own  productions, 
and  turned  to  paint  portraits  of  Queen  Caroline, 
the  Princess  Charlotte,  Prince  Leopold,  and  a 
large  picture  of  the  Duke  of  Wellington  and  his 
staff,  the  print  of  which  is  well  known.  In  1831 
he  visited  Italy,  and  made  many  copies  of  cele- 
brated works  of  art,  which  are  said  to  be  admir- 

635 


Heaphy 


A   BIOGRAPHICAL   DICTIONARY  OF 


Hebert 


able.  Heaphy  was  undoubtedly  a  man  of  talent, 
but  his  reputation  would  have  been  greater  had 
he  been  less  versatile.  He  did  not  confine  him- 
self to  painting  ;  he  was  equally  expert  at  quarry- 
ing for  stone,  constructing  a  pleasure-boat,  build- 
ing a  house,  devising  an  improved  axle,  or  laying 
down  a  railway.  He  was  an  intractable  man :  he 
exhibited  at  the  Royal  Academy  from  1800_  to 
1804,  but  was  afterwards  continually  opposing 
it ;  he  was  one  of  the  earliest  members  of  the  old 
Water-Colour  Society,  but  seceded  from  it  in  1812  ; 
then,  after  lending  a  willing  hand  to  found,  in 
1824,  the  Society  of  British  Artists,  of  which  he 
was  the  first  president,  he  in  1829  withdrew 
from  the  connection.  In  the  South  Kensington 
Museum  are  water-colour  drawings  by  him  of 
'  The  Wounded  Leg,'  and  '  Coast  Scene  with 
Figures.'  He  died  in  1835.  Miss  Heaphy,  his 
eldest  daughter,  exhibited  miniatures  at  the  Eoyal 
Academy  from  1822  to  1846 ;  as  did  also  Miss 
Elizabeth  Heaphy  from  1838  to  1844. 

HEAPHY,  Thomas  Fbank,  a  portrait  and  sub- 
ject painter,  the  son  of  Thomas  Heaphy,  was 
born  in  1813.  He  began  life  as  a  portrait  painter, 
in  which  branch  he  achieved  some  success,  but  later 
on  in  life  he  turned  his  attention  more  especially 
to  historical  and  s  ubject  painting.  He  first  exhibited 
at  the  Royal  Academy  in  1831,  and  continued  to 
contribute  from  time  to  time  ;  he  was  also  a  member 
of  the  Society  of  British  Artists,  and  contributed 
many  articles  to  various  periodicals.  He  died  in 
1873.     The  following  are  amongst  his  best  works  : 

The  Infant  Pan  educated  by  the  Wood  Nymphs.    1850. 

The  Parting  of  Catharine  and  Bianca.    1863. 

Kepler  in  poverty  taken  for  a  Fortune-Teller.    1863. 

Mary  Stuart  at  Tutbury  Castle.    1872. 

Palissy  the  Potter  taken  for  a  Coiner.     1864. 

An  TTnexpected  Inheritance.     1865. 

A  Series  of  the  Peasant  Girls  of  various  Countries. 

HEARNE,  Thomas,  a  topographic  draughtsman, 
was  born  at  Brinkworth,  near  Malmesbury,  in 
1744.  He  came  to  London  very  early  in  life,  and 
was  articled  to  William  Woollett,  the  engraver, 
with  whom  he  remained  for  six  years,  assisting 
him  in  many  of  his  works.  He  did  not  long 
continue  the  practice  of  engraving ;  for  at  the 
expiration  of  his  term  with  Woollett,  he  went  as 
draughtsman  with  Lord  Lavington,  who  had  been 
appointed  Governor  of  the  Leeward  Islands,  and 
remained  nearly  five  years  in  the  West  Indies. 
On  his  return  to  England  his  fondness  for  anti- 
quity led  him  to  the  study  of  Gothic  architecture, 
combined  with  landscape,  and  in  1777  he  engaged 
with  Byrne  in  that  valuable  work, '  The  Antiquities 
of  Great  Britain,'  for  which  he  made  the  whole  of 
the  drawings.  He  made  drawings  also  for  other 
publications ;  but  it  is  in  private  collections  that 
his  works  are  chiefly  to  be  found;  and  though, 
from  the  care  and  fidelity  with  which  they  are 
executed,  they  are  not  numerous,  they  are  emi- 
nently distinguished  for  some  of  the  best  qualities 
of  the  art.  He  died  in  London  in  1817.  The 
following  drawings  are  in  the  South  Kensington 
Museum : 

A  Village  Alehouse. 
Ranger's  Cottage,  Hyde  Park. 
View  of  Eichmond. 
Shipping. 
Dutch  Shipping. 
Oaister  Castle,  Norfolk. 
Monastery  Gate,  St.  Alban's. 
■Wooded  Glen,  Downton,  Herefordshire. 
636 


HEATH,  Charles,  a  line-engraver,  and  the 
youngest  son  of  James  Heath,  was  born  in  1785. 
He  was  for  a  short  time,  like  Robert  Graves  and 
some  other  engravers,  a  member  of  the  Society  of 
British  Artists.  He  acquired  much  reputation  by 
the  small  plates  which  he  engraved  for  the  '  Keep- 
sake,' 'Picturesque  Annual,'  and  '  Book  of  Beauty,' 
which  he  conducted,  and  he  afterwards  superin- 
tended the  production  of  many  works  of  the  same 
class.  Amongst  his  pupils  and  assistants  were 
Doo  and  Watt.  He  died  in  London  in  1848. 
Among  his  principal  works  are  : 

Ecce  Homo ;  after  C.  Dolci. 

Portrait  of  Benjamin  West ;  after  Newton. 

The  Girl  at  the  Well ;  after  Westall. 

Lady  Peel ;  after  Sir  Thomas  Lawrence. 

The  Bride ;  after  C.  B.  Leslie. 

Europa ;  after  Hilton. 

Views  of  Kichmond ;  after  Hofiani. 

The  Shakespeare  Gallery.    1836-37. 

Illustrations  of  '  Ivanhoe ' ;  after  Westall. 

Illustrations  of  '  Lalla  Eookh ' ;  after  the  same. 

HEATH,  James,  a  line-engraver,  bom  in  Lon- 
don in  1757,  was  apprenticed  to  Joseph  CoUyer. 
His  works  are  numerous,  and  his  earlier  produc- 
tions, which  are  much  esteemed,  are  to  be  found  as 
illustrations,  mostly  after  Stothard  and  Smirke,  in 
the  '  Novelist's  Magazine,'  Bell's  '  British  Theatre,' 
and  'British  Poets,'  and  various  other  publications. 
He  was  elected  an  Associate  Engraver  of  the 
Royal  Academy  in  1791,  and  was  appointed  en- 
graver to  the  King  in  1794.  He  died  in  London 
in  1834,  having  for  years  retired  from  the  profes- 
sion.    Among  his  larger  works  are  the  following  : 

Mrs.  Siddons ;  after  Sir  Thomas  Lawrence. 

The  Apotheosis  of  Handel ;  after  Bebeeca. 

Lord  Nelson ;  after  Abbott. 

St.  Christopher;  after  Elsheimer. 

St.  John ;  after  Guido  Rtni. 

Portrait  of  John  Phihp  Eemble. 

The  Death  of  Nelson  ;  after  West. 

General  Washington ;  after  Stuart. 

The  Good  Shepherd ;  after  Murillo, 

The  Riots  of  1780 ;  after  Wheatley. 

The  Death  of  Major  Pierson ;  after  Copley. 

The  Dead  Soldier ;  after  Wright,  of  Derby. 

The  Drowned  Fisherman ;  after  Westall. 

Scenes  from  Shakespeare ;  after  Peters  ami  Smirke. 

HEATH,  William,  a  draughtsman,  bom  in  1795, 
supplied  the  illustrations  for  his  own  '  Life  of  a 
Soldier'  (1823),  and  Sir  John  Bowrmg's  'Minor 
Morals  '  (1834).     He  died  at  Hampstead  in  1840. 

HEAVYSIDE,  John  Sm;ith,  a  wood-engraver, 
born  at  Stockton-on-Tees  in  1812,  was  chiefly 
employed  on  illustrations  for  antiquarian  works, 
especially  those  of  John  Henry  Parker.  He  died 
in  London  in  1864. 

HEBBELYNOK,  Ansblmus,  better  known  as 
Anselmus  van  Hulle,  was  born  at  Ghent  in  1594, 
but  settled  in  Holland,  and  was  in  1648  sent  by 
Prince  Frederick  Henry  of  Orange  to  Miinster  to 
portray  the  plenipotentiaries  there  assembled  at 
the  close  of  the  Seven  Years'  War;  his  portraits 
were  afterwards  engraved.  He  s'ubsequently  be- 
came court  painter  to  the  Emperor  Ferdinand  III. 
He  died  in  1665.  Some  of  his  subjects  were  taken 
from  sacred  history,  as  '  The  Dead  Christ  in  the 
Lap  of  the  Virgin,'  which  is  in  the  Ghent  Museum. 

HEBENSTREIT,  Siqmund,  was  a  native  of 
Munich,  who  flourished  about  1580.  He  painted 
in  oils  principally  for  churches  and  convents. 

HEBERT,  William,  a  line-engraver,  practised 
in  London  in  the  latter  part  of  the  18th  century. 


Heohle 


PAINTEES  AND  ENGRAVERS. 


Heerschop 


He  studied  under  Vlvares,  published  a  set  of  six 
small  landscapes  in  1750,  and  gained  a  premium  at 
the  Society  of  Arts  in  1760. 

HECHLE.    See  Hochle. 

HECK,  NicoLAAs  VAN  DEB.    See  Van  der  Heck. 

HECKE,  Abraham,  (or  Heokius,)  was  an  en- 
graver and  goldsmith  of  Amsterdam,  who  lived 
from  the  second  half  of  the  16th  century  till 
some  way  into  the  17th.  He  engraved  a  set  of 
ornaments  for  goldsmiths  and  jewellers,  dated 
1634,  and  a  plate  of  'The  Three  in  the  Fiery 
Furnace.' 

HECKE,  JoHAN  VAN  DEN.    See  Van  din  Hecke. 

HECKEL,  Catharina,  born  in  1699,  was  an 
etcher,  though  she  also  painted  miniatures.  She 
married  Hieronymus  Sperling  of  Augsburg,  the 
engraver,  and  died  in  1741. 

HECKELL,  G-.  van,  a  Dutch  painter,  flourished 
about  the  year  1660.  He  is  not  mentioned  by  any 
of  the  art  historians,  but,  from  the  style  and 
character  of  his  pictures,  it  is  probable  that  he 
was  a  scholar  of  Gerard  Dou.  He  painted  subjects 
similar  to  those  of  that  artist. 

HECKENAUER,  Leonhard,  a  German  engraver, 
born  at  Augsburg  about  the  year  1640,  was  a 
pupil  of  Bartholomaus  Kilian.  He  travelled  in 
Italy  and  other  countries,  and  upon  his  return  estab- 
lished a  school  for  the  study  of  the  living  model. 
He  died  at  Munich  in  1704.  His  portrait  of  the 
Elector  of  Treves  is  said  to  have  been  a  masterpiece. 
He  engraved  several  of  the  plates  for  the  '  Academia 
Artis  PictorisB,'  published  by  Sandrartin  1683.  His 
brother,  Jakob  Wilhelm  Heckbnauer,  was  court 
engraver  at  Brunswick,  and  executed  a  set  of 
prints  from  the  pictures  in  the  Brunswick  Gallery, 
published  in  1710.  He  died  at  Brunswick  about 
1720. 

HBCKIUS,  Abraham.    See  Hecke. 

HECQUET,  Robert,  a  French  engraver,  was 
bom  at  Abbeville  in  1693,  and  died  there  in  1775. 
He  resided  several  years  in  Paris,  but  was  not  very 
eminent  in  the  art.  There  are  by  him  an  upright 
plate  of  a '  Woman  Bathing,'  after  Nicolas  Poussin, 
and  four  small  plates,  copied  from  the  large  prints 
of  the  '  Labours  of  Hercules,'  by  Eousselet,  after 
Guide. 

HEDA,  CORNELIS  Klaasz,  a  Dutch  painter, 
flourished  early  in  the  17th  century.  In  1605  he 
was  at  the  court  of  the  Emperor  of  Germany,  and 
was  then  engaged  to  go  as  painter  to  the  court  of 
Persia.  He  never,  however,  reached  that  country, 
bat  at  last  found  himself  at  Rajpoor  in  India, 
where  he  remained  for  many  years  in  the  service 
of  the  sovereign  of  that  state,  whom  he  put  in 
communication  with  the  Bast  India  Company.  His 
name  does  not  occur  after  1618. 

HEDA,  WlLLEM  Klaasz,  who  was  bom  at  Haar- 
lem in  1594,  painted  occasionally  historical  subjects, 
but  chiefly  pictures  of  fruit,  flowers,  fish,  meat,  and 
articles  of  the  breakfast-table,  which  he  executed 
in  a  masterly  manner.  Three  subjects  of  this  class, 
by  him,  are  in  the  Munich  Gallery,  and  one  in  the 
Dresden  Gallery.  Two  of  these  are  signed  and 
dated;  one  1623,  the  other  1634.  In  the  Louvre 
there  is  'A  Dessert,'  signed  and  dated  1637.  The 
date  of  Heda's  death  is  not  known,  but  he  was  still 
living  in  1678,  for  in  that  year  his  portrait  was 
painted  by  De  Bray. 

HEEDE,  Vigor  van,  the  younger  brother  of 
Willem  van  Heede,  was  born  at  Fumes  in  1661. 
He  accompanied  his  brother  to  Italy,  where  he  did 
not  long  remain,  but  returned  to   Flanders,   and 


painted  historical  pictures,  and  subjects  of  still-life. 
He  died  at  Fumes  in  1708. 

HEEDE,  Willem  van,  was  born  at  Fumes,  in 
Flanders,  in  1660.  It  is  not  known  under  whom 
he  studied  ;  but  he  travelled,  when  young,  through 
Prance  to  Italy,  where  he  resided  a  considerable 
time,  and  left  many  proofs  of  his  ability  as  an 
historical  painter  at  Rome,  Naples,  and  Venice. 
On  his  return  to  Flanders  he  was  invited  by  the 
emperor  to  the  court  of  Vienna,  where  he  orna- 
mented the  imperial  palace  with  several  of  his 
works.  He  died  at  Purnes  in  1728.  Willem  and 
his  brother  Vigor  painted  an  altar-piece  for  the 
Walpurgis  church  at  Fumes,  where  they  are  buried. 

HEBM,  Db.    See  De  Hebm. 

HEEMS,  N.  VAN,  was  a  painter  of  Rotterdam, 
who  made  admirable  copies  of  the  pictures  of 
Adriaan  and  Pieter  van  der  Werff. 

HBEMSEN,  Jan  van.    See  Hembssen. 

HEEMSKERK,  David,  a  decorative  painter,  was 
the  son  of  Jan  Heemskerk.  He  was  bom  at 
Haarlem  in  1780,  and  was  enrolled  in  the  Guild  of 
St.  Luke  in  1748. 

HEEMSKERK,  Egbert  van,  the  elder,  called 
'  The  Peasant,'  was  a  Dutch  painter,  who  was  bom 
at  Haarlem  in  1610.  He  painted  the  interiors  of 
Dutch  alehouses,  with  boors  regaling  or  quarrelling, 
of  which  there  are  two  examples  in  the  Louvre,  and 
one  in  the  Hermitage  at  St.  Petersburg.  These 
subjects  he  treated  with  some  ability ;  but  Brouwer 
and  Teniers  altogether  surpassed  him.  He  died  in 
1680. 

HEEMSKERK,  Egbert  van,  the  younger,  pro- 
bably the  son  of  Egbert  van  Heemskerk  the  elder, 
was  born  at  Haarlem  in  1645,  and  studied  under 
Pieter  De  Grebber,  but  followed  his  father's  style. 
He  settled  in  England  in  the  reign  of  King  William 
III.,  and  was  patronized  by  the  Earl  of  Rochester. 
He  painted  drunken  scenes  and  country  sports  with 
considerable  humour,  and  sometimes  incantations, 
spectres,  and  similar  eccentricities,  in  which  he 
showed  a  ready  invention  and  some  ingenuity,  but 
his  colouring  was  cold  and  heavy.  He  died  in 
London  in  1704.  In  the  Frankfort  Gallery  are 
pictures  of  '  A  Beggar's  Meal,'  and  '  Don  Quixote 
and  Sancho  Panza.' 

HEEMSKERK,  Hbndrik,  was  a  Dutch  painter  of 
landscapes,  who  flourished  in  the  17th  century. 

HEEMSKERK,  Jan,  a  decorative  painter,  was 
born  at  Haarlem  in  1687,  and  died  suddenly  from  a 
fall  in  1740. 

HEEMSKERK,  Marten.    See  Veen. 

HEEMSKERK,  Sbbastiaan,  a  native  of  Rotter- 
dam, painted  interiors  and  village  scenes  in  the 
style  of  Molenaer.  He  seems,  according  to  Vosmaer, 
to  have  left  Haarlem,  and  to  have  become  a  pupil 
of  Rembrandt.  He  was  living  at  an  advanced  age 
in  1691. 

HBENCK,  Jabez,  a  painter  of  birds,  was  born 
at  the  Hague  in  1752,  and  was  a  pupil  of  Schou- 
man.     He  died  at  Leyden  in  1782. 

HEER,  Michael.    See  Herb. 

HBERE,  Lucas  de.    See  De  Hbebe. 

HEERBMANSZ,  Fbans  and  J.,  were  twobrothers, 
who  flourished  at  Haarlem  about  1670,  and  painted 
still-life  subjects  and  landscapes. 

HEERNEYSEN,  Andbeas.     See  Herneyssen. 

HEERSCHOP,  Hendeik,  a  painter  and  engraver, 
born  at  Haarlem  in  1627,  was  a  pupil  of  Willem 
Heda  in  1642,  and  a  master  in  the  Guild  of  St. 
Luke  in  1648.  He  is  said  to  have  taken  lessons 
from  Rembrandt.     He  engraved  some  plates  about 

637 


Hefele 


A  BIOGEAPHICAL  DICTIONARY  OF 


Heigel 


1652,  amongst  them  one  of  '  The  Sleeping  Venus.' 
There  is  a  picture  by  him  in  the  Cassel  Gallery, 
representing  a  '  Soldier  and  a  Woman  playing  at 
Cards,'  and  a  portrait  of  a  '  Moor,'  dated  1669,  is  in 
the  Berlin  Gallery.     He  was  still  living  in  1672. 

HEFELE, ,  according  to  Walpole,  was  a 

native  of  Germany,  who  came  to  England  as  a 
soldier  in  King  William's  Dutch  troops  ;  and  hav- 
ing obtained  his  discharge,  remained  here  several 
years.  He  painted  landscapes,  flowers,  and  in- 
sects, in  water-colours,  but  without  much  know- 
ledge of  chiaroscuro.     He  died  about  1710. 

HBGI,  Franz,  an  engraver,  was  born  at  Lau- 
sanne in  1774.  His  father,  Johann  Hegi,  was  also 
an  artist,  but  dying  whilst  Franz  was  still  a  child, 
the  latter  was  brought  up  in  the  Lausanne  Orphan- 
age. About  1796  he  went  to  Basle,  where  he 
remained  for  six  years,  and  worked  mostly  for 
P.  Birrmann.  He  then  went  to  Zurich,  where  he 
produced  a  number  of  landscapes  in  aquatint.  He 
particularly  excelled  in  representations  of  the 
middle  ages,  as  may  be  seen  in  his  '  Scenes  from 
the  Life  of  a  Knight.'  In  1822  be  went  to  Paris, 
and  there  illustrated  Oswald's  'Voyage  pittoresque 
en  Sicile '  with  many  aquatint  plates.  He  died  at 
Zurich  in  1850. 

HEGEET,  Theodobus,  a  landscape  and  historical 
painter,  was  born  at  Mechlin  in  1643,  and  was  a 
scholar  of  Cornelis  Beerings.  There  are  pictures 
by  him  in  some  of  the  churches  and  convents  of  his 
native  city. 

HEICKE,  Joseph,  an  Austrian  painter  and  litho- 
grapher, was  bom  at  Vienna  in  1811,  and  after 
having  studied  at  the  Academy  of  that  city, 
travelled  in  1842  in  Italy  and  Hungary.  He 
painted  landscapes  and  animals,  and  published  in 
1844  a  '  School  of  Figures '  and  '  School  of 
Animals,'  lithographed  by  himself.  He  died  at 
Vienna  in  1861. 

HEIDECKER,  Kabl  Wilhelm  von,  (or  Heideg- 
ger).    See  Heydeok. 

HEIDEGGER,  Bastian,  a  draughtsman,  gold- 
smith, and  medallist,  was  born  at  Zurich  in  1520, 
and  flourished  at  Vienna  from  about  1556  to  1559. 
He  prepared  the  designs,  and  partly  cut  the  blocks, 
for  an  old  German  military  work. 

HEIDEGGER,  Johann  Jakob,  an  engraver,  was 
born  at  Augsburg  in  1752,  and  died  in  1781. 

HEIDELOFF,  Alfred,  a  decorative  painter,  was 
born  at  Weimar  in  1802.  He  was  the  son  of  the 
court  painter  Karl  Heideloff,  (born  1770,  died 
1814,)  and  a  pupil  of  the  court  architect  Reiner, 
but  he  studied  further  under  Ciceri  and  Chatillon  in 
Dresden  and  Paris.  He  died  young  in  1826,  but 
his  designs  and  sketches  preserved  in  the  Weimar 
Library  give  evidence  of  considerable  talent. 

HEIDELOFF,-  Franz  Joseph  Ignaz  Anton  von, 
a  painter  and  sculptor,  was  born  at  Hanover  in  1676, 
and  worked  at  difiFerent  times  in  Amsterdam,  the 
abbey  of  Werden,  Heidelberg,  and  Mannheim.  He 
lived  at  Cologne  from  1718  to  1734,  and  then 
removed  to  Mayence,  where  he  carried  on  a  very 
successful  private  academy,  and  where  he  died  in 
1772. 

HEIDELOFF,  Joseph  von,  the  younger,  a  grand- 
son of  Franz  Joseph  von  HeidelofE,  was  bom  at 
Mayence  in  1781,  and  became  a  pupil  of  Brand  at 
Vienna,  where  he  settled  as  a  landscape  painter, 
and  became  a  member  of  the  Academy.  He  died 
after  1827.  One  of  his  best  paintings  is  a  '  View 
in  the  Prater,'  in  the  Vienna  Academy. 

HEIDELOFF,  Karl  Alexander  von,  a  painter, 
638 


engraver,  and  architect,  was  bom  at  Stuttgart  in 
1788.  He  was  the  youngest  son  of  Victor  Wilhelm 
Peter  von  Heideloff,  and  was  taught  successively 
by  his  father,  J.  Gotthardt  von  MiiUer,  Seele,  and 
others.  King  Frederick  commissioned  him  to  pro- 
duce a  series  of  drawings  of  the  costumes  of  the 
country,  and  for  this  purpose  he  conducted  elabo- 
rate researches  among  the  mediaeval  monuments  of 
Wiirtemberg  and  Swabia.  After  this  King  Louis 
of  Bavaria  found  him  occupation  which  caused 
him  to  settle  at  Nuremberg,  where  in  1822  he 
appointed  him  professor  of  the  Polytechnic  School 
and  conservator  of  the  art  treasures.  Heideloff  also 
started  the  Albrecht  Diirer  Society  in  that  city,  and 
was  the  builder  of  many  important  edifices  there. 
He  died  at  Hassfurt  in  1865.  Among  his  oil  paint- 
ings are  '  The  Emperor  Maximilian  at  the  Grave 
of  Duke  Eberhard,'  in  the  royal  palace  at  Stutt- 
gart, and  '  Ritter  Toggenburg,'in  the  possession  of 
Count  Fries.  He  engraved  four  plates  in  illustra- 
tion of  Koch's  '  Poems '  and  Herman's  '  Appear- 
ances of  the  Good  Shepherd.'  He  also  accomplished 
a  large  amount  of  literary  work,  which,  however, 
related  almost  exclusively  to  architecture.  ■ 

HEIDELOFF,  Nikolatjs  Wilhelm  von,  an  en- 
graver, the  brother  of  Victor  Wilhelm  Peter  von 
Heideloff,  was  born  at  Stuttgart  in  1761,  and  when 
eleven  years  of  age  entered  the  Karlsakademie  there, 
and  studied  engraving  under  J.  Gotthardt  von 
Miiller.  In  1784  he  went  to  Paris  in  the  service 
of  Duke  Charles  Eugene  to  finish  a  plate  under 
Bervic's  inspection ;  but  he  quitted  his  employer 
and  gained  his  living  for  a  time  as  a  miniature 
painter,  till  the  Revolution  caused  him  to  flee  to 
England,  where  he  gave  valuable  assistance  to  the 
bookselling  business  of  the  Messrs.  Ackermann. 
He  engraved  many  of  the  designs  of  his  brother 
Victor,  and  in  1815  he  was  appointed  director  of 
the  Picture  Gallery  at  the  Hague.  He  died  sub- 
sequently to  1838. 

HEIDELOFF,  Victor  Wilhelm  Peter  von,  a 
painter,  sculptor,  and  architect,  the  grandson  of 
Franz  Joseph  von  HeidelofE,  was  born  at  Stuttgart 
in  1757,  and  in  1771,  entered  the  Karlsakademie, 
where  he  studied  under  Guibal,  Harper,  and  Scotti. 
In  1780  he  was  appointed  court  painter,  and  travelled 
in  Italy  during  the  years  1782  to  1786.  After  this 
he  successively  became  painter  to  the  theatre,  pro- 
fessor, and  teacher  at  the  Karlsakademie.  He  died 
at  Stuttgart  in  1816.  Among  his  paintings  are 
'  The  Four  Seasons,'  in  the  royal  palace  at  Stutt^ 
gart ;  two  of  the  paintings  on  the  ceilings  in  the 
dining-hall  of  the  Academy;  and  an  altar-piece 
executed  for  Rothweil.  He  designed  the  views 
and  interiors  of  Hohenheim  Castle,  which  were 
engraved  by  his  brother  Nikolaus  von  Heideloff 
and  J.  C.  Stadler. 

HEIDENREICH,  Gustav,  an  historical  painter, 
was  bom  at  Berlin  in  1819  and  studied  first  under 
A.  F.  Konig  at  Breslau,  and  then  under  Wach 
in  his  native  city,  where  he  died  in  1855.  His  best 
paintings  are  those  executed  for  the  wall  of  the 
northern  saloon  in  the  New  Museum  at  Berlin — 
'  Hertha  and  Odin,'  '  The  Game  of  the  Water- 
Witches,'  'The  Battle  of  the  Giants,'  &c.;  and  the 
classical  frieze  in  the  saloon  of  Greek  Antiquities 
in  the  Old  Museum. 

HEIGEL,  Joseph,  a  miniature  painter,  was  bom 
at  Munich  in  1780.  He  studied  at  the  Munich 
Academy,  and  then,  after  travelling  through 
Europe,  settled  in  Paris,  where  he  died  in  1828. 

HEIGEL,  Martin,  (or  Heigl,)  was  a  native  of 


Helghway 


PAINTERS  AND  ENGRAVERS. 


Heiurioh 


Constance,  who  settled  at  Munich,  where  he  died  in 
1776.  He  studied  at  Munich  under  Zimmermann, 
and  painted  altar-pieces  and  frescoes. 

HBIGHWAY,  R.  a  miniature  painter,  practised 
in  London,  Lichfield,  and  Shrewshury,  and  exhibited 
at  the  Royal  Academy  between  1787  and  1793. 

HEIL,  Daniel  van,  a  Flemish  painter,  was  born 
at  Brussels  in  1604.  It  is  not  known  under  whom 
he  studied,  but  he  had  acquired  considerable  reput- 
ation as  a  landscape  painter,  when  he  changed  the 
Bubiects  of  his  pictures  for  conflagrations,  which 
he  represented  with  surprising  efiect,  and  of  which 
there  is  an  example  in  the  Museum  at  Lille.  He 
occasionally  painted  winter-pieces,  of  which  there 
is  an  example  in  the  Hermitage  at  St.  Petersburg. 
Houbraken  speaks  highly  of  two  pictures  by  Van 
Heil,  representing  the  '  Burning  of  Sodom '  and  the 
'  Destruction  of  Troy.'    He  died  in  1662. 

EEIL,  Jan  Baptist  van,  the  youngest  of  the 
brothers  Van  Heil,  was  born  at  Brussels  in  1609. 
He  painted  historical  subjects,  but  more  especially 
portraits ;  that  of  the  Spanish  general  Cautelmus  he 
afterwards  engraved.     He  was  living  in  1661. 

HEIL,  Leonaed  VAN,  a  younger  brother  of  Daniel 
van  Heil,  was  bom  at  Brussels  in  1605.  He 
painted  architectural  subjects,  flowers,  and  insects, 
but  he  is  more  known  as  an  architect  than  a 
painter. 

HEILMANN,  Johann  Kaspae,  a  painter,  who 
was  bom  atMiihlhausen,  in  Alsace,  in  1718,  studied 
under  Doggeler  at  Schaffihausen,  and  afterwards 
worked  at  the  Bishop  of  Basle's  court  at  Bruntrut. 
With  the  proceeds  of  this  engagement  he  went  to 
Rome,  and  some  copies  he  made  from  the  works  of 
Domenichino  brought  him  to  the  notice  of  the 
French  ambassador.  Cardinal  de'  Tencin,  who  took 
him  in  1742  to  Paris,  where  he  found  constant 
occupation  in  portrait  painting,  so  that  he  laid 
aside  the  historical  department.  He  died  in  Paris 
in  1760. 

HEIM,  Peanqois  Joseph,  a  French  historical 
painter,  was  born  at  Belfort  in  1787.  At  the 
early  age  of  eleven  he  obtained  the  first  prize  for 
drawing  at  Strassbnrg,  and  in  1803  he  went  to 
Paris  to  study  painting  under  Vincent,  and  there, 
in  1807,  he  won  the  first  prize  with  his  '  Theseus 
overcoming  the  Minotaur.'  He  then  studied  at 
Rome,  and  upon  his  return  obtained  the  gold 
medal  of  the  first  class,  and  became  in  1829  a 
member,  and  in  1831  a  professor  of  the  Academy. 
In  1859  he  sent  to  the  Salon  sixty-four  portraits  of 
members  of  the  Institute,  which  drawings  were  at 
Ms  death  presented  to  the  Louvre.  He  died  in 
Paris  in  1865.    His  best  pictures  include  : 

Two  Ceilings  in  the  Louvre. 

The  Paintings  in  the  Conference  HaU  of  the  Chamber 

of  Deputies. 
The  Defence  of   the   Castle  of    Burgos.     {Versailles 


His  own  Portrait. 

Arrival  of  Jacob  in  Mesopotamia.    1814.    (Bordeaux 

Museum,) 
The  Martyrdom  of  St.  Hippolytns.    1822. 
A  Scene  from  the  Destruction  of  Jerusalem.     1824. 

(Louvre.) 
Charles  X.  distributing  the  Prizes  to  the  Artists  at  the 

close  of  the  Exhibition  of  1824.     1827.    (Louvre.) 

HEIM,  Matthias,  a  Bavarian  painter  and  en- 
graver, was  born  in  1782,  and  studied  at  Munich 
under  Wagenbauer.  He  painted  several  landscapes, 
and  died  at  Munich  in  1827. 

HEIMBACH,  Christian  Wolfgang,  was  a  Ger- 
man painter,  who  flourished  from  1637  to  1660. 


There  are  by  him  pictures  in  the  Brunswick  and 
Cassel  Galleries  of  Queen  Christina  of  Sweden. 

HEIMERDINGER,  Fbiedeich,  a  German  painter 
of  subjects  of  still-life,  was  born  at  Altonain  1817. 
He  studied  in  the  Academy  at  Diisseldorf  under 
Ferdinand  Theodor  Hildebrandt  from  1839  to  1842, 
and  at  Munich  from  1842  to  1845,  after  which  he 
settled  in  Hamburg,  and  there  established  a  suc- 
cessful school  of  art.  His  careful  and  highly 
finished  works  have  many  admirers,  especially  in 
England.     He  died  at  Hamburg  in  1882. 

HEIMLICH,  Johann  Daniel,  a  landscape 
painter  and  engraver,  was  born  at  Strassburg  in 
1740,  and  died  in  1796.  He  engraved  a  series  of 
views  in  the  environs  of  Paris  in  1765,  and  others 
in  the  environs  of  Strassburg  in  1774. 

HEINCE,  Zacharie,  a  French  painter  and  etcher, 
probably  descended  from  the  Swiss  family  of  the 
name,  was  born  in  Paris  in  1611.  In  1648  he  pre- 
pared the  drawings  for  Francois  Bignon's  '  Por- 
traits des  PMnipotentiaires  a  la  Paix  de  Miinster,' 
and  in  1650  for  the  same  artist's  '  Galerie  des 
illustres  Francais  du  Palais  Eoyal.'  He  became  an 
Academician  m  1663.  His  principal  pictures  were 
'  The  Conversion  of  Lydia,'  '  Simon  the  Magician 
ofEering  Money  to  St.  Peter,'  '  mais '  painted  for 
the  cathedral  of  Notre-Dame  in  1664  and  1665. 
He  etched  after  Primaticoio  the  '  Mater  Dolorosa,' 
a  '  Children's  Bacchanal,'  and  '  The  Handsome 
Merchant,'    and  died  in  Paris  in  1669. 

HEINE,  LoDOWYK,  a  Flemish  historical  painter, 
was  a  native  of  Courtrai,  who  flourished  in  the  16th 
century.  He  was  a  pupil  of  Pieter  Vlerick,  whose 
style  he  imitated. 

HEINE,  WiLHELM  Joseph,  a  genre  painter,  was 
born  at  Diisseldorf  in  1813,  and  attended  the 
Academy  of  that  city  from  1827  to  1835.  He  had 
already  raised  great  hopes  by  his  expressive  and 
excellently  drawn  pictures,  when  he  died  in  1840 
at  the  age  of  twenty-seven.  Others  of  his  best 
productions  are : 

The  Poacher.    1834. 
The  Smuggler.    1834. 
Peasant's  Cottage.    1836. 

Divine  Service  in  a  Prison.    (Berlin  National  Gallery, 
and  Ldpnig  Museum.)    1837. 

HEINBCKB,  Cathaeina  Elizabeth,  a  flower 
and  portrait  painter,  was  a  native  of  Liibeck,  who 
was  bom  in  1685,  and  was  still  living  in  1755. 

HEINEL,  Johann  Philipp,  a  Bavarian  genre  and 
landscape  painter,  was  bom  at  Bayreuth  in  1800, 
and  studied  at  the  Munich  Academy  under  Langer 
from  1820  to  1826.  He  at  first  painted  historical 
subjects,  one  of  which  was  '  Ossian  and  Malwina  ; ' 
he  next  took  to  portraits  and  genre  subjects  from 
popular  life,  as  '  The  Bride,'  and  '  The  Bagpiper ; ' 
and  lastly  to  landscapes  with  figures,  amongst 
which  were  a  '  Rocky  Landscape,  with  Tyrolese 
Caravan,'  and  a  '  Mountain  Lake,  with  Girl  in  a 
Boat.'  He  also  executed  seven  etchings  and  eleven 
lithographs,  nine  of  which  were  views  in  Switzer- 
land.    He  died  at  Munich  in  1843. 

HBINISCHECK,  Matthias,  was  born  at  Ham- 
burg in  1708,  and  lived  subsequently  at  Bayreuth, 
from  whence,  in  1741,  he  proceeded  to  Potsdam, 
where  he  decorated  three  rooms  in  the  old  palace. 
He  afterwards  returned  to  Bayreuth,  where  he  died 
in  1772. 

HEINITZ,  Ignaz  Feahz,  a  German  fruit  and 
flower  painter,  was  born  in  1657,  and  died  at 
Weimar  in  1742. 

HEINRICH,  a  Bohemian  monk,  was  born  at  the 

639 


Heins 


A  BIOGRAPHICAL  DICTIONARY  OF 


Hekel 


beginning  of  the  17th  century,  and  engraved  plates 
and  title-pages  for  devotional  books. 

HBINS,  D.,  was  a  German  painter  and  engraver, 
who  came  to  England,  and  resided  at  Norwich, 
about  the  year  1740.  He  painted  the  portraitsof 
several  members  of  the  corporation,  some  of  which 
he  engraved  in  mezzotint.  One  of  his  best  prints 
is  a  half-length  portrait  of  Thomas  Gooch,  Bishop 
of  Norwich,  dated  1741.  A  miniature  in  oil  by 
him  of  the  poet  Cowper's  mother  was  exhibited 
at  the  National  Portrait  Exhibition  of  1868.  He 
was  still  living  in  1779. 

HEINS,  John,  the  son  of  D.  Heins,  was  born  at 
Norwich  about  the  year  1740.  His  father  appren- 
ticed him  to  a  stuff  manufacturer ;  but,  without  his 
parent's  approbation,  he  became  a  painter  of  por- 
traits, both  in  oil  and  in  miniature.  He  succeeded 
better  in  engraving.  His  plates  are  etched  with 
the  dry  point  in  a  style  resembling  that  of 
Worlidge.  He  also  made  the  drawings  of  the 
views  and  monuments  for  Bentham's  '  History  of 
Ely.'  Among  his  engravings  are  a  '  Cat  with 
Kittens,'  after  Collet;  and  the  portraits  of  Mr. 
Grose  and  his  wife.     He  died  at  Chelsea  in  1771. 

HEINS,  W.  C,  who  was  probably  a  German, 
flourished  about  the  year  1640.  He  engraved 
several  portraits,  the  most  important  of  which  are 
those  he  executed  for  Boissard's  'Bibliotheca 
Chalcographica. ' 

HEINSIUS,  JoHANN  Ernst,  a  German  painter, 
was  a  native  of  Hildburghausen,  who  was  living 
in  1787.  There  is  by  him  in  the  Louvre  a  portrait 
of  Madame  Victoire,  fifth  daughter  of  Louis  XV. 
HEINSIUS,  Joseph.  See  Hbinz. 
HEINTSCH,  JoHANN  Geobs,  was  bom  in  Silesia 
about  1647.  His  style  is  very  similar  to  that  of 
Screta,  and  he  is  especially  admired  for  the  beauty 
and  grace  of  his  female  heads.  In  1678  Heintsch 
removed  to  Prague,  where  he  remained,  executing 
works  for  churches  and  convents,  until  his  death 
in  1713.  Most  of  his  works  are  in  that  city. 
'  Christ  disputing  with  the  Doctors,'  in  the  Gallery 
of  the  Estates ;  the  '  Virgin,'  painted  in  1696  for 
the  church  of  the  Karlshof ;  and  '  Christ  after  the 
Temptation  ministered  to  by  Angels,'  in  the  re- 
fectory of  the  monastery  of  Strahow,  are  worthy 
of  much  praise. 

HEINZ,  Joseph,  the  elder,  born  at  Basle  in  1565, 
was  instructed  first  by  Johann  von  Aachen,  and 
afterwards  at  the  Academy  of  his  birthplace.  In 
1690-94  he -worked  at  the  court  of  the  Emperor 
Rudolph  II.  at  Prague,  and  was  sent  by  that 
monarch  to  study  in  Italy.  He  died  at  Prague  in 
1609.     His  best  paintings  are : 

Leda. 

Artemisia   with   the  Ashes    of   Mausolus. 


The  Eape  of  Proserpine.    (Dresden  Gallery.) 

Diana  surprised    in    the    Bath  by  Actseon.    (Vienna 

Gallert/.)  ^ 

Venus  and  Adonis.    {The  same.) 
The  Crucifixion.    (Tlie  same.) 
Portrait  of  the  Emperor  Eudolph  II.   1594.  {The  same.) 

HEINZ,  Joseph,  the  younger,  (Heinsius,  Ens,  or 
Enso,)  the  son  and  pupil  of  the  elder  Joseph  Heinz, 
hved  from  about  1590  (or  1600)  to  1660.  He 
rfterwards  studied  under  his  step-father,  Matthaus 
Qondolach,  and  became  a  painter  of  subjects  which 
the  Italians  style  '  capricoi.'  He  acquired  celebrity 
in  Venice  by  some  highly  imaginative  pictures, 
partaking  of  the  style  of  Salvator  Rosa,  Civetta, 
Carpioni,    and    the     devilry    of     Hell    Brueghel. 

640 


They  represent  allegorical  fictions,  in  which  are 
introduced  sphinxes,  chimera,  and  monsters  of 
grotesque  shape.  Subsequently,  however,  he 
painted  several  altar-pieces,  one  of  which,  adorn- 
ing the  church  of  Ognissanti,  is  extremely  beautiful ; 
it  represents  '  The  Two  Maries  at  the  Sepulchre.' 
Some  of  his  pictures  have  been  brought  to 
England,  and  have  been  puzzles,  both  in  regard  to 
the  subjects  and  the  master.  His  son,  Daniel 
Heinz,  also  worked  in  Venice  as  a  painter. 

HEINZMANN,  Karl  Priedeich,  a  landscape 
painter,  was  bom  at  Stuttgart  in  1795.  He  was  a 
pupil  of  Seele,  but  in  1814  he  entered  the  Wiirtem- 
berg  military  service,  and  afterwards  obtained  royal 
assistance  to  study  landscape  painting  under 
Kobell  at  Munich.  In  1822  he  issued  a  series  of 
lithographic  views  in  Southern  Bavaria,  and  after 
that  painted  on  porcelain,  but  finding  that  this 
employment  impaired  his  sight,  he  returned  to  oil 
and  water-colour  painting.  He  died  at  Munich  in 
1846. 

HEISS,  Blias  Christoph,  a  German  painter  and 
engraver  in  mezzotint,  was  bom  at  Memmingen,  in 
Swabia,  about  the  year  1660.  In  1704  he  came  to 
Berlin,  and  was  court  painter  there  for  a  while, 
but  he  resided  for  a  longer  period  at  Augsburg, 
where  he  also  followed  the  business  of  a  printseller, 
which  enabled  him  in  later  life  to  purchase  an 
estate  near  Memmingen,  where  he  died  in  1731. 
He  was  one  of  the  first  of  the  German  artists  who 
practised  mezzotint  engraving  on  any  considerable 
scale.  He  engraved  several  very  large  plates,  of 
which  some  are  upwards  of  three  feet  high,  and 
more  than  two  feet  wide.  The  following  are  his 
principal  plates : 

portraits. 

Peter  tne  Great,  Czar  of  Kassia. 
Frederick  Augustus  I.,  King  of  Poland ;  after  Soyer. 
Bishop   Schonbom  of    Warzbnrg  (execated  conjointly 
vyith  B.  Vogel). 

SUBJECTS  AFTER  VARIOUS  MASTERS. 

St.  Paul  and  St.  Anthony,  the  first  Hermits. 

Christ  praying  on  the  Mount ;  a  large  plate,  after  C. 

Maratti. 
The  Virgin  and  Infant,  on  a  globe ;  after  the  same. 
The  Adoration  of  the  Shepherds ;  after  the  same. 
The  Annunciation ;  after  J.  G.  Bergmuller. 

HEISS,  Gottlieb,  the  pupil  and  nephew  of 
Elias  Christoph  Heiss,  was  born  in  1686,  and  died 
at  Augsburg  in  1740.  He  engraved  several  plates 
of  historical  subjects. 

HEISS,  JoHANN,  a  German  historical  painter, 
was  born  at  Memmingen  in  1640,  and  died  at 
Augsburg  in  1704.  He  studied  under  Schonfeld, 
and  painted  historical  subjects,  several  of  which  are 
in  the  Augsburg  churches.  '  'The  Departure  of  the 
Israelites  from  Egypt '  is  in  the  Dresden  Gallery, 
and  the  following  are  in  the  Brunswick  Gallery : 

Scipio  granting  Freedom  to  Allucius.    1679. 
The  Death  of  Dido. 
Neptune  and  Venus. 

HEKEL,  August,  a  German  engraver,  bom 
at  Augsburg  about  1690,  was  the  son  of  a  chaser 
in  gold  and  silver,  and  followed  that  profession 
wit£  success.  He  came  to  England,  and  was 
considered  the  first  artist  of  his  time  in  that 
line.  He  drew  views  in  water-colours,  some  of 
which  were  engraved  by  Bowles  and  Sayer.  He 
etched  eight  small  plates  of  Richmond  and  its  en- 
virons ;  a  '  Horse,'  after  Wootton ;  and  a  '  Bookot 
Flowers.'     His  death  took  place  at  Richmond  in 


Hekking 


PAINTERS  AND  ENGRAVERS. 


Helmont 


1770.  He  had  a  sister  who  engraved,  in  a  neat 
style,  some  plates  for  Kilian's  Bible.  Sullivan 
engraved  after  him  a  drawing  of  the  'Battle  of 
CuUoden.' 

HEKKINGr,  WiLLEM,  a  Dutch  fruit  and  flower 
painter,  was  born  at  Amsterdam  in' 1796,  and  died 
in  1862. 

HELAND,  Marten  Rudolf,  a  Swedish  engraver, 
was  bom  at  Stockholm  in  1766,  and  attended  the 
Academy  of  that  city  as  well  as  that  of  Paris.  In 
1809  he  returned  to  Stockholm,  where  he  committed 
suicide  in  1814.  An  excellent  plate  by  him,  from 
his  own  design,  is  '  The  Skating  Match  at  Haga.' 

HELART,  Jacqoes.     See  Hellaet. 

HELD,  JoHANN  Eheenfeied,  a  German  painter, 
was  born  at  Zittau  in  1752,  and  in  1777  went  to 
Dresden,  where  he  painted  portraits,  as  well  a.s 
gome  historical  pictures  and  landscapes.  He  was 
still  living  in  1828. 

HELE,  IsAAK  DE  LA.    See  De  La  H^ile. 

HELENA,  a  daughter  of  the  Egyptian  Timon, 
lived  in  the  4th  century  B.C.,  and  painted  a  picture 
of  'The  Battle  of  Issus,'  which  was  placed  in 
the  '{emple  of  Peace  in  the  time  of  the  Emperor 
Vespasian. 

HELFENRIEDER,  Cheistoph,  who  lived  in  the 
early  part  of  the  17th  century,  was  court  painter 
at  Munich.  He  married  Ursula  Tannauer,  whose 
beauty  occasioned  illicit  visits  from  an  ofiSoer,  whom 
Helfenrieder  accordingly  murdered.  After  this  he 
fled  to  a  cloister  in  Vintschgau,  where  he  executed 
several  paintings.  He  then  repaired  to  Meran, 
where  he  died  in  1635.  In  the  church  of  that 
town  is  an  altar-piece  by  him  representing  '  SS. 
Fabian,  Sebastian,  and  Roch.' 

HELLART,  Jacqhes,  a  French  historical  and 
portrait  painter,  was  a  native  of  Rheims.  He 
studied  at  Rome  at  the  same  time  as  Le  Brun,  and 
was  received  into  the  Academy  in  1677,  at  the 
same  time  as  Isaac  Delacroix,  with  whom  he 
founded  the  Academy  of  Rheims.  There  are  some 
pictures  by  him  in  the  Cathedral,  the  Church  of 
St.  Jacques,  and  the  Museum  at  Rheims.  He  died 
in  1719. 

HELLEMANS,  Pierre  Jean,  a  Belgian  land- 
scape painter,  was  born  at  Brussels  in  1787,  and 
studied  under  J.  B.  Deroy.  The  cattle  in  many  of 
his  works  were  inserted  by  Eugene  Verboeckhoven. 
He  died  at  Brussels  in  1845.  His  wife,  Jeanne 
Marie  Josephine  Hellemans,  who  was  born  in 
1796,  and  died  in  1837,  was  a  fi'uit  and  flower 
painter.    Amongst  his  pictures  are : 

Brussels.         Gallery.     On  the  Borders  of  the  Forest  of 

Soigaiee. 
Hamburg;.       Museum.     Landscape  in  Guelderland. 
Mech.ij.         Museum.    View  in  the  Forest  of  Soignies. 

HELLESEN,  Hannb,  or  Johanne,  a  Danish 
fruit  and  flower  painter,  was  born  in  1801,  and 
died  in  1844.  There  is  by  her  in  the  Copenhagen 
Gallery  a  '  Vase  filled  with  Flowers.' 

HELLWEGER,  Feanz,  who  was  born  at 
Lorenzen  in  the  Tyrol,  in  1813,  was  a  pupil 
of  Hess  at  Munich.  In  1843  he  visited  Rome  ;  and 
after  his  return  he  assisted  Cornelius  in  his  cycle 
of  frescoes  in  the  Ludwigskirche  at  Munich,  and 
Sohraudolph  in  his  frescoes- in  the  Cathedral  of 
Spires,  flellweger  was  chiefly  occupied  in  paint- 
ing for  churches:  some  of  his  best  works  are  at 
Bruneck  and  Ischl.    He  died  at  Innsbruck  in  1880. 

HELMAN,  IsiDOEE  Stanislas,  a  French  engraver, 
was  born  at  Lille  in  1743,  and  died  in  Paris  in 


1809.  He  was  a  pupil  of  J.  P.  Le  Bas,  and  amongst 
his  best  plates  are  four  after  Moreau,  for  the 
'Monument  du  Costume.'  The  following  engrav- 
ings are  also  by  him : 

The  Opening  of  the  States  General  at  Versailles    after 

Monnet. 
The  Oath  of  the  Jeu-de-panme ;  after  the  same. 
The  Taking  of  the  Bastille  ;  after  the  same. 
The  F4te  of  the  Federation ;  after  the  same. 
The  Tenth  of  August,  1792  ;  after  the  same. 
The  Execution  of  Louis  XVI. ;  after  the  same. 
Joseph  and  Potiphar's  Wife  ;  after  Lagrenie. 
Susannah  and  the  Elders ;  after  the  same. 
The  Death  of  Cleopatra ;  afttr  the  same. 
The  Useless  Precaution ;  after  Le  Prince. 
The  Useless  Lesson ;  a/to-  the  same. 
The  French  Quack-Doctor ;  aftir  Bertaiuc. 
The  German  Quack-Doctor ;  after  the  same. 
The  Temple  of  the  Sibyl  at  Tivoli ;  after  BoheH. 

An  'Essai  sur  I'oeuvre  d'Helman,'  by  Henri 
Viennet,  appeared  in  the  'Revue  universelle  des 
Arts  '  for  1864-5,  tome  xx.,  pp.  263—274. 

HELMBREKER,  Theodoeus,  born  at  Haarlem 
in  1624,  was  the  son  of  an  organist,  who  destined 
him  to  the  study  of  music,  but  his  disposition 
leading  him  to  painting,  he  was  placed  under  the 
tuition  of  Pieter  De  Grebber,  at  the  time  that  Sir 
Peter  Lely  was  a  scholar  of  that  master.  After 
the  death  of  his  father,  he  went  to  Venice,  where 
he  was  patronized  by  the  Senator  Loredano,  for 
whom  he  painted  several  pictures.  He  soon  after 
visited  Rome,  where  he  was  taken  under  the  patron- 
age of  the  Cardinal  de'  Medici.  He  next  visited 
Florence  and  Naples,  and  after  a  residence  of 
several  years  in  Italy,  returned  to  his  native 
country,  where  he  was  loaded  with  commissions, 
which  he  found  it  difficult  to  execute.  In  spite 
of  this  flattering  encouragement,  however,  his 
desire  of  revisiting  Rome  prevailed,  and  on  his 
return  to  that  city  he  was  employed  for  two  years 
by  the  Jesuits,  for  whom  he  painted  some  of  his 
finest  pictures.  He  sometimes  painted  subjects 
as  large  as  life ;  but  he  is  more  successful  in  his 
easel  pictures,  representing  markets,  fairs,  and 
views  in  Rome,  with  groups  of  poor,  to  whom 
the  monks  are  distributing  alms  or  food.  He 
occasionally  resembles  Bamboccio  in  the  sub- 
jects and  tone  of  his  pictures.  He  died  at  Rome 
in  1694. 

HELMONT,  Lucas  van.    See  Gassel. 

HELMONT,  Matheus  van,  was  born  at  Brussels 
in  1663,  and  was  probably  a  pupil  of  the  younger 
Teniers.  He  excelled  in  painting  fairs  and  Italian 
markets,  with  workshops,  mountebanks,  &c.,  in  a 
style  that  makes  it  probable  that  he  had  visited 
Italy.  He  resided  some  time  in  Paris,  where  his 
works  were  admired  by  Louis  XIV.,  for  whom  he 
painted  some  of  his  best  pictures.  He  died  at 
Antwerp  in  1719.     Among  his  works  are : 

Brussels.         ^-^.  }  ^  i,,g.  Fair. 
Brunswick,       Gallery.    Scene  from  Home  Life. 


Copenhagen.    Gallery. 
Lille.  Museum. 

Stockholm.       Gallery. 


Cobbler's  Workshop. 
An  Alchemist. 
Interior  Scene. 
Three  Scenes  at  Inns. 


HELMONT,  Segees  Jacobus  van,  the  son  and 
scholar  of  Matheus  van  Helmont,  was  born  at 
Antwerp  in  1683.  It  does  not  appear  that  he 
received  the  instruction  of  any  other  master  than 
his  father,  but  he  improved  himself  by  studying 
the  best  models,  and  consulting  nature  in  every- 
thing.    He  painted  historical  subjects  with  great 

641 


Helmsdorf 


A  BIOGRAPHICAL  DICTIONAEY  OF 


Hengel 


success,  but  his  principal  pictures  are  in  the 
churches  at  Brussels,  where  they  hold  a  respectable 
rank  among  the  works  of  the  Flemish  school.  In 
the  church  of  St.  Mary  Magdalene  is  a  fine  picture 
of  the  '  Martyrdom  of  St.  Barbara,'  designed  and 
painted  in  the  style  of  "Van  Dyck ;  in  the  church 
of  St.  Michael  is  the  '  Triumph  of  David  ' ;  and  at 
the  Carmelites  is  one  of  his  most  esteemed  works, 
representing  '  Elijah  sacrificing  before  the  Priests 
of  Baal.'  The  Museum  of  Ghent  contains  a  '  Christ 
on  the  Cross '  by  him  ;  in  the  Darmstadt  Museum 
are  pictures  of  'Peasants  playing  Cards'  and  a 
portrait  of  Canon  von  Krufft  of  Cologne ;  and  in 
Modena  is  a  picture  of  'A  Priest  distributing  Bread 
and  Wine.'     He  died  at  Brussels  in  1726. 

HELMSDORF,  Friedeich,  a  German  landscape 
painter,  was  born  at  Magdeburg  in  1784,  and  re- 
moved in  1809  to  Strassburg,  where  he  obtained  a 
large  number  of  pupils.  He  died  at  Carlsruhe  in 
1852.  Two  of  his  best  paintings  are  'Tasso's 
Oak'  and  'Lake  Nemi,'  painted  during  his  visits 
to  Italy. 

HELST,  Van  deb.    See  Van  deb  Helst. 

HELT-STOKADE,  Albert  van,  a  brothen  of 
Nicolaas  van  Helt-Stokade,  painted  landscapes  in 
the  style  of  Berchera. 

HELT-STOKADE,  Nicolaas  van,  was  born  at 
Nimeguen  about  1614,  and  was  a  scholar  of  the 
elder  David  Ryokaert,  whose  daughter  he  married. 
His  first  pursuit  was  landscape  painting,  but  being 
more  inclined  to  figure  subjects,  he  applied  him- 
self to  historical  painting,  in  which  he  had  acquired 
some  celebrity,  when  he  determined  to  visit  Italy 
in  search  of  improvement,  and  passed  several  years 
at  Rome.  Here  his  talents  soon  recommended  him 
to  public  attention,  and  he  was  employed  in  paint- 
ing some  pictures  for  the  palaces  and  private 
collections,  particularly  for  Christina,  Queen  of 
Sweden.  After  a  residence  of  eight  years  at 
Rome,  he  went  to  Venice,  where  he  improved  his 
style  of  colouring  by  the  study  of  the  works  of 
the  best  masters  of  the  Venetian  school.  On 
his  way  back  to  Holland  he  visited  Paris,  and 
there  met  with  so  much  encouragement  that  he 
was  induced  to  remain  for  some  time  in  that 
city,  where  he  was  appointed  one  of  the  painters 
to  the  king.  He  died  in  1669,  after  his  return 
to  his  native  country.  The  historical  pictures 
by  Helt-Stokade  are  generally  of  large  dimen- 
sions ;  some  of  them  have  had  the  honour  of 
poetical  commendation  from  his  countrymen,  par- 
ticularly those  of  'Andromeda  chained  to  a  Rock,' 
'  Clelia  passing  the  Tiber,'  and  '  Joseph  distributing 
Corn  to  his  Brethren,'  the  last-named  being  in  the 
Amsterdam  Town-hall.  He  was  distinguished  also 
as  a  portrait  painter,  and  he  inserted  the  figures  in 
the  landscapes  of  Wynants,  Hackaert,  and  W.  De 
Heusch.  There  are  three  etchings  by  him :  '  Cepha- 
lus  and  Aurora,'  'Susannah  bathing,'  and  the  por- 
trait of  A.  van  Opstat,  after  Van  Dyck. 

HELTERHOF,  Philipp,  a  German  painter,  was 
born  at  Ham,  in  Bavaria,  in  1725,  and  died  in 
1807.  _  He  studied  at  Munich  under  Zimmermann, 
and  with  him  was  engaged  in  several  works. 

HELWIG,  — ,  a  German  miniature  painter,  was 
born  at  Spangenberg,  in  Hesse,  about  1673,  and 
studied  at  Rome.  He  resided  at  Cassel,  where  he 
died  in  1715. 

HEME,  LoDEWYK,  a  native  of  Courtrai,  and  a 

pupil   of  Pieter  Vlerick,  flourished  in  the   latter 

part  of  the  16th  century.    He  painted  architectural 

and  perspective  subjects   in  the  manner   of  his 

612 


master,  and  is  perhaps  the  author  of  a  remarkable 
picture  of  '  St.  Martin '  in  the  church  of  that  name 
at  Courtrai. 

HEMELRAET,  Philipphs  Augustus,  (or  Emel- 
BAEt,)  a  Flemish  landscape  painter,  was  born  at 
Antwerp  in  1612.  He  went  to  Italy  when  young, 
and  passed  several  years  at  Rome.  On  his  return 
to  Antwerp,  he  distinguished  himself  by  painting 
large  landscapes  in  a  superior  style,  and  was  en- 
gaged by  the  ablest  historical  painters  to  introduce 
his  landscapes  as  the  backgrounds  of  their  pictures. 
Such  is  the  case  in  Bi?et's  '  William  Tell,'  in  the 
Brussels  Gallery.  In  the  church  of  the  Barefooted 
Carmelites  at  Antwerp  were  some  capital  land- 
scapes by  Hemelraet,  painted  in  a  grand  style,  and 
of  a  fine  efEect.     He  died  at  Antwerp  in  1668. 

HEMBRICH,  0.  H.,  an  engraver,  who  from  his 
name  was  probably  a  German,  resided  in  London 
about  the  beginning  of  the  last  century.  There 
is  by  him  a  set  of  butterflies  and  insects,  after 
Roesel. 

HBMERY,  Antoine  FRANgois,  a  French  en- 
graver, was  bom  in  Paris  in  1751,  but  the  date  of 
his  death  is  not  known.  His  best  works  are  a 
portrait  of  Gaspard  Netscher,  after  himself;  'La 
Marchande  des  noisettes  '  and  '  La  Marchande  des 
oeuf s,'  after  Touz^  ;  the  '  Inauguration  of  the 
Statue  of  the  King  on  the  Place  Louis  XV.,'  after 
De  Machy ;  '  Louis  XVI.  and  Marie  Antoinette 
before  the  bust  of  Henry  IV.,'  an  elegant  allegorical 
vignette  after  Queverdo  ;  and  the  '  Creation  of  Eve,' 
after  Camillo  Procaccini,  dated  1782,  one  of  the 
most  admired  engravings  of  the  modern  French 
school.  He  also  worked  for  the  '  Cabinet  Poullain.' 
His  sisters,  Maegubeite  and  Th^rese  ELiosoRE, 
who  practised  the  same  art,  married  respectively 
the  engravers  Nicolas  Ponce  and  Charles  Louis 
Ling^e,  and  are  noticed  under  those  names. 

FEANgoiSE  El^onoee   HSmeet,  who   engraved 
'  The  Three  Graces,'  after  C.  van  Loo,  in  1772,  and 
Louise    Rosalie    Hemeet,  who    engraved   after 
Greuze  a  '  Head  of  a  laughing  Child  '  and  a  '  Head 
of  a  crying  Girl,'  were  probably  likewise  sisters  of 
this  artist. 
HEMESSEN,  Jan  van.    See  Sandebs,  Jan. 
HEMLING,  Hans.     See  Memlinc. 
HEMMER,  Johann  Sebastian  Bernhaed,  a  Ger- 
man painter,  bom  at  Coburg  in  1745,  was  a  pupil 
of  Nothnagel  at  Frankfort.    He  returned  to  Coburg 
and  established  himself  as  a  miniature  and  water- 
colour  painter.     He  died  about  1810. 
HEMSEN,  Jan  van.    See  Sanders,  Jan. 
HENAREJOS,   Domingo   Valdivieso   t.     See 
Valdivieso. 

HENDERSON,  John,  the  eminent  tragedian,  was 
born  in  London  in  1747.  He  studied  in  Shipley's 
school,  and  under  D.  Fournier,  and  he  gained  a 
medal  at  the  Society  of  Arts  in  1762,  but  after- 
wards abandoned  art.  He  died  in  London  in  1785. 
HENDRIKS,  Wtbband,  was  born  at  Amsterdam 
in  1744,  and  educated  at  the  National  Academy  of 
Design.  He  then  lived  for  a  time  in  the  country, 
until  he  received  the  appointment  of  keeper  of  then 
Teyler  Art  Cabinet  at  Haarlem.  Pie  painted  land- 
scapes, portraits,  and  interiors ;  but  the  pictures 
by  him  which  are  most  prized  are  flower-pieces 
and  subjects  of  dead  game,  in  the  manner  of 
Weenix.  There  is  a  view  of  Haarlem  by  him  in 
the  Museum  at  Amsterdam,  He  died  at  Haarlem 
in  1831. 
HENGEL,  H.  F.  van,  a  Dutch  painter,  bom  at 
I  Nimeguen  in  1705j  studied  under  Herman  van  der 


PAINTERS  AND  EXGEAVEES. 


Hengsbach. 

Myn,  and  painted  landscapes  and  conversations  of 
a  cabinet  size.  Either  the  public  disregarded  his 
works,  or  he  was  so  enamoured  of  them  as  not  to 
part  with  them,  that  he  retained  them,  as  a  collec- 
tion, to  the  time  of  his  death,  when  they  were  sold 
■with  the  pictures  of  other  masters  belonging  to 
him.     He  died  at  Utrecht  in  1785. 

HEXGSBACH,  Franz,  a  German  landscape 
painter,  was  born  at  Werl  in  Westphalia  in  1814. 
He  was  from  1833  to  1840  a  student  of  the  Diissel- 
dorf  Academy  under  J.  W.  Schirmer,  and  painted 
in  the  style  of  the  older  landscape  painters  of  that 
school  many  works  of  much  excellence  in  drawing 
and  colour,  the  subjects  of  which  were  drawn  from 
the  picturesque  scenery  of  the  Tyrol,  Salzkam- 
mergut,  Upper  Bavaria,  and  Switzerland.  He  died 
at  Diisseldorf  in  1883.    Among  his  best  pictures  are : 

View  of  Salzburg.    1841. 
Staufen  near  Salzburg.    1842. 
Mills  in  the  Tyrol.    1846. 
The  Lake  of  Hallstadt.    1848. 
Waterfall  in  Upper  Bavaria.     1850. 
lamborg  on  the  Lahu  by  moonlight. 
Ereniug  on  the  Lago  Maggiore.    1880. 
Lausanne  and  the  Lake  of  Geneva. 

HENGST,  WiLLEir,  was  a  native  of  Nimeguen, 
who  studied  in  Paris  under  Eigaud  and  Largilliere. 
He  afterwards  returned  to  his  own  country  and 
took  to  portrait  painting.  He  died  at  Cuyk  on  the 
Meuse  about  1780  or  1785. 

HENGSTENBURGH,  HERSiAuns.      See    Hen- 

STKNBrRGH. 

HESNE,  Ebeshard  Siegfried,  a  German  en- 
graver, was  horn  in  1759,  and  at  first  studied 
theology,  but  afterwards  turned  his  attention  to 
art,  which  he  pursued  at  Leipzig  under  Oeser, 
Bause,  and  Liebe,  and  later  on  at  Berlin  under 
Rode  and  Chodo^viecki.  In  1793  he  engraved  his 
principal  plate,  '  The  Sacrifice  of  Iphigenia,'  after 
Van  Loo  ;  and  a  little  after  this  a  number  of  illus- 
trations to  Archenholz's  '  Handbook  of  the  Seven 
Years'  War.'  In  1808  the  military  embroilments 
drove  him  to  Brunswick  and  Westerburg,  where 
he  mainly  devoted  himself  to  painting  landscapes. 
After  the  Peace  of  Tilsit  he  returned  to  Berlin, 
where  he  died  in  1828.  Among  his  other  plates 
are: 

The  Parting  of  Louis  XVI.  from  his  Family ;   after 

Chodowiecki. 
Jesns  breaking  tlie  Bread  to  the  Disciples  at  Emmaus ; 

after  Bode. 
The  King  and  Prince  taking  leave  of  the  dying  Queen 

Louise. 

HEXNE,  Picart,  a  portrait  and  historical  painter, 
bom  in  Hainault,  was  painter  to  the  Duke  of 
Burgundy  in  1401.  He  is  probably  the  same  as 
Pierre  Henne,  who  in  1417  or  1418  painted  the 
portrait  of  Margaret  of  Burgundy,  Countess  of 
Hainault,  He  resided  at  Mons,  and  worked  for 
the  town  of  Eoeulx  in  the  years  1395-96  and 
1412-13.    He  died  before  1422. 

HENNEBEEG,  Andreas,  (or  Henneberger,) 
was  probably  one  of  the  family  of  artists  of  that 
name  settled  at  Geisslingen.  In  1575  he  was 
court  painter  at  Munich,  and  took  portraits  at 
about  that  date  lor  the  ducal  court.  He  died 
about  1594.  There  was  a  Dorothea  Hexseberg, 
who  in  1590  held  the  same  office  at  Munich,  and 
who  also  painted  portraits  in  oil  and  water-colours. 

HENNEBERG,  Rudolph  Friedrich,  a  German 
historical  painter,  was  born  at  Brunswick  in  1825. 
He  was  intended  for  a  barrister,  and  therefore 
T  T  2 


Eennequiu 


studied  law  at  Gottingen  and  Heidelberg  from 
1845  to  1848,  and  acted  as  local  judge  in  his  native 
city.  In  1850-51  he  commenced  the  study  of 
painting  at  the  Antwerp  Academy,  afterwards 
working  under  Thomas  Couture  in  Paris,  where 
he  remained  till  1860.  He  then  travelled  in  Italy 
for  two  years,  visiting  Eome,  Naples,  Florence, 
and  Venice,  and  occupying  himself  with  copying 
the  old  masters,  especially  Titian  ;  he  next  settled 
down  for  a  time  at  Munich.  He  went  to  Berlin 
in  1866,  but  on  account  of  his  health  he  had  to 
go  again  to  Italy  in  1873,  and  returned,  as  an 
incurable,  to  his  native  city,  where  he  died  in  the 
autumn  of  1876.  He  executed  some  wall  paint- 
ings in  the  ViUa  Warschauer  in  Charlottenburg, 
and  was  a  member  of  the  Berlin  Academy.  His 
most  important  picture  is  the  celebrated  '  Hunt 
after  Fortune,'  a  copy  of  which  exists  in  the 
Bethnal  Green  Museum,  London ;  the  original, 
dated  1868,  being  in  the  National  Gallery  at  Berlin. 
HENNEBEEGER,  Haxs,  a  card  painter,  was 
bom  at  Miihlhausen,  in  Prussia,  in  the  latter  part 
'of  the  16th  century,  and  was  placed  under  Adam 
Lange,  who  taught  him  every  branch  of  art,  and 
of  art  workmanship.  On  the  death  of  his  master 
he  succeeded  him  in  the  post  of  court  painter,  and 
completed  the  decoration,  commenced  by  Lange, 
of  the  Muscovite  Saloon  in  the  palace  at  Konigs- 
herg,  which  he  adorned  with  portraits  and  heraldic 
designs.  He  also  painted  portraits  in  oil,  but  he 
was  most  largely  employed  in  the  execution  of 
patents  of  nobility.     He  died  in  1601. 

HENXEQUAET,  Jehan,  (or  Heknekebt,)  was 
a  Flemish  painter,  who  worked  at  Lille  about  the 
middle  of  the  15th  century,  and  was  a  contem- 
porary of  Pieter  Coustain. 

HENNEQUIN,  Baptist,  a  Flemish  painter, 
flourished  at  Bruges  about  1468. 

HENNEQUIN,  Philippe  Auguste,  a  French 
historical  painter,  was  born  at  Lyons  in  1763, 
and  studied  under  David  in  Paris.  He  obtained 
the  'grand  prix  de  Eome,'  but  on  the  outbreak 
of  the  French  Eevolution  his  avowal  of  partisan- 
ship with  the  revolutionists  obliged  him  to  quit 
Italy.  He  went  to  Lyons,  where  he  was  im- 
prisoned, but  managed  to  escape,  and  got  to 
Paris,  where  he  owed  his  safety  to  his  friends. 
After  several  disagreeable  experiences  from  the 
same  cause,  which  repeatedly  brought  his  Ufe  into 
danger,  he  in  1794  abandoned  politics  and  devoted 
himself  wholly  to  art.  On  the  restoration  of  the 
Bourbons  in  1814  he  migrated  to  Lifege,  and  there 
painted  'The  Devotion  of  the  Three  Hundred 
Citizens  of  Franchimont,'  of  which  he  engraved 
the  sketch.  Thence  he  removed  to  Tournai, 
where  he  settled  as  director  of  the  Academy, 
and  had  Gallait  among  his  pupils.  He  died  at 
Leuze,  near  Tournai,  in  1833.  Amongst  his 
principal  works  are : 

Crime  pursued  by  Bemorse. 

Time, 

Fright. 

Saul  and  the  "Witch  of  Endor. 

Truth  and  Justice  mounting  to 

Heaven. 
Orestes  pursued  by  the  Furies. 

1800. 
The    Triumph    of    the    French 

People.    1799. 
The  (Jenius  of  History. 
Battle  of  Qoiberon.    1S04. 
Napoleon  distributing  the  Legion 

of  Honour  at  Boulogne.  1806. 
643 


Angers. 

Ifuseum. 

j» 

j» 

Lyons. 
Orleans. 

Mvieum. 
Museum. 

Paris. 

Louvre. 

Rouen. 

Museum. 

Toulouse. 
Versailles. 

Museum. 
Gallery. 

Hennig 

Versailles. 


A   BIOGRAPHICAL  DICTIONAEY   OF 


Hensel 


Gallery.     Battle  of  the  Pyramids.     1806. 
„  „         Allegory  of  Napoleon  I. 

„  „         Portrait  of  Marquis  of  P^rignon. 

HENNIG,  GuSTAV  Adolph,  a  Gei-man  historical 
painter,  was  born  at  Dresden  in  1798,  and  began 
his  studies  at  the  Academy  there,  after  which, 
with  royal  assistance,  he  completed  them  at  Rome. 
Returning  to  his  own  country,  he  was  made  first 
professor  and  then  director  of  the  Leipzig  Academy, 
and  in  1840  professor  in  that  of  Dresden.  He  died 
at  Leipzig  in  1869.  One  of  his  best  paintings  is 
'  Christ  purifying  the  Temple.' 

HENNIG,  JoHANN  Fkiedrich,  was  born  at  Berlin 
in  1778,  and  engraved  several  views  of  that  city 
and  the  neighbourhood.  In  the  Dresden  Gallery 
is  a  picture  of  '  The  Finding  of  Moses.' 

HENNING,  Christian,  born  at  Erfurt  in  1741, 
went  to  Hoorn,  in  Holland,  where  he  executed 
some  paintings  for  the  theatre  of  Amsterdam, 
and  with  his  brother  Gottfried  managed  a  tapestry 
manufactory.     He  died  at  Zeist  in  1822. 

HENNING,  Cheistoph  Daniel,  a  painter  and 
engraver,  was  born  in  1734  at  Nuremberg,  where 
he  also  died.  Among  his  best  works  were  views 
of  Nuremberg,  and  portraits  of  Joseph  II.  and 
Pope  Pius  VI. 

HENRI.     See  GeiSvedon. 

HENRIOH,  Gaspaed,  aFlemishhistorical  painter, 
was  born  at  Oudenarde  in  1550,  and  died  in  Italy. 

HENRICI,  JoHANN  Joseph  Karl,  a  native  of 
Schweidnitz  in  Silesia,  was  born  in  1737.  He 
worked  as  a  theatre  painter  in  Bohemia,  and  after- 
wards went  to  Vienna  and  Venice,  where  he  devoted 
himself  to  miniature  painting.  He  executed  fres- 
coes, conversation  pieces,  portraits,  and  architectural 
subjects.     He  died  in  1823. 

HBNRIET,  Claude,  who  was  born  at  ChSlons- 
Eur-Marne  about  1540,  was  summoned  about  1586 
to  the  court  of  Charles  III.,  Duke  of  Lorraine,  at 
Nancy,  where  he  died  in  1603.  He  painted  por- 
traits and  historical  subjects,  but  principally  ex- 
celled in  glass  painting.  'The  windows  of  the 
cathedral  at  Ch&lons  and  of  St.  !l^tienne-du-Mont 
at  Paris  are  liis  most  important  works.  He  was 
also  the  instructor  of  Callot. 

HENRIET,  Israel,  who  was  also  known  by  his 
Christian  name  of  Israel  alone,  was  born  at  Nancy 
about  1590.  He  was  the  son  of  Claude  Henriet, 
a  glass  painter,  who  taught  him  the  rudiments  of 
design,  and  sent  him  for  improvement  to  Rome, 
where  he  studied  some  time  under  Antonio  Tem- 

Eesta.  Upon  his  return  to  France  he  established 
imself  ill  Paris  as  a  print-seller,  and  published 
some  of  his  own  plates,  as  well  as  those  of  Callot, 
Delia  Bella,  and  Israel  Silvestre,  who  were  all  em- 
ployed by  him.  He  engraved  a  few  plates  of 
views  and  small  subjects,  in  which  he  imitated 
the  style  of  Callot.  He  instructed  Louis  XIV. 
in  drawing,  and  died  in  Paris  in  1661. 

HENRIQUEZ,  BenoIt  Louis,  a  French  engraver, 
was  born  in  Paris  in  1732.  He  was  a  pupil  of  N. 
G.  Dupuis,  and  was  admitted  into  the  Academy  in 
1779.  He  spent  some  time  at  St.  Petersburg,  where 
he  appears  to  have  been  engraver  to  the  Emperor. 
He  died  in  Paris  in  1806.  Among  portraits  and 
other  subjects  by  him  are  the  following : 

poeteaits. 
Louis  XIV.;  after  Riqaud. 
Louis  XVI.;  after  J.' Boze. 
Louise   Marie   Adelaide,   Duchess  of  Chaxtres;    after 

Suplessis. 
644 


Denis  Diderot ;  after  Van  Loo. 

Jean  d'Alembert ;  after  Jollaiii. 

Fran9ois  Marie  Arouet  de  Voltaire ;  aftir  Sarat, 

SUBJECTS   AFTER   VARIOUS    MASTEES, 
The  Chastity  of  Joseph ;  after  A.  van  der  Werff. 
The  Triumph  of  Galatea ;  after  Nattier. 
Minerva  driving  away  the  God  of  War ;  after  Buiens. 
Mercury  and  Argus ;  after  G.  van  Eeekhout. 
Honours  paid  to  the  Constable  Du  Guesclin;  after 

Brenet. 
La  Bonne  Nouvelle ;  after  Teriorch. 
Love ;  after  Greuze. 

HENRIQUEZ,  Emmanuel,  was  bom  in  the 
neighbourhood  of  Nogueira,  in  Portugal,  in  1593. 
He  executed  several  pictures,  and  in  1618  entered 
the  Society  of  Jesus.     He  died  in  1653. 

HENRY  LE  Loerain  was  a  French  painter  of 
history,  who  painted  in  1507  an  '  Assumption '  for 
the  Church  of  the  Cordeliers  at  Nancy. 

HENRY,  Bon  Thomas,  a  French  portrait  painter, 
was  born  at  Cherbourg  in  1766.  He  was  a  pupil 
of  Landon  and  of  Regnault,  and  died  in  Paris  in 
1836.     He  founded  the  Museum  at  Cherbourg. 

HENRY,  Jean,  a  French  marine  painter,  bom 
at  Aries  in  1734,  was  a  pupil  of  Kapeller  and  J. 
Vernet.  He  died  at  Toulouse  in  1784.  Examples 
of  his  sea-pieces  may  be  seen  in  the  Museums  of 
Grenoble,  Marseilles,  Toulon,  and  Havre. 

HENRY,  Susanna,  a  daughter  of  the  celebrated 
artist  Daniel  N.  Chodowiecki,  and  wife  of  a  Bran- 
denburg ecclesiastic,  named  Henry,  was  a  painter 
wlio  in  1812  became  a  member  of  the  Berlin 
Academy.     She  was  still  living  in  1818. 

HENRY  JULIUS,  Duke  of  Brunswick-Wolfen- 
biittel,  an  amateur  painter,  was  born  in  1564,  and 
reigned  from  1589  to  1613,  in  which  year  he  died. 
There  is  a  '  Wooded  Landscape '  by  him  in  the 
Brunswick  Gallery. 

HENSBERG,  Jeeom  van,  who'  flourished  in 
1662,  is  mentioned  by  Professor  Christ  as  an 
engraver. 

HENSCH,  GoTTHiLP  Fribdeioh,  a  portrait  and 
miniature  painter,  was  born  at  Andreasberg  in 
the  Harz  in  1732.  He  practised  his  art  in  various 
cities  of  Germany,  and  finally  settled  at  Bruns- 
wick, dying  about  1785. 

HENSEL,  Wilhelm,  a  German  historical  and 
portrait  painter,  was  born  at  Trebbin  in  1794.  He 
at  first  studied  architecture,  but  afterwards  took 
to  painting  under  Frisch,  the  director  of  the  Berlin 
Academy,  and  in  1812  exhibited  his  first  work, 
'  Christ  on  the  Mount  of  Olives.'  He  served  for 
two  years  in  the  army  (1813-15),  but  after  the 
close  of  the  war  with  Napoleon,  he  returned  to 
art,  and  by  his  exertions  supported  his  mother 
and  brother,  finding  time  also  to  write  poetry. 
In  1823  he  was  enabled  to  visit  Italy,  where  he 
remained  for  five  years,  studying  and  copying  the 
works  of  the  old  masters.  After  his  return  to 
Berlin,  in  1828,  honours  came  quickly  to  him ;  he 
became  a  member  of  the  Academy,  court  painter, 
and  professor  of  painting.  He  was  also  decorated 
with  the  Order  of  the  Red  Eagle,  the  Hohenzollern 
Order,  the  Order  of  Leopold,  &c.  He  is  stated  to 
have  painted  more  than  a  thousand  portraits  of 
distinguished  men  of  his  time.  He  died  at  Berlin 
in  1861,  through  an  injury  received  in  saving  a 
man's  life.     Amongst  his  chief  works  are : 

The  Good  Samaritan.    (Boyal  Palace,  Berlin.) 
Christ  before  Pilate.     (Potsdatn.) 
Miriam  playing  the  Timbrel.     1839.     (Tlie  Queen) 
Christ  in  the  Wilderness.    1839. 


Henstenburgh 


PAINTERS  AND  ENGRAVERS. 


Herford 


Christ  meditating  on  his  Mission.  (Bridgewater  Galleiy, 
London.) 

Christ  and  the  AVoman  of  Samaria. 

The  Duke  of  Brunswick  at  the  Ball  on  the  Eve  of  the 
Battle  of  Waterloo. 
Among  the  portraits  whicli  he  painted  are : 

Frederick  William  IV.,  King  of  Prussia. 

Felix  Mendelssohn-Bartholdy. 

The  Prince  of  Wales  when  a  Child. 

HENSTENBURGrH,  Hermands,  was  born  at 
Hoorn,  in  North  Holland,  in  1667.  He  studied 
under  Johannes  Bronkhorst,  and  soon  surpassed 
him;  stijl  he  was  for  a  long  time  compelled  to 
earn  his'  living  at  a  pastry-cook's,  till  Matheus 
Terwesten  made  his  merits  known.  He  excelled 
in  the  painting  of  flowers,  fruit,  birds,  snails,  &o. 
in  water-colours,  as  well  as  in  gouache  and  oil. 
He  died  at  Hoorn  in  1726. 

HBRACLEIDES,  a  Greek  painter,  was  a  native 

of  Macedon,  who  went  in  B.C.  168  to  Athens,  where 

he  had  a  great  reputation  for  his  paintings  in 

encaustic. 

HKRADLT,  Antoinette.    See  under  Chasteau, 

GniLLAUME. 

HERAULT,  Charles  Antoine,  a  landscape 
painter,  bom  in  Paris  in  1644,  was  the  son  and 
pupil  of  Antoine  Hirault,  a  painter,  and  brother- 
in-law  to  Noel  Coypel,  whom  he  accompanied  to 
Rome  in  1672.  He  was  received  into  the  French 
Academy  in  1670,  and  died  in  Paris  in  1718. 

HERBEL,  Karl,  a  painter  of  Nancy,  who 
flourished  about  1680,  produced  several  battle 
pieces  depicting  the  deeds  of  Charles  V.,  Duke 
of  Lorraine.  He  also  worked  some  time  at  Vienna 
for  the  Emperor  Leopold  I.  Elias  Hainzelmann 
engraved  after  him  the  portraits  of  Duke  Charles 
and  his  consort  Eleonora.     He  died  in  1703. 

HERBERT,  Alfred,  a  marine  painter  in  water- 
colours,  was  the  son  of  a  Thames  waterman.  He 
was  at  an  early  age  apprenticed  to  a  bookbinder, 
but  left  that  trade  to  follow  the  profession  of  an 
artist.  His  pictures  were  chiefly  views  on  the 
Thames  and  coast  scenes,  which  he  executed  with 
a  masterly  hand,  showing  true  genius.  Though  a 
constant  exhibitor  at  the  Royal  Academy  and  the 
Suffolk  Street  Exhibition,  his  productions  never 
sold  well,  and  he  died  in  poverty  in  1861.  The 
South  Kensington  Museum  has  '  A  Wreck  off 
Appledore '  and  '  A  Man-of-War  ofi  Dover.' 

HERBERT,  Arthur  John,  a  subject  painter, 
the  son  of  John  Rogers  Herbert,  R.A.,  was  born 
in  1834,  and  studied  under  his  father.  He  was 
showing  much  promise,  when  he  died .  of  fever 
at  Muriao,  in  Auvergne,  in  1856.  There  is  a 
water-colour  drawing  of  '  Barnstaple '  by  him  in 
the  South  Kensington  Museum.  He  exhibited  at 
the  Royal  Academy : 

Don  Quixote's  first  impulse  to  become  a  Knight-errant. 

1855. 
Philip  rv.  of  Spain  knighting  Velazquez.    1856. 

HERBERT,  Cyril  Wiseman,  the  youngest  son 
of  John  Rogers  Herbert,  R.A.,  was  born  in  Prance 
in  1848.  On  his  father's  return  to  England  he  was 
sent  to  Oscott  College,  and  then  to  King's  College, 
London,  while  his  artistic  training  was  conducted 
by  his  father.  In  1868  he  went  to  Italy,  and  in 
1882  he  became  Curator  of  the  Antique  School  in 
the  Royal  Academy.  He  died  in  London  in  1882, 
a  week's  illness  terminating  a  career  of  the  bright- 
est promise.    He  exhibited  at  the  Royal  Academy : 

Homeward  after  Labour.    1870. 
Au  Idyl.    1871. 


Returning  to  the  Fold.    1874. 
Escaped  Home.     1875. 

HERBIG,  WiLHELM,  a  German  historical  painter, 
was  born  at  Potsdam  towards  the  close  of  the  18th 
century.  He  was  a  pupil,  and  afterwards  vice- 
director,  of  the  Berlin  Academy,  and  died  in  1861. 
His  best-known  pictures  are  ' 'The  Spinner'  and 
'  A  Family  saving  itself  from  an  Inundation.' 

HERBST,  Johannes,  (or  Hebbstbr,)  was  a 
painter  of  Straasburg,  who  flourished  about  1468, 
but  abandoned  art  at  the  time  of  the  Reformation, 
from  an  idea  that  it  tended  to  the  adoration  of 
imfiges. 

HERBSTHOFFER,  Karl,  was  a  genre  painter, 
born  at  Pressburg  in  1821,  wlio  studied  at  the 
Vienna  Academy  under  Amerling,  and  died  in 
Paris  in  1876.  His  works  were  in  the  stj-le  of  the 
French  rococo  painters,  and  among  them  were  : 

Plundering  of  a  Church. 
The  Challenge. 
Knights  at  an  Armourer's. 
The  Arrest. 

HERCK,  Jaques  Melchior  van,  a  Flemish  painter 
of  flowers,  was  the  pupil  and  son-in-law  of  P.  G. 
Verbruggen,  whose  works  he  copied.  He  was  ad- 
mitted into  the  Guild  of  St.  Luke  at  Antwerp  in 
1694-5,  and  filled  the  office  of  dean  in  1720,  1733, 
1734,  and  1735. 

HERDER, ,  a  Dutch  historical  and  portrait 

painter,  was  born  in  1550  at  Groningen,  where  he 
also  died  in  1609.  He  was  at  Rome  with  Karel 
van  Mander. 

HERDMAN,  William  Gawin,  a  landscape 
painter,  was  born  at  Liverpool  in  1805.  He  was 
self-taught,  and  very  early  in  life  he  began  sketch- 
ing the  old  buildings  of  his  native  city,  so  that  by 
the  time  he  was  twenty  years  of  age  he  had  made 
abont  three  hundred  drawings,  two  series  of  which 
he  published  in  1843  and  1856,  with  historical 
text,  as  'Pictorial  Relics  of  Ancient  Liverpool.' 
Topographical  views  and  interiors  were  his  forte, 
but  the  reformation  of  perspective  was  the  great 
object  of  his  life  for  the  last  twenty  or  thirty  years. 
His  views  were  first  broached  in  the  '  Art  Journal ' 
in  1849,  and  gave  rise  to  much  criticism,  for  he 
rejected  the  present  system  on  finding  that  the 
representations  of  objects  by  its  rules  on  the 
picture  did  not  coincide  with  the  results  of  vision 
or  of  sketches  made  by  the  hand  and  eye.  In  1853 
he  published  his  'Treatise  on  the  Curvilinear  Per- 
spective of  Nature.'  He  published  also  a  folio 
volume  of  'Studies'  in  1838,  and  other  works  in 
prose  and  verse.  He  was  for  some  years  a  member 
of  the  Liverpool  Academy,  and  was  the  founder 
of  shilling  art-unions.  He  died  at  Liverpool  in 
1882^ 

HBREAU,  Jules,  a  French  landscape  painter, 
was  born  in  Paris  in  1839.  He  spent  some  time 
in  England,  and  painted  several  views  on  the 
Thames.  He  was  killed  on  the  railway  at  Auteuil 
in  1879.     Amongst  his  works  are : 

The  End  of  the  Village ;  winter  scene.    1855. 

The    Shepherd    and    the    Sea.     1864.      (Montpsllier 

Museum. ) 
The  Impending  Storm.     1865.     (Amiens  Museum.) 
The  Shepherd's  gong.     1866.     {Rouen  Museum.) 
The  Beach  at  Honfleur.     1872. 
The  Thames  at  London  Bridge.     1873, 
The  Thames  at  Gravesend.    1873. 
Banks  of  the  Meuse.     1879. 

HERFORD,  Laura,  who  was  born  in  1831,  was 
the  first  female  student  of  the  Royal  Academy,  and 

645 


Hergeuroder 


A  BIOGRAPHICAL  DICTIONARY  OF 


Eermaun 


to  her  the  opening  of  the  schools  to  women  in 
1860  was  greatly  due.  She  exhibited  at  the  Royal 
Academy  from  1864  until  her  death  in  1870. 

HERGENRODER,  Geoeg  Heineich,  a  German 
painter,  was  born  at  Darmstadt  in  1736,  and  died 
about  1794.  There  are  pictures  of  '  Girls  bath- 
ing '  and  '  A  Robber's  Cave'  by  him  in  the  Caesel 
Gallery. 

HERING,  George  Bdwaeds,  who  was  born  in 
London  in  1805,  was  the  younger  son  of  a  German 
bookbinder,  who  was  the  head  of  the  family  of 
Von  Heringen  of  Brunswick,  but  who  had  settled 
in  London.  He  lost  his  father  while  still  a  youth, 
and  after  completing  his  education  in  Germany, 
was  placed  in  a  banking-house,  but  his  dislike 
of  the  desk  and  his  natural  love  for  art  soon  in- 
duced him  to  obtain  the  permission  of  his  family 
to  quit  the  bank,  and  return  to  Germany  to  study 
painting.  He  went  first  to  Munich  in  1829,  thence 
through  the  Tyrol  to  Venice,  in  which  city  he  speci- 
ally delighted  ;  then  through  Italy,  and  to  Constanti- 
nople, Smyrna,  and  the  East, — making  everywhere 
studies  and  sketches,  which  afterwards  bore  ample 
fruit.  On  his  return  to  Rome,  where  he  was  very 
popular  with  his  fellow- workers  of  all  nationalities, 
he  met  with  Mr.  Paget,  and  with  him  and  another 
friend  made  a  tour  through  Hungary  and  Transyl- 
vania and  to  the  Carpathian  Mountains.  The 
results  of  this  journey  were  his  illustrations  to  Mr. 
Paget's  '  Hungary  and  Transylvania,'  1839,  and  a 
volume  of  '  Sketches  on  the  Danube,  in  Hungary 
and  Transilvania,'  published  in  1838.  On  his  re- 
turn to  England,  after  an  absence  of  seven  years, 
he  settled  in  London,  where,  with  the  exception  of 
a  few  short  visits  to  Italy,  he  chiefly  resided.  In 
1847  he  published  '  The  Mountains  and  Lakes  of 
Switzerland,  the  Tyrol,  and  Italy.'  Though  a  re- 
sident for  the  greater  part  of  his  life  in  England,  its 
scenery  aiforded  him,  comparatively,  but  few  sub- 
jects. He  died  in  London  in  1879.  From  1836 
until  the  year  of  his  death,  he  contributed  every 
year  to  the  exhibitions  of  the  Royal  Academy, 
sending  in  all  eighty-seven  works,  of  which  the 
following  were  among  the  best : 

The  Euins  of  the  Palace  of  the  Caesars.     1836. 

Amalfl.    1841.    (The  Queen,) 

Venice.     1848. 

The  Brig  over  the  Bum,  Perthshire.     1851. 

Angera,  Lago  Maggiore.     1854. 

Eeturning  from  Toroello.    1859. 

There  is  a  small  ■  Bridge  over  a  Stream,'  dated 
1847,  by  him  in  the  South  Kensington  Museum. 

HERING,  JoHANN  Geoeq,  was  a  painter  of 
Eschwegen  in  the  16  th  century,  who  studied  under 
Christoph  Miiller  at  Cassel,  and  in  1687  travelled 
in  Italy  for  further  improvement.  In  1620  he 
became  court  painter  at  Prague ;  he  also  worked 
considerably  for  the  monastery  of  Strahow. 

HERISSET,  Antoine,  a  French  engraver,  flour- 
ished about  the  year  1740.  He  engraved  some  of 
the  plates  for  Monicart's  '  Versailles  iramortalisd,' 
1720-21,  and  also  some  plates  of  fortifications, 
published  in  1757.  There  are  also  two  prints  of 
scenes  in  the  life  of  St.  Vincent  of  Paola,  after  J. 
P.  de  Troy,  etched  by  Hdrisset,  but  finished  by 
Jeaurat. 

HERISSON,  Louis  FRANgois,  a  French  landscape 
pamter,  was  born  in  Paris  in  1811,  and  died  in  the 
same  city  in  1859. 

HERLE,  WiLHELM  VON.     See  Wilhelm,  Meister. 

HERLBN,  Feiedbich,  (HOelin,  Heblin,  or 
Heelein),  a  German  painter,  flourished  from  the 

646 


middle  to  the  close  of  the  15th  century.     He  was 
at  Ulm  about  1449  and  1454,  then  at  Rothenburg, 
and  in  1467  he  settled  at  Nordlingen,  where  he 
died  probably  in  1499  or  1500.     His  pictures  are 
in  the  manner  of  the  school  of  Rogier  van  der 
Weyden,  and  he  was  also  an  imitator  of  Van  Eyok, 
so  that  it  seems  safe  to  assume  that  he  studied  in 
the  Netherlands.    There  are  sixteen  pictures  by  him 
in  the  church  of  St.  George  at  Nordlingen ;  namely, 
'The  Virgin  enthroned,'   an  '  Ecce  Homo,'   'The 
Magdalene  washing  the  Saviour's  Feet,'  'The  Ap- 
pearance of  Christ,'  several  Saints  and  Donators, 
and  '  The  Crucifixion,'  painted  upon  gold  ground 
— the  dates  ranging  from  1462  to  1488.     There  is 
also  a  grand  triptych  in  the  choir  of  the  cathedral 
of  Meissen  which  is  attributed  to  him,  but  unfor- 
tunately, like  the  above,  it  has  been  injured  by 
restoration.      He  executed   similar  works  in  the 
church  and  town-hall  of  Rothenburg,  in  the  church 
at  Bopfingen,  and  apparently  in  that  at  Dinkels- 
biihl.    A  '  Christ  on  the  Cross '  by  him  is  in  the 
Vienna  Gallery,  and  a  small '  Offering  of  the  Three 
Kings '  is  in  the  possession  of  Herr  von  Holz- 
schuher  of  Augsburg.     His  grandson,  Jesse  Heb- 
LEN,  was  also  a  painter,  though  inferior ;  a  '  Last 
Judgment '  by  him  is  in  the  church  of  St.  George 
at  Nordlingen.     He  was  born  in  1500  or  1501,  and 
died  in  1575.    Another  Feiedbich  Heelen,  the 
great-grandson  of  the  first,  died  at  Nordlingen  in 
1591. 

HERMAN,  who  succeeded  as  bishop  of  Winton 
in  1046,  and  as  bishop  of  Sherborne  in  1050,  and 
removed  the  see  to  Salisbury,  is  stated  to  have 
decorated  with  miniatures  some  manuscripts  of 
his  own  writing.     He  died  before  1080. 

HERMAN  OE  Italy.     See  Swakevelt. 

HERMANN,  Joseph,  born  at  Freiburg  in 
Breisgau,  in  1735,  was  the  son  of  a  shoemaker. 
He  studied  philosophy  and  theology  for  a  time, 
and  then,  against  the  wish  of  his  father,  became  a 
painter,  and  imitated  the  works  of  Baldung,  Hol- 
bein, Abel  Stimmer,  and  Maratti.  He  was  espe- 
cially skilful  in  the  representation  of  beautiful  heads 
and  of  storms  at  sea.  The  date  of  his  death  is 
unrecorded. 

HERMANN,  Kabl,  was  a  painter  bom  at  Oppeln, 
who  in  1820  was  at  Rome,  where  he  produced  an 
admired  copy  of  the  '  Madonna '  of  Francia  in  the 
Borghese  Palace.  He  made  also  some  copies  of 
Raphael,  among  which  was  one  of  the  '  Madonna 
della  Casa  Tempi'  in  the  Munich  Gallery.  His 
works  were  mainly  historical  and  genre  subjects, 
but  he  was  also  a  good  portraitist  and  designer. 
He  died  at  Breslau  in  1845, 

HERMANN,  Kael  Heineich,  who  was  bom  at 
Dresden  in  1802,  first  studied  art  in  the  Academy 
of  his  native  city.  He  then  removed  to  Diisseldorf 
and  became  a  pupil  of  Cornelius,  whom  he  accom- 
panied, after  some  years  spent  in  decorating  the 
Aula  at  Bonn  and  elsewhere,  to  Munich.  There 
he  was  employed  in  executing  in  fresco  the  de- 
signs of  Cornelius  in  the  Glyptothek  and  the  Lud- 
wigskirche.  Among  the  best  of  his  own  com- 
positions are  the  'Ascension  of  Christ'  in  the 
Protestant  church,  the  frescoes  from  Eschenbaoh's 
'  Parcival '  in  the  Konigsbau,  and  above  all  the 
'  Victory  of  the  Emperor  Louis  the  Bavarian  at 
Ampfing,'  which  is  one  of  the  series  of  historical 
frescoes  in  the  arcades  of  the  Hof garten  at  Munich, 
one  of  the  drawings  of  which  is  in  the  Frankfort 
Gallery.  In  1844  he  was  summoned  to  Berlin, 
where  he  decorated  the  Klosterkirche  with  figures 


Hennans 


PAINTERS  AND  ENGRAVERS. 


Herregouta 


of  the  Patriarchs,  Prophets,  Evangelists,  and  the 
Apostles  Peter  and  Paul.  In  1854  he  completed 
fifteen  large  pictures  illustrative  of  the  history  of 
the  Geiman  people.  Hermann  died  at  Berlin  in 
1880. 

HERMANS,  Franqois,  a  Dutch  allegorical 
painter,  born  at  Maestricht,  flourished  in  the  18th 
century.  He  was  an  elder  brother  of  Louis 
Hermans. 

HERMANS,  Louis,  a  Dutch  fruit  and  flower 
painter,  was  born  at  Maestricht  in  1760,  and  died 
there  in  1833.  He  worked  with  his  brother  Fran- 
cois Hermans. 

HERMANS,  Matthias,  a  Dutch  painter  of  his- 
tory and  architecture,  was  a  nephew  of  Francois 
Hermans.  He  was  born  at  Maestricht  in  1789, 
and  died  in  1842. 

HBRMANT,  Jean,  born  at  Troyes  in  1451,  was 
a  famous  glass  painter,  who  executed  for  the 
cathedral  at  Troyes  a  window  representing  '  The 
Baptism  of  St.  John. ' 

HERMES,  Isaac,  was  a  Spanish  painter,  who  in 
1587  executed  paintings  for  the  high  altar  and 
other  parts  of  Tarragona  Cathedral. 

HERMOGENES,  was  a  native  of  Africa,  who 
lived  about  a.d.  200.  He  was  a  contemporary  of 
Tertullian,  who  wrote  a  book  against  him,  con- 
demning his  opinions  and  his  paintings. 

HERNANDEZ,  Alexeo.    See  Fernandez. 

HERNE,  William,  was  an  artist  who  was 
appointed  Serjeant -painter  to  Queen  Elizabeth 
in  1572. 

HERNEYSSEN,  Andreas,  was  a  painter  of 
Nuremberg,  who  in  1578  was  admitted  into  the 
Brotherhood  of  St.  Luke  at  Wurzburg.  In  1574  he 
produced  the  portrait  of  Hans  Sachs,  now  in  the 
Wolfenhiittel  Gallery,  and  in  1676  he  decorated 
with  paintings  the  abbey  church  of  Allersbacli, 
in  Lower  Bavaria.  In  1580  he  painted  the  ceiling 
of  the  cathedral  in  that  town,  and  in  1587  the 
Brunnen  at  Nuremberg. 

HEROLD,  Johanna  Helena,  a  painter  in  water- 
colours,  bom  at  Frankfort  in  1668,  was  the  daughter 
of  Johann  Andreas  Graffi,  who  married  Maria 
Sibylla  Merian.  She  painted  insects  and  flowers 
equally  well  with  her  mother,  whom  in  1684 
she  accompanied  to  West  Friesland,  and  in  1699 
to  Surinam.  Shortly  after  this  she  was  married 
to  the  merchant  Herold,  with  whom  in  1702  she 
paid  a  second  visit  to  the  latter  place,  where  she 
painted  plants,  butterflies,  &c.  for  her  mother's 
'Metamorphosis  Insectorum  Surinamensium,'  pub- 
lished in  1705.  She  died  at  Amsterdam,  but  in 
what,  year  is  not  known. 

HEROULT,  Antoine  Dferai,  a  French  land- 
scape painter,  was  born  at  Pont-l'Ev^que  (Calvados) 
in  1802,  and  died  in  Paris  in  1853.  He  painted 
both  in  oil  and  in  water-colours.  Among  other 
works  he  exhibited  the  following : 

View  of  Loudon.    1841. 

View  of  the  Thames  at  Greenwich.    1842. 

View  at  Honfleur.    1843. 

View  near  Cherbourg.    1844. 

Forest  of  Foutainebleau.    1852. 

HERP,  Guilliam  van,  a  Flemish  painter,  was 
born  at  Antwerp  in  1614.  In  1626  he  was  appren- 
ticed to  Darman  Wortelmans  at  Antwerp,  and  two 
years  later  to  Hans  Birmans  in  the  same  city.  In 
1637-8  he  became  a  master  in  the  Guild  of  St. 
Luke,  and  was  afterwards  much  influenced  by  the 
works  of  Rubens.  His  pictures  are  not  numerous  ; 
tliey  usually  represent  interiors,  with  persons  of 


the  middle  class ;  Scriptural  subjects  by  him  are 
rare.  He  sometimes  put  ligures  into  Van  Delen'a 
architectural  pieces,  as  in  an  interior  of  a  church 
in  the  collection  of  Lord  Caledon.  He  died  at 
Antwerp  in  1677.  The  following  pictures  are 
ascribed  to  him : 

Berlin.  Gallery.    A    Satyr    in    the    midst    of    a 

Peasant's  Family. 
Brussels.         Arenherq )  ,  t,         it.      ■^ 

Dulwich.  Gallery.    Figures  with  Sheep  at  a  Well. 

London.     BHdqeioater't  .r,  ,. 

Gallery,  j  Boors  regaling. 

„  Marquis  of  \  Men  and  "Women  regaling  them- 

Bute's  Coll.  j      selves. 
„  „  A^B,e'p&s\  {companion  to  the  above). 

Stockholm.     Museum.    Christ's  Entry  into  Jerusalem. 


Vienna. 


Harrach  1 


Soldiers  and  Feasants. 


Coll.    s  ^ 

In  addition  to  these,  Waagen  and  other  writers 
mention  a  picture  by  Van  Herp,  in  the  National 
Gallery,  of  '  Monks  distributing  bread  to  the  poor 
at  the  door  of  a  Convent ' ;  it  is  not  now,  however, 
exhibited. 

HERPE,  Jan  van,  a  painter  of  religious  subjects, 
was  born  at  Ghent  in  1432.  He  entered  the 
Painters'  Guild  at  Ghent  in  1463,  and  died  in  1486. 

HERPIN,  litos,  who  was  born  at  Granville 
in  1841,  began  life  as  a  land-measurer,  but  after- 
wards studied  under  Daubigny,  J.  Andr6,  and 
Busson,  and  evinced  a  talent  for  la'ndscape  paint- 
ing. He  died  in  1880.  He  exhibited  amongst 
other  pictures  the  following : 

The  Mame  at  CheuneviJres. 
The  Bridge  of  S&vres.  1876. 
Faris  from  the  Bridge  of  Saints-Peres.    1878.    (Luxem- 

lionrq  Gallery^ 
Faris  'from  the  Fout-Neuf  in  1878.     {JUtel  de  Ville, 

Faris.) 

HERB,  Michael,  is  said  by  Doppelmayr  to  have 
been  born  in  1591  at  Metzingen,  in  Wiirtemberg, 
but  Neudorffer  reckons  him  among  Nuremberg 
painters.  He  appears  to  have  gone  early  in  life 
to  Nuremberg,  and  afterwards  to  Italy.  In  1620 
he  returned  to  Nuremberg,  where  he  painted  in  1622 
an  allegorical  picture  of  '  The  Seven  Liberal  Arts, 
with  Mars  nnd  Justice,'  also  a  memorial  picture  in 
St.  John's  churchyard.  He  died  at  Nuremberg  in 
1661. 

HEBREGOUTS,  David,  an  historical  painter, 
was  born  at  Mechlin  in  1603.  He  was  received 
into  the  corporation  of  painters  in  his  native  city 
in  1624,  but  afterwards  established  himself  at 
Ruremonde,  where  he  was  made  a  member,  of  the 
Guild  of  St.  Luke  in  1647,  and  died  at  a  date  un- 
known. In  the  church  of  St.  Catharine  at  Mechlin 
is  a  picture  of  '  St.  Joseph  awakened  by  an  AngeL' 

HERREGOUTS,  Hendrik,  an  historical  painter, 
the  son  and  pupil  of  David  Herregouts,  was  born 
at  Mechlin  in  1633.  He  resided  for  some  years  in 
Italy,  and  returned  home  through  Germany,  work- 
ing at  Cologne  in  1660.  In  1664-6  he  was  admitted 
into  the  Guild  of  St.  Luke  at  Antwerp,  and  in  1666 
into  that  at  Mechlin.  In  1679-80  he  was  settled 
in  Antwerp,  where  he  died  in  1724.  There  are 
several  of  his  works  in  the  churches  at  Antwerp, 
Brussels,  Li^ge,  Louvain,  and  Bruges.  In  the 
cathedral  at  Antwerp  is  a  fine  picture  by  him  of 
'The  Martyrdom  of  St.  Matthew.'  At  Bruges,  in 
the  church  of  St.  Anne,  is  his  best  work,  'The 
Last  Judgment,'  an  immense  picture,  with  figures 
larger  than  life,  grandly  composed,  and  in  a  bold 
style  of  design. 

647 


Herregouts 


A    BIOGEAPHICAL   DICTIONAEY   OF 


Herreyns 


HERREGOUTS,  Jan  Baptist,  the  son  and  pupil 
of  Hendrik  Herregouts,  is  said  to  have  been  a 
native  of  Ruremonde.  He  was  received  into  the 
Guild  of  St.  Luke  at  Antwerp  in  1677-8,  but 
settled  at  Bruges,  where  many  of  his  best  works 
are  still  to  be  found.  He  painted  in  the  style  of 
his  father,  and  though  inferior  to  him  in  some 
respects,  his  works  possess  considerable  merit. 
He  was  one  of  the  founders  of  the  Academy  at 
Bruges,  where  he  died  in  1721.  The  following 
are  his  best  pictures  :  in  the  church  of  St.  Anne,  at 
Bruges,  'The  Virgin  and  Infant  in  the  Clouds, 
with  a  Glory  of  Angels ' ;  in  the  church  of  the 
Carmelites, '  The  Presentation  in  the  Temple,'  and, 
at  the  principal  altar,  'The  Virgin  and  several 
Saints  kneeling  before  Chitst,'  which  is  considered 
his  chef-d'oeuvre.  There  are  a  few  etchings  by  this 
artist,  executed  in  a  free,  slight  style  ;  among  which 
is  '  St.  Cecilia  surrounded  with  Angels.' 

HERREGOUTS,  Maximilian,  was  a  Flemish 
artist,  who  painted  a  picture  with  the  date  1674, 
representing  'A  Kitchen  with  a  Woman  making 

HERRERA, ,  called  '  el  Rubio,'  or  'the  Red,' 

the  eldest  son  of  Francisco  de  Herrera  the  eldai-, 
was  born  at  Seville  at  the  commencement  of  the 
17th  century.  He  was  a  promising  painter  of  sign- 
boards and  other  fanciful  subjects,  but  died  young. 

HERRERA,  Alonso  de,  a  Spanish  painter,  lived 
at  Segovia  in  1579,  and  was  an  intimate  friend  of 
El  JVIudo.  In  1590  he  painted  for  the  high  altar 
of  the  church  of  Villacas  six  pictures  on  subjects 
chosen  from  the  life  of  Christ,  which,  according 
to  Cean  Bermudez,  were  well  drawn  and  well 
coloured. 

HERRERA,  Bartolome  de,  a  brother  of  Fran- 
cisco de  Herrera  the  elder,  was  a  portrait  painter, 
who  flourished  at  Seville  about  1639. 

HERRERA,  Fkancisoo  de,  the  elder,  a  Spanish 
painter,  was  born  at  Seville  about  1676,  and  studied 
art  under  Luis  Fernandez  to  such  good  purpose 
that  he  soon  became  famous.  He  was  the  first  to 
introduce  the  vigorous  style  of  painting,  which  was 
afterwards  adopted  by  Velazquez.  The  boldness 
of  his  pictures  was  equalled  by  the  impetuosity  of 
his  tempei',  which  was  at  times  so  violent  as  to 
drive  away  all  his  pupils,  among  whom  was  Velaz- 
quez. Being  fond  of  engraving  medals,  he  is  said 
to  have  perverted  his  talent  to  coin  false  money, 
and  on  being  suspected  he  took  refuge  in  the  sanc- 
tuary of  the  Jesuits'  College,  and  while  there  he 
employed  his  time  in  painting  a  picture  of  'The 
Triumph  of  St.  Hermengild,'  its  patron,  which  is 
now  in  the  Museum  at  Seville.  On  Philip  IV.  visiting 
the  College  in  1624,  the  picture  was  shown  to  him, 
and  when  he  heard  of  the  artist's  offence  he  par- 
doned him,  with  a  warning  not  again  to  abuse  bis 
powers.  On  his  return  home  he  resumed  his  old 
occupations,  but  his  temper  became  so  violent  that 
his  children  fled  from  him,  his  son  robbed  him 
and  went  to  Rome,  and  his  daughter  became  a  nun. 
He  painted  several  pictures  for  the  churches  in 
Seville,  among  which  were  '  St.  Peter,'  in  the 
Cathedral ;  '  St.  Basil,'  now  in  the  Museum  ;  a 
'  Last  Judgment '  for  the  church  of  San  Bernardo  ; 
and  four  large  historical  pictures  for  the  hall  of 
the  Archiepiscopal  Palace.  He  also  executed  several 
frescoes,  none  of  which,  however,  long  survived 
him,  except  those  in  the  vault  of  San  Buenaventura. 
One  of  his  frescoes  he  himself  engraved.  In  1650 
he  removed  to  Madrid,  where  he  found  Velazquez 
m  the  height  of  his  fame,  and  he  died  there  in 

648 


1656.  In  the  Louvre  is  a  picture  of  '  St.  Basil 
dictating  his  Doctrine ' ;  in  the  Berlin  Gallery  is  a 
study  of  one  of  the  heads  in  the  preceding  work  ; 
and  in  the  Dresden  Gallery  is  '  St.  Matthew.' 

HERRERA,  Francisco  de,  the  younger,  second 
son  of  Francisco  de  Herrera  the  elder,  was  born  at 
Seville  in  1622,  and  was  brought  up  in  his  father's 
studio.  Owing,  however,  to  his  father's  violence 
he  fled  to  Rome,  where  he  studied  architecture  and 
perspective,  and  painted  'bodegones,'  and  his  fish 
were  considered  so  excellent  that  he  was  called  in 
Italy  'il  Spagnuolo  degli  pesci,'  or,  'the  Spaniard 
of  the  fish.'  On  the  death  of  his  father  in  1656  he 
returned  to  Spain,  and  settled  at  Seville,  where  he 
painted  a  large  composition  representing  '  The  Four 
Doctors  of  the  Church  adoring  the  Host,'  and  '  The 
Immaculate  Conception,'  which  was  placed  in  the 
cathedral,  as  was  also  a  picture  of '  St.  Francis '  for 
the  chapel  of  that  Saint.  In  1660  or  1661  he 
removed  to  Madrid,  according  to  Cean  Bermudez, 
through  jealousy  of  Murillo,  and  there  he  was  em- 
ployed by  the  Carmelite  friars  to  paint,  as  an  altar- 
piece  for  their  church,  '  The  Triumph  of  St.  Her- 
mengild,'which  is  now  in  the  Madrid  Gallery.  He 
next  painted  some  frescoes  in  the  church  of  San 
Felipe  el  Real,  which  attracted  so  much  attention 
that  he  was  employed  by  Philip  IV.  to  paint  the 
dome  of  the  Chapel  of  Our  Lady  of  Atocha,  and 
was  afterwards  appointed  painter  to  the  king.  In 
the  reign  of  Charles  II.  he  was  appointed  master 
of  the  royal  works,  and  as  such  was  engaged  at 
Zaragoza  in  the  renovation  of  the  Cathedral  of  EI 
Pilar.     He  died  at  Madrid  in  1685. 

HERRERA,  Isabel  de.    See  Sanchez  Cobllo. 

HERRERA  BARNUEVO,  Sebastiano  de,  a 
Spanish  painter,  sculptor,  and  architect,  was  bom 
at  Madrid  in  1619.  He  was  the  son  of  a  sculptor, 
Antonio  de  Herrera  Barnuevo,  and  was  placed  in 
the  atelier  of  Alonso  Cano.  He  was  taken  into 
the  service  of  Philip  IV.,  and  to  him  was  intrusted 
the  decoration  of  the  Chapel  of  Our  Lady  of  Atocha. 
In  the  Escorial  is  a  '  St.  Barnabas,'  and  in  the 
Louvre  '  Two  Travelling  Musicians.'  He  also 
executed  several  engravings.  He  died  at  Madrid 
in  1671.  His  son,  Ignacio,  followed  in  his  father's 
footsteps. 

HERREYNS,  Daniel,  a  son  and  pupil  of 
Jaques  Herreyns,  was  a  painter  and  engraver,  bom 
at  Antwerp  in  1678.     Among  his  plates  are : 

Eurydice  bitten  by  the  Snake. 

Orpheus  playing  his  Lyre. 

Geometry. 

The  Camel. 

A  Painter's  Atelier. 

HERREYNS,  Guillaume  Jaqdes,  a  Flemish  his- 
torical and  portrait  painter,  the  great-grandson  of 
Jaques  Herreyns,  was  born  in  1743  at  Antwerp. 
He  studied  in  the  Academy  of  that  city,  obtaining 
various  distinctions,  and  in  1765  became  one  of  its 
six  directors.  In  1767  he  removed  to  Mechlin, 
where  he  founded  the  Academy  in  1771.  His 
teaching  exercised  a  most  beneficial  influence  on 
the  development  of  the  modem  Flemish  School, 
and  his  reputation  spread.  He  was  visited  by  the 
Emperor  Joseph  IL,  and  by  Gustavus  IIL  of 
Sweden,  by  the  latter  of  whom  he  was  appointed 
his  historical  painter.  After  the  French  invasion 
in  1794,  Herreyns  was  appointed  professor  in  the 
Central  School  of  the  department  of  Deux-Nethes, 
but  in  1800  he  returned  to  Antwerp,  and  resumed 
his  teaching  in  the  Academy.  He  died  at  Antwerp 
in  1827.     Amongst  his  works  are  : 


Herreyns 


PAINTERS  AND  ENGRAVERS. 


Hei'terich 


Antwerp.  Gallery.    The  dying  Christ. 

J,  „  Four  Portraits  of  Ecclesiastics, 

„  Cathedral.    Christ  and  the  Disciples  at  Em- 

maus.     1808. 
Deume.  Church.    Purification  of  the  Virgin. 

„  „  Scenes    from   the    Life    of    St. 

Bomhold. 
Mechlin.         Museum.    Portrait  of  a  Canon. 

„  „  Portrait  of  Emperor  Joseph  II. 

HEEEEYNS,  Jaqdes,  (or  Hekryns,)  a  Flemish 
historical  painter,  was  born  at  Antwerp  in  1643, 
and  studied  under  Norbert  van  Herp.  He  was 
made  a  master  of  the  Guild  of  St.  Luke  in  1676, 
and  painted  many  frescoes,  as  well  as  many  his- 
torical pictures  for  churches  in  Belgium  ;  amongst 
them  was  the  'Miracle  of  St.  Raymond  of  Pena- 
fort,'  for  a  church  in  Antwerp.  He  supplied 
the  figures  in  the  landscapes  of  Van  der  Cruys 
and  other  painters.  He  also  engraved  several 
plates :  '  Venus  seeking  to  detain  Adonis,'  '  Venus 
before  the  corpse  of  Adonis,'  and  '  Christ  wash- 
ing the  Disciples'  Feet.'  He  died  at  Antwerp 
in  17.32. 

HERRING,  Benjamin,  an  animal  painter,  was 
the  son  of  John  Frederick  Herring.  He  died  in 
1871. 

HERRING,  James,  an  American  portrait  painter, 
illustrated,  with  Longacre,  the  'National  Portrait 
Gallery,'  published  at  Philadelphia  in  1834-39. 
He  died  in  Paris  in  1867. 

HERRING,  John  Frederick,  an  animal  painter, 
was  born  in  Surrey  in  1795.  Until  the  age  of 
eighteen,  his  life  was  passed  in  London,  and  he 
then  found  employment  in  coach-painting  at  Don- 
caster.  He  next  worked  as  a  stage-coachman,  and 
for  four  years  drove  the  '  York  and  London  High- 
flyer ' ;  but  he  devoted  all  his  leisure  time  to  paint- 
ing, becoming  known  as  the  '  artist-coachman.' 
By  the  assistance  of  friends,  he  at  length  gave 
up  the  reins,  and  obtained  some  instruction  from 
Abraham  Cooper,  the  only  art  education  he  ever 
received.  His  earlier  works  were  confined  to  race- 
horses, and  for  thirty-three  successive  years  he 
Sainted  the  winners  of  the  St.  Leger.  He  left 
lonoaster  in  1830,  and,  after  a  stay  of  about 
three  years  at  Newmarket,  settled  in  London. 
From  this  period  the  scope  of  his  art  widened, 
and  he  produced  the  works  on  which  his  reputa- 
tion rests,  exhibiting  at  the  Royal  Academy  from 
1826,  at  the  British  Institution,  and  also  at  the 
Society  of  British  Artists,  of  which  he  was  a 
member  from  1841  to  1852.  His  art  was  very 
popular,  and  he  received  commissions  from  George 
IV.,  Queen  Victoria,  and  the  Duke  of  Orleans.  He 
died  in  1865  at  Tunbridge  Wells,  where  he  had 
spent  his  latter  years.  Amongst  his  chief  works 
are: 

The  Fanner's  Daughter, 
The  Ferry. 

Eeturning  from  Epsom. 
The  Derby  Day. 
Mazeppa. 

Peveril  of  the  Peak. 
Going  to  the  Fair. 
,  The  Society  of  Friends. 
Members  of  the  Temperance  Society. 
The  Frugal  Meal.    (National  Gallery,  London.) 
Waiting  for  Master. 
The  Baron's  Charger. 
The  Horse  Fair. 
The  Market  Day. 

A  Group  of  Ducks.    (Glasgow  Gallery.) 
The  Deer-stalker.    ^The  same.) 

A  Black  Horse    drinking  from  a  Trough.     (^Natwnal 
G(Ulery,  Dublin.) 


HERELEIN,  Johann  Andreas,  was  born  at 
Wiirzburg  in  1720,  and  became  court  painter  to 
the  prince-bishop  of  Fulda,  at  which  place  he  died 
in  1796.  The  subjects  of  his  pictures  were  land- 
scapes, hunting  scenes,  country  dances  and  as- 
semblages, and  nymphs  bathing,  in  the  style  of 
the  Flemish  painters.  Pictures  by  him  are  in  the 
Stadel  Institute  at  Frankfort,  and  in  the  Galleries 
of  Darmstadt  and  Cassel. 

HEEELIBERGER,  David,  an  engraver,  was 
bom  at  Zurich  in  1697,  and  studied  in  that  town 
under  J.  Melchior  Fussli,  at  Augsburg  under  J.  D. 
Herz,  and  at  Amsterdam  under  B.  Picart.  He 
died  in  his  native  town  in  1777.  Among  his  best 
productions  are  the '  Schweitzerisoher  Ehrentempel,' 
1748,  and  the '  Helvetische  Topographic,'  1754-73. 
He  was  also  a  dealer  in  works  of  art. 

HEREYNS,  Jaques.    See  Herreyns. 

HERS,  Johann  Daniel.    See  Herz. 

HEESENT,  FRANgois  Btienne,  a  nephew  of 
Louis  Hersent,  and  a  pupil  of  Couture,  was  known 
as  a  painter  of  battle-scenes.  He  was  born  in 
Paris  in  1823,  and  died  at  Fontaines-Plain-Pied,  ' 
near  Bourges,  in  1880,  having  for  some  years 
rehnquished  his  profession. 

HERSENT,  Louis,  a  French  historical  and  por- 
trait painter,  was  born  in  Paris  in  1777.  He 
studied  under  Regnault,  and  obtained  the  second 
prize  of  the  Institute  in  1797.  Owing  to  ill  health, 
he  was  for  a  short  time  compelled  to  forego  the 
pursuit  of  art.  His  first  exhibited  picture  was 
'  Narcissus  beholding  himself  in  the  Water.'  He 
was  elected  a  member  of  the  Institute  in  1822,  but 
in  his  latter  years  he  painted  very  little.  He  died 
in  Paris  in  1860.     Amongst  his  works  are : 

Narcissus.    1802.    (Camhrai  Museum.) 

Achilles  delivering  up  BrisSis.    1804. 

Atala  poisoning  herself.     1806. 

Fto61on  bringing  back  to  a  Peasant  a  stolen  Cow.     1810. 

The  Taking  of  Landshut.    1810,    ( Versailles  Gallery.) 

Las  Casas  sick.    1814. 

The  Death  of  Bichat.    1817. 

Louis  XVI.  relieving  the  poor  in  1788.  1817.  {Ver- 
sailles Gallery.) 

Daphnis  and  Chloe.    1817. 

Gustavus  Vasa  blessing  the  Banks.  1819.  (Destroyed 
by  the  mob  at  the  Palais  Boyal  in  1848.) 

Duke  of  Bordeaux  in  his  Cradle.    ( Versailles  Gallery.) 

Ruth  and  Boaz,    1822, 

Monks  of  St.  Gothard  feeding  the  poor,    1824. 

Henry  IV,  of  France.  1827,  (Grand  Trianon,  Versailles.) 

His  wife,  whose  maiden  name  was  Louise  Marie 
Jeanne  Mauduit,  also  distinguished  herself  as  an 
historical  and  portrait  painter.  She  was  born  in 
Paris  in  1784,  and  was  a  pupil  of  Meynier.  She 
died  in  Paris  in  1862.  Some  of  her  pictures  are  at 
Fontainebleau,  and  others  have  been  engraved  by 
Tardieu. 

HERTEL,  Georo  Leopold,  an  engraver,  who 
worked  at  Augsburg  in  the  second  half  of  the  18th 
century,  was  the  brother  of  Johann  Georg  Hertel. 
He  executed  some  engravings  after  Rembrandt, 
Majotto,  Oastiglione,  and  Boucher. 

HERTEL,  Johann  Gborg,  an  engraver,  was  a 
native  of  Augsburg,  who  flourished  in  the  latter 
half  of  the  18th  century.  He  engraved  after 
Boucher,  Oudry,  Rembrandt,  Hillegaert,  etc. 

-HERTERICH,  Heinrioh  Joachim,  a  German 
painter,  etcher,  and  lithographer,  was  born  at 
Hamburg  in  1772.  He  was  a  son  and  pupil  of 
Johann  Andreas  Herterich,  and  worked  in  pastel 
and  in  miniature,  being  skilful  in  drawing  like- 
nesses, and  especially  landscapes.     In  1818  he,  in 

649 


Herterich 


A  BIOGRAPHICAL  DICTIONARY  OF 


Hess 


conjunction  with  J.  M.  Speckter,  started  the  first 
lithographic  printing-office  in  Germany.  He  died 
at  Hamburg  in  1852. 

HERTERICH,  Johann  Andreas,  was  born  at 
Bayreuth  in  1726.  He  was  self-taught,  and  worked 
in  oil,  pastel,  miniature,  and  crayons.  In  1769  he 
settled  at  Hamburg,  where  he  died  in  1794. 

HERTOCKS,  A.,  an  engraver,  was  born  in  the 
Netherlands,  but  practised  in  London  from  1626  to 
1661,  or  later.  He  was  principally  employed  by 
the  booksellers  in  engraving  portraits  and  frontis- 
pieces. His  portraits  are  his  best  prints,  but  they 
are  more  valued  for  their  rarity  than  their  merit. 
He  engraved  a  frontispiece  to  the  '  Eikon  Basilike,' 
and  another  to  the  complete  works  of  Charles  I.  ; 
also  that  for  Evelyn's  '  Sculptura.'  Among  others 
the  following  portraits  are  by  him : 

Charles  I.  kneeling,  holding  a  Crown  of  Thorns ;  after 

P.  Fruytia-s. 
Charles  II.  when  Prince  of  Wales. 
Sir  Edward  Nicholas,  Secretary  of  State ;  after  Hanne- 

man. 
Sir  Francis  "Wortley,  Bart.    1652. 
Henry  EoUe,  jurist ;  prefixed  to  his  '  Abridgment.' 
Eobert  Eawdon,  a  Governor  of  St.  Thomas's  Hospital. 
William  Chamberlaine,  M.D.  and  poet ;  prefixed  to  his 

*  Pharonnida.' 
Hugh  Crompton,  poet. 
Alexander  Brome,  poet.    1661. 
Gideon  Harvey,  M.D. 
Edward  Waterhouse,  jurist  and  antiquary. 

HERTZINGER,  Anton,  (or  Hebzinqer,)  a 
painter  and  engraver,  was  bom  at  Fallbach,  in 
Austria,  in  1763,  and  educated  at  the  Academy  in 
Vienna.  In  1802  he  was  working  at  the  Clemen- 
tinum  in  Prague,  and  for  some  time  he  lived  at 
Dresden.  He  painted  and  engraved  genre  subjects, 
landscapes,  and  animal  pieces,  the  last  especially 
well,  and  on  the  model  of  J.  H.  Rocs.  He  died  at 
Prague  in  1832. 

HERTZOCKER,  Theodorus,  a  Dutch  painter, 
was  born  at  Utrecht  about  1696.  He  went  to 
Italy,  and  put  himself  under  the  tuition  of  Balestra. 
He  afterwards  was  in  Rome,  and  then  returned  to 
his  own  country,  where  he  died  in  1741. 

HERVIER,  Adolphe  Louis,  a  French  landscape 
painter,  was  born  in  Paris  in  the  early  part  of  the 
19th  century,  and  studied  under  Eugene  Isabey. 
He  exhibited  at  the  Salon  in  184:9,  and  occasionally 
afterwards,  but  he  did  not  meet  with  much  success. 
He  likewise  etched  a  few  plates  of  marine  subjects 
and  landscapes.  His  life  was  one  of  continued 
suffering,  and  he  died  in  1879.  The  following  are 
amongst  his  best  productions : 

View  of  Dover.    1844. 

Eeturn  to  Harbour.    1855. 

Village  of  Guevilly ;  autumn.     1855. 

HERZ,  Johann  Daniel,  the  elder,  was  a  German 
engraver,  born  at  Nuremberg  in  1599.  He  etched 
several  plates  after  his  own  designs,  and  from  the 
works  of  Rottenhammer  and  other  masters,  among 
which  is  a  large  etching  of  '  St.  Paul  preaching  at 
Athens,'  from  a  composition  of  his  own.  He  died 
in  1635. 

HERZ,  Johann  Daniel,  the  younger,  a  designer 
and  engraver,  was  born  at  Augsburg  in  1693,  and 
became  director  of  the  Academy  in  that  city,  where 
he  died  in  1754.     Among  his  best  plates  are : 

The  Annunciation. 

The  Discovery  of  the  Cross  by  St.  Helena. 

The  Assumption  of  the  Virgin. 

HESPERUS.     See  Seutbr,  Daniel. 
650 


HESS,  EuGEN,  a  Bavarian  genre  painter,  was 
born  at  Munich  in  1824.  He  was  first  instructed 
by  his  father,  Peter  Hess,  and  afterwards  at  the 
Academy  of  his  native  city,  but  he  also  spent 
some  time  in  Brussels,  and  afterwards  in  Paris.  His 
earlier  paintings  were  taken  from  scenes  of  modem 
life,  but  at  a  later  period  he  had  recourse  to  the 
middle  ages  for  his  subjects.  He  has  left  also 
four  superior  etchings.  He  died  at  Munich  in  1862. 
The  following  are  among  his  paintings : 

Family  in  a  Hunter's  House.    1846. 

The  Hunter's  Morning  Greeting.    1848. 

First  Instructions  in  Hunting.     1850. 

Visit  to  the  Cloister. 

The  Robber  arrested. 

The  Invasion  at  Dachau.     {Munich  Gallei-y.) 

Shakespeare  brought  before  the  Lord  of  the  Manor  as 

a  Poacher. 
The  Message  after  the  Battle.     {His  masterpiece.) 

HESS,  Franz  Leonhaed,  a  native  of  Pressburg, 
who  painted  in  miniature  and  fresco,  was  born  in 
1777.     The  date  of  his  death  is  not  known. 

HESS,  Heineich  Maeia  von,  a  German  historical 
and  fresco  painter,  was  born  at  Dusseldorf  in 
1798.  He  was  the  second  son  and  at  first  a  pupil 
of  Karl  Ernst  Christoph  Hess,  with  whom  he  went 
in  1806  to  Munich,  where,  in  1813,  he  entered 
the  Academy  of  Arts.  His  first  great  paintings, 
a  '  Burial  of  Christ '  and  a  '  Holy  Family,'  executed 
in  1817,  attracted  much  attention,  and  procured 
him  the  patronage  of  Queen  Caroline,  who  bought 
the  former.  In  the  years  1817-21  he  painted  also 
for  the  Queen,  '  Christmas  Eve,'  a  life-sized 
'  Charity,'  and  several  Madonnas.  Besides  these, 
he  painted  for  the  Leuchtenberg  Gallery  at  St. 
Petersburg  '  Faith,  Hope,  Charity,'  and  in  other 
places  '  St.  Cecilia,'  and  several  portraits.  In  1821 
he  went  to  Italy,  and  during  his  sojourn  in  Rome, 
in  1823,  he  painted  the  '  Parnassus,'  the  figures  of 
which  are  nearly  life-size.  On  his  return  in  1826 
he  was  appointed  professor  in  the  Munich  Academy, 
and  painted  '  Daphne  in  the  arms  of  Apollo.'  He 
had  already  been  so  successful  in  glass  painting, 
that  Louis  I.  of  Bavaria  placed  him  at  the  head' 
of  an  institute  for  the  advancement  of  the  same. 
In  1826  he  made  the  designs  for  the  painted 
windows  of  Ratisbon  Cathedral ;  and  in  1827  he 
commenced  cartoons  for  the  Allerheiligenkirche 
in  Munich,  which  he  finished  in  1837.  From  1849 
until  his  death  he  was  Director  of  the  Royal 
Galleries.  One  of  his  pictures,  '  Christmas  Eve,' 
is  to  be  found  everywhere  in  Bavaria,  both  in  the 
palace  and  in  the  cottage ;  the  original  is  in  the 
possession  of  Baron  Eichthal.  He  died  at  Munich 
in  1863.  The  following  paintings  by  him  are  in 
the  Modern  Gallery  of  that  city : 

Apollo  and  the  Nine  Muses  upon  Parnassus. 

Portrait  of  a  Florentine  Lady  of  Eank. 

The  Virgin  and  Child  with  Angels. 

The  Sculptor  Thorvaldsen. 

Country  Pilgrims  in  sight  of  St.  Peter's  at  Rome. 

The  Last  Supper,    (ie/i  unfinished  at  the  artist's  death.) 

_  HESS,  Hieeonymhs,  a  Swiss  painter  and  de- 
signer, was  born  at  Basle  in  1799,  and  studied 
under  Koch  in  Italy,  where  he  gained  a  reputation 
for  truthful  and  careful  drawing,  and  especially 
for  his  humorous  representations.  His  principal 
works  were,  '  The  Murder  of  the  Emperor  Albeit 
by  Hans  of  Swabia,'  and  '  The  Battle  of  the  Swiss 
and  French  at  St.  Jakob,'  which  is  to  be  seen  at 
Basle,  together  with  two  designs  by  him  for  glnse- 
painfings.     He  died  at  Basle  in  1850. 


Hess 


PAINTERS  AND  ENGRAVERS. 


Hess 


HESS,  JoHANN  Fbiedeich,  was  a  native  of 
Bohemia,  who  flourished  in  1652  at  Prague,  where 
he  died  in  1693.  He  painted  chiefly  altar-pictures ; 
and  specimens  of  his  art  are  to  be  found  in  the 
churches  of  St.  ^gidius  and  St.  Nicholas  at  Prague. 

HESS,  JoHANN  Michael,  a  painter  and  etcher, 
was  born  at  Erlau  in  1768.  He  studied  in  1789  at 
the  Vienna  Academy  under  Maurer,  and  in  1794 
obtained  the  first  prize  for  his  painting  of  '  Priam 
entreating  Achilles  for  the  Body  of  Hector.'  In 
the  same  year  he  was  appointed  professor  of  draw- 
ing at  the  Engineers'  Academy.  He  died  about 
1830.  He  etched  several  plates  from  Roman 
history,  and  produced  among  others  the  following 
paintings : 

St.  Stephen. 

The  Assumption  of  the  Virgin. 

St.  John  the  Baptist.   (Church  of  the  Episcopal  Se^ninary, 

Erlau.) 
Baptism  of  St.  Stephen.    {Gnn  Cathedral.) 

HESS,  Karl,  a  German  landscape,  genre,  and 
animal  painter,  was  born  at  Diisseldorf  in  1801. 
He  was  the  third  and  youngest  son  of  Karl  Ernst 
Christoph  Hess,  by  whom  he  was  at  first  instructed 
in  engraving,  but,  encouraged  by  his  brother  Peter 
and  by  the  animal  painter  Wagenbauer,  he  devoted 
himself  to  painting,  and  joined  the  school  of 
Munich,  in  which  city  he  chiefly  resided  till  his 
death  at  Reichenhall  in  1874.  He  excelled  in 
depicting  Alpine  and  forest  scenery,  and  amongst 
his  best  works  are : 

ffil^apfS"  }^-'»  ^«*--^  «««^'^' 
An  animal  piece — on  the  Stambergersee. 

HESS,  Karl  Adolph  Heinrioh,  a  German 
painter  and  engraver,  was  born  at  Dresden  in 
1769,  and  learned  drawing  from  the  engraver 
Kriiger,  and  painting  from  Klass.  He  devoted 
himself  to  painting  horses  and  military  subjects, 
I  and  after  travelling  in  Russia,  Hungary,  Turkey, 
f  and  England,  he  attained  to  considerable  eminence 
in  this  branch  of  the  art.  He  settled  for  a  time 
at  Berlin,  but  removed  to  Vienna  in  1800.  He 
died  at  Wilhelmsdorf,  near  Vienna,  in  1849.  He 
painted  in  oil,  paste!,  and  water-colours,  and  also 
drew  with  the  pen  and  etched.  Among  his  best 
works  are  '  The  Biding  School,'  in  twelve  plates 
(1807),  and  the  following  paintings  : 

The  March  of  the  Uralian  Cossacks. 
Studies  for  Horse  Connoisseurs. 
Horses'  Heads.    1825. 

HESS,  Kael  Ernst  Christoph,  a  German  en- 
graver, was  born  at  Darmstadt  in  1755.  He  was  at 
first  intended  for  an  armourer,  but  went  afterwards 
to  Mannheim,  where  he  studied  metal-chasing 
under  his  brother-in-law,  Hohleisen.  The  Elector 
Maximilian  of  Bavaria,  having  been  presented  with 
a  hunting  knife,  upon  which  a  '  Hunt '  had  been 
engraved  by  Hess,  afEorded  him  in  1776  the  means 
of  studying  engraving  at  Augsburg.  In  the 
following  year  he  went  to  Diisseldorf  to  assist  on 
the  'Gallery '  which  was  being  prepared  by  Krahe. 
His  first  engraving  after  Rembrandt  gave  so 
much  satisfaction  that  he  was  immediately  elected 
an  extraordinary  member  of  the  Academy,  of 
which  he  became  a  professor  in  1782.  After  a 
journey  to  Italy,  he  produced  the  'Ascension  of 
the  Virgin,'  after  Guido  ;  '  The  Market  Crier,'  after 
Gerard  Dou;  the  portraits  of  Rubens  and  his 
Wife,  and  his  admired  plate  of  Raphael's  '  Holy 
Family.'     He  died  at  Munich  in  1828. 


HESS,  LuDWio,  a  Swiss  landscape  painter  and 
engraver,  was  born  at  Zurich  in  1760,  and  spent 
some  time  at  the  trade  of  his  father,  a  butcher,  in 
the  course  of  which  work,  however,  he  managed 
to  find  opportunity  to  practise  painting.  At  length 
he  became  acquainted  with  Salomon  Gessner,  and 
was  by  him  induced  to  become  an  artist.  He 
visited  J'lorenoe  and  Rome  in  1794,  and  four  years 
later  took  also  to  engraving.  He  died  at  Zurich 
in  1800.  His  paintings  are  very  generally  taken 
from  the  Alps,  and  are  especially  noticeable  for  the 
good  effect  of  the  water  and  of  the  figures.  He 
also  painted  Italian  views.  Among  his  best  works 
are: 

Mont  Blanc. 
The  Griittli. 
Tell's  Chapel. 

HESS,  Max,  a  Bavarian  historical  painter,  was 
born  at  Munich  in  1825.  He  was  a  son  of  Peter 
Hesa,  and  received  his  first  instruction  in  his  native 
city,  but  afterwards  in  Paris  and  Diisseldorf,  where 
he  maintained  himself  as  a  decorative  painter,  and 
in  addition  as  an  actor,  singer,  and  kettle-drummer. 
He  died  at  Lippspringe  in  1868.  Among  his  best 
works  are : 

Puritans  upon  the  'Watch. 

Italian  Nobility  beneath  a  Veranda. 

The  Alexander  Frieze  at  Schulte's  Exhibition  in  Dussel- 

dorf  (in  grisaille). 
Diisseldorf    Torch  Procession.     (Completed  ly  Oswald 

Achenbachfor  the  I'rince  of  Hohenzollern.) 

HESS,  Peter  von,  a  German  battle  painter,  was 
born  at  Diisseldorf  in  1792.  He  was  the  eldest  son 
and  pupil  of  Karl  Ernst  Christoph  Hess,  with  whom 
he  went  to  Munich  in  1806.  During  the  cam- 
paigns of  1813-15  he  was  attached  to  the  staff  of 
Prince  von  Wrede ;  and  after  the  end  of  the  war 
he  visited  Vienna,  and  travelled  in  Italy  and 
Switzerland,  making  many  sketches.  By  command 
of  King  Max  he  accompanied  his  son.  King  Otho, 
to  Greece.  The  result  of  this  journey  was  his 
thirty-six  wall-paintings,  representing  the  '  Liber- 
ation of  Greece,'  in  the  arcades  of  the  Hofgarten 
at  Munich,  and  also  an  oil-painting  of  the  '  Entry 
of  King  Otho  into  Nauplia,'  in  which  he  introduced 
a  number  of  portraits  of  his  contemporaries. 
Shortly  afterwards  he  went  to  Russia,  where  he 
painted  for  the  Emperor  the  most  memorable 
battles  of  the  war  of  1812.  He  was  a  member 
of  the  Academies  of  Munich,  Berlin,  Vienna,  and 
St.  Petersburg,  and  died  at  Munich  in  1871.  The 
following  are  among  his  best  works : 

Berlin.  Nat.  Gall.    Festival  of  St.  Leonard  in  Bavaria. 

1825. 
„  „  Market  Scene.    1825. 

„  „  Cossacks  plundering.    1820. 

Market   'Waggon    attacked    by 
Uhlans.    1829. 
„  „  Greek  Soldiers  of  the  'War  of 

Independence.    1829. 
Munich.  Gallery.    Forty  oil  sketches  for  the  frescoes 

in  the  Hofgarten,  illustrating 
the  Greek  War  of  Independ- 
ence. 
„  The  Entry  of  King  Otho  into 

Nauplia  in  1833. 
The  Entry  of  King  Otho  into 
Athens  in  1835. 
j^  „  Battle  of  Austerlitz. 

,  „  Herd  of  Horses  in  'Walaohia. 

ji  „  The  Eobber  Barbone  and  Family 

defending  themselves  against 
Gendarmes. 
„  The  Chamois  Hunter. 

651 


Hesse 

HESSE,  Alexandre  Jean  Baptiste,  a  French 
historical  painter,  the  son  of  Henri  Joseph  Hesse, 
was  bom  in  Paris  in  1806.  He  studied  under 
his  father  and  under  Baron  Gros,  and  then  spent 
some  time  at  Venice.  He  was  intrusted  with  the 
mural  paintings  illustrating  the  life  of  St.  Francis 
of  Sales  at  the  church  of  St.  Sulpice,  Paris,  which 
he  completed  in  1860,  and  on  the  death  of  Ingres, 
in  1867,  ho  succeeded  to  his  fauteuil  at  the  Insti- 
tute. He  died  in  Paris  in  1879.  Amongst  his 
chief  works  are : 

Funeral  Honours  paid  to  Titian.     1833. 

Leonardo  da  Vinci  giving  liberty  to  some  birds.     1836. 

Girl  carrying  fruit  on  a  silver   dish.     1838.     {Nantes 

Museum..) 
Death  of  President  Brisson.    1840. 
Portrait  of  M.  Barthe.     (Narhonne  Museum) 
Henry  IV.  on  his  death-bed  in  the  Louvre.     {Grand 

Trianon,  Versailles) 
The  Triumph  of  Pisani.    1847. 
Apotheosis  of  St.  Louis. 
The  Sermon  on  the  Mount. 
The  Two  Foscari.    1853. 
Adoption  of  Godfrey  of  Bouillon  by  Alexander  Oom- 

nenus.  .{Versailles  Galleri/.) 

HESSE,  Henei  Joseph,  the  elder  brother  of 
Nicolas  Auguste  Hesse,  and  the  father  of  Alexandre 
Hesse,  was  born  in  Paris  in  1781.  He  was  a  pupil 
of  David  and  of  Isabey,  and  died  in  Paris  in  1849. 
He  painted  portraits  and  miniatures,  among  which 
was  a  portrait  of  the  Duchess  of  Berry. 

HESSE,  Nicolas  Auguste,  a  French  historical 
painter,  was  born  in  Paris  in  1795.  He  was  a 
pupil  of  his  brother,  Henri  Joseph  Hesse,  and  of 
Baron  Gros,  and  obtained  in  1818  for  his  picture 
of  '  Philemon  and  Baucis '  the  '  prix  de  Eome.' 
He  painted  '  Mirabeau  in  the  Assembly  of  June 
23rd,  1795,'  'Mary  swooning  at  the  Grave  of 
Christ'  (1845),  and  in  the  H6tel  de  Ville,  'The 
Proclamation  of  the  Concordat,'  and  also  a  great 
many  religious  and  decorative  works  for  churches 
— Notre-Dame  de  Lorette,  Ste.  Clotilde,  and  St. 
Sulpice,  among  others — and  galleries.  On  the  death 
of  Delacroix,  in  1863,  he  was  elected  to  fill  the 
vacancy  in  the  Academy ;  he  was  also  a  member 
of  the  Institute.  He  likewise  executed  some 
paintings  on  glass,  and  made  cartoons  for  the 
windows  of  the  Lady  Chapel  in  St.  Eustache.  He 
died  in  Paris  in  1869. 

HESSE-CASSEL,  Augusta,  Electress  of,  consort 
of  the  Elector  William  II.,  was  daughter  of  King 
Frederick  William  II.  of  Prussia,  and  sister  of 
the  Duchess  of  York.  She  was  a  good  portrait 
painter,  and  an  honorary  member  of  the  Berlin 
Academy.  She  was  born  at  Berlin  in  1780,  and 
died  at  Cassel  in  1841. 

HESSELL,  Leonhaed  Heineich,  a  painter  and 
engraver,  was  born  at  St.  Petersburg  in  1757.  He 
lived  at  Nuremberg,  where  he  painted  portraits 
and  silhouettes.  He  also  engraved  the  portraits 
of  Wieland,  Henriette  Handel,  and  C.  G.  Muller. 

HETSCH,  GusTAv  Feiedrich,  a  painter  and 
architect,  was  the  son  of  Philipp  Friedrich  Hetsch, 
and  was  born  at  Stuttgart  in  1788.  In  1822  he 
became  professor  at  Copenhagen,  where  he  designed 
several  important  buildings,  and  painted  some 
superior  architectural  pictures.  He  also  wrote  a 
'  Guide  to  Perspective.'  He  died  at  Copenhagen 
in  1864.  f        & 

HETSCH,  Philipp  Peiedeich,  was  born  at  Stutt- 
gart in  1758,  and,  in  opposition  to  his  father's 
wishes,  obtained  admission  into  the  School  of  Art, 
where  he   studied  under  Guibal  and  Harper      In 

662 


A  BIOGRAPHICAL  DICTIONARY  OF 


Heuviok 


1780  he  became  court  painter,  and  shortly  after- 
wards proceeded  to  Paris,  where  he  studied  for 
two  years  under  Vien,  Vernet,  and  David.  In  1785 
he  proceeded  to  Rome,  where  he  painted  'Tullia 
driving  over  her  Father's  dead  body. '  He  obtained 
the  highest  honours  both  at  Rome  and  Paris,  both 
of  which  he  visited  twice,  and  in  1816  he  repaired 
to  Leipzig,  Dresden,  and  Bejlin.  He  executed  an 
admired  genre  picture,  '  King  Frederick  with  his 
Suite  before  the  Summer  Palace  of  Monrepos.'  He 
died  at  Stuttgart  in  1839.  His  historical  pictures 
show  the  influence  of  David's  school,  and  among 
them  are  the  following,  most  of  which  are  in  the 
possession  of  the  King  of  Wiirtemberg. 

Brutus  sees  the  Ghost  of  the  murdered  Csesar.    {Darm- 
stadt Museum.) 

The  Blind  CEdipus,  led  by  his  Daughters. 

Brutus  and  Portia. 

Odin  at  the  Gate  of  Hell. 

Christ's  Ascension.     {Stuttgart.) 

Achilles  and  Briseis. 

Andromache  and  Astyanax. 

The  Departure  of  Eegulus. 

Daniel  in  the  Lions'  Den. 

Marias  upon  the  Ruins  of  Carthage. 

HETZER,  JoHANN  Cheistoph,  a  painter,  wag 
born  at  Nuremberg  in  1540.  He  took  up  his  abode 
at  Venice,  where  he  died  in  1565. 

HEUDE,  Nicolas,  a  portrait  painter,  was  born 
at  Le  Mans.  He  was  admitted  into  the  French 
Academy  in  1672,  but  was  expelled  in  1673  for 
having  established  himself  in  England  without  the 
king's  permission.  His  reception  picture  was  a 
portrait  of  the  Prince  of  Condi  as  Hercules,  sup- 
ported by  Valour  and  Victory,  now  in  the  Versailles 
Gallery.  He  died  in  London,  but  nothing  is  known 
of  his  life  or  works  in  England. 

HEUDELOT,  Jean,  a  French  engraver  of  no 
great  celebrity,  was  born  at  Montpellier  about 
1730,  and  was  residing  in  Paris  about  the  year 
1760.  Tliere  are  by  him  a  few  plates  after  Adriaan 
van  Ostade  and  Lingelbach  ;  as  well  as  the  portrait 
of  Margaretha  van  Goyen,  after  a  picture  by  Jan 
Steen,  her  husband. 

HEUMANN,  Geoeg  Daniel,  a  German  engraver, 
was  born  at  Nuremberg  in  1691.  He  became 
engraver  to  the  English  court  as  well  as  to  tlie 
G()ttingen  Academy,  and  worked  after  Desmar6es, 
Henkel,  and  others.  His  best  plate  is  a  'Peace 
Banquet,'  after  a  picture  by  Sandrart  in  the  town- 
hall  of  his  birthplace.  He  engraved  several  por- 
traits of  German  celebrities,  as  well  as  a  set  of 
architectural  views  of  the  churches,  &c.  at  Vienna, 
published  by  Johann  Andreas  Pfeffel,  at  Augs- 
burg, in  1724.  He  died  in  1759.  He  had  a 
brother,  Joel  Paul  Heumann,  also  an  engraver, 
who  was  born  in  1690,  and  died  in  1756. 

HEUNERT,  Feiedeigh,  a  German  landscape 
painter,  was  born  at  Soest  in  1808.  He  studied 
at  Diisseldorf  under  J.  W.  Schirmer,  and  distin- 
guished himself  by  his  small  pictures  of  West- 
phalian  and  mountain  scenery.  He  also  painted 
in  water-colours,  and  taught  drawing  and  painting. 
He  died  at  Diisseldorf  in  1876. 

HEUR,  Cornelis  Joseph  de.    See  De  Heue. 

HEUSCH,  De.    See  De  Heusch. 

HEUVEL,  Anton  van  den.  See  Van  den 
Heuvel. 

HEUVICK,  Caspar,  born  at  Oudenarde  in  1550, 
went  to  Italy  and  studied  under  Lorenzo  Costa, 
producing  some  good  pictures,  on  a  large  scale, 
for  churches  and  other  public  buildings.  He  died 
in  1611. 


Hewlett 


PAINTERS  AND  ENGRAVERS. 


Hickey 


HEWLETT.  James,  was  an  English  flower 
painter  in  water-colours,  who  practised  at  Bath, 
and  exhibited  at  the  Royal  Academy  and  elsewhere 
from  1799  to  1828.  His  works  were  esteemed  in 
his  day  for  colour  and  botanical  accuracy.  There 
are  some  groups  of  flowers  by  him  in  the  South 
Kensington  Museum. 

HEYDE,  Geekit  and  Job  Berck.  See  Beeck- 
Hbijde. 

HEYDE,  Jan  van  dee.    See  Van  der  Heyde. 

HEYDBCK,  Kael  Wilhelm  von,  (called  Hei- 
degger,) a  Bavarian  landscape  painter,  was  bom 
at  Saaralben,  in  Lorraine,  in  1788.  He  was  the 
son  of  a  Swiss  officer  in  the  French  service,  named 
Heideoker,  who  fled  with  his  family  during  the 
French  Revolution  to  Zurich.  He  attended  the 
high  school  there,  received  drawing  lessons  from 
Professor  Mayer,  and  was  encouraged  in  his  efforts 
by  the  artists  Huber,  Conrad  Gessner,  and  Lavater. 
In  1798  he  went  to  his  great-uncle  Von  Scheid  at 
Zweibiiicken,  and  entered  the  military  academy  at 
Munich  in  1801.  In  1805  he  took  part  in  a  cam- 
paign as  lieutenant  in  the  artillery,  and  was  in 
time  promoted  to  a  captaincj',  and  ultimately  to 
the  rank  of  lieutenant-general.  In  1810  he  went 
as  a  volunteer  to  Spain,  and  served  throughout 
the  wars  with  Napoleon.  In  1826  he  went  to 
Greece  to  take  part  in  the  War  of  Independence, 
and  remained  till  1829  as  a  military  governor, 
returning  to  the  same  country  in  1833  as  a  member 
of  the  council  of  regency.  Before  this  time  he 
had  renewed  his  connection  with  art,  and  painted 
many  oil  pictures ;  in  1836  he  himself  counted 
ninety-six.  He  painted  also  the  fresco  'The 
Horses  of  the  Sun,'  after  Cornelius,  in  the  Glyp- 
tothek  at  Munich,  and  worked  likewise  at  litho- 
graphy and  etching.  He  died  at  Munich  in  1861. 
Among  his  paintings  are  the  following: 

Berlin.  Nat.  Gall.    Tyrolean  ■Woodcutters.     1823. 

„  „  Greek    Soldiery,  near    Corinth. 

1829. 

Munich.  Gallery.    The  Lion  Gate  at  Mycenae. 

„  „  The  Bridge  at  Ouenca  in  Spain. 

„  „  View  of  the  Acropolis  of  Athens. 

.,  „  Italian    Fishermen    drawing    in 

their  Nets. 
„  „  The  Ascent  to  the  Acropolis  at 

Athens. 
„  „  Two  Asses. 

HEYDEN,  ViN  DER.    See  Van  deb  Heyden. 

HEYLAN,  Francisco,  and  his  son  Beenaedo, 
and  daughter  Ana,  were  engravers  of  repute  in 
Seville  and  Granada  during  the  period  from  1624 
to  1662.  Ana  Heylan  executed  a  title-page,  rich 
in  design,  but  carelessly  finished,  of  Our  Lady  of 
the  Conception  issuing  from  a  bursting  pomegran- 
ate,f  or  Berraudez  de  Pedraza's '  Historia  eclesiastica 
de  Granada,'  printed  in  1688. 

HEYLBRUCH,  Michel  van,  was  a  painter  and 
engraver  of  Ghent,  who  in  1713  engraved  the 
'Death  of  Dido,'  after  Sebastien  Bourdon.  He 
worked  in  Verona,  and  died  in  1753,  over  a 
hundred  yeare  of  age. 

HEYLEN,  Gonzales  van,  was  a  native  of 
Antwerp,  who  flourished  from  about  the  year  1694 
until  his  death  in  1720.  He  engraved  on  wood 
several  frontispieces,  with  a  small  alphabet  for  a 
Prayer-hook,  and  other  book  cuts. 

HEYMANS,  Johannes,  an  historical  and  still- 
life  painter,  born  at  the  Hague  in  1757,  was  the 
pupil  of  a  tapestry  painter  named  Davrance.  He 
was  living  in  1805. 


HEYN,  Johann  Christoph,  (or  Heyne,)  a  minia- 
ture painter,  who  was  a  native  of  Pomerania,  was 
born  in  1754,  and  died  at  Dresden  in  1800. 

HEYNRICSZ,  RoELOFF,  was  a  Dutch  historical 
painter,  who  worked  at  Utrecht  in  1623. 

HEYWOOD, ,  an  English  portrait  painter, 

practised  in  the  time  of  the  Commonwealth.  There 
is  by  him  a  portrait  of  Thomas,  third  Lord  Fairfax. 

HIBBART,  William,  an  etcher,  resided  at  Bath 
about  the  year  1760.  There  are  a  few  portraits 
etched  by  him  in  a  style  which  resembles  that  of 
Worlidge.     The  following  are  among  them  : 

Antoine  Watteau,  painter. 
Laurence  Delvaux,  sculptor. 
Samuel  Derrick,  of  Bath. 

HIBON,  AuGUSTB,  a  French  engraver,  was  horn 
in  Paris  in  1780,  and  died  there  in  1857.  He  was 
a  pupil  of  Percier  and  of  Fontaine,  and  devoted 
himself  to  architectural  subjects. 

HICKEL,  Anton,  an  Austrian  portrait  painter, 
was  born  at  Bohmisch-Leipa  in  1745,  and  studied 
under  his  brother  Joseph  Hickel,  and  in  the  Vienna 
Academy.  In  1777  he  travelled  through  the  Tyrol 
into  Switzerland  and  France,  where  he  painted  the 
Queen  Marie  Antoinette  and  the  Princess  of  Lam- 
balle.  When  the  Revolution  broke  out  he  removed 
to  England,  and  in  1793  he  commenced  a  remark- 
able picture  of  the  interior  of  'The  House  of 
Commons,'  with  ninety-six  life-size  portraits  of  the 
members,  and  William  Pitt  addressing  the  House, 
which  occupied  him  two  years.  This  he  took 
with  him  when  he  quitted  England,  and  it  is  now 
in  the  Vienna  Gallery,  but  a  photograph  from  it  is 
exhibited  in  the  National  Portrait  Gallery.  One 
of  his  best  works  is  a  portrait  of  the  poet  Klopstock. 
He  died  at  Hamburg  in  1798. 

HICKEL,  Joseph,  an  Austrian  portrait  painter, 
was  born  at  Bohmisch-Leipa  in  1734  or  1736.  In 
his  twelfth  year  he  already  painted  in  oil,  and  to 
his  fifteenth  year  belongs  an  altar-piece  in  the 
church  of  Hirschberg  in  Bohemia.  At  the  age  of 
twenty  he  went  to  Vienna,  where  he  attended  the 
Academy,  and  was  soon  largely  employed  by  the 
Court.  In  1768  the  Empress  Maria  Theresa  sent 
him  to  Milan,  Parma,  and  Florence,  to  take  the 
portraits  of  some  of  the  nobility,  and  upon  his 
return  he  painted  the  Emperor  Joseph  II.  several 
times.  More  than  3000  portraits  by  him  are  known, 
among  which  are  those  of  the  Empress  Maria 
Theresa,  the  Elector  Charles  Theodore,  and  the 
painter  Winck.     He  died  at  Vienna  in  1807. 

HICKEL,  Joseph,  who  was  born  at  Schroben- 
hausen  in  Bavaria  in  1781,  studied  at  Munich  under 
Hauber.  He  painted  portraits,  family  pieces,  and 
historical  and  mythological  subjects.  'The  date  of 
his  death  is  unknown. 

HICKEY,  Thomas,  an  Irish  portrait  painter, 
was  born  at  Dublin,  and  studied  in  the  Academy 
of  that  city,  but  he  practised  in  London  in  the 
latter  half  of  the  18th  century,  and  exhibited 
at  the  Royal  Academy  from  1772  to  1792.  He 
went  to  Italy,  and  afterwards  to  China  with  Lord 
Macartney.  'There  are  the  following  portraits  by 
him  : 

DubUn.  Mansion  \  j^jj^   fourth  Duke  of  Bedford. 

House,  j 

1  George,first  Marquis  Townshend. 
..  '         J     1769. 

London.  Garrick  Chib.    Mrs.  Abington. 
„  Magdalen  )  j^  Justice  Park. 

Hospital,  j 

•  653 


Hickford 


A   BIOGEAPHICAL   DICTIONAEY  OF 


Hildebrandt 


HICKFORD,  ,  was  an  English  artist  who 

lived   at   Florence   between  1730   and   1740.     He 
was  the  first  master  of  Cipriani. 

HIDALGO,  Josef  Gaecia.  See  Gaecia  Hidalgo. 

HIDDINGA,  — ,  a,  water-colour  painter,  was  -a 
native  of  Hamburg.  He  studied  under  Amama, 
and  died  in  1793. 

HIEBEL,  JoHANN,  was  born  at  Ottobeuern  in 
Algau  in  1681,  and  studied  first  under  Johann 
Siegelbein  at  Wangen,  and  then  successively  under 
Kaspar  Sing  at  Munich  and  the  Jesuit  Pozzo  at 
Vienna.  He  adopted  the  style  of  the  latter  in 
his  architectural  and  fresco  paintings.  In^  1709 
he  settled  at  Prague,  and  worked  with  Byss  in  the 
house  of  the  Count  von  Thun,  and  _  also,  inde- 
pendently, in  churches  and  other  buildings  in  that 
city,  where  he  died  in  1775. 

HIEN,  Daniel,  a  painter  of  hunting  pieces,  as 
well  as  of  still-life,  flowers,  vegetables,  fish,  &c., 
was  born  at  Strassburg  in  1725,  and  died  at 
Zweibriiclfen  in  1773.  Some  of  his  works  are  in 
the  Galleries  of  Augsburg  and  Sohleissheim. 

HIGHMORE,  Anthony,  the  son  of  Joseph  High- 
more,  was  educated  by  his  father  as  a_  landscape 
painter,  and  some  of  his  views  of  Kensington  and 
Hampton  Court  were  engraved  by  Tinney.  He 
died  after  1780. 

HIGHMORE,  Joseph,  an  historical  and  portrait 
painter,  was  born  in  London  in  1692.  He  was  the 
son  of  a  coal-merchant,  and  as  he  showed  an 
inclination  for  art,  it  was  at  one  time  his  father's 
intention  to  permit  hira  to  gratify  his  propensity, 
but  for  some  reason  he  changed  his  purpose,  and 
in  1707  young  Highmore  was  articled  to  an  at- 
torney, but  much  against  his  inclination,  so  that  in 
about  three  years  lie  began  to  indulge  his  taste, 
and  to  employ  all  his  leisure  hours  in  drawing, 
and  in  the  study  of  geometry  and  perspective. 
To  make  himself  acquainted  with  anatomy,  he 
attended  the  lectures  of  Cheselden  ;  and  at  the 
same  time  he  frequented  the  Painters'  Academy, 
then  held  in  Great  Queen  Street,  under  the  direction 
of  Sir  Godfrey  Kneller,  who  noticed  him  par- 
ticularly, and  distinguished  him  by  the  name  of 
the  young  lawyer.  On  the  termination  of  his 
clerkship,  instead  of  frequenting  the  courts,  he 
commenced  painting  as  a,  profession,  and  settled 
in  the  city,  where  his  reputation  and  business  in- 
creased so  much  that  he  removed  to  Lincoln's  Inn 
Fields  in  1723.  An  opportunity  soon  offered  of 
introducing  himself  advantageously  to  persons  of 
distinction,  by  his  being  engaged  by  Pine  to  make 
the  drawings  for  his  prints  of  the  Knights  of  the 
Bath,  on  the  revival  of  that  order  in  1725.  He 
painted  the  portraits  of  several  of  the  Knights, 
particularly  a  fine  picture  of  the  Duke  of  Rich- 
mond, attended  by  his  three  esquires,  with  a  per- 
spective view  of  Henry  VII.'s  chapel,  now  at 
Goodwood.  He  was  afterwards  commissioned  by 
George  I.  to  paint  the  portrait  of  the  Duke  of 
Cumberland,  which  was  engraved  in  mezzotint 
by  John  Smith.  In  1732  Highmore  visited  the 
continent,  chiefly  for  the  purpose  of  seeing  the 
Diisseldorf  collection  of  pictures,  and  at  Antwerp 
had  the  satisfaction  of  studying  some  of  the  finest 
works  of  Rubens,  his  favourite  master.  In  1742 
he  painted  portraits  of  the  Prince  and  Princess  of 
Wales,  for  the  Duke  of  Saxe-Coburg-Gotha.  The 
publication  of  '  Pamela '  gave  birth  to  a  series  of 
pictures  by  Highmore,  which  were  engraved  and 
published  by  subscription  in  1745.  His  principal 
historical  pictures  were,  '  Hagar  and  Ishmael,'  pre- 

654  • 


sented  by  hira  to  the  Foundling  Hospital;  'The 
Good  Samaritan  ; '  '  The  Finding  of  Moses  ; '  and 
'  The  Graces  unveiling  Nature.'  He  retired  from 
the  profession  in  1761.  Highmore  was  the  author 
of  several  literary  works;  among  which  were 
'  A  critical  Examination  of  those  two  Paintings 
[by  Rubens]  on  the  Ceiling  of  the  Banqueting- 
house  at  Whitehall,'  1754,  and  'The  Practice  of 
Perspective,  on  the  Principles  of  Dr.  Brook  Taylor,' 
1763.  He  died  at  Canterbury  in  1780.  There  are 
portraits  of  Samuel  Richardson  and  Dr.  Stabbing 
by  him  in  the  National  Portrait  Gallery. 

HIGHMORE,  Thomas,  serjeant-painter  to  King 
William  III.,  was  the  uncle  of  Joseph  Highmore, 
the  portrait  painter,  and  the  master  of  Sir  James 
Thornhill,  who  succeeded  him  as  serjeant-painter 
in  1719-20. 

HIGHMORE,  Thomas,  an  engraver,  was  born 
in  Suffolk  in  1796.  His  works  were  chiefly  of  an 
architectural  character,  and  he  was  employed  on  a 
portion  of  the  plate  of  Hayter's  'Coronation  of 
Queen  Victoria.'     He  died  at  Islington  in  1844. 

HILAIRE,  Jean  Baptists,  a.  French  draughts- 
man, was  a  pupil  of  Le  Prince.  He  lived  in  Paris, 
and  exhibited  at  the  Salon  and  other  exhibitions 
between  1780  and  1796.  Several  of  his  drawings 
have  been  engraved. 

HILARIUS,  a  painter  and  scholar  from  Bithynia, 
flourished  at  Athens  in  the  time  of  the  Emperor 
Valens  (a.d.  364 — 379).  He  is  said  by  Eunapiiis 
to  have  been  equal  to  Euphranor  as  an  artist.  He 
and  his  family  were  murdered  by  barbarians  in 
the  neighbourhood  of  Athens. 

HILDEBRANDT,  Eduard,  a  German  landscape 
painter,  born  at  Dantzic  in  1818,  was  the  son  of 
a  poor  house  painter.     At  the  age  of  thirteen  he 
lost  his  father,  and  formed  the  design  of  becoming 
a  sailor,  but  his  mother  and  guardian  kept  him  to  his 
father's  trade,  and  after  some  three  years  he  was 
apprenticed  to  Meyerheim.    In  his  nineteenth  year 
he  travelled  on  foot  to  Berlin,  hoping  to  enter  the 
Academy,  but  was  unable  to  pay  the  fees,  and  as 
the  genuineness  of  his  productions  was  suspected, 
the  director  refused  to  admit  him  without  payment. 
He  entered  the  studio  of  Krause,  where  he  soon 
made  such  progress  in  landscape  and   sea  pieces 
that  he   was   able   in  his  twenty-second  year  to 
travel  to  Denmark,  Norway,  England,  Scotland,  and 
Ireland.     In  1841  he  reached  Paris,  where,  having 
exhausted  his  money,  he  was  compelled  at  first  to 
work  for  a  subsistence  ;  but  he  was  received  by 
Isabey  into  his  atelier,  and  in  six  months  had  a 
studio  of  his   own.     After  gaining  a   small  gold 
medal  in  Paris  in  1843,  he  was  invited  to  Brazil  by 
Humboldt,  whence  he  brought  back  many  water- 
colour  and  oil  paintings,  which   are  now  in  the 
possession  of  the  Emperor   of  Germany.     After 
fresh    travels    through    England,     Scotland,    the 
Canaries,  Spain,  and  Portugal,  he  in  1849  returned 
to  Berlin  with  more  than  a  hundred  water-colour 
sketches ;   and  in   1850,   by   order  of   the  king, 
he   set  out  once   more  for  Italy,  Malta,  Egypt, 
Nubia,  the  Sahara,  Palestine,  Turkey,  and  Greece. 
In  1853  he  started  upon  another  artistic   journey 
through  Switzerland,   the  Tyrol,   and   Italy.     In 
1854  he  was  made  Professor  of  the  Berlin  Academy, 
and    in   1855   elected    a    member.      In   1856  he 
joined  the  Arctic  Expedition,  and  in  the   Brus- 
sels Exhibition  of  1858  obtained  for  his  '  North 
Cape'  the  largest   gold   medal,   whilst  his  'Sea 
of  Marmora'  won  the  same  at  Amsterdam.    In 
1862-64  he  made  a  voyage  round  the  world,  from 


Bildebrandt 


PAINTERS   AND  ENGRAVERS. 


Hilfeling 


which  he  returned  laden  with  views  of  Egypt,  India, 
China,  Japan,  and  California.  In  1866  he  opened 
an  exhibition  in  London  of  over  400  water-colour 
paintings,  which  met  with  great  success,  and  was 
repeated  at  the  Crystal  Palace  in  1868.  Naturally 
his  sketches  were  at  times  hastily  drawn,  and 
somowhat  incomplete  ;  but  his  love  of  nature,  his 
artistic  conception,  and  the  purity  of  his  colouring 
amply  compensate  for  any  defects.  His  work  and 
Constant  travelling  undermined  his  health,  and  he 
died  at  Berlin  in  1868. 

Four  series  of  chromolithographs  of  Hilde- 
brandt's  'Aquarelle '  have  been  executed  by  Stein- 
bock  and  Loeillot,  and  published  with  explana- 
tory text  at  Berlin  between  the  years  1868  and 
1880,  and  his  '  Reise  um  Erde,'  edited  from  his 
journals  by  Ernst  Kossak,  was  published  in 
1867,  and  has  often  been  reprinted.  Fuller  par- 
ticulars respecting  his  life  and  works  may  be 
found  in  Arndt's  '  Eduard  Hildebrandt,  der  Maler 
des  Kosmos,'  Berlin,  1869  ;  and  in  Bruno  Meyer's 
'Studien  und  Kritiken,'  Stuttgart,  1877,  pp.  376- 
473.  The  following  are  among  his  more  dis- 
tinguished paintings,  the  four  first  being  in  the 
Berlin  National  Gallery,  and  several  of  the  others 
in  the  Royal  Collection  in  the  same  city : 

Stormy  Sea  with  Boats. 

The  Coast  of  Normandy. 

Winter  Landscape. 

Sea-shore  at  Evening. 

The  Castle  of  Kronborg,  near  Helsingor. 

Evening  in  the  Bay  of  Eio  Janeiro. 

Tropical  Bain. 

Brazilian  Primeval  Forest. 

Evening  at  Madeira. 

The  Peak  of  Teneriffe. 

A  Look  over  the  Sea. 

Lisbon  from  Almaden. 

Banks  of  the  Nile. 

By  the  Dead  Sea. 

The  Pool  of  Bethesda. 

Jerusalem  from  the  North-east. 

Nazareth  from  the  South-east. 

Bethlehem. 

Hay  Harvest  by  the  Oder. 

By  the  Fish-Pond. 

Benares  at  early  Dawn. 

Evening  in  Siam. 

Ohmese  Fishers. 

HILDEBRANDT,  Ferdinand  Theodoe,  an  his- 
torical, portrait,  and  genre  painter,  was  born  at 
Stettin  in  1804.  He  was  the  son  of  a  book-binder, 
but  went  in  1820  to  the  Academy  at  Berlin,  and 
became  acquainted  with  Lndwig  Devrient,  through 
■whom  he  took  to  dramatical  painting.  In  1823  he 
was  a  pupU  of  Wilhelm  von  Schadow,  whom  he 
followed  in  1826  to  Diisseldorf,  where  he  acted  in 
1832  as  assistant  master,  and  in  1836,  after  Kolbe's 
death,  as  professor.  In  1829  he  visited  Belgium 
and  Holland  in  the  company  of  Schadow,  and  later 
on  frequently  by  himself,  and  there  studied  the 
Dutch  masters.  He  was  a  member  of  the  Academies 
of  Berlin  and  Vienna.  His  pictures  from  Shake- 
speare, especially  that  of  '  The  Murder  of  the  Sons 
of  Edward  IV.,'  were  very  popular.  At  the  age  of 
fifty  he  was  prevented  by  illness  from  proceeding 
with  his  work,  and  he  died  at  Diisseldorf  in  1874. 
Among  his  paintings  are  the  following  : 

SUBJECTS. 

Fanst  and  Margaret  in  the  Dungeon.    1825. 

King  Lear  lamenting  Cordelia.    1826. 

Someo  and  Juliet.    182T.     (Berlin  Soyal  Collection^ 

Tancred  and  Olorinda.    1828. 

The  Robber.    1829.    {Berlin  National  Gallery.) 

The  "Warning  agamst  the  "Water  "Witch.    1830. 


Judith  and  Holofemes.    1830. 

The  Soldier  and  his  Child.     1832.     (Berlin  Natimvxl 

Gallery.) 
The  Story-teller.    1832. 
The  Choir  Boys.    1834. 
The  Murder  of  the  Sons  of  Edward  IV.  1835.   (Raczyn- 

ski  Gallery,  Berlin.) 
Christmas  Eve.    1840.    (Emperor  of  Russia.) 
Cardinal  "Wolsey  in  the  Cloister.    1842.    (Berlin  Royal 

Collection.) 
The  Italian  Letter-reader.    1845. 
Othello  and  Desdemona.    1847. 
King  Lear  awakening  from  his  Frenzy.    1851. 
Prince  Arthur  and  De  Burgh.    1855. 

PORTRAITS. 
"Wilhelm  von  Schadow. 
August,  Baron  von  der  Heydt. 
Baron  "Wappers.    (Diisseldorf  Gallery .) 
Count  Anton  Stollberg-'Wemigerode. 
Prince  Frederick  of  Prussia. 

HILDEBRANDT,  Fritz,  a  younger  brother  of 
Eduard  Hildebrandt,  was  bom  at  Dantzic  in  1819. 
He  began  life  at  sea,  but  did  not  abandon  Lis 
natural  fondness  for  drawing,  and  when  about 
eighteen  years  of  age  went  to  St.  Petersburg, 
where  he  was  employed  in  the  decoration  of  the 
"Winter  Palace,  then  in  progress  of  construction. 
In  1840  he  returned  home,  and  in  the  following 
year  studied  as  a  marine  painter  under  "Wilhelm 
Krause  at  Berlin.  In  1844  he  removed  to  Paris, 
where  he  worked  for  a  year  under  Eugene  Isabey, 
and  obtained  the  gold  medal  at  several  exhibitions. 
He  undertook  several  journeys  while  resident  in 
that  city,  and  in  the  winter  of  185&  started  for  the 
sake  of  his  health  to  Naples,  but  died  on  the  way 
at  Rome.  His  works  are  almost  exclusively  to  be 
found  in  France. 

HILDEGARDUS,  a  painter  of  Cologne,  is  known 
by  his  '  Tables  of  the  Rosary,'  executed  in  1523  for 
the  Dominican  Monastery  at  Dortmund  in  "West- 
phalia, and  which  represented  the  '  Seven  Joys  and 
Seven  Sorrows  of  the  Virgin,'  together  with  her 
genealogy.  Two  of  these  tables  contained  the 
'  Family  of  St.  Anne '  and  the  '  Birth  of  Christ,'  as 
well  as  the  genealogy  and  death  of  the  Virgin. 
There  is  a  strong  resemblance  between  these  and 
the  works  of  the  brothers  D.iinwege. 

HILDITCH,  George,  a  landscape  painter,  the 
son  of  a  well-known  silk-mercer,  was  born  in 
London  in  1803,  and  from  early  boyhood  took  to 
drawing  and  painting  from  nature.  He  first  ex- 
hibited at  the  Royal  Academy  in  1823,  and  from 
that  time  until  1856  he  was  a  constant  contributor 
to  its  exhibitions,  as  well  as  to  those  of  the  British 
Institution  and  Society  of  British  Artists.  He 
took  the  Society  of  Arts  gold  medal,  large  silver 
medal,  and  small  silver  medal.  His  style  is  original, 
with  much  of  the  power  and  truth  to  nature  of 
Patrick  Nasmyth,  but  pictures  painted  by  him 
during  a  visit  to  France  in  1836  have  been  mis- 
taken for  the  works  of  Bonington.  The  subjects 
of  his  pictures  were  selected  chiefly  from  Rich- 
mond and  its  vicinity.  North  and  South  "Wales, 
France,  and  Germany.  Many  of  them  are  in  the 
collections  of  the  Dukes  of  Devonshire  and  Suther- 
land, and  the  Earls  of  Dysart  and  "WliamclifEe. 
He  died  in  London  in  1857. 

HILFELING,  ,   a   Swedish  draughtsman, 

flourished  from  about  1770  to  1790.  He  went  to 
Copenhagen,  and  in  1785,  at  the  expense  of  the 
king,  he  travelled  through  Denmark  for  the  purpose 
of  making  drawings  of  the  principal  monuments 
and  architectural  features.  These  drawings  are 
now  in  the  Royal  Library  at  Copenhagen. 

655 


Hill 


A  BIOGRAPHICAL  DICTIONARY  OF 


Hills 


HILL,  David  Octavids,  a  Scottish  landscape 
painter,  the  eon  of  a  bookseller,  was  bom  at  Perth 
in  1802.  Showing  a  taste  for  art,  he  was  sent  to 
Edinburgh  as  a  pupil  of  Andrew  Wilson,  and 
exhibited  there  as  early  as  1823.  In  1830  he 
became  one  of  the  foundation  members  of  the 
Ro3'al  Scottish  Academy,  and  was  elected  to  the 
office  of  secretary,  a  post  he  held  for  nearly  forty 
years.  His  earlier  works  illustrated  the  manners 
of  the  Scotch  peasantry  ;  but  he  afterwards  devoted 
himself  almost  exclusively  to  landscape  painting. 
Among  his  most  important  pictures  were  'The 
Ruins  of  Dunfermline  Palace '  (1854)  ;  '  Edinburgh 
from  Mons  Meg '(1852),  the  first  picture  exhibited 
by  him  at  the  Royal  Academy  ;  '  Windsor  Castle — 
summer  evening ; '  '  The  Valley  of  the  Nith ; '  '  A 
Lonely  Shore — summer  afternoon;'  and  'Signing 
the  Deed  of  Demission  and  Act  of  Separation,' 
a  large  composition  differing  entirely  from  most  of 
his  other  works,  and  containing  no  less  than  470 
portraits  :  this  work,  which  occupied  several  years 
in  its  execution,  was  bought  by  a  number  of  the 
leading  laymen  of  the  Free  Church  for  £1500,  and 
placed  in  the  hall  of  the  Free  Presbytery  at 
Edinburgh.  In  1841  he  published  '  The  Land  of 
Burns,'  a  series  of  sixty  landscapes.  He  died  at 
Edinburgh  in  1870,  aged  sixty-eight,  having  suf- 
fered in  health  for  several  years  previously.  A 
notice  of  his  life  and  works  appeared  in  the  '  Art 
Journal '  for  1869. 

HILL,  Friedeioh  Jakob,  a  painter,  was  born  in 
1762  at  Darmstadt,  wher?  he  was  court  painter. 
His  works  are  mostly  in  miniature. 

HILL,  James,  better  known  as  J.  J.  Hill,  a 
portrait  and  subject  painter,  was  born  at  Birming- 
ham in  1811.  After  studying  at  the  Academy 
under  J.  V.  Barber,  he  practised  for  some  years  in 
his  native  city,  but  removed  to  London  in  1839, 
and  was  elected  a  member  of  the  Society  of  British 
Artists  in  1842,  from  which  time  until  his  death 
he  was  a  constant  and  popular  contributor  to  its 
exhibitions.  He  was  successful  in  his  likenesses, 
and  obtained  many  commissions,  yet  after  a  time  he 
devoted  himself  mainly  to  fancy  figures,  many  of 
the  most  efEeotive  of  which  were  Irish  subjects, 
and  at  a  still  later  perio'd  he  changed  the  character 
of  his  work  to  landscape,  in  combination  with 
figures  and  animals.  Here  also,  as  in  the  other 
branches  of  art,  he  achieved  a  distinct  success. 
He  died  at  Highgate  in  1882. 

HILL,  John,  was  an  aquatint  engraver,  who 
produced  some  good  plates  of  lake  views  after 
Charles  Dibdin.  He  emigrated  to  America,  where 
he  was  living  in  1822. 

HILL,  Thomas,  a  portrait  painter,  born  in  1661, 
was  a  pupil  of  Faithorne.  He  practised  in  London, 
and  died  at  Mitcham  in  1734.  There  are  portraits 
of  Humphrey  Wanley  by  him  at  the  National 
Portrait  Gallery,  the  Bodleian  Library,  a,nd  the 
Society  of  Antiquaries,  London. 

HILLER,  J.,  was  an  engraver,  who  worked  at 
Prague  from  1716  to  1746.  He  executed  a  series 
of  thirty-one  plates  entitled,  '  Omnes  Sancti  Ordinis 
Prffidicatorum,  quorum  cultus  ab  Bcclesia  Romana 
est  probatus,'  after  G.  Severoni. 

HILLESTROM,  Carl  Peter,  a  Swedish  painter 
and  draughtsman,  was  the  son  of  Per  Hillestrom. 
He  was  born  at  Stockholm  in  1776,  and  died  in 
1812.  ' 

HILLESTROM,  Per,  a  Swedish  genre  and  his- 
torical painter,  was  born  in  Roslagen  in  1732.  He 
studied  in  Paris,  but  returned  to  his  native  country 

656 


in  1750,  and  became  a  professor  in  the  Stockholm 
Academy,  of  which  he  was  made  director  in  1805. 
He  died  in  1815. 

HILLIARD,  Lawrence,  a  miniature  painter, 
was  the  son  of  Nicholas  Hilliard.  He  enjoyed 
the  continuation  of  the  patent  granted  to  his  father, 
and  died  about  the  middle  of  the  17th  century. 

HILLIARD,  Nicholas,  a  miniature  painter,  bom 
at  Exeter  in  1647,  was  the  younger  son  of  Richard 
Hilliard,  who  served  the  office  of  high  sheriff  of 
the  county  of  Devon  in  1560.  He  was  brought 
up  to  the  business  of  a  goldsmith  and  jeweller,  to 
which  his  inclination  added  that  of  painting  in 
miniature.  Walpole  states  that  Hilliard  seldom 
painted  his  miniatures  upon  ivory,  but  usually  upon 
card,  and  sometimes  even  upon  the  backs  of  play- 
ing cards.  He  studied  the  works  of  Holbein,  as 
being  the  best  models  he  could  follow.  He  was 
appointed  goldsmith,  carver,  and  portrait  painter 
to  Queen  Elizabeth,  whose  portrait  he  painted 
several  times.  He  was  not  less  favoured  by  James 
I.,  who  appointed  him,  by  patent,  his  principal 
drawer  of  small  portraits,  and  embosser  of  medals 
in  gold.  That  his  works  were  greatly  admired  at 
the  time,  appears  from  Dr.  Donne's  allusion  to 
them  in  his  poem  of  '  The  Storm,'  in  which  he 
says: 

"  A  hand,  or  eye, 

By  Hilliard  drawne,  is  worth  an  history 

By  a  worse  painter  made." 

Hilliard  also  wrote  an  essay  on  miniature  painting, 
and  in  1587  engraved  the  great  seal  of  England. 
He  died  in  London  in  1619.  Many  of  his  minia- 
tures are  in  the  Royal  Collection  at  Windsor 
Castle,  and  there  is  one  of  Queen  Elizabeth  by  him 
in  the  National  Portrait  Gallery. 

HILLIGAARD,  Pauwels  van,  an  historical 
painter,  was  a  native  of  Holland,  where  he  died 
in  1658.  He  painted  battles,  skirmishes,  and 
drunken  brawls.  There  is  a  picture  by  him  in 
the  Museum  at  Amsterdam,  which  represents 
'  Prince  Maurice  dismissing  the  Trained  Bands  in 
1618.' 

HILLNER,  Christoph,  who  was  born  at  Breslan 
in  1745,  lived  when  young  at  Sans  Souci,  where 
his  father  served  as  orange  gardener.  In  1763  he 
went  to  Berlin  to  learn  the  rudiments  of  art  under 
B.  Rode,  with  whom  he  remained  two  years,  and 
then  returned  to  Potsdam,  and  studied  in  the 
picture  gallery  at  Sans  Souci.  Ten  years  after  this 
he  made  a  journey  to  Rome,  and  completed  his 
art  education  tmder  Pouipeo  Batoni,  copying, 
among  other  works,  '  The  Battle  of  Constantine 
and  Maxentius.'  In  1777  he  commenced  visiting 
the  other  cities  of  Italy,  and  went  from  Turin  to 
Paris,  thence  to  Antwerp,  and  through  Holland 
back  to  Potsdam.  Here  he  started  an  Institute 
of  Design,  at  which  in  1798  he  became  pro- 
fessor of  pencil  drawing.  He  died  at  Potsdam 
in  1812. 

HILLS,  Robert,  an  animal  and  landscape  painter 
in  water-colours,  was  born  at  Islington  in  1769. 
He  studied  for  a  time  under  Gresse,  and  first 
exhibited  at  the  Royal  Academy  in  1791.  He  was 
one  of  the  founders  of  the  Society  of  Painters  in 
Water-Colours  in  1804,  subsequently  acting  as  its 
secretary,  and,  with  the  exception  of  a  break  of  five 
years  from  1819  to  1822,  was  a  most  prolific  con- 
tributor to  its  exhibitions.  He  sometimes  worked 
in  conjunction  with  Robson  and  Barret.  He  died 
in  London  in  1844.  There  is  in  the  British  Museum 
a  collection  of  1240  etchings  of  animals  by  him, 


Hilton 


PAINTERS  AND  ENGRAVERS. 


Hirsclimann. 


and  he  also  published  in  1816  '  Sketches  in  Flanders 
and  Holland.'  At  the  South  Kensington  Museum 
there  are  by  him : 

Deer  in  a  Landscape  (the  landscape  ly  George  Barret,  the 

younger). 
The  Broken  Plough.    1804. 
Landscape  vfith  Cattle.     1807. 
The  Ox  Team.    1810. 
two  Wild  Boars  in  a  "Wood.     1826. 
Stags  in  Knole  Park.    1827. 
Cows  and  Sheep. 

HILTON,  William,  the  elder,  a  portrait  painter, 
was  born  about  the  middle  of  the  18th  century. 
He  first  practised  as  a  scene  painter,  and  after- 
wards as  a  portrait  painter  at  Norwich,  Lincoln, 
and  London.  He  was  the  father  of  William  Hilton, 
E.A.    He  died  in  1822. 

HILTON,  William,  an  historical  painter,  was 
born  at  Lincoln  in  1786.  He  received  lessons  from 
his  father,-  who  was  a  porti^ait  painter  ;  and  was  a 
pupil  of  John  Raphael  Smith,  the  crayon  draughts- 
man and  mezzotint  engraver.  He  first  exhibited 
in  1803,  and  from  1806  he  attended  the  schools 
of  the  Royal  Academy,  where  he  studied  anatomy, 
and  made  himself  complete  master  of  the  human 
figure.  That  he  was  imbued  with  a  truly  poetic 
feeling  is  evidenced  by  his  choice  of  subjects  ;  and 
he  selected  such  as  would  admit  the  introduction 
of  the  most  beautiful  human  forms  '.  the  Rapes  of 
Proserpine,  Gatlymede,  Europa,  and  Ampliitrite ; 
and  Hebe,  Comus,  and  others,  as  described  by  Milton 
and  Spenser,  his  favourite  authors.  It  has  been 
remarked  that  fewer  of  Hilton's  pictures  have  been 
engraved  than  of  those  of  most  artists  of  celebrity  ; 
many  of  them  are  falling  into  hopeless  decay,  as 
the  'Sir  Calepine'  and  'Edith'  in  the  National 
Gallery,  owing  to  the  perishable  nature  of  the 
pigments  which  he  used.  Hilton  was  elected  an 
Associate  of  the  Royal  Academy  in  1813,  and  an 
Academician  in  1819,  and  in  1827  he  succeeded 
Thomson  as  keeper.  His  manners  were  singularly 
mild  and  amiable,  and  he  was  much  beloved  by 
the  students  of  that  institution.  He  married  in 
1828  the  sister  of  his  fellow-pupil,  Peter  De  Wint, 
but  had  the  misfortune  to  lose  his  wife  in  1835. 
He  died  in  London  in  1839,  and  was  buried  in  the 
churchyard  of  the  Savoy.  Among  many  pictures 
by  him  of  great  excellence  may  be  named : 

The  Triumphal  Entry  of  the  Duke  of  'Wellington  into 

Madrid 
Colnus.    1823. 

The  Eape  of  Europa.     1818. 

The  Eape  of  Ganymede.    1818.     {Ropal  Acadermj.) 
Serena  rescued  by  the  Red  Cross  Knight,  Sir  Calepine. 

1831.    (Natimal  Gallery.) 
Edith  and  the  Monks  discovering  the  Body  of  Harold. 

1834.    {The  same.) 
The  Meeting  of  Abraham's  Servant  With  Eebekah  at  the 

Well.    1833.    {The  same ;  Jmt  lent  to  the  Corporation 

of  Leicester.) 
Cupid  disarmed.    1828.    (The  same;   hut    lent  to  the 

Corporatim  of  Oldham.) 
Venus  seeking  Cupid  at  the  Bath  of  Diana.      (Sir 

Richard  Wallace,  Bart.) 
Nature  blowing  Bubbles  for  her  Children.    1821. 
The  Infant  Warrior. 

^e  Magdalene  washing  the  Feet  of  Christ. 
Tne  Crucifixion.    1827.    (Corporation  of  Liverpool.) 
Christ  crowned  with  Thorns.     1825.     (Purchased  by 

^if  ^^f^tors  of  the  British  Institution,  and  placed  in 

m.  Peter's  Church,  Pimlico ;    but  since  bought  by  the 
^oyal  Academy  out  of  the  Chantrey  Fund.) 
The  Angel  delivering  St.  Peter  from  Prison.    1831. 
Lazarus.    (At  ]Vewark.) 

Una,  with  the  Lion,  entering  Corceca's  Cave.    1832. 
The  Murder  of  the  Innocents.    1838. 
n  V 


HIMPEL,  Antonie  Ter.     See  Ter  Himpel. 

HINCHIilFF,  John  James,  a  landscape  engraver, 
the  son  of  John  Elley  HinchlifE,  the  sculptor,  was 
born  in  1805,  and  was  employed  during  many  years 
by  the  Hydrographic  Department  of  the  Admiralty. 
Among  his  best  engravings  are  those  which  he 
executed  for  Beattie's  'Castles  and  Abbeys  of 
England,'  Neale's  '  Seats  of  Noblemen  and  Gentle- 
men,' and  Gastineau's  'Picturesque  Scenery  in 
Wales. '  He  died  at  Walton-by-Clevedon,  Somerset- 
shire, in  1875. 

HINCKS,  William,  an  Irish  painter  and  en- 
graver, was  born  at  Waterford  about  the  middle 
of  the  18th  century.  He  supplied  illustrations  for 
an  edition  of  '  Tristram  Shandy,'  and  drew  and 
engraved  a,  series  of  designs  relating  to  linen 
manufacture.  He  came  to  London,  and  occasion- 
ally exhibited  portraits,  historical  subjects,  and 
miniatures  at  the  Royal  Academy  from  1781  to 
1797. 

HINDE,  Thomas,  an  engraver  who  flourished 
about  the  year  1645,  executed  a  few  portraits, 
among  which  are  the  following  : 

Charles  II.,  when  Prince  of  Wales,  on  horseback. 

Prince  Rupert. 

Robert  Rich,  Earl  of  Warwick. 

Thomas,  Lord  Fairfax,  on  horseb'ae&. 

HINZ,  JoHANN  Georq,  (or  Hintzsch,)  a  still- 
life  painter,  was  a  native  of  Hamburg,  who  flour- 
ished in  the  17th  century.  He  was  living  in  1670. 
There  is  a  picture  by  him  in  the  Copenhagen 
Gallery. 

HIRE,  De  la.     See  De  La  HiiiE. 

HIRE,  Jean  Georges,  a  French  fruit  and  flower 
painter,  was  born  at  Miilhausen  in  1777,  and  died 
at  Logelbach,  near  Colmar.  He  exhibited  at  the 
Salon  from  1812  to  1838. 

HIRN,  Marian,  an  engraver,  was  born  at  Ober- 
miemingen  in  the  Tyrol  about  1780.  He  learned 
drawing  under  Peter  Denifle  at  Innsbruck,  and 
afterwards  studied  at  Vienna,  where  he  died  in 
1801  at  the  early  age  of  twenty  years.  There  is  a 
portrait  by  him  of  the  celebrated  soprano  singer 
Marchesi,  executed  in  the  dotted  manner. 

HIRSCH,  Alphonse,  a  French  portrait  painter, 
was  born  in  Paris  in  1843.  He  was  a  pupil  of 
Meissonier  and  of  Bonnat,  and  exhibited  at  the 
Salon  from  1869  some  excellent  portraits,  as  well 
as  a  few  genre  subjects  and  etchings.  He  died  in 
Paris  in  1884. 

HIRSCHELY,  Kaspar,  a  painter,  was  born 
at  Prague  about  1701,  and  died  there  in  1746.  He 
studied  under  Angennayer,  and  painted  animal 
pieces  and  landscapes,  both  in  oil  and  in  water- 
colours,  with  much  talent.  Several  of  his  works 
are  in  the  gallery  at  Schleissheiin. 

HIRSCHMANN,  Andreas,  a  portrait  painter, 
was  born  at  Burkunstadt  in  1729,  and  lived  chiefly 
at  Bamberg.  His  son,  JohaNN  Baptist  Hirsch- 
mann,  born  in  1770,  "was  also  a  portrait  painter  in 
pastel  and  in  miniature. 

HIRSCHMANN,  Johann  Hieronymus,  a  land- 
scape painter,  was  born  at  Nuremberg  in  1708,  and 
studied  under  Bemmel  and  Ermels.  In  1729  he 
went  to  Ratisbon,  and  in  1731  to  Berlin,  where  he 
spent  the  rest  of  his  life,  and  died  in  1790. 

HIRSCHMANN,  Johann  Leonhard,  was  a 
painter  of  Nuremberg,  who  came  to  England  and 
worked  in  the  style  of  Kneller.  He  died  in  his 
own  country  after  1730.  There  is  by  him  in  the 
National  Portrait  Gallery  a  painting  of  the  Princess 

657 


Hirschvogel 


A   BIOGRAPHICAL   DICTIONARY    OF 


Hoare 


Sophia,  only  daughter  of  King  George  I.,  after- 
wards Queen  of  Prussia,  and  mother  of  Frederick 
the  Great. 

HIRSCHVOGEL,  Augustin,  (or  Hirssfogel,)  a 
German  painter  in  enamel  and  engraver,  was  born 
at  Nuremberg  about  the  year  1503.  He  was 
the  son  of  Veit  Hirschvogel  the  elder,  a  glass- 
painter,  who  instructed  him  in  the  rudiments  of 
design.  Besides  being  himself  an  etcher  and 
enameller,  he  practised  wood-engraving,glass-paint- 
ing,  pottery,  engineering,  geometry,  and  author- 
ship. He  spent  a  considerable  time  in  Venice, 
and  in  1630  settled  in  Vienna,  where  he  died  in 
1569.  There  are  several  etchings  by  this  artist, 
which  possess  considerable  merit,  particularly  his 
landscapes.     He  usually  marked  his  plates  with  the 

cipher  J^^ ,  with  the  date.    The  following  are  his 

principal  prints : 

A  set  of  six  Mountain  Landscapes,  with  castles.  1546. 
A  Landscape,  with  a  Canal  and  a  Stone  Bridge.  1525. 
A  View  of  a  Village  by  the  side  of  a  Elver,  with  a 

■Wooden  Bridge.    1546. 
A  Landscape,  with  a  figure  representing  the  Death  of 

Cleopatra.    1547. 
Two  Views  of  Sea-ports,  with  Shipping.    1549. 
Part  of  the  Murder  of  the  Innocents ;  after  a  sketch 

by  Baphael,  different  from  that   by  Marc-Antonio. 

1545. 
A  Vase,  with  goldsmith's  ornaments.     1543. 
A  Sword,  the  handle  ornamented  with  eagles'  heads, 

and  the  scabbard  with  goldsmith's  ornaments. 

His  brother,  Veit  Hibsohvogel  the  younger,  and 
his  nephew,  JosiAS  Sebald  Hibsohvogel,  were  both 
good  engravers ;  the  former  died  in  1553,  and  the 
latter  in  1589. 

HIRT,  Feiedrich  Cheistoph,  a  portrait  and 
landscape  painter,  born  at  Durlach  in  1685,  was  the 
son  of  Michael  Konrad  Hirt.  He  was  a  pupil 
of  his  father,  and  painted  portraits  in  Largillifere' s 
manner,  "as  well  as  very  pleasing  landscapes.  He 
travelled  extensively  in  Germany  and  France,  and 
then  settled  at  Franlrfort,  where  he  died  in  1763. 
He  had  a  son,  Heinrich  Hirt,  born  in  1727,  who 
likewise  painted  portraits  and  landscapes. 

HIRT,  Mkhael  Konbad,  (or  Hibth,)  who  was 
court  painter  at  Berlin  from  1646,  produced  histo- 
rical pictures  and  portraits,  the  latter  in  some  oases 
upon  silver  and  gold.  Jacob  von  Sandrart  and 
others  have  engraved  after  him. 

HIRT,  WiLHELM  Feiedeioh,  was  born  at  Frank- 
fort in  1721,  and  studied  art  under  his  father, 
Friedrich  Christoph  Hirt.  In  1757  he  became 
court  painter  to  the  Duke  of  Saxe-Meiningen, 
after  whose  death  he  travelled  in  Switzerland, 
drawing  and  painting  extensively  from  nature. 
His  landscapes  were  somewhat  stiff,  but  his  cattle 
and  figures  were  superior ;  these  be  supplied  to 
the  pictures  of  C.  G.  Schiitz.  He  died  at  Frank- 
fort in  1772.  The  Stadel  Institute  there  contains 
two  woody  landscapes  by  him,  dated  1750,  and  two 
landscapes  with  cattle,  1768  ;  other  works  of  his 
are  at  Cassel  and  Mannheim.  He  was  also  a 
restorer  of  paintings. 

HIRTZ,  Hans,  was  a  painter  of  Strassburg, 
who  worked  between  1421  and  1460.  Several 
works  by  him  were  known  in  his  native  city 
in  the  17th  century,  but  they  have  since  dis- 
appeared. 

HISPANO,  Marcos,  a  Spanish  painter,  who  died 
at  Madrid  in  1679,  was  a  member  of  the  Order  of 
St.  Augustine.  He  executed  several  religious 
pictures. 

658 


HITMAYER,  Johann  Baptist,  a  native  of 
Salzburg,  was  born  in  1751.  He  travelled  through 
Germany,  and  eventually  settled  in  Munich,  where 
he  died  in  1810.  He  painted  portraits,  historical 
subjects,  and  altar-pieces. 

HIXON,  Jambs  Thompson,  a  water-colour  painter, 
was  born  in  1836.  He  was  elected  an  associate  of 
the  Institute  of  Painters  in  Water-Colours  in  1866, 
and  spent  the  next  year  at  Algiers,  but  he  died  of 
consumption  at  Capri  in  1868,  and  was  buried  at 
Naples. 

HJALTELIN,  Thoestein  Illia,  was  born  in 
Iceland  inl771,  and  was  the  "sixteenth  living  son" 
of  his  parents.  After  many  adventures  he  was 
placed  under  J.  F.  Weitsch  in  Salzdahlen,  and 
became  an  accomplished  landscape  painter.  He 
settled  afterwards  in  Germany,  residing  at  Bruns- 
wick and  at  Halle,  where  he  died  in  1815. 

HOADLY,  Sabah.    See  Cuetis. 

HOAEE, ,  an  engraver  who  worked  about 

the  time  of  Charles  I.,  is  known  by  having  engraved 
some  of  Evelyn's  Italian  sketches. 

HOARE,  Peince,  a  portrait  and  historical  painter, 
was  born  at  Bath  in  1755.  He  studied  under  his 
father,  William  Hoare,  R.A.,  then  in  the  schools 
of  the  Royal  Academy,  and  finally  at  Rome  under 
Mengs.  He  exhibited  a  few  pictures,  but  failing 
to  obtain  success,  he  turned  his  attention  to 
literature,  publishing  several  works  on  art,  and  also 
writing  some  plays.  In  1799  he  was  appointed 
honorary  foreign  corresponding  secretary  of  the 
Royal  Academy.  He  died  at  Brighton  in  1834. 
His  portrait  is  in  the  UlSzi  at  Florence.  Amongst 
the  works  on  art  which  he  wrote  are  :  ' 

Academic  Annals.     1805-9. 

An  Inquiry  into  the  present  State  of  the  Art  of  Design 

in  England.  1806. 
The  Artist.  1809-10. 
Epochs  of  the  Fine  Arts.    1813. 

HOARE,  Sir  Richaed  Colt,  Bart.,  an  amateur 
landscape  painter,  was  born  in  1758.  He  suc- 
ceeded to  his  father's  baronetcy  in  1787,  and  died 
at  his  seat,  Stourhead  in  Wiltshire,  in  1838.  Several 
of  the  views  in  Coxe's  '  Monmouthshire '  are  after 
pictures  by  him,  but  he  is  better  known  as  the 
historian  of  Wiltshire. 

HOARE,  William,  a  portrait  painter,  was  bom 
at  Eye,  in  Suffolk,  in  1706.     He  received  a  liberal 
education,  and  was  placed  under  Grisoni,  an  Italian 
painter  residing  in  London.     He  afterwards  went     |; 
to   Rome  and   attended  the  school   of  Francesco 
Imperiale,  the  disciple  of  Carlo  Maratti,  and  aseoci-     ', 
ated  much  with   Pompeo   Batoni.     He  remained 
abroad  for  nine  years,  and  then  returned  to  London      ,^ 
with  many  copies  and  studies  of  the  works  of  the      ^ 
best    masters.      Finding    no   encouragement   for      (, 
historical  painting,  he  had  recourse  to  portraiture,      , 
which  he   practised    at    Bath  with  considerable      i 
success.    He  painted  '  Christ  bearing  His  Cross,' 
for  the  church   of  St.   Michael  there;   and  the 
'  Pool  of  Bethesda,'  for  the  Octagon  Chapel.   He 
was   eminent   as  an   artist  in  crayons,  and  pro- 
duced many  elegant  figures  in  that  manner.    On 
the  formation  of  the  Royal  Academy  he  was  chosen      5 
one  of  the  foundation  members,  and  was  a  constant 
exhibitor  for  many  years.     He  died  at  Bsjth  in      ^ 
1792.     He  etched  a  few  plates  for  his  amusement,     ^ 
among  which  are  the  following  portraits  :  ' 

Maria  "Walpole,  Duchess  of  Gloucester  ;  after  Seynolds. 

■William  Warburton,  Bishop  of  Gloucester. 

Sir  Isaac  Newton. 

Kalph  Allen,  of  Bath ;  from  the  life. 


Hoart 


PAINTERS  AND  ENGEAVEES. 


Hackert 


HOART,  Jean  Baptistb  Adquste,  a  French 
painter,  was  born  in  Paris  in  1800,  and  died  there 
in  1847.  He  was  a  pupil  of  Gudrin,  and  was  prin- 
cipally engaged  in  painting  portraits. 

HOBBBMA,  Meindert,  a  Dutch  landscape 
painter,  bom  in  1638,  possibly  at  Amsterdam,  was 
a  contemporary  of  Jacob  van  Ruisdael,  and  not 
improbably  a  pupil  of  Salomon  van  Euisdael.  The 
fact  that  such  distinguished  artists  as  Berchem, 
Lingelbach,  Van  de  Velde,  and  Wouverman 
executed  the  figures  and  animals  in  his  pictures, 
show  in  what  repute  he  was  held  by  his  fellow- 
artists,  though  the  general  public  seem  to  have 
been  very  slow  in  giving  to  him  the  position 
which  he  now  holds  among  Dutch  masters.  His 
most  frequent  scenes  are  villages  surrounded  by 
trees,  with  winding  pathways,  and  a  water-mill 
generally  forms  a  prominent  object.  The  compo- 
sition of  his  pictures  is  particularly  truthful,  and 
they  are  characterised  by  a  warm  and  golden 
tone.  No  details  of  his  life  are  known,  except 
that  he  married  in  1688,  and  died  in  poverty  at 
Amsterdam  in  1709.  Among  his  chief  pictures  are 
the  following: 

A  'Water-mill. 
A  Water-mill. 
A  Wooded  Landscape. 


Amsterdam. 

Museum. 

Antwerp. 

Galla-y. 

Berlin. 

Gallery. 

Bordeaux. 

M^iseum 

Brussels. 

Gallery. 

Darmstadt. 

Gallery. 

Dresden. 

Gallery. 
Nat.  Gall. 

Edinburgh. 

Frankfort. 

Slddel  Inst. 

Glasgow. 


Gallery. 


London. 


Bridgewater 
Gallery. 

» 
Buckingham 
Falace. 

J) 
Bulmch  Gallery, 
Orosvenor  House. 
National  Gall. 


Munich.  Gallery. 

Paris.  Zouvre. 

Petersburg.  Sermitage. 
Rotterdam. 


Vienna. 


Gallery. 


Haarlem  Wood.     1663. 
Landscape. 

Two  Wooded  Landscapes. 
Two  Landscapes. 
Entrance  into  a  Wood. 
Some  Cottages  in  a  Wood. 
A  Wooded  Landscape. 
A  Group  of  Trees. 
Landscape  in  Storm. 
Euined  Cottage. 
Wooded  Landscape. 

f  A  Water-mill. 

Two  Landscapes. 

•  A  'Wooded  Landscape. 

Landscape. 
Two  Landscapes. 
Two  Village  Scenes. 
Landscape :  showery  weather. 
The     Avenue,    Middelharnis, 

Holland. 
Euins    of    Brederode    Castle. 

1667. 
A  Village,  with  'Water-mills. 
Forest  Scene. 
Woody  Landscape. 
A  Castle  in  a  Rocky  Landscape. 

1667  (?) 
Landscape. 
Landscape. 
A  Wood.    1663. 
Landscape. 
Wooded  Landscape. 
Landscape. 


HOBDAY,  'William  Akmfield,  a  miniature  and 
portrait  painter,  was  born  at  Birmingham  in  1771. 
He  practised  in  London,  Bath,  and  Bristol,  residing 
in  the  latter  place  several  years.  Although  he  had 
considerable  private  means,  and  his  works  com- 
manded good  prices,  his  extravagance  involved 
liim  in  continual  pecuniary  difficulties  which 
culminated  in  bankruptcy.     He  died  in  1831. 

HOCH,  Geoeg  Pmedeich,  was  a  native  of  Dres- 
den, who  flourished  about  1780.  He  worked  at 
Home  and  Paris,  and  painted  battle-pieces.  He 
had  a  brother,  Johann  Jakob  Hoch,  who  painted 
portraits  and  landscapes. 


HOCHECKER,  Feanz,  a  landscape  painter,  was 
born  at  Frankfort  in  1730.  His  master  was  the 
elder  Schiitz,  and  he  died  in  1782.  In  the  Cassel 
Gallery  are  three  landscapes  by  him.  s 

HOCHLE,  Johann  Baptist,  was  born  at  Klin- 
genau,  in  the  canton  of  Aargau,  in  1754,  and 
worked  at  the  trade  of  a  potter  until  1770,  in 
which  year  he  was  sent,  through  the  influence  of 
the  Abbot  of  St.  Blasien,  to  receive  instruction  in 
art  from  the  court  painter  Morat.  He  then  spent 
some  time  at  Augsburg  under  the  historical  painter 
Hartmann,  and  in  1780  he  followed  the  advice  of 
Dorner  at  Munich  to  devote  himself  to  genre  sub- 
jects instead  of  the  ecclesiastical  branch  of  histo- 
rical painting.  After  this  he  became  court  painter 
to  the  Elector  Charles  Theodore,  and  in  1802  to  the 
Emperor  Francis,  to  whom  he  had  sent  a  picture 
of  his  coronation  at  the  Eomer  in  Frankfort.  He 
painted  for  the  Emperor  a  number  of  portraits  at 
Vienna,  where  he  died  in  1832. 

HOCHLE,  Johann  Nepomuk,  a  battle  painter, 
the  son  of  Johann  Baptist  Hochle,  was  born  at 
Munich  in  1790,  and  was  first  instructed  by  Kobell. 
In  1804  he  commenced  a  course  of  study  at  the 
Vienna  Academy,  and  then  placed  himself  under 
the  battle  painter  Duvivier.  In  1815  he  went  in 
the  suite  of  the  Emperor  Francis  to  Paris,  and  in 
1819  visited  Rome  and  Naples.  A  year  later  he 
went  to  Buda  and  Pesth  to  make  sketches  of  the 
encampment  of  cavalry  there.  He  succeeded  his 
father  as  court  painter,  and  died  at  Vienna  in  1835. 
His  best  oil  paintings  are : 

The  Battle  of  Aspern. 

The  Crossing  of  the  Vosges  by  the  Allied  Troops :  the 
Emperor  Francis  on  the  Summit.     ( Vienna  Gallery.) 

Some  Battle  Pictures.    {Lichtenstdn  Gallery.) 
He   also   executed   a  few  lithographs,  and  many 
pen-and-ink  drawings  overlaid  with  water-colours, 
among  which  are : 

Festival  in  the  Prater.    1814. 

The  Emperor  Francis  in  Venice.     1818. 

Horse-race  at  Simmering;    1817. 

HOCKEE,  Adalbert  Longin,  was  born  at  Alben- 
dorf,  in  the  province  of  Glatz,  in  1761.  In  1783 
he  attended  the  Dresden  Academy,  and  then  settled 
at  Breslau.  At  the  Silesian  Carlsruhe  he  decorated 
the  theatre,  and  at  Oels  both  the  theatre  and  the 
prince's  palace.  He  also  painted  landscapes. 
There  is  no  mention  of  the  date  of  his  death. 

HOCKERT,  Johan  Feedbik,  a  Swedish  painter, 
was  born  at  Jonkoping  in  1826.  He  commenced 
studying  jurisprudence,  but  at  the  same  time 
practised  drawing  under  Boklund,  and  at  length 
entered  the  Academy  of  Painting.  In  1846  he 
accompanied  Boklund  to  Munich,  where  he  pro- 
duced a  picture  of  '  Banditti,'  and  in  1849  travelled 
in  Lapland,  where  he  found  rich  material  for  genre 
pictures.  In  the  following  year  he  proceeded  to 
Paris,  and  entered  into  an  engagement  with  Max 
Hess  ;  and  in  1853  painted  '  Queen  Christina  giving 
orders  for  the  Execution  of  Monaldeschi,'  for  which 
work  he  received  a  stipend  which  enabled  him  to 
prolong  his  stay  in  the  French  capital.  In  the 
course  of  the  years  1857  to  1861  he  travelled  in 
Holland,  Belgium,  England,  Dalecariia,  Spain, 
Italy,  and  North  Africa.  He  died  at  Goteborg 
in  1866.     Among  his  principal  paintings  are  : 

Divine  Service  in  a  Lapland  Chapel.    1855. 

Eeturn  from  the  Chase  in  Lapland. 

Interior    of    a   Laplander's    Hut.    1857.    (Stoclcholm 

National  Museum.) 
Laplanders'  Wedding.    (The  same.) 

uoy 


Hockner 

Portraib  of  the  Bey  of  Tunis.    1861. 

Country-woman  at  her  Fireside.  {London  International 
Exhibition,  1862 ;  now  at  Stockholm.) 

Portrait  of  Charles  XV.  of  Sweden. 

The  Dead  Body  of  Charles  XI.  , 

Burning  of  the  Palace  in  Stockholm  in  1697. 

HOCKNEB,  JoHANN  aASPAR,  a  German  engraver, 
who  resided  at  Dresden  about  the  year  1655,  was 
chiefly  employed  by  the  booksellers,  for  whom  he 
engraved  a  number  of  portraits. 

HODGES,  Charles  Howard,  a  mezzotmt  en- 
graver, was  born  in  England  in  1764,  but  about 
1788  he  left  this  country  and  went  to  Holland, 
where  he  resided  until  his  death.  He  was  probably 
a  pupil  of  John  Raphael  Smith,  and  he  engraved 
after  Van  Dyck,  Metsu,  and  Rembrandt.  One  of 
these  plates  was  the  '  Shipbuilder,'  after  Rembrandt, 
in  the  Royal  Collection.  He  also  painted  portraits, 
which  were  considered  excellent  likenesses,  and 
many  eminent  men  of  the  day  sat  to  him.  He 
died  at  Amsterdam  in  1837.  The  following  are 
the  most  important  among  his  engravings  : 

George  IV.,  when  Prince  of  Wales ;  after  Sir  Joshua 


A  BIOGRAPHICAL  DICTIONARY  OF 


Hoefuagel 


Lavinia,  Countess  Spencer ;  after  the  same. 

Sir  Abraham  Hume,  Bart. ;  after  the  same. 

Lady  Dashwood  and  Child ;  after  the  same. 

Henry  Hope,  of  Amsterdam ;  after  the  same. 

Mrs.  Williams  Hope ;  after  the  same.    1788. 

John  Lee,  Attorney-General ;  after  the  same. 

Mrs.  Musters  ;  fuU-length  ;  after  the  same. 

Joshua  Sharpe ;  after  the  same. 

Eev.  Thomas  Warton,  poet  laureate  ;  after  the  same. 

William  IV.,  when   Duke  of  Clarence;  full-length; 

after  Soppner. 
Frederick,  Duke  of  York  ;  after  the  same. 
John  Wolcot  ("  Peter  Pindar  ") ;  after  Opie. 
William  Wilberforce ;  after  Rising. 
Count  Schimmelpenninok ;  after  himself.    1806. 
A  Gipsy  Boy ;  after  Sir  Joshua  Reynolds. 
The  Infant  Hercules  ;  after  the  same.     1793. 
Children  spouting  Tragedy ;  after  R.  M.  Paye.    1785.  - 
Children  spouting  Comedy ;  after  the  same.    1786. 

HODGES,  John,  a  mezzotint  engraver,  flourished 
in  the  latter  half  of  the  18tb  century,  and  died  in 
London  in  1802. 

HODGES,  William,  a  landscape  painter,  was 
born  in  London  in  1744.  His  father  was  a  black- 
smith in  Clare  Market,  Drury  Lane,  but  the  son 
was  a  scholar  of  Wilson,  and  on  leaving  his  in- 
structor was  engaged  as  a  draughtsman  to  accom- 
pany Captain  Cook  in  his  second  voyage  round 
the  world,  during  which  he  drew  many  interesting 
views  of  the  countries  discovered  or  visited  by 
that  navigator.  On  his  return  he  painted  for  the 
Admiralty  some  views  in  Otaheite  and  the  other 
islands  in  the  Pacific  Ocean.  A  few  years  after- 
wards he  went  to  India,  where  he  resided  till  1784, 
and  returned  with  a  considerable  fortune.  He  first 
exhibited  at  the  Royal  Academy  in  1776,  and  con- 
tinued to  do  so  until  1794,  having  been  elected  an 
Associate  in  1786  and  an  Academician  in  1787. 
Hodges  continued  the  exercise  of  his  talents  in 
London  for  a  few  years  after  his  return,  but  soon 
after  1790  he  engaged  in  some  commercial  concern 
in  the  west  of  England.  He  died  at  Brixham  in 
1797. 

HODGINS,  Henry,  a  scene  painter,  was  a  native 
of  Dublin.  He  was  a  pupil  of  Robert  Carver,  and 
was  for  many  years  engaged  at  Covent  Garden 
Theatre  as  principal  scene-painter.  He  died  at 
Maidstone  in  1796. 

HODGSON,  Charles,  an  artist  of  the  Norwich 
school,  who  flourished  at  the   beginning  of  the 
660 


present  century,  and  was  principally  employed  in 
teaching.  He  contributed  pictures  of  interiors  to 
the  exhibitions  of  the  Norwich  Society. 

HODGSON,  EnwARD,  a  flower  and  fruit  painter, 
was  born  at  Dublin  in  1719.  He  practised  in 
London,  and  exhibited  a  few  times  at  the  Eree 
Society  of  Artists,  and  at  the  Boyal  Academy.  He 
died  in  London  in  1794. 

HODGSON,  Thomas,  a  wood  engraver,  was  em- 
ployed by  Bewick  in  1776.  His  name  appears  on 
one  of  the  cuts  in  Hawkins's  '  History  of  Music' 

HOECGEEST,  Geeraert  van,  a  Dutch  archi- 
tectural painter,  who  is  supposed  to  have  been  a 
son  of  Joachim  Otto  Hoecgeest,  the  portrait  painter, 
was  admitted  as  a  foreigner  into  the  Guild  of  St. 
Luke  at  Delft  in  1639.  He  painted  church  interiors, 
and  was  perhaps  a  pupil  of  B.  van  Bassen,  after 
whom  he  etched  a  single  plate.  In  the  Hague 
Museum  are  two  pictures  by  him ;  one  represent- 
ing the  interior  of  the  Nieuwe  Kerk  at  Delft  (1650), 
the  other  the  monument  of  William  I.,  Prince  of 
Orange,  in  that  church  (1651).  The  Antwerp  Gal- 
lery has  another  interior  of  the  Nieuwe  Kerk  at 
Delft,  and  the  interior  of  a  Protestant  church,  and 
the  National  Gallery  of  Scotland  has  an  architectural 
subject  by  him.  Kramm  appears  to  be  in  error  in 
conjecturing  that  this  artist's  Christian  name  was 
Cornells. 

HOECGEEST,  Joachim  Otto,  a  Dutch  portrait 
painter,  who  flourished  at  the  Hague,  entered  the 
Guild  of  St.  Luke  in  1610,  and  was  dean  in 
1626,  but  he  died  before  1656.  In  the  Town 
Hall  at  the  Hague  is  a  picture  attributed  to  him 
of  the  'Two  Flags  of  the  City  Guard  of  the 
Hague.' 
HOBCKE,  Van  den.  See  Van  den  Hoecke. 
HOEFNAGEL,  Jakob,  the  son  of  Joris  Hoef- 
nagel,  was  bom  at  Frankfort  in  1575.  He  en- 
graved a  set  of  about  fifty  plates  of  beasts,  birds, 
flowers,  insects,  &c.,  from  the  designs  of  his 
father,  begun  in  1592,  when  he  was  seventeen 
years  of  age.  He  also  executed  some  plates  from 
his  own  compositions,  and  from  those  of  other 
masters.  He  was  court  painter  to  the  Emperor 
Rudolph  in  1607. 

HOEFNAGEL,  Jobis,  (orHoEFNAGELs),  who  was 
bom  at  Antwerp  in  1545,  was  the  son  of  a  diamond 
merchant,  who  intended  to  bring  him  up  to  the 
same  business,  but  afterwards  abandoned  that 
project,  and  permitted  him  to  follow  his  inclina- 
tion for  art.  Having  made  some  progress  in 
design,  he  travelled  through  Germany,  Italy,  and 
Spain,  where  he  made  drawings  from  the  ancient 
monuments  and  other  notable  objects ;  and  on  his 
return  to  Flanders  published  a  volume  of  plates, 
engraved  from  the  designs  he  had  made  during  his 
journey.  He  then  completed  his  studies  under  the 
instruction  of  Jan  Bol,  and  afterwards  applied 
himself  to  painting  animals,  plants,  and  insects. 
He  united  with  his  art  the  business  of  a  dealer  in 
jewels,  but  when  Antwerp  was  plundered  by  the 
Spaniards,  the  artist  and  his  father  were  pillaged  of 
everything  they  had,  and  took  refuge  in  Bavaria, 
where  Joris  exercised  his  talent  as  a  means  of 
subsistence.  The  Elector,  having  seen  some  of  his 
pictures,  took  him  under  his  protection,  and  he 
remained  at  Munich  eight  years,  in  the  course  of 
which  time  he  adorned  with  miniatures  a  missal, 
now  in  the  Imperial  Library  at  Vienna.  He  was 
then  employed  at  Prague  by  the  Emperor  Rudolph, 
for  whom  he  illustrated  four  books  upon  natural 
history.    Finally  he  settled  at  Vienna,  where  he 


Eoet 


PAINTERS  AND  ENGRAVERS. 


HofEiuan 


divided  his  time  between  art  and  Latin  poetry, 
and  died  in  1601. 

Joris  Hoefnagel  was  also  an  engraver.  Besides 
some  views  and  maps  for  books,  be  executed  a 
map,  or  plan,  of  Bristol,  and  in  conjunction  with 
Franz  Hogenberg  and  Simone  Novellani,  be  en- 
graved the  plates  for  Braun's  '  Civitates  Orbis 
Terrarnm,'  published  at  Cologne  in  1572 ;  and 
some  of  the  plates  for  the  '  Theatrum  Orbis  Terra- 
rum  '  of  Abraham  Ortelius,  issued  in  1570.  He  used 
several  monograms,  but  marked  some  of  his  works 
G.  Hovf. 

HOET,  Gerard,  a  Dutch  painter  and  engraver, 
was  born  at  Bommel  in  1648.  He  was  the  son  of 
a  glass-painter,  and  studied  under  his  father,  Moses 
Hoet,  and  afterwards  under  Warnard  van  Rysen 
and  Cornelis  van  Poelenborch.  In  1672,  when  the 
French  took  possession  of  Bommel,  he  was  obliged 
to  take  refuge  at  the  Hague,  where  he  was  em- 
ployed by  General  Salis  in  ornamenting  saloons,  and 
painting  ceilings  in  some  of  the  principal  hotels. 
He  painted  also  cabinet  pictures  of  historical  and 
fabulous  subjects,  which  were  much  admired.  He 
afterwards  visited  Amsterdam,  where  he  met  with 
equal  encouragement ;  and  after  passing  some  time 
in  that  city,  as  well  as  in  France,  he  was  invited  to 
Utrecht  by  M.  van  Zuylen,  one  of  the  most  zealous 
patrons  of  art  of  his  time,  for  whom  he  painted 
some  of  his  best  pictures.  He  founded  at  Utrecht, 
in  conjunction  with  H.  Schook,  a  school  of  design 
or  academy,  of  which  he  was  appointed  director ; 
and  he  conducted  it  with  great  credit  to  himself 
and  advantage  to  the  students  for  several  years. 
At  the  age  of  sixty  he  went  back  to  the  Hague, 
and  decorated  a  saloon  with  '  The  Seven  Christian 
Virtues.'  He  died  at  the  Hague  in  1733.  Among 
his  best  paintings  are : 

Amsterdam.       Gallery.    Two  Iiandscapes. 

„  „  Marriage    of    Alexander    and 

I  Boxana. 

„  „  Homage  rendered  to  Alexander. 

„  „  Family  Scene. 

Cassel.  Gallery.    The  Queen  of    Sheba   giving 

presents  to  Solomon. 
Copenhagen.       Gallery.    The  Death  of  Dido. 

1)  „  Admetus  at  the  death-bed  of 

Alcestis. 
Dresden.  Gallery.    A   Girl   seated    on   «,   ruined 

Wall. 
Glasgow.  Gallery.    The  Guilt  of  Callisto. 

Vienna.  Gallery.    Moses  striking  the  Eook. 

»  „  Bape  of  the  Sabines, 

i>  1,  Diana  in  the  Bath. 

The  following  engravings   by  him  may  also  be 
mentioned : 

The  Love  of  Paris  and  OEnone. 
The  Love  of  Aminta  and  Thestylis. 
Bacchus  brought  up  by  the  Nymphs. 
Arcadian  Landscape. 
The  Love  of  Dametus  and  Galatea. 

Gerard  Hoet  had  two  sons,  Geeard  and  Hen- 
I  DEiK  Jacob,  the  former  painted  portraits,  and  the 
latter  flowers  and  fruit  in  the  style  of  Van  Huysum. 
Gerard  died  at  the  Hague  in  1760. 

HOEY,  Jan  De.    See  De  Hoiy. 

HOPEL,  Blasids,  an  Austrian  engraver  on  metal 
and  wood,  was  bom  at  Vienna  in  1792.  He  under- 
went many  hardships  at  the  commencement  of  his 
career,  but  he  succeeded  in  attending  the  Vienna 
Academy,  and  became  a  pupil,  assistant,  and  at 
length  son-in-law  of  Quirin  Mark.  In  1820  he 
■was  appointed    professor  of    free-hand  drawing 


at  the  Neustadt  Military  Academy,  and  afterwards 
became  a  member  of  the  Academy  of  Vienna.  He 
made  some  important  discoveries  in  the  technical 
department  of  wood-engraving.  His  death  oc- 
curred at  Salzburg  in  1863.  Among  his  engravings 
are: 

Portrait  of  the  Empress  Maria  Theresa. 

The  Empress  Caroline  Augusta ;  after  Stieher. 

Other  portraits  of  the  Imperial  Family. 

The    Lamentation   over   the  Body  of    Christ;    after 

Andrea  del  Sarto. 
Portrait  of  an  old  TVoman ;  after  Waldmiiller. 

HOFEL,  JoHANN  Nepomuk,  the  elder  brother  of 
Blasius  Hofel,  was  a  painter  born  at  Pesth  in  1788. 
He  was  first  instructed  by  KrafEt,  and  in  1804 
entered  the  Vienna  Academy.  There  in  1811  he 
received  the  prize  for  historical  painting  on  ac- 
count of  his  picture  of  '.(Egeus  recognizing  his 
son  Theseus  by  the  mark  on  his  sword.'  In  1818 
he  visited  Italy,  calling  at  Munich  on  his  return. 
The  subjects  oi  his  pictures  were  partly  taken  from 
profane  history,  as  'The  Sons  of  Diagoras  of 
Rhodes  victorious  at  Olympia'  (1820),  and  partly 
from  sacred  history,  as  in  the  case  of  a  large 
number  of  altar-pieces.  He  painted  also  portraits. 
He  died  at  Vienna  in  1864. 

HOFER,  Hbinrich,  was  born  at  Eisfeld  in 
Thuringia  in  1825,  and  after  working  for  a  time 
at  porcelain  painting,  devoted  himself  to  land- 
scapes under  Carl  Millner  at  Munich  in  1850.  He 
died  in  that  city  in  1878,  having  in  the  course  of 
his  career  travelled  in  the  Tyrol,  Switzerland,  and 
Upper  Italy.     Among  his  paintings  are  cited : 

The  Wetterhorn. 

Winter  Landscape  with  Hunting  Figures. 

The  Fraueninsel  in  the  Chiemsee. 

HOFF,  JoHANN  NiKOLAUS,  a  German  engraver, 
was  born  at  Frankfort  in  1798,  and  died  in  the 
same  city  in  1873.  He  was  also  a  teacher  of  draw- 
ing, and  executed  superior  engravings  of ; 

The  Entombment ;  after  Ferugim, 

The  "Virgin  and  Child  with  St.  Catharine ;  after  Leonardo 

da  Vinci. 
The  Madonna ;  after  Vincenzo  da  San  Gimignano. 

HOFF,  KoNEAD,  a  Gennan  architectural  painter, 
was  born  at  Sohwerin  in  1816,  and  studied  at  the 
Academies  of  Dresden  and  Munich.  He  was  at 
first  a  decorator  and  scene-painter,  but  later  he 
confined  himself  to  architectural  subjects  and 
interiors.  He  died  at  Munich  in  1883.  Among 
his  numerous  works  may  be  mentioned  : 

The  Sacristy  of  a  Church.    1861. 
Staircase  in  the  Chateau  of  Schleissheim.    1862. 
The  Boom  of  a  Cardinal.    1862.     (Schwerin  Museum.) 
Santa  Maria  dei  Miracoli,  Venice,  by  moonlight.    1864. 
In  the  Cathedral  of  Torcello.     1865. 
School  of  San  Eocco,  Venice.    1867. 
Santa  Maria  della  Salute,  Venice.     1867. 
Bed-cliamber    of  the   Emperor   Charles  VII.  in   the 
Chateau  of  Schleissheim.    1867. 

HOFFMAN,  Feancis,  was  probably  a  native  of 
Germany,  but  he  resided  in  England  ^bout  the 
year  1711.  He  etched  in  a  coarse,  tasteless  style 
a  plate  containing  the  portraits  of  Henry  St.  John, 
William  Bromley,  and  Robert  Harley.  There  is 
a  portrait  of  Francis  Hoffman,  drawn  and  engraved 
by  himself,  on  which  he  is  styled  the  inventor  of 
ships  with  three  bottoms. 

HOFFMAN,  Jonas,  a  Swedish  painter,  was  born 
at  Oretto  in  Sweden  in  1731,  and  worked  chiefly  in 
Paris  and  Italy,  returning  to  his  native  land  in  1770. 
He  died  at  Stockholm  in  1780. 

661 


Hoffmann 


A  BIOGRAPHICAL  DICTIONARY  OF 


Hofland 


HOFFMANN,  Anselm  Fbanz,  a  decorative  and 
architectural  painter,  was  born  at  Mayence  in  1708, 
and  died  at  Frankfort  in  1782. 

HOFFMANN,  August,  a  German  engraver,  -was 
born  at  Elberfeld  in  1810,  and  resorted  in  1826 
to  the  Diisseldorf  Academy,  where  he  commenced 
learning  the  engraver's  art  under  Thelott.  After 
this  he  made  further  progress  under  Keller,  and 
produced  three  plates  for  the  Art  Union  of  the  Rhine 
Provinces  and  Westphalia,  viz.,  '  The  Church-goer,' 
after  L.  Blanc  (1835),  'The  Abduction,'  after 
Lessing  (1836),  and  'Christ  in  the  Lap  of  the 
Virgin,'  after  Schadow.  After  this  he  engraved 
Lessing's  '  Preaching  of  the  Hussites '  for  Ra- 
czynski's  '  Histoire  de  I'Art  moderne  en  Allemagne,' 
and  in  1838  proceeded  to  Munich,  Berlin,  and 
Paris.  Hitherto  he  had  pursued  the  half-finished 
style  of  engraving,  but  he  now  turned  to  that  of 
complete  execution.  He  died  at  Berlin  in  1872. 
The  following  are  his  principal  plates  : 

The  Madonna  and  Child  with  St.  Anne ;   after  GiuHo 

Romano.     1851. 
The  Madonna  of  the  Cymbal ;  after  the  same. 
The  Flower  Girl ;  after  Magnus.     1852. 
Macbeth  arming  for  his  last  Battle.     'J 
Hubert  attempting  to  put  out  Prince  |  after  Kaulhach, 

Arthur's  Ej>es.  \for  the  '  Shake- 

Death  of  King  John  in  the  Garden  of    speare  Gallery.' 

Swinstead  Abbey.  J 

Charlemagne ;  after  Kaulbach's  cartoon. 
Joseph  making  himself  known  to  his  Brethren ;  after 

Cornelius. 
The  Madonna,  with  St,  Jerome  and  St.  Francis ;  after 

Baphael. 

HOFFMANN,  GaoEa  Andreas,  who  was  born  at 
Burgbernheim  in  1754,  was  a  painter  who  was  deaf 
and  dumb,  but  who  learnt  drawing  at  the  Leipsio 
Academy  during  his  stay  in  the  Heineck  Institute, 
and  copied  oil  paintings  under  the  guidance  of 
Professor  Casanova  at  Dresden,  in  particular  the 
'Notte '  of  Correggio.  In  1799  he  sent  from  Rome 
copies  from  Raphfiel  for  exhibition  at  Berlin.  He 
was  also  a  good  portrait  painter.  He  died  about 
1808. 

HOFFMANN,  Hans,  was  a  painter  of  Nurem- 
berg, who  flourished  from  1548  till  his  death  at 
Vienna  in  1600.  He  entered  the  service  of  the 
Emperor  Rudolph  at  Prague  in  1584.  He  was 
a  good  imitator  of  Diirer,  and  worked  best  in 
water-colours.  He  has  left  a  portrait  of  Hans 
Sachs,  and  was  also  a  painter  of  flowers  and 
insects. 

HOFFMANN,  Johann  Daniel,  a  German  painter, 
was  born  at  Wiesbaden  in  1729,  and  died  in  1777. 
He  resided  chiefly  at  Frankfort,  where  he  painted 
portraits  and  historical  pictures. 

HOFFMANN,  Johann  Leonhaed,  a  German 
painter,  was  born  at  Neustadt  in  1740.  He  entered 
the  University  of  Erlangen,  where  in  1799  he 
became  drawing  master.  He  travelled  through 
Germany,  Poland,  Russia,  and  Italy,  and  painted 
principally  landscapes  and  miniatures.  He  died 
about  181*. 

HOFFMANN,  Joseph,  the  son  and  pupil  o£ 
Valentin  HofEmann,  was  born  at  Cologne  in  1764. 
After  leaving  bis  father  he  studied  at  Diisseldorf 
under  Krahe  and  Langer,  receiving  the  prize  for 
decorative  painting,  and  in  1793-4  he  painted 
friezes  in  the  choir  of  the  Martinskirche.  In 
1797  he  went  for  study  to  Paris,  and  in  1800 
received,  in  conjunction  with  August  Nahl,  one 
of  the  prizes  ofEered  by  Goethe  for  a  painting  of 
•  The  Theft  of  the  Horses  of  Rhesus  by  Ulysses  and 

662 


Diomedes';  and  again  in  the  following  year  for 
'Achilles  at  the  Court  of  Lycomedes  recognized  by 
Ulysses  in  his  Female  Disguise.'  In  1805  he  won 
the  same  prize  with  '  Hercules  cleansing  the  Stables 
of  Augeas.'  One  of  hia  happiest  compositions  was 
a  sketch  representing  the  Emperor  Napoleon  in 
intercourse  with  his  officers.  In  the  audience 
chamber  of  the  castle  at  Weimar  he  painted  on 
the  ceiling  '  Diana  with  her  Attendants  upon  the 
Chase.'     He  died  at  Cologne  in  1812. 

HOFFMANN,  Nikolaus,  who  was  bom  at 
Darmstadt  in  1740,  and  died  in  1822,  is  repre- 
sented in  the  Gallery  of  that  city  by  two  pictures ; 
a  '  Schoolmistress  teaching  little  Girls,'  and  a 
'  Schoolmaster  teaching  Boys.'  He  was  instructed 
by  Seekatz,  whose  style  he  followed  so  closely  that 
their  respective  pictures  could  not  be  distinguished. 

HOFFMANN,  Samuel,  was  bom  at  Zurich  in 
1592,  and  learned  the  elements  of  design  under 
Gotthard  Ringgli.  The  celebrity  of  the  school  of 
Rubens  induced  him  to  visit  Antwerp,  and  place 
himself  under  that  painter,  and  such  was  his  pro- 
gress, that  he  became  eminent  as  a  painter  of 
history  and  portraits,  even  at  a  period  when 
Antwerp  was  the  residence  of  so  many  renowned 
artists,  and  on  his  return  to  Switzerland  he  met  with 
extensive  employment,  particularly  in  portraits. 
He  painted  also  fruit,  game,  and  still-life.  He 
died  at  Frankfort  in  1648.  Among  his  paintings 
are  the  following : 

Darmstadt.       Gallery.  Pyramus  and  Thisbe. 

„  „  Portrait  of  a  Jeweller. 

Frankfort.  Homer.  The  Birth  of  Erichthonius. 

„  Stddel  Inst.  Female  Portrait. 

Zurich.  Museum.  The  Tribute  Money. 

HOFLAND,  Thomas  Christopher,  a  landscape 
painter,  was  born  at  Worksop,  in  Nottinghamshire, 
in  1777,  and  he  received  some  instruction  in  art  from 
John  Rathbone,  who  was  then  considered  a  good 
landscape  painter.  After  spending  some  years  at 
Derby  as  a  teacher  of  drawing,  he  visited  London 
for  the  purpose  of  copying  pictures  at  the  British 
Institution.  Finding  that  his  copies  sold,  he  de- 
termined on  settling  in  London,  which  he  did  in 
1811.  In  1814  the  governors  of  the  British  Insti- 
tution awarded  him  one  hundred  guineas  for  the 
best  landscape,  '  A  Storm  ofE  the  Coast  of  Soar- 
borough,'  which  was  purchased  by  the  Marquis  of 
Stafford.  In  1815  he  removed  to  Richmond,  in 
1817  to  Twickenham,  and  in  1823  back  to  London. 
He  made  many  copies  of  Claude,  Poussin,  Wilson, 
and  Gainsborough,  and  painted  lake  scenery,  which 
was  considered  excellent.  He  was  employed  for 
some  time  at  White  Knights  by  the  Duke  Bf  Marl- 
borough, to  paint  a  series  of  pictures  to  illustrate  a 
description  of  that  place  ;  but  it  appears  that  the 
result  was  greatly  injurious  to  the  artist,  and  dis- 
honourable to  the  peer.  In  1839  he  wrote  'The 
British  Angler's  Manual,'  and  immediately  after- 
wards he  visited  Italy,  under  the  patronage  of  the 
Earl  of  Egremont,  and  made  many  sketches  of  the 
beautiful  scenery  of  Naples,  Castellamare,  Pompeii, 
Rome,  Tivoli,  and  Florence.  There  he  was  attacked 
by  fever,  which  obliged  him,  after  five  months 
absence,  to  return  to  England  ;  and  though  he  rallied 
for  a  time,  he  died  at  Leamington  in  1843.  He  was 
one  of  the  originators  of  the  Artists'  Fund ;  and 
also,  in  conjunction  with  Linton,  Glover,  Holmes, 
and  others,  projected  and  carried  into  efEect  the 
building  of  the  Gallery  of  the  Society  of  British 
Artists  in  Suft'olk  Street.     There  is  by  him  in  the 


Hoflaud 


PAINTERS  AND  ENGRAVERS. 


Hogarth 


South  Kensington  Museum  a  water-colour  drawing 
of  Hampstead  Heath.' 

HOFLAND,  Thomas  Richard,  a  landscape  painter 
in  water-colours,  the  son  of  T.  C.  Hofland,  was 
born  about  1816.  He  was  for  some  years  a  teacher 
of  drawing,  and  exhibited  a  very  few  works  at  the 
Boyal  Academy.     He  died  in  1876. 

HOFMAN,  PlETEB,  a  Dutch  painter,  was  born 
at  Dordrecht  in  1755,  and  died  in  1837.  He  was  a 
pupU  of  Ponse,  and  painted  landscapes,  ornaments, 
fruit,  &c. 

HOFMANN,  JoHANN  Benedikt,  was  a  painter  of 
the  first  half  of  the  18th  century,  who  was  born  at 
Sorau  in  Lusatia,  and  who  executed  a  number  of 
ceiling  pieces  in  the  French  style  of  his  day,  as 
well  as  some  good  portraits.  He  died  at  Dantzic 
in  1745. 

HOFMANS,  PlETEB,  surnamed  Janitzee,  a 
painter  of  battle-pieces,  who  flourished  about  1660, 
was  a  native  of  Antwerp,  who  was  banished  from 
his  own  country,  and  travelled  in  Turkey  and  Italy. 
When  he  was  in  Italy  he  became  the  pupil  of 
Bourguignon,  and  was  known  by  the  name  of 
'  Giannizzero.' 

HOFNAS,    JOHANN     WlLHELM,     (or     HOFNASS,) 

was  born  at  Ahaus,  in  the  bishopric  of  Miinster,  in 
1727,  In  his  sixteenth  year  he  was  apprenticed 
to  a  glass-painter  of  Westphalia,  but  in  175.B  he 
went  to  Rome  and  studied  under  Mengs.  After 
seven  years  in  that  city  he  returned  home,  and 
was  appointed  court  painter  to  the  Elector  Pala- 
tine, and  professor  at  the  Mannheim  Academy.  He 
died  in  1795,  having  declined  in  reputation  in  his 
later  years.  He  has  left  many  portraits  and  family 
groups  in  Mannheim,  Mayence,  &c. 

HOFNAS,  LoRENZ,  (or  Hofnass,)  the  son  of 
Johann  Wilhelm  Hofnas,  was  born  at  Mannheim 
in  1772,  and  died  at  Ratisbon  in  1837.  He 
excelled  principally  in  miniature  painting  and 
sepia  drawing,  and  bis  productions  in  the  latter 
style  were  much  sought  after.  His  drawings  were 
principally  of  the  saints. 

HOGARTH,  William,  the  eminent  painter  and 
engraver,  was  born  in  London,  in  Ship  Court,  Old 
Bailey,  on  the  10th  of  December,  1697.  He  was 
the  younger  son  of  Richard  Hogarth,  who  was 
educated  at  St.  Bees,  and  afterwards  kept  a  school 
in  his  native  county  of  Westmoreland ;  but,  as  this 
proved  unsuccessful,  he  removed  to  London,  where 
he  resumed  his  profession,  adding  to  it  that  of  a 
literary  hack  and  corrector  of  the  press.  From  his 
earliest  days  William  Hogarth  had  a  predilec- 
tion for  art,  as  he  himself  says,  and  so  at  his  own 
request  he  was  apprenticed  about  the  year  1712 
to  Elhs  Gamble,  a  silversmith,  who  kept  a  shop 
in  Cranbourne  Alley,  Leicester  Fields.  On  the  ex- 
piration of  his  apprenticeship  in  1718  he  turned 
Ms  attention  to  engraving.  His  first  employment 
seems  to  have  been  the  engraving  of  arms  and 
shop  bills,  and  his  earliest  known  work  was  his 
own  card,  bordered  with  two  figures  and  two 
Cupids,  and  inscribed  'W.  Hogarth,  Engraver, 
Aprill  y'  23'",  1720.'  From  this  he  passed  to 
prints  for  books,  among  the  earliest  of  which 
were  six  engravings  for  King's  '  History  of  the 
Heathen  Gods.'  In  1724  was  published  'Bur- 
lington Gate,'  which,  as  it  unites  a  satire  on  the 
passion  for  masquerades  with  a  burlesque  of  Kent, 
thearchitect,  is  supposed  by  Ireland  to  have  been 
a  kind  of  admission  ticket  to  Sir  James  Thornhill's 
Academy  in  Covent  Garden,  which  was  opened  in 
that  year,  and  which  Hogarth  used  to  attend.     In 


1726  he  first  became  known  in  his  profession  by 
his  plates  for  Butler's  '  Hudibras ; '  and  in  1727-8 
he  won  an  action  against  a  tapestry  worker  named 
Morris,  who  refused  to  pay  him  for  a  design  on 
canvas  for  the  'Element  of  Earth,'  which  he  had 
ordered,  on  the  ground  that  the  designer  was  "an 
engraver  and  no  painter."  After  this  date  we  find 
Hogarth  turning  his  attention  to  oil  painting,  and 
producing  small  conversation  pieces.  Among  his 
works  in  this  line  up  to  the  year  1733  were  'The 
Wanstead  Assembly,'  a  scene  from  Gay's '  Beggar's 
Opera,'  a  scene  from  Dryden's  'Indian  Emperor,' 
'  The  Committee  of  the  House  of  Commons  examin- 
ing Bambridge,'  and  'The  Politician.'  In  1729  he 
ran  away  with  Sir  James  Thornhill's  only  daughter, 
and  they  were  married  in  Paddington  Church.  In 
1733  he  removed  to  a  house  in  Leicester  Fields, 
and  in  1734  he  established  his  reputation  as  a 
painter  of  domestic  history  by  the  series  of  'A 
Harlot's  Progress.'  This  work,  which  is  said  to 
have  appeased  his  wife's  father,  was  quickly 
followed  by  'A  Rake's  Progress.'  Owing  to 
piratical  imitations  of  these  two  works,  he  obtained 
in  1735  an  Act  which  vested  in  artists  an  ex- 
clusive right  in  their  own  designs,  and  restrained 
the  reproduction  of  them  without  consent.  In 
1736  he  painted  on  the  staircase  of  St.  Bartholo- 
mew's Hospital  '  The  Good  Samaritan '  and  the 
'  Pool  of  Bethesda,'  and  engraved  'The  Company 
of  Undertakers,  or  Consultation  of  Physicians,' 
and  the  'Scholars  at  a  Lecture.'  In  1738  were 
issued  the  engravings  of  the  '  Four  Times  of  the 
Day,'  and  '  Strolling  Actresses  dressing  in  a  Barn,' 
as  well  as  the  plates  to  Jarvis's  translation  of 
'Don  Quixote.'  To  1740  and  1741  belong  'A 
Distrest  Poet'  and  'The  Enraged  Musician,'  the 
former  having  been  issued  first  in  1736,  and  to  1742 
belongs  'Taste  in  High  Life.'  In  1745  Hogarth 
advertised  his  pictures  for  sale  by  a  kind  of  auction, 
to  which  the  ticket  of  admission  was  the  etching 
known  as  '  The  Battle  of  the  Pictures.'  In  the  same 
year  the  six  pictures  of  'The  Marriage  a  la  Mode'  , 
were  completed  and  the  engravings  issued.  In  this 
work  Hogarth's  art  culminated,  and  nowhere  can 
there  be  found  a  finer  example  of  his  own  peculiar 
style.  These  pictures  were  bought  at  one  of 
Hogarth's  auctions  by  Mr.  Lane  of  Hillingdon, 
near  Uxbridge,  for,  £126.  In  1797  they  were 
purchased  at  Christie's  for  £1381  by  Mr.  Anger- 
stein,  with  whose  collection  they  passed  into  the 
National  Gallery.  In  1746  he  painted  the  portrait 
of  Simon,  Lord  Lovat,  who  was  executed  in  that 
year.  To  1747  belong  'The  Stage  Coach,  or 
Country  Inn  Yard,'  and  the  series  called  '  Industry 
and  Idleness.'  In  1748  took  place  the  famous 
journey  to  France,  an  account  of  which  was  written 
by  one  of  the  party,  and  from  which  resulted  '  Thei 
Roast  Beef  of  Old  England,'  published  in  1749,  to 
which  year  belongs  also  '  The  March  to  Finchley.' 
'  Beer  Street '  and  '  Gin  Lane,'  '  The  Four  Stages  of 
Cruelty,'  '  Paul  before  Felix,'  and  '  Moses  brought 
to  Pharaoh's  daughter,'  belong  to  175f  and  1752, 
after  which  time  he  produced  nothing  of  note 
except  the  four  'Election'  pictures,  now  in  the 
Soane  Museum,  Lincoln's  Inn  Fields.  In  his 
later  years  Hogarth  took  to  writing.  His  book, 
'The  Analysis  of  Beauty,'  had  the  following 
origin.  In  his  own  portrait,  painted  in  1745,  he 
drew  a  serpentine  line  on  a  palette  in  the  corner, 
with  the  words,  "  The  line  of  beauty  and  grace," 
which  gave  rise  to  so  much  discussion  that  this 
book  was  written  in  explanation,  its  purpose  being 

663 


Hogarth 


A   BIOGRAPHICAL  DICTIONARY  OP 


Hogarth 


to  fix  the  fluctuating  ideas  of  taste  by  establishing 
a  standard  of  beauty.  In  1756  he  painted  an 
altar-piece  for  St.  Mary  RedclifEe  at  Bristol,  -which 
is  now  in  the  Clifton  Museum,  and  in  1757  he 
was  appointed  serjeant-painter  to  the  king,  in 
succession  to  his  brother-in-law,  John  Thornhill. 
In  the  same  year  he  announced  his  determination 
to  devote  himself  to  portrait  painting,  which,  how- 
ever, in  1759-60  he  appears  to  have  abandoned 
in  favour  of  the  graver.  Before  doing  so,  he  was 
requested  by  Lord  Charlemont  to  paint  one  more 
picture.  The  subject  was  to  be  chosen  by  the 
artist,  and  the  result  was  the  picture  known  as 
'  The  Lady's  Last  Stake,'  or  '  Picquet,'  or  '  Virtue 
in  Danger.'  This  picture  was  so  much  admired 
that,  at  the  request  of  Sir  Richard  Grosvenor,  he 
undertook  another  on  the  same  terms,  and  the 
subject  selected  was  Boccaccio's  '  Sigismonda,' 
mourning  over  the  heart  of  Guiscardo.  When 
it  was  finished,  Sir  Richard  Grosvenor  declined  to 
take  it,  and  the  picture  was  left  on  the  artist's 
hands.  It  was  sold  after  Mrs.  Hogarth's  death 
to  Alderman  Boydell  for  fifty-six  guineas,  and 
formed  one  of  the  prizes  of  the  Shakespeare  Gallery. 
It  eventually  passed  into  the  possession  of  Mr. 
Anderdon,  by  whom  it  was  bequeathed  to  the 
National  Gallery.  In  1762  he  issued  the  plate 
known  as  '  Credulity,  Superstition,  and  Fanaticism,' 
which  was  an  adaptation  of  a  previous  design  en- 
titled '  IJnthusiasm  ; '  and  in  the  same  year,  on  the 
accession  to  power  of  Lord  Bute,  he  published  '  The 
Times,  Plate  I.,'  which  drew  down  upon  him  the 
anger  of  Wilkes,  the  editor  of  the  '  North  Briton,' 
and  in  the  seventeenth  number  of  that  paper  he 
was  assailed  both  as  a  man  and  an  artist.  ^  In  the 
following  year  Hogarth  retaliated  by  a  portrait  of 
Wilkes,  and  the  poet  Churchill  published  his  attack. 
This  was  answered  by  a  print  entitled  '  The  Bruiser.' 
The  end  was  now  drawing  near,  and  '  The  Bathos,' 
ppblished  in  1764,  was  Hogarth's  last  published 
work.  On  the  26th  of  October  in  that  year  he  was 
removed  from  the  house  at  Chiswick,  which  he 
had  bought  for  use  in  the  summer  months,  to  his 
house  in  Lincoln's  Inn  Fields,  but  he  died  the 
same  night,  October  26th,  1764.  He  was  buried 
in  Chiswick  churchyard,  where  a  monument  was 
erected  by  his  friends,  and  the  epitaph  on  it  written 
by  Garriok.     His  principal  pictures  are : 

Coupia-y  in  tlje  Olden  Time. 

The  Shrimp  Girl.    (National  Gallery.) 

The  Marriage  k  la  Mode.    A  series  of   six  pictures. 

{Tlie  same^ 
A  Family  Group  (William  Strode,  Lady  Anne  Strode, 

&o.).    (The  same.) 
Sigismonda  mourning  over  the  heart  of    Guiscardo. 

1759.    (The  same.) 
Taste  in  High  Life.    (Eeyal  Society) 
Paul  hefcre  Felix.     (Lincoln's  Inn.) 
The  G3.t,e  of  Calais. 
The  Lady's  Last  Stake. 
Altar-piece  of  St.  Mary  Eedchffe.     1756.     (Fine  Arts' 

Society, .Clifton.) 
View  of  the  Green  Park.    1760.    (Earl  Spencer.) 
Falstaff  reviewing  his  Eecruits. 
The  Committee  of  the  House  of  Commons  examining 

Bambridge.     (Earl  of  Carlisle.) 
Three  Scenes  from  the  '  Beggar's  Opera.' 
Scene  from  the  '  Indian  Emperor.'     (Holland  House.) 
Before  and  After.    Two  pictures. 

Southwark  Fair.     (Destroyed  ly  fire  at  Hafod  in  18D7.) 
A  Harlot's  Progress.     (Six  pictures,  five  of  which  were 

burnt  at  FonthiU  in  1755 :  the  sixth  belonijs  to  the  Earl 

of  Wemyss.) 
A  Midnight  Modern  Conversation. 
A  Woman  swearing  a  Child  to  a  grave  Citizeni 
664 


A  Eake's  Progress.     Eight  pictures.    (Soane  Museum.) 

The  Election  Series.    Four  Pictures.     (The  same.) 

A  pistressed  poet.    (Grosvenor  House.) 

The  Pool  of  Bethesda.    (St.  Bartholomew's  Hospital.) 

The  Good  Samaritan.     (The  same.) 

Strolling  Actresses  dressing  in  a  Bam.    (Destroyed  ly 

fire  at  Littleton  House,  near  Staines,  in  1874.) 
The  Four  Times  of  the  Day. 
The  March  to  Finchley.     (Fourfdling  Hospital.) 
Moses  brought  to  Pharaoh's  Daughter.    (The  same.) 
The  Enraged  Musician. 

PORTRAITS. 

Lavinia  Fenton,  Duchess  of  Bolton. 

The  same,  as  '  PoUy  Peaehum '  in  the  '  Beggar's  Opera.' 

(National  Gallery.) 
His  own  Portrait.     1745.     (The  same) 
Portrait  of  his  Sister,  Mary  Hogarth.    1746.    (The  same.) 
Archbishop  Herring.     (Lambeth  Palace.) 
James  Thomson,  poet.    (Sir  J.  M.  Stirling-Maxwell, 

Bart.) 
Miss  Bich. 

Dr.  Arnold  of  Ashby  Lodge.    (Fitzipilliarn  Ifuseum.) 
Miss  Arnold.     (The  same,) 
Mrs.  Elizabeth  Hoadly. 
Sir  C.  Hawkins.    (Royal  College  of  Surgeons.) 
Peg  Woffington.     (Marquis  of  Lansdowne.) 
William,  fifth  Duke  of  Devonshire.     (Lord  Chesham.) 
Hon.  J.  Hamilton.     (Duke  of  Abercorn.) 
Martin  Foikes.     (Royal  Society.) 
Simon,  Lord  Lovat.     (JVational  Portrait  Gallery.) 
Hogarth  painting  the  Comic  Muse.     (ITie  same.) 
Garrick  in  the  character  of  Eichard  III.     (Earl  of 

Feversham.) 
David  Garrick  and  his  Wife.     (  Windsor  Castle.) 
Mrs.  Garrick. 

James  Gibbs,  Architect.    (St.  Martin's-inrthe-Fields.) 
Sarah  Malcolm. 
Captain  Coram.    (Foundling  ffospital.) 

The  following  are  Hogarth's  principal  en- 
gravings : 

The  Eape  of  the  Loclt. 

Shop  Card.  'W.  Hogarth,  Engraver,  Aprill  y*  2Srd 
1720.' 

An  Emblematical  Print  on  the  South  Sea. 

The  Lottery. 

Eighteen  plates  for  'The  Travels  of  Anbry  de  la 
Motraye.' 

Some  of  the  principal  Inhabitants  of  the  Moon,  or 
Eoyalty,  Episcopacy,  and  Law. 

Seven  plates  for  Briscoe's  Apuleius. 

Masquerades  and  Operas.    Burlington  Gate.    J.724. 

Frontispiece  to  Horneck's  '  Happy  Ascetick.' 

Five  prints  for  the  translation  of  '  Cassandra.' 

Fifteen  head-pieces  for  Beaver's  '  Eoman  Military  Pun- 
ishments.' 

A  Satire  on  Kent's  altar-piece  in  St.  Clement  Danes, 
Westminster. 

Frontispiece  to  Amherst's '  Terrse  FUias.' 

Twenty-six  figures  for  Blackwell's  '  Compendium  of 
Military  Discipline.' 

Twelve  prints  for  Butler's  '  Hudibras.'    1726. 

Seventeen  small  prints  for  the  same. 

Music  introduced  to  Apollo  by  Minerva. 

Masquerade  Ticket. 

Head  of  Hesiod  for  Cook's  Translation. 

King  Henry  VIII.  and  Anne  Boleyn. 

Frontispiece  to  '  Perseus  and  Andromeda.' 

Another  print  of  the  same.    '  Perseus  descending.' 

Two  plates  to  Moliere. 

Taste,  or  The  Man  of  Taste,  or  Burlington  Gate. 

Sarah  Malcolm. 

Boys  peeping  at  Nature.  (Admission  Ticket  for  'A 
Parlot's  Progress.') 

A  Chorus  of  Singers.  (Ticket  for  '  A  Midnight  Modern 
Conversation.') 

The  Laughing  Audience.  (Ticket  for  'A  Eake's  Pro- 
gress '  ^nd  '  Southwark  Fair.') 

A  Harlot's  Progress.    Six  plates.    1734. 

A  Midnight  Modern  Conversation. 

A  Rake's  Progress.    Eight  plates.    1735. 

Southwark  Fair.     1733.    Published  1735. 

A  Distrest  Poet.    1736. 


Hogarth 


PAINTERS   AND  ENGRAVERS.' 


Hogenberg 


The  Company  of  Unclertakers.    1733. 

Ticket  for  Fielding's  Benefit  in  '  Pasquin,' 

The  Sleeping  Congfegation. 

Before  and  After :  two  plates. 

Scholars  at  a  Lecture.    1736. 

^ueas  in  a  Storm. 

The  Four  Times  of  the  Day.    Engraved  hy  Hoqarth  and 
B.  Baron.    1738. 

Strolling  Actresses  dressing  in  a  Bam.     1738. 

Eight  plates  to  Jarvis's  '  Don  Quixote.'    1738. 

Sancho's  Feast. 

The  Enraged  Musician.     1741, 

Martin  Folkes,  Esquire. 

The  Mystery  of  Masonry  brought  to  light  by  y«  Gor- 
magons. 

Characters  and  Caricatures,    (Subscription   Ticket  to 
the  '  Marriage  a  la  Mode.') 

Battle  of  the  Pictures.  (Auction  Ticket  for  the  '  Eake's 

Progress.')    1745. 
Mask  and  Palette.    (Subscription  Ticket  to  'Garrick 

in  Kichard  III.') 
Simon,  Lord  Lovat. 
Arms,  Bagpipes,  &c.  (Subscription  Ticket  to  the  '  March 

to  Finohley.') 
Industry  and  Idleness.    Twelve  plates. 
The  Stage  Coach. 
Mr.  Eanby's  House  at  Ohiswick. 
■William  Hogarth.    1749. 
Beer  Street. 
Grin  Lane. 

The  Four  Stages  of  Cruelty. 
Paul  before  Felix.    (Burlesqued.) 
Columbus  breaking  the  Egg.    (Subscription  Ticket  to 

the  '  Analysis  of  Beauty.') 
Two  plates  for  the  '  Analysis  of  Beauty.' 
Four  prints  of  an  Election. 

Crowns,  Mitres,  &c.    (Subscription  Ticket  to  the  '  Elec- 
tion Entertainment.') 
France  and  England,  or  The  Invasion. 
The  Bench. 
The  Cock.Pit. 

The  Five  Orders  of  Periwigs,  &p. 
Time  smoking  ^   Picture.      (Subspription  Ticket    to 

'  Sigismonda.') 
Credulity,  Superstition,  and  Fanaticism.     1762. 
The  Times :  two  plates.    1762. 
John  "Wilkes,  Esq.    1763. 
The  Bruiser.    C.  Churchill,  etc. 
The  Bathos.    1764. 

BIBLIOGRAPHY, 

[Emguet^  Lettres  de  Monsieur  *  *  4  un  de  ses  Amis 

k  Paris  pour  lui  expliquer  les  Estampes  de  Monsieur 

Hogarth.     Londres,  1743. 
Tnisler,  Be\>.  John.    Hogarth  moralized.   London,  1768. 
WalpoU,  Horace.    Anecdotes  of  Painting  in  England, 

ed:  'Womum.  Vol.  III.  London,  1849. 
Dobson,  Austin.  Hogarth.  London,  1879. 
Brown,  H.  D.    Hogarth  and  bis  Pictures.    A  Lecture, 

1860. 
Nichols,  John.     Biographical  Anecdotes    of    William 

Hogarth.     London,  1781. 
Nichols,  John,  and  George  Steemens.  The  Genuine  "Works 

of  "William  Hogarth.    3  vols.    London,  1808—17. 
An  Explanation  of   several  of  Mr.  Hogarth's  Prints. 

London,  J.785. 
Ireland,  John.    Hogarth  illustrated.    3  vols.    London, 

1791—98. 
Ireland,  Samuel.     Graphic  Illustrations  of  Hogarth. 

2  vols.    London,  1794—99. 
lAchtenherg,  Georu  Christoph.     Ausfiihrliche  Erklarung 

der  Hogarthiscnen  Kupferstiche.    Gottingen,  1794 — 

1816. 
Cook,  Thomas.    Anecdotes  of  the  celebrated  "William 

Hogarth.    London,  1803. 
Cunningham,    Allan,      Lives    of     the    most    eminent 

British  Painters.    Vol.  I.     London,  1829. 
Nichols,  John  Bowyeac.    Anecdotes  of  "William  Hogarth. 

London, 1833. 
'Redgrave,  .V.  and  B.    A  Century  of  Painters  of  the 

English  School.  Vol.  I.  London,  1866. 
Stephens,  F.   G.     Catalogue  of  Prints   and    Drawings 

in  the  British  Museum.     Division  I.    Political  and 

Personal  Satires.    4  Vols.    London,  1870—83. 


Mrs.  Oliphant.    Historical  Sketches  of  the  Eeign  of 

George  II.    Vol.  II.    London,  1869. 
Sala,  G.  A.    "William  Hogarth.    Essays  on  the  Man, 

the  "Work,  and  the  Tjme.    London,  1866. 
lamh,  C.    Essay  on  the  Genius  of  Hogarth. 

HOGENBEKG,  Abraham,  was  probably  the 
son  of  Franz  Hogenberg,  whoni  he  assisted  in 
the  plates  he  engraved  for  the  'Theatrum  Orbis 
Terrarura'  of  Abraham  Ortelius.  He  engraved 
some  frontispieces  for  the  booksellers;  among 
others,  one  for  a  'Commentary  on  the  Book  of 
Kings,'  published  at  Cologne  in  1635.  He  was  at 
that  city  in  1690,  and  was  still  living  in  1653. 
There  is  by  him  a  portrait  of  "Wolfgang  "William, 
Duke  of  Bavaria,  on  horseback,  after  Geldorp; 
and  he  was  probably  the  engraver  of  a  '  Hercules 
and  Omphale '  after  B.  Spranger,  which  is  marked 
with  A.  and  a  helmet. 

HOGENBERG,  Fkanz,  who  was  probably  the 
son  of  Hans  Hogenberg  the  elder,  was  bom  at 
Mechlin,  and  came  to  England  with  his  brother 
Remigius  about  1560,  unless  the  date  on  his  por- 
trait of  Queen  Mary  proves  him  to  have  come 
earlier.  About  1577  he  settled  at  Cologne,  where 
he  produced  many  spirited  plates  representing  the 
events  of _  the  16th  century,  in  which  the  oppress., 
ors  of  his  country  are  not  spared.  He  was  a 
Protestant,  and  was  made  a  citizen  of  Hamburg 
in  1585 :  he  visited  Copenhagen  in  1588,  and  died 
at  Cologne  in  1590.  The  following  engravings 
also  are  by  him : 

Portrait  of  Mary  I.,  Queen  of  England;  inscribed  Veritas 
temporis  filia.     1555. 

The  Maps  of  Gaul  and  Belgium,  in  Saxton's  Atlas. 

Part  of  the  views  in  Braun's  '  Civitates  Orbis  Terra- 
rum,'  printed  at  Cologne  in  1572 ;  engraved  in  con- 
junction with  Simon  Novellanus  and  Joris  Hoefnagel. 

The  Funeral  of  Frederick  II.,  King  of  Denmark ;  dated 
1592 ;  engraved  in  conjunction  vrith  Simon  Novellanus  ; 
in  twenty-one  plates. 

Sixteen  plates  for  the  'Ees  Gestra'  of  Frederick  II.  of 
Denmark.    1589. 

An  emblematical  print  of  Charity. 

Portrait  of  Gerhard  Mercator. 

Portrait  of  Gebhard  Truchsess,  Archbishop  and  Elector 
of  Cologne. 

HOGENBERG,  Hans,  the  elder,  a  Flemish  painter 
and  engraver,  was  born  probably  at  Mechlin  in 
1500.  After  learning  the  rudiments  of  his  art  he 
travelled  in  Italy,  and  then  returned  to  Mechlin, 
where  he  painted  some  scenes  from  the  history  of 
Joshua  and  Caleb  in  the  church  of  St.  Romuald. 
He  painted  also  a  well-known  frieze  representing 
the '  Entry  of  the  Emperor  Charles  Y.  into  Bologna,' 
but  all  his  works  have  perished.  He  died  at 
Mechlin  in  1544. 

HOGENBERG,  Hans,  the  younger,  was  a  Flemish 
painter  and  engraver,  who  died  about  1595.  His 
works  were  long  confounded  with  those  of  Hans 
Hogenberg  the  elder.  There  is  by  him  a  set  of  six 
subjects  from  the  '  History  of  Tobit,'  dated  1694. 

HOGENBERG,  Johann,  was  a  relation  of  Abra- 
ham Hogenberg,  and  flourished  at  Cologne  about 
the  year  1600.  He  engraved  several  portraits,  and 
some  historical  subjects,  executed  in  a  clear,  neat 
style,  resembling  that  of  Crispyn  van  de  Passe- 
though  much  inferior.  Among  other  plates  the 
following  are  by  him  : 

Gulielmus  Fabrieius. 

Jobann  Adam,  Electoral  Prince  Archbishop  of  Mayeuce. 

Lothar,  Electoral  Archbishop  of  Treves. 

Georg  Eadzivil,  Cardinal,  Bishop  of  Cracow. 

The  Scourging  of  Christ ;  after  M.  De  Vos. 

Twelve  plates  of  Birds  and  other  Animals. 

6C5 


Hogenljerg 


A   BIOGKAPHICAL  DICTIONAEy  OF 


Hoin. 


HOGEKBERG,  Nikolaus,  an  engraver,  who 
was  probably  a  son  of  Hans  Hogenberg  the  elder, 
died  in  1539. 

HOGENBERG,  Eemigius,  who  was  probably 
the  son  of  Hans  Hogenberg  the  elder,  and  a 
native  of  Mechlin,  came  to  England  about  the 
year  1560,  and  in  1573  engraved  the  portrait  of 
Matthew  Parker,  Archbishop  of  Canterbury,  in 
whose  service  he  appears  to  have  been  retained. 
This  portrait  was  supposed  by  Vertue  to  have  been 
the  first  engraved  in  England.  Eemigius  Hogen- 
berg worked  entirely  with  the  graver,  and  the  few 
prints  that  are  known  by  him  are  more  sought 
after  for  their  extreme  rarity  than  for  their  merit. 
The  following  are  among  them  : 

The  Portrait  of  Archbishop  Parker,  seated  at  a  table, 
with  a  book  open,  and  a  bell  by  the  side  of  it ;  a  coat 
of  arms  at  each  of  the  four  comers.    1573. 

A  large  Genealogy  of  the  Kings  of  England,  from  the 
Conquest  to  Queen  Elizabeth.     1574. 

Henry  IV.,  King  of  France  and  Navarre. 

Francis  of  Valois. 

Charles,  Duke  of  Lorraine. 

HOGENHUIZEN,  Elizabeth  Gborginb  van,  a, 
fruit  and  flower  painter,  was  a  native  of  the  Hague. 
She  was  born  in  1776,  and  died  in  1794. 

HOGER,  Joseph,  an  Austrian  landscape  painter, 
was  born  at  Vienna  in  1801,  and  entered  the 
Academy  school  of  landscape  under  Mossmer, 
receiving  before  long  the  prize.  After  this  he  was 
influenced  by  Rebell,  and  especially  by  his  brother- 
in-law  Gauermann,  yet  he  was  in  the  main  a  fol- 
lower of  nature,  which  he  zealously  studied  in 
Styria,  the  Southern  Tyrol,  and  Upper  Austria. 
He  for  some  time  taught  drawing  in  the  family 
of  the  Prince  of  Liechtenstein.  In  1843  he  was 
admitted  a  member  of  the  Academy  of  Vienna, 
and  in  1850  became  professor.  He  died  in  the 
same  city  in  1877.  He  published  a  '  School  of 
Landscape  Drawing,'  a  series  of '  Studies  of  Trees,' 
and  a  '  School  of  Water-Colours.'  His  oil  paint- 
ings were  greatly  admired,  but  his  water-colour 
and  pencil  drawings  are  superior.  Among  the  most 
important  of  the  latter  are : 

Chapel  in  Ramsau.     (Count  Beroldingen.) 
View  of  Patschkau.  I  ((j„„„j  Genois.) 

Sketch  near  Lundeuburg.  J  ^  ' 

A  Wilderness.    {Herr  Ernst.) 

HOGG,  Jacob,  an  English  engraver,  flourished 
in  the  latter  half  of  the  18th  century.  There  are 
several  plates  in  the  dotted  manner  by  him  after 
Angelica  Kauifraann,  Kirk,  and  others. 

HOGUET,  Charles,  a  landscape  and  marine 
painter,  born  at  Berlin  in  1821,  was  the  son  of  a 
French  ballet-master.  In  1839  he  became  a  pupil 
of  Wilhelm  Krause,  and  went  afterwards  to  Paris 
to  E.  Ciceri ;  in  1841  he  accompanied  Eduard 
Hildebrandt  to  England,  but  went  back  to  Paris 
to  study  under  Isabey,  the  uncle  of  Ciceri,  and 
there  gained  the  second  class  gold  medal.  After 
1848  he  lived  at  Berlin,  where  in  1869  he  was 
elected  a  member  of  the  Academy,  and  obtained 
the  gold  medal  at  the  exhibition.  He  died  at 
Berlin  in  1870.  According  to  his  own  estimate 
he  painted  224  oil  pictures,  exclusive  of  sketches, 
water-colour  drawings,  &c.  The  Berlin  National 
Gallery  contains  two  paintings  by  him,  '  The  Last 
Windmill  on  Montmartre,'  and  '  The  Wreck'  (1864). 

HOHE,  Friedrioh,  a  lithographer  and  painter, 
was  born  at  Bayreuth  in  1802.  His  father  was  a 
painter,  and  became  his  first  instructor,  but  in  1820 
he  commenced  attending  the  Munich  Academy. 

666 


From  1823  till  near  the  close  of  his  life  he  devoted 
himself  entirely  to  lithography.  In  1826  he  visited 
Italy  in  company  with  Karl  Eottmann,  and  two 
years  later  he  undertook  the  publication  of  the 
'  Leuohtenberg  Gallery,'  and  afterwards  took  part 
with  Hanfstangl  in  that  of  the  '  Dresden  Gallery.' 
Late  in  life  he  attempted  landscape  painting,  but 
without  much  success.  He  died  at  Munich  in  1870. 
Among  his  lithographs  may  be  mentioned : 

The  Entry  of  King  Otho  into  Nauplia ;  after  Peter  Hess. 
Selections  froni   the  Paintings   of   living  Artists  at 

Munich. 
Illustrations  of  German  classical  Ballads  and  Eomances ; 

in  conjunction  with  A.  Brilgger. 
The  Old  Stag ;  in  twelve  plates. 

HOHE,  Nikolaus  Christian,  a  portrait  and 
historical  painter,  the  elder  brother  of  Friedrich 
Hohe,  was  born  at  Bayreuth  in  1798.  He  is  best 
known  by  his  discovery,  uncovering,  and  partial 
restoration  of  the  wall-paintings  at  Sohwarzrhein- 
dorf  near  Bonn,  which  are  now  in  the  Berlin 
Museum.  He  made  similar  disentombments  in 
Cologne  Cathedral,  and  various  other  edifices  in 
the  district.  He  was  appointed  drawing-master 
to  the  University,  and  court  painter.  He  died  at 
Bonn  in  1868. 

HOHENBEEG,  Martin,  usually,  but  incorrectly, 
known  as  Martin  Altomontb,  was  born  of  German 
parents  at  Naples  in  1657.  When  fifteen  years 
of  age  he  entered  at  Rome  the  studio  of  Baciccio, 
with  whom  he  remained  five  years.  He  then 
studied  under  Carlo  Maratti,  and  in  the  Roman 
Academy  of  Arts.  In  1684 — about  which  time 
he  Italianized  his  name  into  Altomonte — he  was 
appointed  painter  to  John  III.  Sobieski,  King  of 
Poland,  for  whom  he  painted  at  Warsaw  some 
pictures  illustrating  the  exploits  performed  by 
Polish  soldiers  against  the  Turks.  In  1703  he 
went  to  Vienna,  and  four  years  later  became  a 
member  of  the  Academy.  He  painted  numerous 
excellent  altar-pieces  for  the  convent  of  the  Holy 
Cross  at  Linz,  where  he  spent  the  latter  part  of  his 
life.  He  died  there  in  1745,  and  was  buried  in 
the  convent  church.  The  Vienna  Gallery  has  a 
'  Susannah '  by  him,  painted  in  1709.  His  works 
are  also  found  in  Warsaw,  at  Linz,  and  in  other 
towns  in  Austria. 

HOHENLOHE-KIRCHBERG,  Friedrioh  Karl 
LuDWiG,  Prince  of,  an  amateur  artist,  was  born  at 
Kirchberg  in  1751.  His  first  instructor  seems  to 
have  been  Valentin  Tischbein,  but  he  afterwards 
studied  under  Oeser  at  Leipsic.  He  had  been  a 
captain  of  horse  in  the  Austrian  army,  but  a  con- 
tusion received  at  a  review  caused  him  to  abandon 
the  service,  and  devote  himself  exclusively  to  his 
favourite  pursuits  of  painting  and  drawing,  and 
occasionally  carving  in  ivory.  His  miniature 
likenesses  obtained  much  praise.  He  died  at 
Weickersheim  in  1791. 

HOHNECK,  Adolf,  a  painter  and  lithographer, 
was  born  at  Taubonheim,  in  Saxony,  in  1808,  and 
from  1838  to  1841  attended  the  Academy  at 
DUsseldorf.  He  painted  genre  pictures  and  land- 
scapes, and  also  lithographed  portraits  with  much 
success.     He  died  at  Dresden  in  1879. 

HOIN,  Claude  Jean  Baptists,  a  French  painter 
and  engraver,  born  at  Dijon  in  1750,  was  a  pupil 
of  Devosge  and  Greuze.  He  was  a  member  of 
the  Academies  of  Toulouse  and  Dijon,  and  keeper 
of  the  Museum  at  Dijon,  to  which  at  his  death  he 
bequeathed  some  pictures.  He  died  at  Dijon  in 
1817.      The  Museums  of  both  places  possess  his 


Holaart 


PAINTERS  AND  ENGRAVERS. 


Holbein 


portrait.      The    following     engravings    are    by 
him: 

The  Toilet  of  Tenus ;  after  Bokhot. 

Hercules  and  Omphale ;  after  the  same. 

The  Death  of  a  Monk ;  after  Fragonard. 

The  Death  of  St.  Mary  Magdalene ;  aftei-  Greuze. 

The  Apotheosis  of  Mirabeau. 

His  own  Portmt. 

HOLAART,  J.,  a  native  of  Dordrecht,  was  born 
about  1716,  and  died  in  1772.  He  painted  portraits, 
and  also  executed  some  mezzotint  engravings. 

HOLANDA,  Antonio  de,  a  Portuguese  miniature 
painter  of  the  early  part  of  the  16th  century,  is 
known  only  from  his  son  Francisco's  book,  'Pintura 
Antiqua,'  from  which  it  appears  that  among  other 
works  he  executed  a  very  striking  portrait  of  Charles 
v.,  which  so  pleased  that  monarch  that  he  declared 
it  to  be  more  faithful  than  the  one  by  Titian. 

HOLANDA,  Fkancisco  db,  the  son  and  scholar 
of  Antonio  de  Holanda,  was  born  at  Lisbon  in 
1515.  He  held  the  post  of  drawing-master  to 
the  eons  of  John  III.  of  Portugal,  and  was  em- 
ployed by  that  monarch  to  illuminate  various  books 
in  the  royal  library.  He  discovered  a  new  and 
brilliant  method  of  laying  on  colours  which  had 
long  eluded  the  experiments  and  researches  of  his 
father.  Notwithstanding  its  anticipation  at  Rome 
by  Giulio  Clovio,  the  discovery  induced  the  king  to 
send  him  to  study  in  Italy,  and  on  his  way  thither 
he  had  an  interview  with  the  Emperor  Charles  V. 
at  Barcelona.  He  executed  careful  plans  of  all  the 
fortified  places  on  his  route  for  the  service  of  his 
master  the  Infanta  Don  Luis,  and  for  the  Arch- 
bishop of  Funchal  one  of  the  whole  city  of  Rome. 
For  the  Queen  of  Portugal  he  copied  by  stealth  the 
celebrated  picture  of  Christ,  attributed  to  St.  Luke, 
and  preserved  in  the  church  of  St.  John  Lateran. 
During  his  residence  at  Rome  and  his  subsequent 
two  years'  travel  through  Italy  and  Florence,  he 
devoted  himself  to  copying  the  treasures  by  which 
he  was  surrounded,  and  enjoyed  the  friendship  of 
many  distinguished  personages,  amongst  others, 
of  Michelangelo,  Vittoria  Colonna,  Giulio  Clovio, 
Baocio  Bandinelli,  Pierino  del  Vaga,  and  Sebastiano 
del  Piombo.  On  his  return  to  Portugal  in  1548,  he 
wrote  an  account  of  ancient  painting,  dedicated  to 
the  king,  in  which  he  gives  a  most  amusing  rela- 
tion of  himself,  the  arts,  and  the  artists  with  whom 
he  associated  :  for  egotism  it  rivals  the  '  Life  of 
Benvenuto  Cellini ' ;  but  the  work  is  full  of  good 
humour,  and  information  to  be  found  nowhere  else. 
Count  Raczynski  published  a  French  translation  of 
it  in  his  '  Arts  en  Portugal,'  under  the  title, '  Manu- 
scrit  de  Frangois  de  Hollande.'  It  was  also  trans- 
lated into  Caetilianin  1563  ;  and  this  version,  never 
printed,  still  lies  in  the  library  of  San  Fernando 
in  Madrid.  Francisco  afterwards  added  to  his 
work  a  dialogue  on  drawing  from  nature,  the 
result  of  a  visit  to  a  painter.  Bias  de  Perea.  His 
last  work  was  a  memorial  on  the  state  of  Portuguese 
art,  addressed  to  King  Sebastian  of  Portugal  in 
1571.  There  is  in  the  library  of  the  Escorial  an 
album  of  drawings  by  Francisco,  which  begins 
with  a  portrait  of  the  reigning  pontifE,  and  another 
of  Michelangelo,  both  illuminated.  These  are 
followed  by  drawings  of  the  most  beautiful  monu- 
ments of  ancient  Rome,  such  as  the  amphitheatre 
of  Vespasian,  Trajan's  column,  &c. ;  views  in  Venice 
and  Naples ;  the  amphitheatre  at  Narbonne ;  and 
other  subjects.     He  probably  died  about  1584. 

HOLANDA,  RoDRlGO  de,  a  Spaniard,  was  in 
1591  appointed  painter  to  Philip  II.,  with  an  allow- 


ance of  100  ducats,  which  was  continued  to  him  at 
the  accession  of  Philip  III.  in  1599,  in  consideration 
of  his  services. 

HOLBEIN,  Ambkosihs,  the  elder  brother  of  Hans 
Holbein  the  younger,  was  born  about  1494.  He 
probably  went  with  his  brother  from  Augsburg 
to  Basle,  and  in  1517  he  was  admitted  into  the 
Guild  'Zum  Himmel.'  Soon  after  this  he  must 
have  gone  away,  or  more  probably  died,  as  his 
name  no  longer  appears  in  the  city  archives,  and 
no  date  but  1517  or  1618  appears  on  his  pictures. 
These  dates  are  to  be  seen  on  the  metallic  pencil 
sketches  in  the  Basle  Museum.  Besides  these  the 
Museum  at  Basle  has  two  pictures,  namely,  '  Two 
Death's  Heads  behind  a  trellised  window,'  and  a 
'  Suffering  Saviour.'  At  Munich  is  a  picture  of 
'Joseph  and  the  wife  of  Potiphar.'  He  seems  to 
have  been  engaged  as  was  his  brother  in  design- 
ing title-pages,  and  to  Ambrosius  was  entrusted 
'  Apelles'  Representation  of  Calumny,'  as  is  shown 
from  the  monogram  with  the  date  1517.  There  is 
also  a  title-page  designed  by  Ambrosius  represent- 
ing '  Death  and  the  Soldier.' 

HOLBEIN,  Hans,  the  elder,  was  the  son  of 
Michael  Holbein,  a  leather-seller,  who  settled  at 
Augsburg  in  1448.  The  year  of  his  birth  is  un- 
known, but  it  was  probably  about  1460.  The  name 
of  his  master  also  is  unknown,  but  he  first  formed 
his  style  on  the  models  of  the  school  of  Rogier  van 
der  Weyden,  which  he  subsequently  tempered  by 
studying  Italian  and  local  tradition.  It  cannot  be 
said  when  Holbein  commenced  his  art,  but  we  find 
him  inscribed  on  the  rolls  of  Augsburg  in  place  of 
his  father  Michael  in  1494.  From  that  time  till  his 
death  at  Isenheim  in  1524,  he  spent  alternate  periods 
of  prosperity  and  depression,  and  he  was  being 
constantly  summoned  for  the  payment  of  small 
sums.  His  earliest  known  works  were  scenes  from 
the  Life  of  the  Virgin,  painted  for  the  abbey  of 
Weingarten,  which  were  afterwards  distributed  to 
four  altars  in  the  cathedral  of  Augsburg.  To  these 
earlier  years  belong  the  'Virgin  and  Child,  with 
two  Angels,'  in  the  St.  Moritz  Kapelle,  and  a '  Virgin 
and  Child  enthroned,  with  Angels,'  in  the  Landauer 
Briiderhaus  at  Nuremberg.  To  the  year  1499,  in 
which  year  he  was  made  a  citizen  of  Ulm,  belong 
the  '  Death  of  the  Virgin '  in  the  Basle  Museum ; 
'  The  Coronation  of  the  Virgin,'  with  the '  Nativity ' 
and  '  Martyrdom  of  St.  Dorothea '  on  the_  wings, 
and  a  series  of  scenes  from  the  Passion  in 
the  Augsburg  Gallery.  In  1501  he  visited  Frank- 
fort, and  painted  for  the  Dominicans  a  large  altar- 
piece  comprising  'The  Last  Supper,' 'Christ  entering 
Jerusalem,'  the  'Jews  expelled  from  the  Temple,' 
the  '  Root  of  Jesse,'  the  '  Tree  of  the  Dominican 
Order,'  and  seven  scenes  from  the  Passion — all 
of  which  are  now  in  the  Stadel  Institute  at  Frank- 
fort. In  the  following  year  he  painted  an  altar- 
piece  for  the  abbey  of  Kaisheim,  near  Donau- 
wijrth,  consisting  of  eighteen  or  twenty  panels,  of 
which  the  '  Crucifixion,'  '  Descent  from  the  Cross,' 
and '  Entombment,'  are  now  in  the  Munich  Gallery. 
To  this  period  belong  the  twelve